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Osakue Omoera

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Oct 13, 2019, 6:05:57 AM10/13/19

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Re: Epidemic of Plagiarism in Nigerian Traditional and Social Media

Thank you so much Prof Kperogi for the very illuminating piece on the above subject matter. I strongly believe that it is an issue that needs to be addressed frontally in Nigeria. However, some aspects of your article appear to have gone beyond enlightenment to insult. For instance, I find the

"If your mind is too barren to conceive
original, share-worthy thoughts, why deny credit to people who have taken
the trouble to exert their minds and share their thoughts publicly?" too harsh. My little understanding is that if one shares any content on Facebook, the content that is shared indicates the original owner of the idea. I do that a lot with materials that I feel could be useful to my students, colleagues or Facebook friends. How does that, for example, amount to plagiarism?

Osakue S. Omoera, Ph.D., FIMIM, M.Sonta
Department of Theatre & Media Arts
Faculty of Arts, Ambrose Alli University
Ekpoma, Edo State, Nigeria
Editor, EJOTMAS: Ekpoma Journal of Theatre and Media Arts
Emails:omo...@yahoo.com; osakue...@gmail.com;

osakue...@aauekpoma.edu.ng
Mobile:+2348035714679, +2348059997573

The secret to having everything you want out of life is the realization that you really don't want most of the things you think you want. (Bo Bennett)

On Sat, Oct 12, 2019 at 3:46 PM <usaafric...@googlegroups.com> wrote:

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Epidemic of Plagiarism in Nigerian Traditional and Social Media - 3 Updates

Nigerian religions - 1 Update

Tunde Kelani: The Man Exceeds the Frame - 4 Updates

Nobel Prize Award Sparks Outrage - 1 Update

Digest for usaafric...@googlegroups.com - 11 updates in 8 topics - 1 Update

Suggestions for a better model of student use of USA-Africa Dialogue posts (no offence intended, pls) - 1 Update

Sex for Grades-- Full BBC Documentary: Really True? - 1 Update

Nobel Prize in Chemistry Goes to John Goodenough of The University of Texas at Austin - 1 Update

'Stormzy effect': record number of black Britons studying at Cambridge - 1 Update

Epidemic of Plagiarism in Nigerian Traditional and Social Media

"Farooq A. Kperogi" <farooq...@gmail.com>: Oct 12 12:57PM -0400

Saturday, October 12, 2019
Epidemic of Plagiarism in Nigerian Traditional and Social Media
<https://www.farooqkperogi.com/2019/10/epidemic-of-plagiarism-in-nigerian.html>
*By Farooq A. Kperogi, Ph.D.*
*Twitter: @farooqkperogi <https://twitter.com/farooqkperogi>*

It used to be that intellectual thieves simply stole people's creative
labor and passed them off as theirs. Well, that still happens. But in the
frenetic, exhibitionistic world of social media, plagiarism is taking
newer, more insidious, and less explicable forms.

Now, scores of Nigerians habitually pirate other people’s original
thoughts, strip the thoughts of the names of their original authors, post
them on their social media timelines (or share them on WhatsApp groups and
other closed online forums), and pretend to be ethical by prefacing the
word “#Copied” to their intellectual robberies.
<https://1.bp.blogspot.com/-HgO03Pf_uT4/XaFRjQrexuI/AAAAAAAAWVU/r4Gtr99dy9Eh654C7-bn4WlQo7vJS5kkgCLcBGAsYHQ/s1600/Stop%2BPlagiarism.jpg>

But “Copied” doesn’t deodorize their ethical rottenness. It doesn’t
minimize their dishonesty in not acknowledging the authors of the thoughts
they share. It doesn’t vitiate their intellectual corruption. On the
contrary, it aggrandizes their moral turpitude, their cognitive laziness,
and their rank spinelessness. If your mind is too barren to conceive
original, share-worthy thoughts, why deny credit to people who have taken
the trouble to exert their minds and share their thoughts publicly?

An emerging, more sinister iteration of the social media virus of prefacing
“copied” to stolen thoughts is the practice of falsely attributing
authorship of the expression of people’s ideas to well-known people who
didn’t author them. It’s a spinoff of the “Copied” intellectual roguery.
People see a post that they like, which is mysteriously authored by a
nameless, invisible author called “Copied.” Since “copied” isn’t the name
of any human being, and they desire to associate a name to the post or
article, they invent the name of any well-known personage that catches
their sterile fancies and falsely give credit for the article to him or her.

I’ve been a victim of both forms of social media plagiarism. For instance,
my name has been stripped from my July 27, 2019 column in the Nigerian
Tribune titled “How Political Power Damages the Brain—and How to Reverse
it,” where I shared psychological research on the relationship between
power and brain damage. It was initially prefaced with “Copied” and is now
misattributed to Pat Utomi without his consent! I hope Utomi is aware of
this social media misattributed authorship fraud committed in his name and
speaks up to dissociate himself from it.

Although the very first sentence of the column says, “I was one of seven
professors who facilitated a leadership training in my university here in
Georgia for local government chairmen from a major Nigerian southwestern
state,” which indicates that the author lives in the US state of Georgia,
the vulgar, low-IQ social media herd who share the article on their
timelines (and WhatsApp groups) nonetheless attribute it to Pat Utomi who
lives in Lagos, Nigeria!

Before me, a young human rights activist by the name of Inibehe Effiong
wrote a clever, punchy post about how one’s education is a waste if one
can’t transcend narrow ethnic, religious, political, and regional
loyalties. “If you are emotionally attached to your tribe [sic], religion
or political leaning to the point that truth and justice become secondary
considerations, your education is useless. Your exposure is useless. If
you cannot reason beyond petty sentiments, you are a liability to mankind,”
he wrote on Facebook.

After initially misattributing the Facebook post to the ubiquitous
“Copied,” people now misattribute it to either Dr. Yusufu Bala Usman or Dr.
Chuba Okadigbo. Effiong’s protests that the quote is original to him were
drowned out by the wild cacophony of misattributed social media shares.

It’s now customary for Nigerians who want to start this odious practice to
seek people’s permission on Facebook to share their public posts. I’d
always wondered why people would write to seek permission to share a post
that is public, and that people have already shared through Facebook’s
“share” button. It later dawned on me that they’re actually seeking
permission to copy people’s posts, deny them authorship, and preface
“Copied” to the posts. What sort of cognitive sickness makes people do that?

But what is even more disquieting is the involvement of Nigeria’s
institutional news media in this practice. For instance, on Wednesday,
I exclusively
exposed a secret memo
<https://www.farooqkperogi.com/2019/10/buharis-nepotism-on-steroids.html> that
Muhammadu Buhari wrote to the Nigeria Police instructing it to illegally
extend the years of service of his nephew by the name of Abdulkarim Dauda
(who is also his Personal Chief Security Officer) who was due to retire
this year after 35 years in the police.
<https://1.bp.blogspot.com/-Ta-LSBG2rRY/XaFSXf1SWhI/AAAAAAAAWVc/MQzYsaE7fdEGacBnb5ztu5H7fpg8pAhQwCLcBGAsYHQ/s1600/Abdulkarim%2BDauda%2BDaura.jpg>

My exposé, which I shared on Facebook and Twitter, went viral within hours.
But Sahara Reporters and the *Punch,* two of Nigeria’s most widely read
news outlets, repurposed my story without giving credit to me. To its
credit, though, after I called it out on Twitter, Sahara Reporters’ editor
sent me a private email to apologize for his indiscretion. He later edited
the story to give me credit.

But, as of the time of writing this column on Friday, the *Punch*, which
attributed the source of the memo to "social media,"
<https://punchng.com/knocks-as-buhari-extends-service-of-his-police-aide-by-four-years/>
has
not acknowledged its ethical infraction, much less apologize for it. As I
pointed out on Twitter, it’s a good thing that the mainstream media have
picked up the story and given it wings, but you can’t fight fraud with
fraud. It takes nothing away from a media organization’s institutional
power and professional authority if it acknowledges the source of its news.
In fact, it bolsters it.

The International Center for Investigative Reporting (ICIR), which I’ve had
cause to severely censure
<https://www.farooqkperogi.com/2019/06/mercenary-investigative-journalism-in.html>
on
this page, was the most professional in reporting the Buhari nepotism
scandal that I broke. It acknowledged me as the source
<https://www.icirnigeria.org/buhari-allegedly-extends-service-of-his-personal-security-aide-beyond-35-years/>
of
the memo, even linked to my blog post on its site, and went beyond what I
put out to independently verify the authenticity of the memo. That’s
admirable, ethical journalism.

In journalism studies, we call the phenomenon of traditional media
deploying social media feeds for their news “backdraft.” It’s entirely
legitimate. What isn’t legitimate, though, is intentionally concealing the
source of the social media news feeds that informed their stories or being
too lazy to verify the accuracy of the information on social media before
publication. Those are cardinal journalistic sins that any news
organization worth its name shouldn’t be caught committing.

*BBC’s SexForGrades Vs Ganjude’s Bribe Videos*

BBC's #SexForGrades documentary is trending and inspiring an honest
national conversation about the sexual exploitation of female
undergraduates in Nigerian universities for only two reasons: BBC's
institutional prestige and Nigerians' instinctive,
inferiority-complex-driven reverence for the foreign, which I have
characterized as xenophilia in past articles.

Had the investigation been done by a Nigerian news outlet, it won't only
have been a damp squib; its very authenticity and facticity would have been
questioned. (Several newspapers, by the way, had done even more thorough
investigative reporting of this troubling moral scourge in the past with
little or no resonance with the national public sphere).

When Daily Nigerian's Jaafar Jaafar painstakingly investigated Kano State
governor Abdullahi Ganduje for two years and captured him in 15 video
scenes (nine of which clearly showed his face) collecting kickbacks from
contractors, APC minions questioned the authenticity of the videos. Someone
even wrote about "deepfake" technology to muddy the waters, and Buhari
picked up on this to wonder "what tekenulaji was used" to show Ganduje
collecting kickbacks from contractors.

Like Buhari, the man rigged himself back to power in spite of this scandal,
and there's deafening silence everywhere. Had the investigation been done
by the BBC, CNN, or any Western media outlet with enormous symbolic
resources, and not the Daily Nigerian, I can bet my bottom dollar that
there would have been no talk of "deepfake," Buhari would never have asked
what "tekenulaji was used" to make the videos, and Ganduje would probably
not be governor today. We're our own worst enemies.
Farooq A. Kperogi, Ph.D.
Associate Professor
Journalism & Emerging Media
School of Communication & Media
Social Science Building
Room 5092 MD 2207
402 Bartow Avenue
Kennesaw State University
Kennesaw, Georgia, USA 30144
Cell: (+1) 404-573-9697
Personal website: www.farooqkperogi.com
<http://www.farooqkperogi.blogspot.com>
Twitter: @farooqkperog <https://twitter.com/#%21/farooqkperogi>i
Author of *Glocal English: The Changing Face and Forms of Nigerian English
in a Global World
<http://www.amazon.com/Glocal-English-Changing-Linguistics-Semiotics/dp/1433129264/ref=sr_1_1?s=books&ie=UTF8&qid=1436569864&sr=1-1>*

"The nice thing about pessimism is that you are constantly being either
proven right or pleasantly surprised." G. F. Will

Anthony Akinola <anthony....@gmail.com>: Oct 12 08:40PM +0100

Plagiarism is a very serious issue,some kind of headache to honest
intellectuals and writers.
Regards,

Anthony Akinola

On Sat, Oct 12, 2019 at 7:20 PM Farooq A. Kperogi <farooq...@gmail.com>
wrote:

OLAYINKA AGBETUYI <yagb...@hotmail.com>: Oct 12 07:40PM

Well social media has muddied the waters of journalistic respectability in more senses that one.

