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We Have Contributed N634 billion to Nigeria’s Economy In The Last Five Years – Multichoice4 minutes read

Samagbeyi afolasade

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Multichoice has boldly come out to tell of their immerse contribution to the economy of Nigeria. According to them they released funds worth billions of naira for content creation, Covid 19- donating over a billion for Covid19 pallatives, in the reality TV show- Big brother Naija.
“MultiChoice has contributed Billions of Naira on Local content in Nigeria. N634 billion contribution to Nigerian economy in the last 5 years”


“Multichoice Nigeria donated 1.2 billion Naira for COVID-19 palliatives this year. They also created content tailored to match lockdown needs”


Speaking on his much money was invested into Big brother Naija, they posed a rhetorical question
“Did you know that Multichoice Nigeria invested 3.5 billion naira in BBNaija?”



On their plans to do more to the entertainment industry and be better, they intend to have more international movies and series, bring in more shows even after big brother naija, get the K-pop fans glued to their screens. Multichoice has not left the sports lovers out of the enjoyment as their are plans to bring in more sport shows.
“There are also going to be a lot more international movies, animations and series on DSTV, GoTV and Showmax”

“There are so many new shows coming to DSTv and GoTV after Big Brother Naija ends so it’s about to get LIT!!! 🔥”


“K-Pop lovers are about to get glued to their TV screens because there’s a new Korean drama TV, tvN, coming to DSTv in November 2020.”



Multichoice is going to create a special channel for different sports and a different channel for La Liga, Serie A, and more. Sport fans are going to have a field day!

Multichoice is in a competition with other video on demand platforms, and in a bid to stay relevant, they have decided to carve a niche for themselves.
According to MultiChoice Group Chief Executive, Calvo Mawela, multichoice is in an increasing competition from Over-The-Top (OTT) companies like NeNetflix and other growing Video-On-Demand platforms that are entering into Africa’s entertainment media market. Hence, repositioning its customer care in order to compete properly will be the right thing to do. In his own words; “The realignment is a response to the changing behaviour of customers, who are increasingly moving away from traditional voice calls and visits to walk-in centres and adopting new self-service and digital technologies to engage with the company


The video entertainment sector is seeing a rapid evolution with a growing number of players that have entered the industry. We have worked hard to minimise the impact of the business realignment on our people – those directly impacted by the process and their colleagues in the rest of the business.


This has not been an easy decision to make. But, in a business driven by advancing technologies, we must continue to drive efficiencies, yet be agile enough to adapt to evolving customer needs to ensure that we remain relevant, competitive and sustainable.


We must act decisively to align to the change in customer behaviour and competition from (over-the-top, or OTT) services (like Netflix) because if we don’t reposition now, we run the risk of being completely misaligned and we put everyone’s jobs at risk.”

Culture and Tourism

Nigeria at 60 with Agboola Pinheiro

News Central reviews Nigeria’s past, present and future with Agboola Pinheiro.

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Former basketball coach, Agboola Pinheiro takes us down memory lane as he discusses the history of Nigeria’s political progress during the ’70s as well as his hope for a better Nigeria.

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Art

The African Innovator

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Victor Ehighale Ehikhamenor is a Nigerian visual artist, writer, and photographer, once described as “undeniably one of Africa’s most innovative contemporary artists” and one of “42 African Innovators to Watch”. In 2017, he was selected (along with three other artists) to represent Nigeria at the Venice Biennale, the first time Nigeria would be represented in the event.


He was born in Udomi-Uwessan, Edo State, Nigeria. He was educated in Nigeria and in the United States. He returned from the United States in 2008 to work in Lagos.
His work is strongly influenced by work done by villagers especially his grandmother who was a cloth weaver. His uncle was also a photographer, his maternal grandfather a blacksmith, and his mother, a local artist.
He is also inspired by wall paintings and installation arts, mostly in community shrines. This has been an enduring feature of his work, which is abstract, symbolic and politically motivated; and influenced by the duality of African traditional religion and the interception of Western beliefs, memories and nostalgia.

