This article is sent to me by a sister, who did this effort in making sure the love between Husband and wife prevails. In other words and as far as this research is concern, women are always there for their spouses, according to the piece, the writer clearly advice men on how to cajole and inveigle their wives on love, in order to foster and keep the marriage train moving-on. Please enjoy:
•(1) Make her feel secure; (‘Sakina’-Tranquillity) QUIT BEING AGGRESSIVE
•(2) When you get home say ‘Assalamu ‘alaikum.’ (Greetings) It kicks the Shaitaan out of your home!
•(3) The Prophet (may Allah peace and blessings be upon him and his purest progeny) described the wife as a fragile vessel and said to take care of this vessel that’s fragile. Remember that there is goodness in this vessel so treat it gently.
•(4)When you advise her, do so in privacy, in a peaceful environment. NOT IN PUBLIC as it’s a type of slandering.
•(5) Be generous to your wife- it keeps her LOVE
•(6) Move and let her have your seat. It will warm her heart.
•(7) AVOID ANGER. HOW? Keep your ‘Wudhu’ (ABLUTION) at all times. The Prophet (S.A.W) said if you are angry, sit down, if you’re sitting, then lie down. Follow the Sunnah!
•(8) Look good and smell great for your wife. It keeps the LOVE!
•(9) Don’t be rigid. It will break you. Prophet Mohammed - Sallal lahu Alaihi Wa alihi wa sallam said, “I am the best amongst you and I am the best to my wives.” Being rigid and harsh will not bring you close to Allah (SWT) and neither does it make you more of a man.
•(10) Listen to your wife--BE a GOOD LISTENER
•(11) YES to flattering NO to arguing. Arguing is like poison in a marriage. Alzawa’i said ‘When Allah (SWT) wants evil for people He will leave them to argue amongst themselves.’
•(12) Prophet (SAW) said to call your wives with the best name, any name she loves to hear. Prophet Mohammed (SAW) called Aisha, “Yaa Aish...” as an endearment.
•(13) Give her a pleasant surprise i.e. if she loves watermelon, bring her one out of the blues. It will grow the love in her heart.
•(14) Preserve your tongue! Prophet (SAW) said the tongue will throw people in the hell fire so watch what you say and how you say it!
•(15) All of us have shortcomings. Accept her shortcomings and Allah (SWT) will put Baraka (blessings) in your marriage.
•(16) Tell her you appreciate her. SHOW her you appreciate her.
•(17) Encourage her to keep good relations with her relatives, her mum and dad, etc.
•(18) Speak to her on a topic of HER interest.
•(19) In front of her relatives praise her. Confirm/ realise that she is wonderful, and that she is a good person in front of her family.
•(20) Give each other gifts. You will love each other more. Prophet (SAW) said gifts increases love.
•(21) Get rid of the routine once in a while, surprise her with something, it will get rid of the rust and polish it!
•(22) Husnul Zaan (good thinking)- We have a demand from Allah (SWT) that we have to think good of people. Think good of your spouse.
•(23) Ignore some of her mistakes- pretend you did not see/hear some of her small mistakes. It was a practice of Imam Ali bn Abi-Talib (as). It’s like putting a hole in your memory. Don’t save it in your memory!
•(24) Increase the drops of patience, especially when she is on her monthly period.
•(25) Expect and respect her jealousy. Even Nana Aisha (RA) used to get jealous.
•(26) Be humble. If your profession is good, respect that she is looking after your children, she is much more than you, she is the leader at home, her strength is your strength, and her success is your success.
•(27) Don’t put your friends above your wife.
•(28) Help your wife at home. The Prophet (SAW) used to help his wives at home and he was the best of creation. He used to sew his own clothes.
•(29) Help her respect your parents, you can’t force her to love them, but she can be helped to gradually love them.
•(30) Show your wife she is the ideal wife.
•(31) Remember your wife in your du'as (prayers). It will increase the love and protect it.
•(32) Leave the past. It brings nothing but pain and grief. It’s not your business. The past is with Allah (SWT).
•(33) Don’t try to show her that you are doing her a favour by doing something, like buying food for the house, because in reality we are the couriers of sustenance, not the providers, as Allah Ta’ala is the provider. It's also a way of being humble and thankful to Allah (SWT).