It is an axiom of Law that trial by the media is no justice. Social media extends that saying to mean that social media justice IS mob justice especially when false multiple identities are easily created on social media platforms.

Sadly many intellectuals ( even on this forum) take the strength or justiceability of any issue on its strength or shape in the social media.

OAA

Sent from my Samsung Galaxy smartphone.

-------- Original message --------
From: "Farooq A. Kperogi" <farooq...@gmail.com>
Date: 12/10/2019 19:35 (GMT+00:00)
To: USAAfrica Dialogue <usaafric...@googlegroups.com>
Subject: USA Africa Dialogue Series - Epidemic of Plagiarism in NigerianTraditional and Social Media

[Boxbe]<https://www.boxbe.com/overview> [http://www.boxbe.com/stfopen?tc_serial=50926505798&tc_rand=1083269601&utm_source=stf&utm_medium=email&utm_campaign=ANNO_CLEANUP_ADD&utm_content=001] This message is eligible for Automatic Cleanup! (farooq...@gmail.com) Add cleanup rule<https://www.boxbe.com/popup?url=https%3A%2F%2Fwww.boxbe.com%2Fcleanup%3Fkey%3Df0MYoaSOwEqa53Zr7gwPMIXPhKcxWGgEgG41Tu72SHI%253D%26token%3Dqvk4JYTyI2Eh9zXkw%252Fp2QNFQG0XptTQsPL69rSNRjlPfGpABBeMoYucAsiwCDbMHTHYzpm1zxicGkzJvKUsIDuxS051xLjpkQ5v3Uj3b9FlNe2yvSBCErgOhdX3CVco3we0sEKX574kSvWDiSPMImw%253D%253D&tc_serial=50926505798&tc_rand=1083269601&utm_source=stf&utm_medium=email&utm_campaign=ANNO_CLEANUP_ADD&utm_content=001> | More info<http://blog.boxbe.com/general/boxbe-automatic-cleanup?tc_serial=50926505798&tc_rand=1083269601&utm_source=stf&utm_medium=email&utm_campaign=ANNO_CLEANUP_ADD&utm_content=001>
Saturday, October 12, 2019
Epidemic of Plagiarism in Nigerian Traditional and Social Media<https://www.farooqkperogi.com/2019/10/epidemic-of-plagiarism-in-nigerian.html>
By Farooq A. Kperogi, Ph.D.
Twitter: @farooqkperogi<https://twitter.com/farooqkperogi>

It used to be that intellectual thieves simply stole people's creative labor and passed them off as theirs. Well, that still happens. But in the frenetic, exhibitionistic world of social media, plagiarism is taking newer, more insidious, and less explicable forms.

Now, scores of Nigerians habitually pirate other people’s original thoughts, strip the thoughts of the names of their original authors, post them on their social media timelines (or share them on WhatsApp groups and other closed online forums), and pretend to be ethical by prefacing the word “#Copied” to their intellectual robberies.
[https://1.bp.blogspot.com/-HgO03Pf_uT4/XaFRjQrexuI/AAAAAAAAWVU/r4Gtr99dy9Eh654C7-bn4WlQo7vJS5kkgCLcBGAsYHQ/s640/Stop%2BPlagiarism.jpg]<https://1.bp.blogspot.com/-HgO03Pf_uT4/XaFRjQrexuI/AAAAAAAAWVU/r4Gtr99dy9Eh654C7-bn4WlQo7vJS5kkgCLcBGAsYHQ/s1600/Stop%2BPlagiarism.jpg>

But “Copied” doesn’t deodorize their ethical rottenness. It doesn’t minimize their dishonesty in not acknowledging the authors of the thoughts they share. It doesn’t vitiate their intellectual corruption. On the contrary, it aggrandizes their moral turpitude, their cognitive laziness, and their rank spinelessness. If your mind is too barren to conceive original, share-worthy thoughts, why deny credit to people who have taken the trouble to exert their minds and share their thoughts publicly?

An emerging, more sinister iteration of the social media virus of prefacing “copied” to stolen thoughts is the practice of falsely attributing authorship of the expression of people’s ideas to well-known people who didn’t author them. It’s a spinoff of the “Copied” intellectual roguery. People see a post that they like, which is mysteriously authored by a nameless, invisible author called “Copied.” Since “copied” isn’t the name of any human being, and they desire to associate a name to the post or article, they invent the name of any well-known personage that catches their sterile fancies and falsely give credit for the article to him or her.

I’ve been a victim of both forms of social media plagiarism. For instance, my name has been stripped from my July 27, 2019 column in the Nigerian Tribune titled “How Political Power Damages the Brain—and How to Reverse it,” where I shared psychological research on the relationship between power and brain damage. It was initially prefaced with “Copied” and is now misattributed to Pat Utomi without his consent! I hope Utomi is aware of this social media misattributed authorship fraud committed in his name and speaks up to dissociate himself from it.

Although the very first sentence of the column says, “I was one of seven professors who facilitated a leadership training in my university here in Georgia for local government chairmen from a major Nigerian southwestern state,” which indicates that the author lives in the US state of Georgia, the vulgar, low-IQ social media herd who share the article on their timelines (and WhatsApp groups) nonetheless attribute it to Pat Utomi who lives in Lagos, Nigeria!

Before me, a young human rights activist by the name of Inibehe Effiong wrote a clever, punchy post about how one’s education is a waste if one can’t transcend narrow ethnic, religious, political, and regional loyalties. “If you are emotionally attached to your tribe [sic], religion or political leaning to the point that truth and justice become secondary considerations, your education is useless. Your exposure is useless. If you cannot reason beyond petty sentiments, you are a liability to mankind,” he wrote on Facebook.

After initially misattributing the Facebook post to the ubiquitous “Copied,” people now misattribute it to either Dr. Yusufu Bala Usman or Dr. Chuba Okadigbo. Effiong’s protests that the quote is original to him were drowned out by the wild cacophony of misattributed social media shares.

It’s now customary for Nigerians who want to start this odious practice to seek people’s permission on Facebook to share their public posts. I’d always wondered why people would write to seek permission to share a post that is public, and that people have already shared through Facebook’s “share” button. It later dawned on me that they’re actually seeking permission to copy people’s posts, deny them authorship, and preface “Copied” to the posts. What sort of cognitive sickness makes people do that?

But what is even more disquieting is the involvement of Nigeria’s institutional news media in this practice. For instance, on Wednesday, I exclusively exposed a secret memo<https://www.farooqkperogi.com/2019/10/buharis-nepotism-on-steroids.html> that Muhammadu Buhari wrote to the Nigeria Police instructing it to illegally extend the years of service of his nephew by the name of Abdulkarim Dauda (who is also his Personal Chief Security Officer) who was due to retire this year after 35 years in the police.
[https://1.bp.blogspot.com/-Ta-LSBG2rRY/XaFSXf1SWhI/AAAAAAAAWVc/MQzYsaE7fdEGacBnb5ztu5H7fpg8pAhQwCLcBGAsYHQ/s640/Abdulkarim%2BDauda%2BDaura.jpg]<https://1.bp.blogspot.com/-Ta-LSBG2rRY/XaFSXf1SWhI/AAAAAAAAWVc/MQzYsaE7fdEGacBnb5ztu5H7fpg8pAhQwCLcBGAsYHQ/s1600/Abdulkarim%2BDauda%2BDaura.jpg>

My exposé, which I shared on Facebook and Twitter, went viral within hours. But Sahara Reporters and the Punch, two of Nigeria’s most widely read news outlets, repurposed my story without giving credit to me. To its credit, though, after I called it out on Twitter, Sahara Reporters’ editor sent me a private email to apologize for his indiscretion. He later edited the story to give me credit.

But, as of the time of writing this column on Friday, the Punch, which attributed the source of the memo to "social media,"<https://punchng.com/knocks-as-buhari-extends-service-of-his-police-aide-by-four-years/> has not acknowledged its ethical infraction, much less apologize for it. As I pointed out on Twitter, it’s a good thing that the mainstream media have picked up the story and given it wings, but you can’t fight fraud with fraud. It takes nothing away from a media organization’s institutional power and professional authority if it acknowledges the source of its news. In fact, it bolsters it.

The International Center for Investigative Reporting (ICIR), which I’ve had cause to severely censure<https://www.farooqkperogi.com/2019/06/mercenary-investigative-journalism-in.html> on this page, was the most professional in reporting the Buhari nepotism scandal that I broke. It acknowledged me as the source<https://www.icirnigeria.org/buhari-allegedly-extends-service-of-his-personal-security-aide-beyond-35-years/> of the memo, even linked to my blog post on its site, and went beyond what I put out to independently verify the authenticity of the memo. That’s admirable, ethical journalism.

In journalism studies, we call the phenomenon of traditional media deploying social media feeds for their news “backdraft.” It’s entirely legitimate. What isn’t legitimate, though, is intentionally concealing the source of the social media news feeds that informed their stories or being too lazy to verify the accuracy of the information on social media before publication. Those are cardinal journalistic sins that any news organization worth its name shouldn’t be caught committing.

BBC’s SexForGrades Vs Ganjude’s Bribe Videos

BBC's #SexForGrades documentary is trending and inspiring an honest national conversation about the sexual exploitation of female undergraduates in Nigerian universities for only two reasons: BBC's institutional prestige and Nigerians' instinctive, inferiority-complex-driven reverence for the foreign, which I have characterized as xenophilia in past articles.

Had the investigation been done by a Nigerian news outlet, it won't only have been a damp squib; its very authenticity and facticity would have been questioned. (Several newspapers, by the way, had done even more thorough investigative reporting of this troubling moral scourge in the past with little or no resonance with the national public sphere).

When Daily Nigerian's Jaafar Jaafar painstakingly investigated Kano State governor Abdullahi Ganduje for two years and captured him in 15 video scenes (nine of which clearly showed his face) collecting kickbacks from contractors, APC minions questioned the authenticity of the videos. Someone even wrote about "deepfake" technology to muddy the waters, and Buhari picked up on this to wonder "what tekenulaji was used" to show Ganduje collecting kickbacks from contractors.

Like Buhari, the man rigged himself back to power in spite of this scandal, and there's deafening silence everywhere. Had the investigation been done by the BBC, CNN, or any Western media outlet with enormous symbolic resources, and not the Daily Nigerian, I can bet my bottom dollar that there would have been no talk of "deepfake," Buhari would never have asked what "tekenulaji was used" to make the videos, and Ganduje would probably not be governor today. We're our own worst enemies.
Farooq A. Kperogi, Ph.D.
Associate Professor
Journalism & Emerging Media
School of Communication & Media
Social Science Building
Room 5092 MD 2207
402 Bartow Avenue
Kennesaw State University
Kennesaw, Georgia, USA 30144
Cell: (+1) 404-573-9697
Personal website: www.farooqkperogi.com<http://www.farooqkperogi.blogspot.com>
Twitter: @farooqkperog<https://twitter.com/#%21/farooqkperogi>i
Author of Glocal English: The Changing Face and Forms of Nigerian English in a Global World<http://www.amazon.com/Glocal-English-Changing-Linguistics-Semiotics/dp/1433129264/ref=sr_1_1?s=books&ie=UTF8&qid=1436569864&sr=1-1>

"The nice thing about pessimism is that you are constantly being either proven right or pleasantly surprised." G. F. Will

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Back to top

Nigerian religions

Cornelius Hamelberg <cornelius...@gmail.com>: Oct 12 10:23AM -0700

Shortly,

how do we resolve this apparently glaring paradox that stabs one in the
eye, that on the one hand “*Nigeria has one of the highest levels of
religiosity in the contemporary world*”, whilst at the same time (according
to Professor Jibrin Ibrahim) “*Nigerians are among the least religious
people in the contemporary world*” or at least on the contemporary African
continent?