Ehikhamenor’s art and photographs have been used for editorials as well as cover art on books by authors such as Chimamanda Adichie, Helon Habila and Chika Unigwe. They have also been illustrated on fabric and exhibited at international fashion parades.


Ehikhamenor has held numerous solo art exhibitions across the world. In 2016, he was one of 11 Nigerian artists invited to join twenty-three Indonesian artists in the grand exhibition at the Biennale. At the Jogja National Museum, he showed an installation titled “The Wealth of Nations.”
He has also published numerous fiction and critical essays with academic journals, mainstream magazines and newspapers from around the world including The New York Times, CNN Online, Washington Post, Farafina, AGNI Magazine and Wasafiri. His short story, “The Supreme Command”, won the Association of Commonwealth Broadcasters Award in 2003. His debut poetry collection, Sordid Rituals, was published in 2002.
His second book, Excuse Me! (2012), a satirical creative non-fiction view of life as an African both at home and abroad, is a recommended text in two Nigerian universities.


On May 8, 2017, while participating in the Venice Biennale, Ehikhamenor first called attention to what he describes as Damien Hirst cultural appropriation of Nigerian Yoruba art. The exhibition of the British artist, called “Treasures From the Wreck of the Unbelievable”, featured a variety of sculptures meant to be viewed as debris rescued from a shipwreck. But one of the displayed artefacts was a copy of “Ori Olokun”, a famous Ife bronze art from the 14th century now described as “Golden heads”. Of the appropriation, Ehikhamenor had posted on Instagram “For the thousands of viewers seeing this for the first time, they won’t think Ife, they won’t think Nigeria. Their young ones will grow up to know this work as Damien Hirst’s. As time passes it will pass for a Damien Hirst regardless of his small print caption. The narrative will shift and the young Ife or Nigerian contemporary artist will someday be told by a long nose critic “Your work reminds me of Damien Hirst’s Golden Head”. We need more biographers for our forgotten.”


His words brought the issue to the forefront on local and international media.
Ehikhamenor was one of the first artists invited to Art Dubai in March 2018. In July 2018, he was also one of the Nigerian artists selected to meet and exhibit work for visiting French President Emmanuel Macron. The exhibition, organised by ART X Lagos took place at the Afrika Shrine, the nightclub of Femi Kuti.

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Art

Why Humans walk upright; The Author

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Africa is packed with great talented authors, authors with a difference. These authors are gifts to Africa. Meet one of the African gifts.

Ngũgĩ wa Thiong’o was born 5th January, 1938. He is a Kenyan writer and academic who writes primarily in Gikuyu. His work includes novels, plays, short stories, and essays, ranging from literary and social criticism to children’s literature. He is the founder and editor of the Gikuyu-language journal Mũtĩiri. His short story The Upright Revolution: Or Why Humans Walk Upright, is translated into 94 languages from around the world.

In 1977, Ngũgĩ embarked upon a novel form of theatre in his native Kenya that sought to liberate the theatrical process from what he held to be “the general bourgeois education system”, by encouraging spontaneity and audience participation in the performances. His project sought to “demystify” the theatrical process, and to avoid the “process of alienation [that] produces a gallery of active stars and an undifferentiated mass of grateful admirers” which, according to Ngũgĩ, encourages passivity in “ordinary people”. Although his landmark play, Ngaahika Ndeenda, co-written with Ngugi wa Mirii, was a commercial success, it was shut down by the authoritarian Kenyan regime six weeks after its opening.


Ngũgĩ was subsequently imprisoned for over a year. Adopted as an Amnesty International prisoner of conscience, the artist was released from prison, and fled Kenya. In the United States, he taught at Yale University for some years, and has since also taught at New York University, with a dual professorship in Comparative literature and Performance Studies, and at the University of California, Irvine. Ngũgĩ has frequently been regarded as a likely candidate for the Nobel Prize in Literature. Among his children is the author Mũkoma wa Ngũgĩ.

Ngũgĩ was born in Kamiriithu, near Limuru in Kiambu district, Kenya, of Kikuyu descent, and baptised James Ngugi. His family was caught up in the Mau Mau Uprising; his half-brother Mwangi was actively involved in the Kenya Land and Freedom Army, and his mother was tortured at Kamiriithu home guard post.