•(34) Shaitaan is your enemy, not your wife. Sometime when husband and wife are talking a fight breaks out, then shaitaan is present there as a third person so he is the real enemy. It is not enough to hate the Shaitaan, but you have to see him as an enemy as Allah Ta’ala has commanded. Shaitaan loves divorce.
He comes everyday and sits office and asks the devils what they have done, some say I have made a person steal, or I have made someone drink etc. And one devil will say I have made a man divorce his wife, and he is crowned as the one who has done the best job.
•(35) Take the food and put it in her mouth. Prophet (SAW) taught us this. It’s a blessing. The food doesn’t just go to her stomach, but straight to her heart. It increases the love and mercy between you.
•(36) Protect your wife from the evil of the Shaitaan and mankind. She is like a precious pearl that needs protecting from the envy of human devils and Shaitaan.
•(37) Show her your smile. Smile at your wife. IT’S A CHARITY.
•(38) Small problems/ challenges can become a big problem. Or if there is small thing that she doesn’t like and you keep repeating it anyway, it will create a wall between you. Don’t ignore that as it can become big.
•(39) Avoid being had hearted and moody. Allah Ta’ala said to Prophet (SAW) “If you were hard hearted they (the companions) would have left you.” It confirms that Prophet (SAW) was not harsh hearted, so GET RID OF IT.
•(40) Respect her thinking. It’s strength for you. Show her you like her thoughts and suggestions.
•(41) Help her to achieve her potential and help her to dig and find success within as her success is your success.
•(42) Respect the intimate relationship and its boundaries. Prophet (SAW) said she is like a fragile vessel and she needs to be treated tenderly. Sometimes she may not be feeling well; you must respect and appreciate that feeling.
•(43) Help her to take care of the children. Some men think it makes them appear less of a man but in fact it makes you appear a bigger man and more respected, especially in the sight of Allah (swt).
•(44) Use the gifts of the tongue and sweet talk her. Tell her she looks great, be an artist. Pick and choose gifts of the tongue.
•(45) Sit down and eat with her and share your food with her.
•(46) Let her know you are travelling. Don't tell her out of the blue as that is against Islam. Tell her the date/ time of when you are coming back also.
•(47) Don’t leave the house as soon as trouble brews.
•(48) The house has privacy and secrecy. Once you take this privacy and secrecy to your friends and family you are in danger of putting a serious hole in your marriage. This secrecy stays home. Islam is against exposing them out like a garage sale for anyone to come and pick and choose.
•(49) Encourage each other on ibadah, i.e. plan a trip for hajj or umrah together. It increases and strengthens the love when you help each other perform good deeds together i.e., do tahajjud (midnight prayers) together.
•(50) Know her rights, not only written in paper but engraved in your heart and engraved in your conscious.
•(51) Allah (SWT) said: “Live with your wives in kindness.” Treat them with kindness and goodness. It means in happy times and in sadness treat her with goodness and fairness.
•(52) The Prophet (SAW) said that at the time of intimacy. Don’t jump on your wife like an animal! Play with her and arouse her emotions before satisfying your urge.
•(53) When you have a dispute with your wife don’t tell everyone. It’s like leaving your wounds open to germs so be careful who you share your problems and disputes with.
•(54) Show your wife you really care for her health. Good health of your wife is your good health. To care for her health shows her that you love her.
•(55) Don’t think you are always right. No matter how good you are you have shortcomings. You are not perfect as the only one who was perfect in character was the Prophet (SAW) and his purest progeny -- the Ma’sum (infallibles). Get rid of this disease.
•(56) Share your problems, your happiness, and your sadness with her.
•(57) Have mercy on her weakness. Have mercy when she is weak or strong as she is the fragile vessel. The Prophet (SAW) said that your wife is a trust in your hand.
•(58) Remember that you are her strength, someone to lean on in times of hardship.
•(59) Accept her as she is. The Prophet (SAW) said that women are created from the rib which is bent. If you try to straighten her you will break her. He (SAW) said that you may dislike one habit in her but you will like another manner in her so accept her as she is.
•(60) Have good intention towards your wife all the time, Allah monitors your intention and your heart at all times. Allah (SWT) said, “Among His signs is that He created for you wives from among yourselves, that you may find repose in them, and He has put between you affection and mercy. Verily, in that are indeed signs for a people who reflect.”