Shmile? Contest? Deny?

By definition, “ A Christian is a person who is baptised and lives
according to the teaching of Christ”

In that case, how to account for Professor Ibrahim’s sorry assessment which
is crying out for the moral reform of Naija society, if it’s true that

“*While claiming to be Christians and Muslims, Nigerians show very minimal
adherence to the beliefs and core values of the two religions such as love,
compassion, honesty, moral uprightness and peace. The consequence is a high
level of theft of public and private property by apparently “religious”
people. There is massive immorality, debauchery, sex outside wedlock,
homosexuality and other activities that genuine Christians and Muslims who
believe in the core values of their religions avoid. There is too little
religion in the lives of Nigerians and social life is characterised by drug
and alcohol abuse, rape and other forms of anti-religious behaviour.”*

My hunch is that* t*hat kind of deliberate, helpless behaviour in the
Christian sector must be based on the erroneous idea that they are or have
been “saved” because Jesus has already died for their sins.

In the meanwhile, down here on earth before ascending up there to Heaven or
down below to the everlasting bonfire, the “*high level of theft of public
and private property by apparently “religious” people”* must surely be
accountable to Nigeria’s secular law – to crime and punishment - Justice -
the rule of law, in the country.

In the first place, if the Professor is not merely exaggerating or bragging
about the religiosity of his people, we are to suppose that the fall from
their mountain peak of religiosity / “*one of highest levels of religiosity
in the contemporary world*” to the bottomless pit of those who are “*among**
the least religious people in the contemporary world*” all depends on how
the learned Professor chooses to define religiosity
<https://www.google.se/search?authuser=0&source=hp&ei=4OyhXaLwNILurgSDsbbICg&q=religiosity+by+country&oq=religiosity&gs_l=psy-ab.1.1.0i70i249j0l9.2983.2983..4754...0.0..0.54.54.1......0....2j1..gws-wiz.vgZ4z8tDyO4>,
since we take it as fore-granted that there are Professors, including
professors of religion who maybe merely profess
<https://www.google.se/search?authuser=0&source=hp&ei=4OyhXaLwNILurgSDsbbICg&q=profess&oq=profess&gs_l=psy-ab.3..0l10.2510.2510..4134...0.0..0.78.78.1......0....2j1..gws-wiz.Qt7BNKRbEO4&ved=0ahUKEwii4OjFgJflAhUCt4sKHYOYDakQ4dUDCAY&uact=5>,
not to mention the paedophile priests who preach, teach religion, belief,
beliefs, grace, faith, good deeds.

It was disconcerting to read headlines earlier this year about His Holiness
the Pope lamenting the priests’ abuse of nuns including sexual slavery…
<https://www.google.se/search?authuser=0&ei=_-2hXYeDHNGvrgSK0rjgCQ&q=Pope+Francis+%3A+abuse+of+nuns+including+sexual+slavery&oq=Pope+Francis+%3A+abuse+of+nuns+including+sexual+slavery&gs_l=psy-ab.12...7378.7378..10226...0.0..0.78.78.1......0....1..gws-wiz.nK9vd-OHNtc&ved=0ahUKEwjH_rzOgZflAhXRl4sKHQopDpwQ4dUDCAs> About
which we may hear the pious moan, “*I**f that be the quality of the
priests, then God save the congregation” *whilst others quote John8:7
<https://www.google.se/search?newwindow=1&authuser=0&source=hp&ei=eQuiXdSND-uxrgTd24jIBg&q=John+8&oq=John+8&gs_l=psy-ab.3..0l10.10075.12066..13601...0.0..0.52.329.7......0....1..gws-wiz.....0._9JGZR1rhT8&ved=0ahUKEwiUrsvcnZflAhXrmIsKHd0tAmkQ4dUDCAY&uact=5>
; but are just a few bad apples among the billion or so Roman Catholics
enough evidence that the Roman Catholic Church – “the body of Christ” is
“one of the least religious” organisation in the contemporary world? As far
as the Christian Brethren and Sistren are concerned, isn’t it the sinners
that are in need of salvation?

With regard to fornication and adultery, perhaps Christian dogma has set
the bar too high, since merely looking at a woman, with some imagination is
tantamount to fornication and adultery, maybe, even rape...

Re- “(5) Massive Growth of Popular Religion “ and “x. Proselytization
Policy”

Statistics are probably not readily available about the number of
Christians and Disbelievers who have converted or according to the correct
Islamic vocabulary, who have “ reverted
<https://www.google.se/search?authuser=0&ei=MwSiXbYd56SuBMfip9gG&q=reverted+to+Islam&oq=reverted+to+Islam&gs_l=psy-ab.3..0l2j0i22i30j0i22i10i30j0i22i30l4j0i22i10i30l2.9816.12624..13081...0.2..0.68.536.9......0....1..gws-wiz.......0i71j0i67j0i10.Nvme7ZwWELk&ved=0ahUKEwj2gs3klpflAhVnkosKHUfxCWsQ4dUDCAs&uact=5>”
to al-Islam, or for that matter the insignificant number who like one Mark
A. Gabriel
<https://www.google.se/search?newwindow=1&authuser=0&ei=HAiiXavJIsGFrwSv6ab4BA&q=Mark+A.+Gabriel&oq=Mark+A.+Gabriel&gs_l=psy-ab.12...0.0..5890...0.0..0.0.0.......0......gws-wiz.Wg_qRceIAWA&ved=0ahUKEwirx5fCmpflAhXBwosKHa-0CU8Q4dUDCAs>,
said to be “critical of “Salafi Islam”...

On Friday, 4 October 2019 12:38:02 UTC+2, jibrinibrahim891 wrote:

Back to top

Tunde Kelani: The Man Exceeds the Frame

Gbemi Tijani <tijan...@gmail.com>: Oct 12 01:31AM +0300

Congratulations to the hugely patriotic icon of film making,B abs TK as the
connoisseur who knows his onions enormously.Congratulations to you and all
your boosters across decades including the affable truly blossoming
ubiquitous Baba TF. @ U .of Texas at Austin.Thanks for your infectious
fertile and fecund profiling of an expert who s dynamic ,afrocultural, and
nonetheless global.
Professor Toyin Falola s style of reviewing teachers of teachers like TK
is uncommonly unique.Where are you then when Mongo Beti was struggling with
linguistic feudalism meted on us by prolonged neocolonialism and our own
phobia to Overhaul the curricula left by the European's in different parts
of The Black world.yet.
I also love all the poetic totems with which you describe the versatility
of the globally acknowledged Tunde Kelani .Each metaphor you deployed from
your wealth of orality--especially for TK as Iroko in Cinematography buoyed
me and asked me how much lines of Oriki Omo Ajeji,Oriki Omo ARemu can i
recall with impeccable tonality of the lyrics?
I m also attracted with your multisectoral research in indigenous African
health care.Are your works on Medicinal African herbs ready?
Felicitations on your career as an academic leader and congruous travail
in books of diverse cultural advancement themes.Literature duly provoked
by your intellectual activities be it history or film making will keep
cracking,charging and challenging both town and gown.
Gbemi Tijani MST
@Bymst2bymst

On Oct 11, 2019 9:36 PM, "Harrow, Kenneth" <har...@msu.edu> wrote:

very happy to hear the news about TK. to make movies these days often
requires some stable income. i hope TK will continue to give us he
wonderful work for many years to come
ken

kenneth harrow

professor emeritus

dept of english

michigan state university

517 803-8839

har...@msu.edu
------------------------------
*From:* usaafric...@googlegroups.com <usaafricadialogue@
googlegroups.com> on behalf of Michael Vickers <mvic...@mvickers.plus.com>
*Sent:* Friday, October 11, 2019 3:57 PM
*To:* Toyin Falola <toyin...@austin.utexas.edu>; dialogue <
USAAfric...@googlegroups.com>; Yoruba Affairs <
yoruba...@googlegroups.com>
*Subject:* USA Africa Dialogue Series - Re: Tunde Kelani: The Man Exceeds
the Frame

Oloruntoyin,
Prodigious and Prolific.
Wonderful. Wonderful.
From strength to Ever new,
Ever greater strengths and accomplishments.
This is excellent, profoundly good news.
Many many congratulations to
Tunde Kelani.

Baba m

From: Prof Toyin FALOLA <toyin...@austin.utexas.edu>
Date: Friday, 11 October 2019 19:14
To: USA-AFRICA dialogue <usaafric...@googlegroups.com>, Yoruba
Affairs <yoruba...@googlegroups.com>
Subject: Tunde Kelani: The Man Exceeds the Frame

*Tunde Kelani: The Man Exceeds the Frame*

Toyin Falola

Professor of History

Jacob and Frances Sanger Mossiker Chair in the Humanities

University Distinguished Teaching Professor

The extraordinary announcement, coming from the Federal University of
Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as
a Fellow is heartwarming. The news reveals the warmth and uniqueness of the
University's boundless imaginations and the humanistic vision of its
Vice-Chancellor, Professor Kolawole Salako. This news of a deserving
appointment follows on the heels of Kelani receiving the prestigious Léopold
Sédar Senghor Prize for African Cultural Creativity and Impact in July,
2019 at the annual TOFAC event at Babcock University. In that same month,
he was also inducted into the American Oscars—the Academy of Motion
Picture, Arts and Sciences. All of these accolades are well-deserved.
Kelani has spent his career putting things—people, ideas, cultures,
traditions, and ideologies—inside the cinematographic frame. It is a most
exciting thing to see him too bursting out of every frame with all these
multiple achievements that celebrate him. Ìrókò!

Ìrókò Olúwéré!

Ọ̀rọ̀ bàm̀bà ní í gbénú Ìrókò.

Igi t'ọ́mọ aráyé ń gbóṣùbà rẹ̀!

Kokoko lára.

Àjífẹnu kíkò pè.

Ọba igi lóko!

Ọ̀rọ̀ hùnnùhùnnù ní í gbénú igi tó le koko.

Kò bojú wẹ̀hìn

Káyé ó tẹ́ńbẹ́lù ẹ̀ rí.

Igi tí í dá jìnnìjìnnì s'ọ́mọ́ ojo láyà!

Olúwéré ni baba igi lóko.

Tunde Kelani, popularly referred to as TK, is to Nollywood, the
Nigerian/African movie and entertainment industry, what Wole Soyinka is to
literature. These are people of greatness that have crept out from
underneath the ancient Olumo Rock. To be widely acknowledged as the most
respected filmmaker in Nigeria, or anywhere, against the tormenting odds of
uncontrolled piracy, bad economy, sanctions due to political differences
and unsupportive leadership, is no little feat to achieve. Kelani has
consistently positioned himself as a cultural ambassador, socio-political
commentator, and future-oriented creative icon with his filmic productions,
and other engagements, all of which are conscience-driven.

TK, a world-class storyteller and director of so many films, hails from
Abeokuta in Ogun State. From a cultural viewpoint, Kelani is a cultural
educator and an advocate whose works have become a narrative of success and
hard-work. From his early works such as *The Dilemma of Reverend Father
Michael* which was co-produced by the movie veteran Adebayo Faleti, who was
himself the author of the Yoruba play, *Idaamu Paadi Mukailu*, Kelani has
been a steady yet prolific writer, photographer, cinematographer, and movie
producer. In his repertoire of works, *Anikura*, *Iya Ni Wura*, *Iwa*, *O
Le Ku, Saworo Ide*, etc., Kelani has been an advocate of culture, pushing
the Yoruba culture to the frontiers of knowledge. He has taken upon himself
the duty of an historian to capture, preserve, refract and re/present the
African cultural heritage through the lens of his camera. Ìrókò!