He went to the Alliance High School, and went on to study at Makerere University College in Kampala, Uganda. As a student he attended the African Writers Conference held at Makerere in June 1962, and his play The Black Hermit premiered as part of the event at The National Theatre. At the conference Ngũgĩ asked Chinua Achebe to read the manuscripts of his novels The River Between and Weep Not, Child, which would subsequently be published in Heinemann’s African Writers Series, launched in London that year, with Achebe as its first advisory editor. Ngũgĩ received his B.A. in English from Makerere University College in 1963.


His debut novel, Weep Not, Child, was published in May 1964, becoming the first novel in English to be published by a writer from East Africa. Later that year, having won a scholarship to the University of Leeds to study for an MA, Ngũgĩ travelled to England, where he was when his second novel, The River Between, came out in 1965.

The River Between, which has as its background the Mau Mau Uprising, and described an unhappy romance between Christians and non-Christians, was previously on Kenya’s national secondary school syllabus. He left Leeds without completing his thesis on Caribbean literature, for which his studies had focused on George Lamming, about whom Ngũgĩ said in his 1972 collection of essays Homecoming: “He evoked for me, an unforgettable picture of a peasant revolt in a white-dominated world. And suddenly I knew that a novel could be made to speak to me, could, with a compelling urgency, touch cords [sic] deep down in me. His world was not as strange to me as that of Fielding, Defoe, Smollett, Jane Austen, George Eliot, Dickens, D. H. Lawrence.”


Ngũgĩ’s 1967 novel A Grain of Wheat marked his embrace of Fanonist Marxism. He subsequently renounced Christianity, writing in English, and the name James Ngugi as colonialist; he changed his name to Ngũgĩ wa Thiong’o, and began to write in his native Gikuy. In 1967, Thiong’o also began teaching at the University of Nairobi as a professor of English literature. He continued to teach at the university for ten years while serving as a Fellow in Creative Writing at Makerere.


In 1976 he helped set up The Kamiriithu Community Education and Cultural Centre which, among other things, organised African Theatre in the area. The uncensored political message of his 1977 play Ngaahika Ndeenda (I Will Marry When I Want), co-written with Ngũgĩ wa Mirii, provoked the then Kenyan Vice-President Daniel arap Moi to order his arrest. While detained in the Kamiti Maximum Security Prison, Ngũgĩ wrote the first modern novel in Gikuyu, Devil on the Cross (Caitaani mũtharaba-Inĩ), on prison-issued toilet paper.


After his release in December 1978, he was not reinstated to his job as professor at Nairobi University, and his family was harassed. Due to his writing about the injustices of the dictatorial government at the time, Ngugi and his family were forced to live in exile. Only after Arap Moi retired after serving his second and last term in 2002, 22 years later, was it safe for them to return. Even in exile, Ngugi was making waves, he is a fighter.


His most recent books are Globalectics: Theory and the Politics of Knowing (2012), and Something Torn and New: An African Renaissance, a collection of essays published in 2009 making the argument for the crucial role of African languages in “the resurrection of African memory”, about which said: “Ngugi’s language is fresh; the questions he raises are profound, the argument he makes is clear: ‘To starve or kill a language is to starve and kill a people’s memory bank.'” This was followed by two well received autobiographical works: Dreams in a Time of War: a Childhood Memoir (2010) and In the House of the Interpreter: A Memoir (2012), which was described as “brilliant and essential” by the Los Angeles Times, among other positive reviews.


Some his awards include; Lotus Prize for Literature in (1973), Nonino International Prize for Literature (2001), He was Shortlisted for the Man Booker International Prize in 2009. He also has the National Book Critics Circle Award (finalist Autobiography) for In the House of the Interpreter (2012), the 2014 Nicolás Guillén Lifetime Achievement Award for Philosophical Literature, the 2016 Park Kyong-ni Prize, Grand Prix des mécènes of the GPLA 2018, for his entire body of work and amidst others, the 2019, Premi Internacional de Catalunya Award for his Courageous work and Advocacy for African languages.
He deserves a Nobel prize.

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