May Allah fill our homes and hearts with tranquillity, love and Mercy. AMEEN!
Tuesday, October 26, 2010
Wednesday, October 20, 2010
•Says FKD Productions imitates 2 Effects Empire and Ali Nuhu, not his rival
Sani Musa Danja is a top Kannywood star who has excelled in his acting career. He was the first Glo ambassador from northern Nigeria. He also anchored the artistes’ political movement when he launched his NGO, Nigerian Artistes In Support of Democracy (NAISOD), which cuts across all entertainment players in the country. Not only that, Danja is also a pop singer and lyricist. He is also a renowned film producer. In this exclusive interview with Al-Amin Ciroma, the 2-Effects Empire boss shared his sorrows on the unfortunate accident he had last year, his alleged rivalry with Ali Nuhu and many other issues.Excepts:
Let's start with a flash-back to the accident you had last year. Can you share with us the experience?
First and foremost, I give thanks to Almighty Allah who spared my life, but it was a terrible experience. When the accident occurred, I lost consciousness and was taken to hospital by some people that came around. However, I regained consciousness later due to pains resulting from my fractured legs and arm.
How did it happen? What was the last thing you can recall?
On that faithful day, I set out for Kano with the intention of reaching Maradi, and then to Zinder in Niger Republic to attend a meeting. From there, I planned to come back to Katsina and spent the night at Zamfara. That was my iteneraey for that day and I timed myself properly for that.
I was driving with a friend, Yusuf Dangote, from Niger Republic, when the accident happened. It was a in the afternoon and we had fastened our belts even before setting out for the journey. We were on normal speed, when suddenly we approached a long vehicle parked carelessly on the road although with a hazard sign. I slowed down to dodge it, but from the opposite direction, another car came racing at a top speed on the one way lane. I was shocked and, before I know it, I lost control of the vehicle and that was how the accident that left me with fractured arm and leg happened.
As an actor, did you feel it was just another 'action-packed movie' or a film trick waiting for the director's accent?
(Laughter) Like I told you, I was unconscious after the accident happened around 1 pm. I woke up around 9 pm, so I was unconscious for over seven hours. Therefore, it was beyond my imagination but thank God, I came out of it at last.
How was it like, spending over five months at home?
As a Muslim, I believe one has to accept ones destiny faithfully. I know God has something for me and probably that was the main reason why the incident happened. Once you have faith, God will see you through in any eventuality that may befall you. Those were trying times, but Alhamdulillah, I was able to scale through. However, the four months I spent at home also gave me much time to be with my family. Since I got married three years ago, I don't think I have spent up to two consecutive weeks with my wife at home due to my tight schedules. I equally used the time to watch some of my movies, which gave me the insight to see and identify some of my loopholes and Grey areas in acting.
While I was recuperating, I did some tour in some African countries like Ghana, Central Africa Egypt, including some Francophone countries to pay tributes to my fans and appreciate their goodwill and prayers for my recovery. Thereafter, I produced my first movie, Sai Na Dawo, believed to be one of the most successful Hausa movies of our time. Although,haven’t fully recovered, but I taught myself how to make it work and believe me, 'Sai Na Dawo,' remains one movie that made the highest box-office success within the first weeks of exhibition.
Can you tell us the most memorable -good and bad-moments in your acting career?
It is very hard to recount, but there was a time I visited Niger Republic. On our way, we stopped for a lunch in a village just before the city. People trooped in as usual to have a glimpse of us. I was holding a bottle of water when a group of young girls numbering between 20 and 30 approached me. One of them came directly to me and said, 'Please Danja, kindly let me drink this water.' I smiled at her because of her audacity. I therefore gave her another bottled water, but she refused and demanded for the one I was drinking from. Without any hesitation, I handed over the bottle to her. Before I knew what was going on, all of them came running and struggling to take a sip from the bottle of water. It really amazed me and I was like, am I that special...? I never thought people could appreciate us like that more especially in a country, other than my own.