Èèyàn bí Ìrókò!

Ìrókò bí èèyàn!

Igi tígí í wárí fún!

Túndé Kèlánì.

Adúmádéyín.

Ọ̀fọwọ́-àrà-gbé-kámẹ̀rá-mú-fíìmù yááyì!

Gíwá, ọba onísinnimá!

Tọ́jú-tẹ̀yìn ni dùndún fi í ríran:

Tọ́jú-tẹ̀yìn ní bàtá fí í fọhùn.

Èèkánnà ọmọ Kélání,

Irun orí ọmọ Kèlání,

Àtáǹpàkò ọmọ Kèlání -

Gbogbo ara ọmọ Kèlání

Ní í gbé fíìmú àrà jáde!

After so many productions and cinematography voyages, Kelani’s company,
Mainframe Film and Television Productions (established in 1992) has
produced some of the most outstanding movies in Nigeria and Africa while
also offering services and technical support to other outfits. Tunde
Kelani’s productions include documentaries on different subjects. Many of
Kelani’s works are a mixture of tradition and modernity as the movies adapt
the language of modern technology and traditional materials such as
language, oral poetry, myths, legends, and folktales, and aesthetic and
ornamental endowments of the Yoruba orality and knowledge system. At the
front burner of productions like *Campus Queen *and *Arugba* is the message
to embrace modernity into traditional culture in order to sustain the
latter and benefit from the former.

The ability of Kelani to seamlessly blend tradition and modernity, both at
the production and preoccupation level, has marked him out amongst his
peers as a forerunner and maestro of the industry. Although he has been
acknowledged as the bridge between the old and new Nollywood, and in fact,
as a pioneer figure of New Nollywood, like Laaroye, he has on several
occasions denied being a part of what has been popularly perceived as
Nollywood. It is not strange that he is still an “outsider” in Nollywood,
as the depth of his oeuvre defies the unsophisticated productions that
still characterize much of Nollywood. For Kelani, culture is not static and
antique; it evolves and in its evolution are the resolutions to the present
predicaments bedeviling our society. Hence, whenever Kelani makes bold
commentaries on the socio-political existence of the nation, he proffers
(local) solutions. Ìrókò!

Túndé to mójú kámẹ́rà,

Tí í pe kámẹ́rà rán níṣẹ̀.

Bó sùn,

Kámẹ́rà rẹ̀ kò ní yàyàkuyà.

Bó yaju, bó ń naju lẹ́nu isẹ,

Kò sí nínú oníyàkuyà.

TK had a very rich cultural background that has greatly influenced his
career. This illustrious background and his technical education in film
production culminated in the brilliant consistency that defines the legacy
of his works. In the development and production of cinema and films (and
entertainment) in Nigeria, TK is a leading figure. His career continues to
add to the bulging growth of this sector. His contributions to our emerging
national identity and culture are immense and indispensable. Down to his
personality, TK is always dressed in African traditional attire, especially
Adire, which is indigenous to his hometown, Abeokuta, where he had his
childhood experiences that inspire and further shape his creativity as a
film producer and director. His education at the London Film School and
Western Nigeria Television has equipped this talented man with unique
techniques and knowledge in film-making and directing. The TV programs
Arambada and Tunmigbe were also supported by Kelani as part of his
burgeoning career in cinematography. Ìrókò!

Ọ̀kunrin mẹ́ta tí í fọwọ́ àrá gbé fíìmù àrà jáde.

Yóò máa jọ'ra wọn ni:

Òṣùpá ò lè ẹ jọ̀' ràwọ̀ ní sánmọ̀.

Afọ́gbọ́n inú kọ́gbọ́n jọ fáyé.

Adúmádéyín tí wọn ń jowú rẹ̀ nígbà gbogbo.

Kelani’s knowledge in film making and cinematography, and his love for
superb literature, have sparked the adaptations of literary works into
movies that widened the horizon of the Nigerian literary space. TK’s
collaboration with writers and artists across genres has generated a new
hybrid of film productions that has deepened Nollywood’s focus and
professionalism. For example, *Dazzling Mirage*, a novel by Olayinka
Egbokhare, was adapted into a movie by Kelani’s Mainframe Productions, and
that production has helped to create more awareness in the Nigerian space
about sickle cell anemia and its effects. With many other adaptations like *O
le ku*, *The White Handkerchief*, *Campus Queen* and *Maami*, Kelani has
pushed forward significant socio-political and economic preoccupations
projected by the artists, but in a more relatable manner through his
audio-visual filmic productions. The coalescing of traditional and cultural
values with high technological dexterity in his movies has launched the
director-cum-cinematographer to the limelight in the world. Kelani’s works
and films also have cultural and political ideologies which have traced the
historical and political growth of the nation, Nigeria.

In recognition of his illustrious contributions to the society and
achievement as an artist, TK has been recognized both nationally and
internationally with many awards and recognitions that span so many years
or films and works of his career. These include:

- Africa Magic Viewer’s Choice (AMVCA) Industry Merit Award in 2018;
- Léopold Sédar Senghor Prize for African Cultural Creativity and
Impact, 2019;
- Member of the Emmy Awards International Jury in 2015;
- Elected to vote in the Directors Category of the Board of the Academy
of Motion Picture Arts and Sciences in 2019; and
- Nigeria Merit Award Lifetime Achievement Award in 2014.

These awards and recognitions are particularly due to Kelani’s inimitable
craft and contributions to the advancement of the Nigerian filmmaking
industry, and cultural values distilled in his works. As part of his
intellectual contribution to the industry, he established the Mainframe
Film and Media Institute to educate and train artists in professional
cinematography, editing, directing, scriptwriting, etc. within the advanced
theory and art of filmmaking. This institute has been established to
promote cultural values and also improve the socio-economic output of the
nation. With the Mainframe Film and Media Institute, TK has further
established himself as a visionary leader with the aim to impact the
society and the younger generation more. The Institute becomes a symbol to
pass on his legacy and brilliancy to as many as possible, an orientation
that is most lacking in Nigerian society.

Kelani is arguably one of the greatest pioneers of the filmmaking industry
in Nigeria and Africa whose person and works have been the subject of many
doctoral theses and books. The 71-year old filmmaker is celebrated
nationally and internationally for his grand narratives about African
culture and art. The man Kelani and his art will continually spark
admiration and intellectual discourses on the political, cultural and
philosophical productions of the Nigerian space both in the literary
universe and film industry.

The appointment at the Federal University of Agriculture, Abeokuta will
provide him a unique opportunity to contribute to the diffusion of
creativity, the linkages of sciences, technology and culture, and the
training of future leaders in a dynamic world in an age of expanding
possibilities. T-K's tentacles will spread beyond his current reach. When
it rains, it pours. Ojo Ibukun de! Ire wole!! Ìrókò!!!

Kò séégun tó lára lẹ́ṣẹ̀ bíi Lébe.

Ta ni m'ojú fíìmù bí Túndé Kèlánì,

Gíwá tó jọba wọn?

Ìtákùn tó ṣe é dìmọ́ gòkè.

Ìrókò, ọba igi lóko!

Are we surprised of the man TK has been able to make of himself? We will
not be surprised when we also think of the noble lineage of the man which
shows he is not only greatness born, but also greatness made. TK belongs to
the Kúlódò lineage through whom a whole oral poetic form, Esa (the
Privileged) became part of the rich Yoruba cultural heritage. It will
therefore be befitting to end this piece with the praise of this living
legend:

The illustrious Onígbórí scion of Kúlódò

Scion of Kúlódò Awùsí Ẹ̀yọ̀

Scion of the hunchback that praises the king

Scion of the lineage deep in the way of knowledge

Babátúndé, you are the scion of Kúlódò Awùbi

The abundant water that splits into creeks -

From Aàsà, toẸkọrọ, to Dòbòdè

And Afúnlẹ́lẹ́, the clean brook of queens

The dance of yesterday is not enough

The whips of yesterday pain no more

Bring us the dancing and whipping masquerades again

It is our father’s rite we are doing

Invoke the spirit of Arúkú,

The cadaver in the cloth called ẹ̀kú

Invoke the spirit of Ológbojò,

Custodian of eight hundred masquerades.

Ìrókò!

Toyin Falola

Department of History

The University of Texas at Austin

104 Inner Campus Drive
<https://www.google.com/maps/search/104+Inner+Campus+Drive+%0D%0A+%0D%0A+%0D%0A+Austin,+TX+78712?entry=gmail&source=g>

Austin, TX 78712
<https://www.google.com/maps/search/104+Inner+Campus+Drive+%0D%0A+%0D%0A+%0D%0A+Austin,+TX+78712?entry=gmail&source=g>-0220,
USA

http://toyinfalolanetwork.org/
<https://urldefense.proofpoint.com/v2/url?u=http-3A__toyinfalolanetwork.org_&d=DwMFaQ&c=nE__W8dFE-shTxStwXtp0A&r=Zy8I_UX8z9DLbmf5YJ0EIg&m=X5b78hzNw11v8O2yxUtK_IvGVlmel6zYYO8aSNkLYM0&s=9FImwu-8kJpZfL4Uq9U9JRFl1pav8PTKbgYxxsiOeGw&e=>

--
Listserv moderated by Toyin Falola, University of Texas at Austin
To post to this group, send an email to USAAfric...@googlegroups.com

Pamela Smith <pamel...@unomaha.edu>: Oct 12 02:27PM

CONGRATULATIONS, TK!
Just the beginning of a most deserving last few months list of accolades, years in the making. In God’s time (the BEST time), I suppose. No-one could have said it better than TF.
A ku orire!
Oye a m’ori o!

Olubunmi
(Prof Pam Smith)

From: Toyin Falola <toyin...@austin.utexas.edu>
Sent: Friday, October 11, 2019 1:14 PM
To: dialogue <USAAfric...@googlegroups.com>; Yoruba Affairs <yoruba...@googlegroups.com>
Subject: Tunde Kelani: The Man Exceeds the Frame

Tunde Kelani: The Man Exceeds the Frame
Toyin Falola
Professor of History
Jacob and Frances Sanger Mossiker Chair in the Humanities
University Distinguished Teaching Professor

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University's boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. This news of a deserving appointment follows on the heels of Kelani receiving the prestigious Léopold Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him. Ìrókò!
Ìrókò Olúwéré!
Ọ̀rọ̀ bàm̀bà ní í gbénú Ìrókò.
Igi t'ọ́mọ aráyé ń gbóṣùbà rẹ̀!
Kokoko lára.
Àjífẹnu kíkò pè.
Ọba igi lóko!
Ọ̀rọ̀ hùnnùhùnnù ní í gbénú igi tó le koko.
Kò bojú wẹ̀hìn
Káyé ó tẹ́ńbẹ́lù ẹ̀ rí.
Igi tí í dá jìnnìjìnnì s'ọ́mọ́ ojo láyà!
Olúwéré ni baba igi lóko.

Tunde Kelani, popularly referred to as TK, is to Nollywood, the Nigerian/African movie and entertainment industry, what Wole Soyinka is to literature. These are people of greatness that have crept out from underneath the ancient Olumo Rock. To be widely acknowledged as the most respected filmmaker in Nigeria, or anywhere, against the tormenting odds of uncontrolled piracy, bad economy, sanctions due to political differences and unsupportive leadership, is no little feat to achieve. Kelani has consistently positioned himself as a cultural ambassador, socio-political commentator, and future-oriented creative icon with his filmic productions, and other engagements, all of which are conscience-driven.
TK, a world-class storyteller and director of so many films, hails from Abeokuta in Ogun State. From a cultural viewpoint, Kelani is a cultural educator and an advocate whose works have become a narrative of success and hard-work. From his early works such as The Dilemma of Reverend Father Michael which was co-produced by the movie veteran Adebayo Faleti, who was himself the author of the Yoruba play, Idaamu Paadi Mukailu, Kelani has been a steady yet prolific writer, photographer, cinematographer, and movie producer. In his repertoire of works, Anikura, Iya Ni Wura, Iwa, O Le Ku, Saworo Ide, etc., Kelani has been an advocate of culture, pushing the Yoruba culture to the frontiers of knowledge. He has taken upon himself the duty of an historian to capture, preserve, refract and re/present the African cultural heritage through the lens of his camera. Ìrókò!
Èèyàn bí Ìrókò!
Ìrókò bí èèyàn!
Igi tígí í wárí fún!
Túndé Kèlánì.
Adúmádéyín.
Ọ̀fọwọ́-àrà-gbé-kámẹ̀rá-mú-fíìmù yááyì!
Gíwá, ọba onísinnimá!
Tọ́jú-tẹ̀yìn ni dùndún fi í ríran:
Tọ́jú-tẹ̀yìn ní bàtá fí í fọhùn.

Èèkánnà ọmọ Kélání,
Irun orí ọmọ Kèlání,
Àtáǹpàkò ọmọ Kèlání -
Gbogbo ara ọmọ Kèlání
Ní í gbé fíìmú àrà jáde!

After so many productions and cinematography voyages, Kelani’s company, Mainframe Film and Television Productions (established in 1992) has produced some of the most outstanding movies in Nigeria and Africa while also offering services and technical support to other outfits. Tunde Kelani’s productions include documentaries on different subjects. Many of Kelani’s works are a mixture of tradition and modernity as the movies adapt the language of modern technology and traditional materials such as language, oral poetry, myths, legends, and folktales, and aesthetic and ornamental endowments of the Yoruba orality and knowledge system. At the front burner of productions like Campus Queen and Arugba is the message to embrace modernity into traditional culture in order to sustain the latter and benefit from the former.
The ability of Kelani to seamlessly blend tradition and modernity, both at the production and preoccupation level, has marked him out amongst his peers as a forerunner and maestro of the industry. Although he has been acknowledged as the bridge between the old and new Nollywood, and in fact, as a pioneer figure of New Nollywood, like Laaroye, he has on several occasions denied being a part of what has been popularly perceived as Nollywood. It is not strange that he is still an “outsider” in Nollywood, as the depth of his oeuvre defies the unsophisticated productions that still characterize much of Nollywood. For Kelani, culture is not static and antique; it evolves and in its evolution are the resolutions to the present predicaments bedeviling our society. Hence, whenever Kelani makes bold commentaries on the socio-political existence of the nation, he proffers (local) solutions. Ìrókò!
Túndé to mójú kámẹ́rà,
Tí í pe kámẹ́rà rán níṣẹ̀.
Bó sùn,
Kámẹ́rà rẹ̀ kò ní yàyàkuyà.
Bó yaju, bó ń naju lẹ́nu isẹ,
Kò sí nínú oníyàkuyà.

TK had a very rich cultural background that has greatly influenced his career. This illustrious background and his technical education in film production culminated in the brilliant consistency that defines the legacy of his works. In the development and production of cinema and films (and entertainment) in Nigeria, TK is a leading figure. His career continues to add to the bulging growth of this sector. His contributions to our emerging national identity and culture are immense and indispensable. Down to his personality, TK is always dressed in African traditional attire, especially Adire, which is indigenous to his hometown, Abeokuta, where he had his childhood experiences that inspire and further shape his creativity as a film producer and director. His education at the London Film School and Western Nigeria Television has equipped this talented man with unique techniques and knowledge in film-making and directing. The TV programs Arambada and Tunmigbe were also supported by Kelani as part of his burgeoning career in cinematography. Ìrókò!
Ọ̀kunrin mẹ́ta tí í fọwọ́ àrá gbé fíìmù àrà jáde.
Yóò máa jọ'ra wọn ni:
Òṣùpá ò lè ẹ jọ̀' ràwọ̀ ní sánmọ̀.
Afọ́gbọ́n inú kọ́gbọ́n jọ fáyé.
Adúmádéyín tí wọn ń jowú rẹ̀ nígbà gbogbo.

Kelani’s knowledge in film making and cinematography, and his love for superb literature, have sparked the adaptations of literary works into movies that widened the horizon of the Nigerian literary space. TK’s collaboration with writers and artists across genres has generated a new hybrid of film productions that has deepened Nollywood’s focus and professionalism. For example, Dazzling Mirage, a novel by Olayinka Egbokhare, was adapted into a movie by Kelani’s Mainframe Productions, and that production has helped to create more awareness in the Nigerian space about sickle cell anemia and its effects. With many other adaptations like O le ku, The White Handkerchief, Campus Queen and Maami, Kelani has pushed forward significant socio-political and economic preoccupations projected by the artists, but in a more relatable manner through his audio-visual filmic productions. The coalescing of traditional and cultural values with high technological dexterity in his movies has launched the director-cum-cinematographer to the limelight in the world. Kelani’s works and films also have cultural and political ideologies which have traced the historical and political growth of the nation, Nigeria.
In recognition of his illustrious contributions to the society and achievement as an artist, TK has been recognized both nationally and internationally with many awards and recognitions that span so many years or films and works of his career. These include:

* Africa Magic Viewer’s Choice (AMVCA) Industry Merit Award in 2018;
* Léopold Sédar Senghor Prize for African Cultural Creativity and Impact, 2019;
* Member of the Emmy Awards International Jury in 2015;
* Elected to vote in the Directors Category of the Board of the Academy of Motion Picture Arts and Sciences in 2019; and
* Nigeria Merit Award Lifetime Achievement Award in 2014.
These awards and recognitions are particularly due to Kelani’s inimitable craft and contributions to the advancement of the Nigerian filmmaking industry, and cultural values distilled in his works. As part of his intellectual contribution to the industry, he established the Mainframe Film and Media Institute to educate and train artists in professional cinematography, editing, directing, scriptwriting, etc. within the advanced theory and art of filmmaking. This institute has been established to promote cultural values and also improve the socio-economic output of the nation. With the Mainframe Film and Media Institute, TK has further established himself as a visionary leader with the aim to impact the society and the younger generation more. The Institute becomes a symbol to pass on his legacy and brilliancy to as many as possible, an orientation that is most lacking in Nigerian society.
Kelani is arguably one of the greatest pioneers of the filmmaking industry in Nigeria and Africa whose person and works have been the subject of many doctoral theses and books. The 71-year old filmmaker is celebrated nationally and internationally for his grand narratives about African culture and art. The man Kelani and his art will continually spark admiration and intellectual discourses on the political, cultural and philosophical productions of the Nigerian space both in the literary universe and film industry.
The appointment at the Federal University of Agriculture, Abeokuta will provide him a unique opportunity to contribute to the diffusion of creativity, the linkages of sciences, technology and culture, and the training of future leaders in a dynamic world in an age of expanding possibilities. T-K's tentacles will spread beyond his current reach. When it rains, it pours. Ojo Ibukun de! Ire wole!! Ìrókò!!!
Kò séégun tó lára lẹ́ṣẹ̀ bíi Lébe.
Ta ni m'ojú fíìmù bí Túndé Kèlánì,
Gíwá tó jọba wọn?
Ìtákùn tó ṣe é dìmọ́ gòkè.
Ìrókò, ọba igi lóko!

Are we surprised of the man TK has been able to make of himself? We will not be surprised when we also think of the noble lineage of the man which shows he is not only greatness born, but also greatness made. TK belongs to the Kúlódò lineage through whom a whole oral poetic form, Esa (the Privileged) became part of the rich Yoruba cultural heritage. It will therefore be befitting to end this piece with the praise of this living legend:
The illustrious Onígbórí scion of Kúlódò
Scion of Kúlódò Awùsí Ẹ̀yọ̀
Scion of the hunchback that praises the king
Scion of the lineage deep in the way of knowledge

Babátúndé, you are the scion of Kúlódò Awùbi
The abundant water that splits into creeks -
From Aàsà, to Ẹkọrọ, to Dòbòdè
And Afúnlẹ́lẹ́, the clean brook of queens

The dance of yesterday is not enough
The whips of yesterday pain no more
Bring us the dancing and whipping masquerades again
It is our father’s rite we are doing

Invoke the spirit of Arúkú,
The cadaver in the cloth called ẹ̀kú
Invoke the spirit of Ológbojò,
Custodian of eight hundred masquerades.
Ìrókò!

Toyin Falola
Department of History
The University of Texas at Austin
104 Inner Campus Drive
Austin, TX 78712-0220, USA
http://toyinfalolanetwork.org/<https://urldefense.proofpoint.com/v2/url?u=http-3A__toyinfalolanetwork.org_&d=DwMGaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=qMHo0jABnWy_k058JRFMMbozPcY5ZtnWAZeTWwiqyb8&m=oz_i_hoIB1LCQP_0w6BQXSGnyjlR0xNMZE2McjOWcr4&s=AnToHzloZz6Krub32tQOd2_CeFIpdoW3to9O84MHJ3s&e=>

OLAYINKA AGBETUYI <yagb...@hotmail.com>: Oct 12 04:39PM

If not Tunde Kelani, then who?

Congratulations on a lifetime in filmic excellence!

OAA

Sent from my Samsung Galaxy smartphone.

-------- Original message --------
From: Pamela Smith <pamel...@unomaha.edu>
Date: 12/10/2019 15:48 (GMT+00:00)
To: usaafric...@googlegroups.com, Yoruba Affairs <yoruba...@googlegroups.com>
Subject: USA Africa Dialogue Series - RE: Tunde Kelani: The Man Exceeds the Frame

[Boxbe]<https://www.boxbe.com/overview> [http://www.boxbe.com/stfopen?tc_serial=50925478502&tc_rand=1388822143&utm_source=stf&utm_medium=email&utm_campaign=ANNO_CLEANUP_ADD&utm_content=001] This message is eligible for Automatic Cleanup! (pamel...@unomaha.edu) Add cleanup rule<https://www.boxbe.com/popup?url=https%3A%2F%2Fwww.boxbe.com%2Fcleanup%3Fkey%3Dv1MQkYLG6Ae5OjpI4b4UAXr%252FUnVr4lqSnPsDMAWTZ9A%253D%26token%3DfKd8roKHqgDjNJROJXgOnfUibFLSUgArODkOM5V64LDHTMzixVXl5bcXq%252BCoxf9dWVHWP4CpVxgF4tgPku5Cnt8kz7HUj5XUd9TEfi1jwD4jV8ZSF3jTfPAql4edhpk1DKjHVCsBpyiOCuzCSZkx2g%253D%253D&tc_serial=50925478502&tc_rand=1388822143&utm_source=stf&utm_medium=email&utm_campaign=ANNO_CLEANUP_ADD&utm_content=001> | More info<http://blog.boxbe.com/general/boxbe-automatic-cleanup?tc_serial=50925478502&tc_rand=1388822143&utm_source=stf&utm_medium=email&utm_campaign=ANNO_CLEANUP_ADD&utm_content=001>
CONGRATULATIONS, TK!
Just the beginning of a most deserving last few months list of accolades, years in the making. In God’s time (the BEST time), I suppose. No-one could have said it better than TF.
A ku orire!
Oye a m’ori o!