Recounting memorable moments, however, could be a 'visceral choice.' I mean, it's like a scene in a movie. What I mean here is that an artiste is just like an 'ace in a hole,' always trying to make himself relevant and up-to-date in making sure he satisfies both his producer and the teeming audience, but the end, people call us names. Movie business, especially in the North is still suffering series of criticisms, despite all efforts put together by the filmmakers.
However, it suffices to state that this industry has gone a long way in identifying and addressing many societal ills and menace. You can hardly watch a movie that has zero aim in creating awareness or enlightening people on a particular issue. So people should at least appreciate our effort. You can't expect everybody to be like you, we have our divergent backgrounds, but as a team, the Hausa Movie Industry is always on the fore front in producing movies that aim at restoring peace and correcting vices. In general perspective, movies ought not to have any language barrier. You can shoot a film in Swahili language and it will appeal to a Fulani man, for example. Therefore, my experience as an actor, singer and producer has been a huge help to me in terms of trends in this profession.
So when you ask me to share with you my memorable and worst moments, I think, I would rather re-frame the question to say what are our major challenges? And these are our major challenges in this profession.
Let's talk about your stardom. You and Ali Nuhu are believed to be strong pillars in the Hausa Film Industry. How is your relationship now because there are rumours that you two are no longer on good terms?
(Laughter) Yeah, certainly some rumour mongers are busy going about with insinuations like that, but I can assure you Ali Nuhu and myself are good friends and colleagues. You see, sometimes, people judge from what they see in the movies. We took rival roles in movies and an actor suppose to deliver his/her roles and get perfect characterisation. So when we give our best in the movies acting as rivals, people jump into the conclusion that Sani Danja and Ali Nuhu are enemies in reality. Secondly, our fans also contribute in fueling the arguments. And since both of us have our independent production firms; Ali is the Chief executive officer of 'FKD' productions, while I manage '2 Effects Empire'. So it is a game thing like when you have heated debate between the fans of say Manchester United and Arsenal or Real Madrid and Barcelona football club sides. In all ramifications, we are in good terms.
What could also fuel such insinuations may be how both of us go about our movie production. It was after we produced our movie, Sai Na Dawo, that FKD Productions produced Sai Wata Rana, and again, I produced a movie, Khadijatul-Iman, where I featured my daughter, and they in turn produced Carbin Kwa, which featured Ali's son, Ahmed. Our fans could wrongly deduce from all these that we are enemies or rivals, but professionally, we are competitors. There was also another competition between us on Glo ambassadorship. I was the only artiste contracted from the North before Ali joined me and later others. Again, while Ali made a name in Nollywood, I am equally making waves to the extent of receiving award in the same industry.
Is the relationship between the filmmakers and Kano State government still shaky?
From inception, they had no good intention. They staged war against us and did not mean good to us. There was a faction of the filmmakers who joined the aspirations of censors' board, but at the end of the day, they had to decline. You can imagine the recent scandal that involved the man who staged war against us. It was really indecent for such a public figure to involve himself in sex scandal with a minor. Remember, they were on the front accusing us of lewd and immoral behaviour, but you know God is wonderful. He has truly answered our prayers and yearnings. It is now left for the society to judge who is the righteous amongst the two groups. This is actually an 'egg on the face!
From The Colonial To Digital Era
By Al-Amin Ciroma (Published in Leadership October 9, 2010)
According to previous research and findings, Nigeria's first contact with cinema was in 1903. It was at the instance of Herbert Macaulay, a foremost nationalist who invited Balboa and Company, who was then doing an exhibition tour of silent films on the West African Coast to Nigeria. The films were shown at the Glover Memorial Hall, Lagos in August, 1903.
The success of the Balboa venture paved the way for an influx of European film exhibitors to Nigeria. Shortly, the colonial government took interest and brought in a lot of films. Distribution and exhibition was restricted to Lagos where they competed with concerts and drama shows and the content of such movies was highly censored. Gradually, however, it fanned out to towns in the immediate hinterland of Lagos and beyond. As the country became more industrialised and urbanised, there was need to establish distribution/ exhibition centres in these new areas and in no time, the branches of the distribution and exhibition companies had spread all over the country.
The colonial government however, did not fully participate in the film business until the commencement of World War II, with the establishment of the Colonial Film Unit (CFU). The unit was charged with making films for the colonies and the objectives of the films were: first, to show/convince the colonies that they and the English had a common enemy in the Germans. To this end, about a quarter of all the films made by the CFU were war-related.