Olubunmi
(Prof Pam Smith)

From: Toyin Falola <toyin...@austin.utexas.edu>
Sent: Friday, October 11, 2019 1:14 PM
To: dialogue <USAAfric...@googlegroups.com>; Yoruba Affairs <yoruba...@googlegroups.com>
Subject: Tunde Kelani: The Man Exceeds the Frame

Tunde Kelani: The Man Exceeds the Frame
Toyin Falola
Professor of History
Jacob and Frances Sanger Mossiker Chair in the Humanities
University Distinguished Teaching Professor

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University's boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. This news of a deserving appointment follows on the heels of Kelani receiving the prestigious Léopold Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him. Ìrókò!
Ìrókò Olúwéré!
Ọ̀rọ̀ bàm̀bà ní í gbénú Ìrókò.
Igi t'ọ́mọ aráyé ń gbóṣùbà rẹ̀!
Kokoko lára.
Àjífẹnu kíkò pè.
Ọba igi lóko!
Ọ̀rọ̀ hùnnùhùnnù ní í gbénú igi tó le koko.
Kò bojú wẹ̀hìn
Káyé ó tẹ́ńbẹ́lù ẹ̀ rí.
Igi tí í dá jìnnìjìnnì s'ọ́mọ́ ojo láyà!
Olúwéré ni baba igi lóko.

Tunde Kelani, popularly referred to as TK, is to Nollywood, the Nigerian/African movie and entertainment industry, what Wole Soyinka is to literature. These are people of greatness that have crept out from underneath the ancient Olumo Rock. To be widely acknowledged as the most respected filmmaker in Nigeria, or anywhere, against the tormenting odds of uncontrolled piracy, bad economy, sanctions due to political differences and unsupportive leadership, is no little feat to achieve. Kelani has consistently positioned himself as a cultural ambassador, socio-political commentator, and future-oriented creative icon with his filmic productions, and other engagements, all of which are conscience-driven.
TK, a world-class storyteller and director of so many films, hails from Abeokuta in Ogun State. From a cultural viewpoint, Kelani is a cultural educator and an advocate whose works have become a narrative of success and hard-work. From his early works such as The Dilemma of Reverend Father Michael which was co-produced by the movie veteran Adebayo Faleti, who was himself the author of the Yoruba play, Idaamu Paadi Mukailu, Kelani has been a steady yet prolific writer, photographer, cinematographer, and movie producer. In his repertoire of works, Anikura, Iya Ni Wura, Iwa, O Le Ku, Saworo Ide, etc., Kelani has been an advocate of culture, pushing the Yoruba culture to the frontiers of knowledge. He has taken upon himself the duty of an historian to capture, preserve, refract and re/present the African cultural heritage through the lens of his camera. Ìrókò!
Èèyàn bí Ìrókò!
Ìrókò bí èèyàn!
Igi tígí í wárí fún!
Túndé Kèlánì.
Adúmádéyín.
Ọ̀fọwọ́-àrà-gbé-kámẹ̀rá-mú-fíìmù yááyì!
Gíwá, ọba onísinnimá!
Tọ́jú-tẹ̀yìn ni dùndún fi í ríran:
Tọ́jú-tẹ̀yìn ní bàtá fí í fọhùn.

Èèkánnà ọmọ Kélání,
Irun orí ọmọ Kèlání,
Àtáǹpàkò ọmọ Kèlání -
Gbogbo ara ọmọ Kèlání
Ní í gbé fíìmú àrà jáde!

After so many productions and cinematography voyages, Kelani’s company, Mainframe Film and Television Productions (established in 1992) has produced some of the most outstanding movies in Nigeria and Africa while also offering services and technical support to other outfits. Tunde Kelani’s productions include documentaries on different subjects. Many of Kelani’s works are a mixture of tradition and modernity as the movies adapt the language of modern technology and traditional materials such as language, oral poetry, myths, legends, and folktales, and aesthetic and ornamental endowments of the Yoruba orality and knowledge system. At the front burner of productions like Campus Queen and Arugba is the message to embrace modernity into traditional culture in order to sustain the latter and benefit from the former.
The ability of Kelani to seamlessly blend tradition and modernity, both at the production and preoccupation level, has marked him out amongst his peers as a forerunner and maestro of the industry. Although he has been acknowledged as the bridge between the old and new Nollywood, and in fact, as a pioneer figure of New Nollywood, like Laaroye, he has on several occasions denied being a part of what has been popularly perceived as Nollywood. It is not strange that he is still an “outsider” in Nollywood, as the depth of his oeuvre defies the unsophisticated productions that still characterize much of Nollywood. For Kelani, culture is not static and antique; it evolves and in its evolution are the resolutions to the present predicaments bedeviling our society. Hence, whenever Kelani makes bold commentaries on the socio-political existence of the nation, he proffers (local) solutions. Ìrókò!
Túndé to mójú kámẹ́rà,
Tí í pe kámẹ́rà rán níṣẹ̀.
Bó sùn,
Kámẹ́rà rẹ̀ kò ní yàyàkuyà.
Bó yaju, bó ń naju lẹ́nu isẹ,
Kò sí nínú oníyàkuyà.

TK had a very rich cultural background that has greatly influenced his career. This illustrious background and his technical education in film production culminated in the brilliant consistency that defines the legacy of his works. In the development and production of cinema and films (and entertainment) in Nigeria, TK is a leading figure. His career continues to add to the bulging growth of this sector. His contributions to our emerging national identity and culture are immense and indispensable. Down to his personality, TK is always dressed in African traditional attire, especially Adire, which is indigenous to his hometown, Abeokuta, where he had his childhood experiences that inspire and further shape his creativity as a film producer and director. His education at the London Film School and Western Nigeria Television has equipped this talented man with unique techniques and knowledge in film-making and directing. The TV programs Arambada and Tunmigbe were also supported by Kelani as part of his burgeoning career in cinematography. Ìrókò!
Ọ̀kunrin mẹ́ta tí í fọwọ́ àrá gbé fíìmù àrà jáde.
Yóò máa jọ'ra wọn ni:
Òṣùpá ò lè ẹ jọ̀' ràwọ̀ ní sánmọ̀.
Afọ́gbọ́n inú kọ́gbọ́n jọ fáyé.
Adúmádéyín tí wọn ń jowú rẹ̀ nígbà gbogbo.

Kelani’s knowledge in film making and cinematography, and his love for superb literature, have sparked the adaptations of literary works into movies that widened the horizon of the Nigerian literary space. TK’s collaboration with writers and artists across genres has generated a new hybrid of film productions that has deepened Nollywood’s focus and professionalism. For example, Dazzling Mirage, a novel by Olayinka Egbokhare, was adapted into a movie by Kelani’s Mainframe Productions, and that production has helped to create more awareness in the Nigerian space about sickle cell anemia and its effects. With many other adaptations like O le ku, The White Handkerchief, Campus Queen and Maami, Kelani has pushed forward significant socio-political and economic preoccupations projected by the artists, but in a more relatable manner through his audio-visual filmic productions. The coalescing of traditional and cultural values with high technological dexterity in his movies has launched the director-cum-cinematographer to the limelight in the world. Kelani’s works and films also have cultural and political ideologies which have traced the historical and political growth of the nation, Nigeria.
In recognition of his illustrious contributions to the society and achievement as an artist, TK has been recognized both nationally and internationally with many awards and recognitions that span so many years or films and works of his career. These include:

* Africa Magic Viewer’s Choice (AMVCA) Industry Merit Award in 2018;
* Léopold Sédar Senghor Prize for African Cultural Creativity and Impact, 2019;
* Member of the Emmy Awards International Jury in 2015;
* Elected to vote in the Directors Category of the Board of the Academy of Motion Picture Arts and Sciences in 2019; and
* Nigeria Merit Award Lifetime Achievement Award in 2014.
These awards and recognitions are particularly due to Kelani’s inimitable craft and contributions to the advancement of the Nigerian filmmaking industry, and cultural values distilled in his works. As part of his intellectual contribution to the industry, he established the Mainframe Film and Media Institute to educate and train artists in professional cinematography, editing, directing, scriptwriting, etc. within the advanced theory and art of filmmaking. This institute has been established to promote cultural values and also improve the socio-economic output of the nation. With the Mainframe Film and Media Institute, TK has further established himself as a visionary leader with the aim to impact the society and the younger generation more. The Institute becomes a symbol to pass on his legacy and brilliancy to as many as possible, an orientation that is most lacking in Nigerian society.
Kelani is arguably one of the greatest pioneers of the filmmaking industry in Nigeria and Africa whose person and works have been the subject of many doctoral theses and books. The 71-year old filmmaker is celebrated nationally and internationally for his grand narratives about African culture and art. The man Kelani and his art will continually spark admiration and intellectual discourses on the political, cultural and philosophical productions of the Nigerian space both in the literary universe and film industry.
The appointment at the Federal University of Agriculture, Abeokuta will provide him a unique opportunity to contribute to the diffusion of creativity, the linkages of sciences, technology and culture, and the training of future leaders in a dynamic world in an age of expanding possibilities. T-K's tentacles will spread beyond his current reach. When it rains, it pours. Ojo Ibukun de! Ire wole!! Ìrókò!!!
Kò séégun tó lára lẹ́ṣẹ̀ bíi Lébe.
Ta ni m'ojú fíìmù bí Túndé Kèlánì,
Gíwá tó jọba wọn?
Ìtákùn tó ṣe é dìmọ́ gòkè.
Ìrókò, ọba igi lóko!

Are we surprised of the man TK has been able to make of himself? We will not be surprised when we also think of the noble lineage of the man which shows he is not only greatness born, but also greatness made. TK belongs to the Kúlódò lineage through whom a whole oral poetic form, Esa (the Privileged) became part of the rich Yoruba cultural heritage. It will therefore be befitting to end this piece with the praise of this living legend:
The illustrious Onígbórí scion of Kúlódò
Scion of Kúlódò Awùsí Ẹ̀yọ̀
Scion of the hunchback that praises the king
Scion of the lineage deep in the way of knowledge

Babátúndé, you are the scion of Kúlódò Awùbi
The abundant water that splits into creeks -
From Aàsà, to Ẹkọrọ, to Dòbòdè
And Afúnlẹ́lẹ́, the clean brook of queens

The dance of yesterday is not enough
The whips of yesterday pain no more
Bring us the dancing and whipping masquerades again
It is our father’s rite we are doing

Invoke the spirit of Arúkú,
The cadaver in the cloth called ẹ̀kú
Invoke the spirit of Ológbojò,
Custodian of eight hundred masquerades.
Ìrókò!

Toyin Falola
Department of History
The University of Texas at Austin
104 Inner Campus Drive
Austin, TX 78712-0220, USA
http://toyinfalolanetwork.org/<https://urldefense.proofpoint.com/v2/url?u=http-3A__toyinfalolanetwork.org_&d=DwMGaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=qMHo0jABnWy_k058JRFMMbozPcY5ZtnWAZeTWwiqyb8&m=oz_i_hoIB1LCQP_0w6BQXSGnyjlR0xNMZE2McjOWcr4&s=AnToHzloZz6Krub32tQOd2_CeFIpdoW3to9O84MHJ3s&e=>

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tunde jaiyeoba <tundej...@yahoo.co.uk>: Oct 12 04:52PM

Congratulations to Baba TK, "iwin" (is that extra-terrestrial being?) of camera, old and new Nollywood and the Global film industry. The Baba is so soft spoken and gentle. In fact when I met him with "Igi iwe" (literature tree or king of books?} Prof TF, I only recognised him with his trademark Adire textile wear.
Congratulations to both Baba TK and Baba TF !!! The medals shall continue to rise in number and significance, so happy !!!

Babatunde JAIYEOBA

E. Babatunde JAIYEOBA PhDProfessor of ArchitectureDepartment of ArchitectureFaculty of Environmental Design and ManagementObafemi Awolowo University, Ile-Ife, Nigeria...@oauife.edu.ng; tundej...@yahoo.co.uk; +234 8037880023
On Saturday, 12 October 2019, 15:37:32 GMT+1, Pamela Smith <pamel...@unomaha.edu> wrote:

#yiv9432961883 #yiv9432961883 -- _filtered #yiv9432961883 {font-family:Helvetica;panose-1:2 11 6 4 2 2 2 2 2 4;} _filtered #yiv9432961883 {font-family:Wingdings;panose-1:5 0 0 0 0 0 0 0 0 0;} _filtered #yiv9432961883 {panose-1:2 4 5 3 5 4 6 3 2 4;} _filtered #yiv9432961883 {font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;} _filtered #yiv9432961883 {font-family:-webkit-standard;} _filtered #yiv9432961883 {panose-1:3 11 5 4 2 0 0 0 0 3;}#yiv9432961883 #yiv9432961883 p.yiv9432961883MsoNormal, #yiv9432961883 li.yiv9432961883MsoNormal, #yiv9432961883 div.yiv9432961883MsoNormal {margin:0in;margin-bottom:.0001pt;font-size:12.0pt;font-family:sans-serif;}#yiv9432961883 a:link, #yiv9432961883 span.yiv9432961883MsoHyperlink {color:#0563C1;text-decoration:underline;}#yiv9432961883 a:visited, #yiv9432961883 span.yiv9432961883MsoHyperlinkFollowed {color:#954F72;text-decoration:underline;}#yiv9432961883 p.yiv9432961883MsoListParagraph, #yiv9432961883 li.yiv9432961883MsoListParagraph, #yiv9432961883 div.yiv9432961883MsoListParagraph {margin-top:0in;margin-right:67.7pt;margin-bottom:10.0pt;margin-left:.5in;text-align:justify;font-size:11.0pt;font-family:sans-serif;}#yiv9432961883 p.yiv9432961883MsoListParagraphCxSpFirst, #yiv9432961883 li.yiv9432961883MsoListParagraphCxSpFirst, #yiv9432961883 div.yiv9432961883MsoListParagraphCxSpFirst {margin-top:0in;margin-right:67.7pt;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt;text-align:justify;font-size:11.0pt;font-family:sans-serif;}#yiv9432961883 p.yiv9432961883MsoListParagraphCxSpMiddle, #yiv9432961883 li.yiv9432961883MsoListParagraphCxSpMiddle, #yiv9432961883 div.yiv9432961883MsoListParagraphCxSpMiddle {margin-top:0in;margin-right:67.7pt;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt;text-align:justify;font-size:11.0pt;font-family:sans-serif;}#yiv9432961883 p.yiv9432961883MsoListParagraphCxSpLast, #yiv9432961883 li.yiv9432961883MsoListParagraphCxSpLast, #yiv9432961883 div.yiv9432961883MsoListParagraphCxSpLast {margin-top:0in;margin-right:67.7pt;margin-bottom:10.0pt;margin-left:.5in;text-align:justify;font-size:11.0pt;font-family:sans-serif;}#yiv9432961883 p.yiv9432961883msonormal0, #yiv9432961883 li.yiv9432961883msonormal0, #yiv9432961883 div.yiv9432961883msonormal0 {margin-right:0in;margin-left:0in;font-size:11.0pt;font-family:sans-serif;}#yiv9432961883 span.yiv9432961883EmailStyle19 {font-family:sans-serif;color:windowtext;}#yiv9432961883 span.yiv9432961883EmailStyle20 {font-family:sans-serif;color:windowtext;}#yiv9432961883 .yiv9432961883MsoChpDefault {font-size:10.0pt;} _filtered #yiv9432961883 {margin:1.0in 1.0in 1.0in 1.0in;}#yiv9432961883 div.yiv9432961883WordSection1 {}#yiv9432961883 _filtered #yiv9432961883 {} _filtered #yiv9432961883 {margin-left:.75in;font-family:Symbol;} _filtered #yiv9432961883 {margin-left:1.25in;} _filtered #yiv9432961883 {margin-left:1.75in;font-family:Wingdings;} _filtered #yiv9432961883 {margin-left:2.25in;font-family:Symbol;} _filtered #yiv9432961883 {margin-left:2.75in;} _filtered #yiv9432961883 {margin-left:3.25in;font-family:Wingdings;} _filtered #yiv9432961883 {margin-left:3.75in;font-family:Symbol;} _filtered #yiv9432961883 {margin-left:4.25in;} _filtered #yiv9432961883 {margin-left:4.75in;font-family:Wingdings;} _filtered #yiv9432961883 {} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;} _filtered #yiv9432961883 {font-family:Symbol;}#yiv9432961883 ol {margin-bottom:0in;}#yiv9432961883 ul {margin-bottom:0in;}#yiv9432961883
CONGRATULATIONS, TK!

Just the beginning of a most deserving last few months list of accolades, years in the making. In God’s time (the BEST time), I suppose. No-one could have said it better than TF.

A ku orire!

Oye a m’ori o!

Olubunmi

(Prof Pam Smith)

From: Toyin Falola <toyin...@austin.utexas.edu>
Sent: Friday, October 11, 2019 1:14 PM
To: dialogue <USAAfric...@googlegroups.com>; Yoruba Affairs <yoruba...@googlegroups.com>
Subject: Tunde Kelani: The Man Exceeds the Frame

Tunde Kelani: The Man Exceeds the Frame

Toyin Falola

Professor of History

Jacob and Frances Sanger Mossiker Chair in the Humanities

University Distinguished Teaching Professor

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University's boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. This news of a deserving appointment follows on the heels of Kelani receiving the prestigious Léopold Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him. Ìrókò!

Ìrókò Olúwéré!

Ọ̀rọ̀ bàm̀bà ní í gbénú Ìrókò.

Igi t'ọ́mọ aráyé ń gbóṣùbà rẹ̀!

Kokoko lára.

Àjífẹnu kíkò pè.

Ọba igi lóko!

Ọ̀rọ̀ hùnnùhùnnù ní í gbénú igi tó le koko.

Kò bojú wẹ̀hìn

Káyé ó tẹ́ńbẹ́lù ẹ̀ rí.

Igi tí í dá jìnnìjìnnì s'ọ́mọ́ ojo láyà!

Olúwéré ni baba igi lóko.

Tunde Kelani, popularly referred to as TK, is to Nollywood, the Nigerian/African movie and entertainment industry, what Wole Soyinka is to literature. These are people of greatness that have crept out from underneath the ancient Olumo Rock. To be widely acknowledged as the most respected filmmaker in Nigeria, or anywhere, against the tormenting odds of uncontrolled piracy, bad economy, sanctions due to political differences and unsupportive leadership, is no little feat to achieve. Kelani has consistently positioned himself as a cultural ambassador, socio-political commentator, and future-oriented creative icon with his filmic productions, and other engagements, all of which are conscience-driven.

TK, a world-class storyteller and director of so many films, hails from Abeokuta in Ogun State. From a cultural viewpoint, Kelani is a cultural educator and an advocate whose works have become a narrative of success and hard-work. From his early works such asThe Dilemma of Reverend Father Michael which was co-produced by the movie veteran Adebayo Faleti, who was himself the author of the Yoruba play,Idaamu Paadi Mukailu, Kelani has been a steady yet prolific writer, photographer, cinematographer, and movie producer. In his repertoire of works,Anikura, Iya Ni Wura, Iwa, O Le Ku, Saworo Ide, etc., Kelani has been an advocate of culture, pushing the Yoruba culture to the frontiers of knowledge. He has taken upon himself the duty of an historian to capture, preserve, refract and re/present the African cultural heritage through the lens of his camera. Ìrókò!

Èèyàn bí Ìrókò!

Ìrókò bí èèyàn!

Igi tígí í wárí fún!

Túndé Kèlánì.

Adúmádéyín.

Ọ̀fọwọ́-àrà-gbé-kámẹ̀rá-mú-fíìmù yááyì!

Gíwá, ọba onísinnimá!

Tọ́jú-tẹ̀yìn ni dùndún fi í ríran:

Tọ́jú-tẹ̀yìn ní bàtá fí í fọhùn.

Èèkánnà ọmọ Kélání,

Irun orí ọmọ Kèlání,

Àtáǹpàkò ọmọ Kèlání -

Gbogbo ara ọmọ Kèlání

Ní í gbé fíìmú àrà jáde!

After so many productions and cinematography voyages, Kelani’s company, Mainframe Film and Television Productions (established in 1992) has produced some of the most outstanding movies in Nigeria and Africa while also offering services and technical support to other outfits. Tunde Kelani’s productions include documentaries on different subjects. Many of Kelani’s works are a mixture of tradition and modernity as the movies adapt the language of modern technology and traditional materials such as language, oral poetry, myths, legends, and folktales, and aesthetic and ornamental endowments of the Yoruba orality and knowledge system. At the front burner of productions like Campus Queen and Arugba is the message to embrace modernity into traditional culture in order to sustain the latter and benefit from the former.

The ability of Kelani to seamlessly blend tradition and modernity, both at the production and preoccupation level, has marked him out amongst his peers as a forerunner and maestro of the industry. Although he has been acknowledged as the bridge between the old and new Nollywood, and in fact, as a pioneer figure of New Nollywood, like Laaroye, he has on several occasions denied being a part of what has been popularly perceived as Nollywood. It is not strange that he is still an “outsider” in Nollywood, as the depth of his oeuvre defies the unsophisticated productions that still characterize much of Nollywood. For Kelani, culture is not static and antique; it evolves and in its evolution are the resolutions to the present predicaments bedeviling our society. Hence, whenever Kelani makes bold commentaries on the socio-political existence of the nation, he proffers (local) solutions.Ìrókò!

Túndé to mójú kámẹ́rà,

Tí í pe kámẹ́rà rán níṣẹ̀.

Bó sùn,

Kámẹ́rà rẹ̀ kò ní yàyàkuyà.

Bó yaju, bó ń naju lẹ́nu isẹ,

Kò sí nínú oníyàkuyà.

TK had a very rich cultural background that has greatly influenced his career. This illustrious background and his technical education in film production culminated in the brilliant consistency that defines the legacy of his works. In the development and production of cinema and films (and entertainment) in Nigeria, TK is a leading figure. His career continues to add to the bulging growth of this sector. His contributions to our emerging national identity and culture are immense and indispensable. Down to his personality, TK is always dressed in African traditional attire, especially Adire, which is indigenous to his hometown, Abeokuta, where he had his childhood experiences that inspire and further shape his creativity as a film producer and director. His education at the London Film School and Western Nigeria Television has equipped this talented man with unique techniques and knowledge in film-making and directing. The TV programs Arambada and Tunmigbe were also supported by Kelani as part of his burgeoning career in cinematography.Ìrókò!

Ọ̀kunrin mẹ́ta tí í fọwọ́ àrá gbé fíìmù àrà jáde.

Yóò máa jọ'ra wọn ni:

Òṣùpá ò lè ẹ jọ̀' ràwọ̀ ní sánmọ̀.

Afọ́gbọ́n inú kọ́gbọ́n jọ fáyé.

Adúmádéyín tí wọn ń jowú rẹ̀ nígbà gbogbo.