With the attainment of independence, according to historians, the Colonial Film Unit (CFU) became the Federal Film Unit (FFU). But the Federal Film Unit (FFU) still retained most of the functions of the Colonial Film Unit which were the production of films about the country. Also private individuals began to produce and exhibit feature films. However, the searchlight had shifted from colonialism and the need for independence to the need to restrict neo-colonialism. Black became beautiful, a thing to be explored and enjoyed and the colonialists came to be seen as rapists of the rich culture of Nigeria and indeed Africa. Novelists like Chinua Achebe emerged and used creative writing to show the colonialists as disrupters of a noble and pure indigenous culture.
The primary function of the Federal Film Unit was the production of documentaries. These documentaries were funded by the government and sometimes international organisations like UNICEF. The foreign film distributors and exhibitors succeeded in turning attention from the documentaries to themselves. Their cinema houses were filled to the brim with eager viewers and for a long time, they made a lot of profit. Meanwhile, Nigerians became involved in the production of films and in 1970, the first indigenous feature film was produced in Nigeria: Kongi’s Harvest. It was however directed by an American and it featured many foreigners as crew members. With the oil boom, more individuals became involved in the production of indigenous films, including the late Adamu Halilu, Eddie Ugbomah, Ladi Ladebo, Ola Balogun and U.S.A Galadima of blessed memory among others who had been trained during the CFU era.
Apart from the fact that the viewing public was hooked on foreign films, they had problems in the procurement of equipment, manpower, piracy and ultimately in marketing. This killed the zeal of these new-comers to filmmaking. In 1979, the Nigerian Film Corporation was established to provide structural backbone for the development of the industry in terms of manpower training, marketing assistance and infrastructure. A decree validating its existence was released by the government and a facility was allotted to it in Jos, Plateau State but it did not help the industry much. Years later, a National Film Policy was also put in place, but neither did this save the ailing industry from it problems and by the mid 1980s, it was nearly impossible for films to be made on celluloid. Film stocks were expensive to import, and celluloid was expensive to process. Rushes had to be taken abroad for development and other processing. Coupled with that was the harsh economic scenario in the country, thus many filmmakers opted for the use of video tapes as it was more economical, easily accessible and inexpensive to edit unlike the celluloid.
The video film "grew out of the benign bootlegging of music videos in a cassette culture… cannibalising the idioms of the soap opera, from 1980s to the present digital era, thereby facilitating huge development in the labour market. Movies were produced in English and other indigenous languages. The movies that constitued Nollywood include Hausa home videos from the northern part, known as Kannywood, Yoruba home theatre, and remnants from the golden era of the Nigerian cinema.
The appearance of video in Nigeria, plus its popularity, pointed to its importance as a new medium for the production, dissemination and consumption of film as a form of popular culture, with its ideology and aesthetics. The idea of video films was inspired by Yoruba Travelling Theatre and was later introduced by Babatunde Adelusi (Adamson), publisher of a now rested photo-play magazine, who said that the production of video films would not only save the cost of production but would be a good alternative to Indian and Chinese films.
The development did not go down well with the new school of video filmmakers who termed his investments as peanuts and and organised themselves into a group, Jide Kosoko, Adebayo Salami, Gbenga Adewusi and Alade Aromire led them. This regrouping resulted in the appearance of different production companies including Bayowa Films International, Aromire Films, Jide Kosoko Productions and many others. Films began to be produced in large volumes and with film marketers and distributors setting up offices and distribution outlets in Idumota, Lagos, the industry took off.
Video film in Igbo language was silent until the latter part of 1992, when Kenneth Nnebue produced the first Igbo video film in the country, Living In Bondage, which became a major hit among the Igbo audience and was also well accepted by non-Igbo speaking audience. Other Igbo video films followed, Igbo films were produced in either Igbo or English languages.