Kelani’s knowledge in film making and cinematography, and his love for superb literature, have sparked the adaptations of literary works into movies that widened the horizon of the Nigerian literary space. TK’s collaboration with writers and artists across genres has generated a new hybrid of film productions that has deepened Nollywood’s focus and professionalism. For example,Dazzling Mirage, a novel by Olayinka Egbokhare, was adapted into a movie by Kelani’s Mainframe Productions, and that production has helped to create more awareness in the Nigerian space about sickle cell anemia and its effects. With many other adaptations like O le ku, The White Handkerchief, Campus Queen and Maami, Kelani has pushed forward significant socio-political and economic preoccupations projected by the artists, but in a more relatable manner through his audio-visual filmic productions. The coalescing of traditional and cultural values with high technological dexterity in his movies has launched the director-cum-cinematographer to the limelight in the world. Kelani’s works and films also have cultural and political ideologies which have traced the historical and political growth of the nation, Nigeria.

In recognition of his illustrious contributions to the society and achievement as an artist, TK has been recognized both nationally and internationally with many awards and recognitions that span so many years or films and works of his career. These include:

- Africa Magic Viewer’s Choice (AMVCA) Industry Merit Award in 2018;
- Léopold Sédar Senghor Prize for African Cultural Creativity and Impact, 2019;
- Member of the Emmy Awards International Jury in 2015;
- Elected to vote in the Directors Category of the Board of the Academy of Motion Picture Arts and Sciences in 2019; and
- Nigeria Merit Award Lifetime Achievement Award in 2014.

These awards and recognitions are particularly due to Kelani’s inimitable craft and contributions to the advancement of the Nigerian filmmaking industry, and cultural values distilled in his works. As part of his intellectual contribution to the industry, he established the Mainframe Film and Media Institute to educate and train artists in professional cinematography, editing, directing, scriptwriting, etc. within the advanced theory and art of filmmaking. This institute has been established to promote cultural values and also improve the socio-economic output of the nation. With the Mainframe Film and Media Institute, TK has further established himself as a visionary leader with the aim to impact the society and the younger generation more. The Institute becomes a symbol to pass on his legacy and brilliancy to as many as possible, an orientation that is most lacking in Nigerian society.

Kelani is arguably one of the greatest pioneers of the filmmaking industry in Nigeria and Africa whose person and works have been the subject of many doctoral theses and books. The 71-year old filmmaker is celebrated nationally and internationally for his grand narratives about African culture and art. The man Kelani and his art will continually spark admiration and intellectual discourses on the political, cultural and philosophical productions of the Nigerian space both in the literary universe and film industry.

The appointment at the Federal University of Agriculture, Abeokuta will provide him a unique opportunity to contribute to the diffusion of creativity, the linkages of sciences, technology and culture, and the training of future leaders in a dynamic world in an age of expanding possibilities. T-K's tentacles will spread beyond his current reach. When it rains, it pours. Ojo Ibukun de! Ire wole!! Ìrókò!!!

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Nobel Prize Award Sparks Outrage

Obododimma Oha <obod...@gmail.com>: Oct 12 05:39PM +0100

The award of Nobel Prize to Peter Handle has sparked off a serious public
outrage. Read this report:

https://amp.cnn.com/cnn/2019/10/11/europe/peter-handke-nobel-prize-criticism-intl-scli/index.html

Sincerely,
Obododimma Oha.

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B.A.,First Class Honours (English & Literary Studies);
M.A., Ph.D. (English Language);
M.Sc. (Legal, Criminological & Security Psychology);
Professor of Cultural Semiotics & Stylistics,
Department of English,
University of Ibadan.

COORDINATES:

Phone (Mobile):
+234 8033331330;
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Digest for usaafric...@googlegroups.com - 11 updates in 8 topics

Osakue Omoera <osakue...@gmail.com>: Oct 12 02:39PM +0100

Hearty congratulations TK. More grace, greater you. Shalom. Osakue Omoera.

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Suggestions for a better model of student use of USA-Africa Dialogue posts (no offence intended, pls)

kemi Seriki <ajok...@hotmail.com>: Oct 12 12:28PM

May be the emails are not overwhelming for others. There are many other people on this forum who may want to read other perspectives and l don’t think that they should be denied of the opportunity to do so. If something is overwhelming, there is a delete button or ignore. I believe in learning across the lines both vertically and horizontally and not just vertically.

Thanks

Kemi Seriki

Sent from my iPhone

On Oct 11, 2019, at 11:41 AM, Harrow, Kenneth <har...@msu.edu<mailto:har...@msu.edu>> wrote:

i found the number of emails overwhelming, and it was clearly a student exercise. i don't agree with biko about returning to it.
i run a hybrid course this semester, and the software has a Discussion option. one student posts in response to a prompt, and then the others respond. it's fine for a course; but the listserv is not a course add-on, and i'd prefer not have to it continued.
ken

kenneth harrow

professor emeritus

dept of english

michigan state university

517 803-8839

har...@msu.edu<mailto:har...@msu.edu>

________________________________
From: 'Biko Agozino' via USA Africa Dialogue Series <usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com>>
Sent: Friday, October 11, 2019 11:08 AM
To: usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com> <usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com>>
Subject: Re: USA Africa Dialogue Series - RE: Suggestions for a better model of student use of USA-Africa Dialogue posts (no offence intended, pls)

Please let the students participate without the OGs telling them off. I have noticed that the summaries from the students sound more objective and civil than a lot of the yabbis that the old ones fling at each other here.

The students should go beyond summarizing to call attention to important neglected posts, they should also venture to start their own discussion topics and threads.

The idea that this dialogue forum is only for 'peers' and not for students learning about Africa sucks.

Verily, verily, I say unto you; unless you become like these young students with the inquisitive mind to ask questions about things you do not understand fully, you are not in the republic of letters.

Biko

On Friday, 11 October 2019, 08:20:37 GMT-4, Toyin Falola <toyin...@austin.utexas.edu<mailto:toyin...@austin.utexas.edu>> wrote:

Dear all:

You have offered excellent feedback and comments, which the Instructors and PhD student need.

It is an experiment with a Tier 1 research school and a major public library to see how American students can be engaged/interested in African affairs. I agreed to assist.

The procedure will be refined in another trial run next semester with a different approach.

Meanwhile, there is no more volume, only 10 students are left in our tracking.

TF

Toyin Falola

Department of History

The University of Texas at Austin

104 Inner Campus Drive

Austin, TX 78712-0220, USA

http://toyinfalolanetwork.org/<https://urldefense.proofpoint.com/v2/url?u=http-3A__toyinfalolanetwork.org_&d=DwMFaQ&c=nE__W8dFE-shTxStwXtp0A&r=Zy8I_UX8z9DLbmf5YJ0EIg&m=PrWNA5yk71dAs-rW_fxU68LVam2SGwMCtyqGr15GSTI&s=nE5Lt8HrzjoLb4tm-37qKUFG2Xxylti6ika9qW13u4E&e=>

From: dialogue <usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com>> on behalf of "Abidogun, Jamaine M" <Jamaine...@MissouriState.edu<mailto:Jamaine...@MissouriState.edu>>
Reply-To: dialogue <usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com>>
Date: Friday, October 11, 2019 at 6:44 AM
To: dialogue <usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com>>
Subject: USA Africa Dialogue Series - RE: Suggestions for a better model of student use of USA-Africa Dialogue posts (no offence intended, pls)

I agree. I realize that there is a need to educate and respect that; but I do not use this forum for students because this forum is for peer discussions (at least for the past two and half decades that I have participated). Students need consistent and structured feedback within a context that is designed for their learning experience. As I read through these many recent posts; as an instructor, I can clearly see the purpose is to have each student find relevant articles and post a summary with the article with the expectation that others will critique/comment on it. That is exactly what I use the Discussion option on Blackboard for with my students. Blackboard and other online classroom systems are for this very purpose; so the instructor can oversee the environment with clear cut guidelines and a knowledge that the environment will be maintained for the level that the student is at in his/her education. I applaud the students’ efforts and find some of the articles interesting; but this is not the correct forum to substitute for one’s classroom discussions. I feel that the instructor may be unnecessarily using this forum for classroom purposes.

In my experience, some graduate students have and do participated in this forum; but they are honing their skills as academic professionals as part of their entry into scholarly peer debates and discussion. Which, if any students would benefit from this forum, they are the more likely pool of candidates.

With appreciation for the goal of teaching; but I too believe this is not the correct forum for general classroom student participation.

Sincerely,

Jamaine Abidogun

From: usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com> <usaafric...@googlegroups.com<mailto:usaafric...@googlegroups.com>> On Behalf Of Femi Kolapo
Sent: Thursday, October 10, 2019 12:03 PM
To: USAAfric...@googlegroups.com<mailto:USAAfric...@googlegroups.com>
Subject: USA Africa Dialogue Series - Suggestions for a better model of student use of USA-Africa Dialogue posts (no offence intended, pls)

In the past couple of days, I have noticed an avalanche of posts (brief one/two-paragraph summaries of some previous USA-Africa D posts) by newer subscribers who seem to be students using USA-Africa for some elements of their course assessment.

While such use is commendable, a better model of use needs to be devised by their instructor such that the current situation which I feel almost equates to spamming can be avoided. Perhaps the instructor should setup a class or course wikipage for his/her students to which they can post /submit their summaries of the posts they have read on USA-African Dialogue forum. Alternatively, s/he can instruct the students to use a specific title or to include two or three keywords in their title that allow non-student users to filter out these posts since they are clearly not intended to make any contribution to the discussion. They so very quickly swam other posts in my USA-Africa folder that I must scroll up and down looking for which post is which.

Hoping that other users have better suggestions on how to deal with this

________________________

Femi J. Kolapo

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Sex for Grades-- Full BBC Documentary: Really True?

mb4383 <mb4...@aol.com>: Oct 12 02:59PM +0900

“Whenever I went to his office, he would ask me to sit on his laps. I did twice and he would hold me very close,” she said in Asaba. (https://thenationonlineng.net/sex-for-marks-victims-open-can-of-worms-in-varsities/ <https://thenationonlineng.net/sex-for-marks-victims-open-can-of-worms-in-varsities/>)

Three decades ago, I witnessed one of these acts of aggression against a female student in the north-central region. I was also aware of a professor who ‘kept’ students as 'domestic help’ in the same area. Close to home in the north-west, I was told of one infamous predator whose notoriety was so great that the university decided to move him to a research centre, where his contact with women is curtailed! (Not sacked, notice). Even as an undergraduate, one of our lecturers was notorious for warning students against dating ‘his girl(s)’.

Surely, it's time for a more encompassing solution involving (a) robust legislation with broad definition of sexual harassment, (b) periodic (online) prevention training, ensuring, for example, that university lecturers are aware of the law and its extent (by passing assessment after the training), and (c) swift enforcement of the law when teachers, lecturers, managers and other ‘big men’ break it.

Beyond that no one wants their sister or daughter to sit on the laps of a predator, as our Asaba sister did!

Haba!

BBC don try o!

Malami

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Nobel Prize in Chemistry Goes to John Goodenough of The University of Texas at Austin

Malami buba <mb4...@aol.com>: Oct 12 12:04PM +0900

“Can the Nobel news make Mr. Trump see African nations in favorable terms now?”

Elder Assensoh,

As the Hausa say: kome ka yi da jaki sai ya ci kara ‘whatever you do to a donkey, it will eat straw’.

Malami

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'Stormzy effect': record number of black Britons studying at Cambridge

Oluwatoyin Vincent Adepoju <toyin....@gmail.com>: Oct 12 09:12AM +0100

https://www.theguardian.com/education/2019/oct/11/stormzy-effect-record-number-black-britons-studying-cambridge-university?CMP=share_btn_link

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