In recent times, the argument that the Nigerian video film industry, Nollywood is the second largest movie industry in the world in terms of art and business is fast gaining ground. Although, this affirmation seems very untrue and an over-estimation, it is however a statement of fact owing to the state of cinema and filmmaking in Africa currently. The combination of high costs and a western stranglehold on funding and the unavailability of the cinematographic technology in Black Africa is making many young directors in Africa rely on cheaper, often more versatile digital methods both for production (shooting) and exhibition. In the light of this reality where digital video is a fount of hope, Nollywood is indeed the third largest movie industry in the world in terms of its comparative digital edge and also when the number of flicks turned out annually from the industry is considered. A most recent survey conducted by Spectrum Television Media indicated that about four thousand home video films are released by Nigerian filmmakers, an average of ten (10) movies per day; 2,000 of which are censored.
Film is popular culture, just so, the Nigerian home video has come into prominence as a form of entertainment both in Nigeria, on the African continent and indeed the world. Film has visual bias, which gives it universal acceptance, appeal and impact. People the world over enjoy watching cinema. Just like music, TV or radio, they have naturally come to appreciate and embrace it. Today, to Nigerians and Africans both on the continent and in the diaspora, Nollywood is as important as Hollywood or Bollywood.
Nollywood is a purveyor of culture. Film helps to preserve the culture of a people, ethnicity or race from eroding away and this is a focus of implementation of the National policy on Film in Nigeria, Article 4 (3) c, which states that "Film will be produced to protect and promote Nigeria's rich cultural heritage and our national aspirations in the process of development". Nigerian video films portray the way of life of the average Nigerian in the daily struggle for survival, show our belief systems, contemporary as well as ancient culture. People, especially those abroad want to be abreast with issues and happenings in the society as well as relax while doing so. They therefore, turn to the industry. There are major Nigerian video film marketers in the United States, the United Kingdom, other parts of Europe and Asia.
Equally, the northern film circle was anchored by some pioneer filmmakers like Adamu Halilu and USA Galadima both of blessed memory. Halilu produced his first hit film, Shaihu Umar, in 1976. The movie projected some basic Hausa/Islamic aesthetics. Now, while Nigeria is celebrating her 50th anniversary, the giant movie industry, is also celebrating its landmark as being the second largest employer of labour and ambassador of Nigeria in the international arena.
Why We Must Unite –Clarion Chukwurah
By Al-Amin Ciroma (Published in Leadership September 11, 2010)
A call for unity among Nigerian movie practitioners, started by a veteran star of the picture industry, Clarion Chukwurah, who has represented Nigeria internationally as a dramatist, has received the support of Nigerians at home and in the diaspora. The actress, who has won gold for Nigeria in South America, says that movie practitioners should unite so as to restructure the industry. She said, "I intend to bring all the representative bodies under one umbrella that will represent our industry to the world and place us in a position of strength in law as a private sector industry."
In a world press conference held recently in Lagos, the Nollywood star made it clear that this call for unity is for practitioners from Northern Nigeria, Eastern Nigeria, Western Nigeria, the Niger Delta and the Middle Belt. "The retreat, which is going to be a one-week event, will request all representative bodies of workers and owners of the industry across the nation to interact and brainstorm, so as to work out the modalities for great achievement. It will also cut across two unions: The Nigerian Movie Workers Union and the Nigerian Movie Owners Union," she said.
She added that the present home video industry, being a child of circumstance funded by non-professionals, which has propelled itself to a gigantic industry, began showcasing only Nigerian dramatic film content produced for commerce by independent Nigerian film-makers working in Nigeria.
She said that for 20 years, the industry had defied every attempt at structurisation that will properly reposition it.
The statement further expatiates that each of these unions would be empowered to seek legislation to protect its work and members by paying tax to government. A movie workers union backed by legislation will ensure that no non-union member works on any Nigerian film set, the union will ensure that only professionals work in the industry. It will also ensure that movie workers are paid nothing below the agreed fees, and provide a platform to look at. It will discuss and agree on the issues of royalties and provide a platform for workers to pay tax to the Nigerian government.
With all these in place, a movie owner will need to have the right budget to pay for the right equipment that a professional filmmaker requires to produce the right quality of content, a movie owner will need to have the right budget to pay practitioners and the Nigerian film industry will no longer be an all-comers affair where anybody can just jump into the fray and decide to produce a movie.
To produce a movie you will now need to belong to the movie owners union, or employ a producer from the workers union and produce by both the set rules of the workers union on the one side and the owners union on the other side.
Chukwurah, who has featured in no fewer than hundred Nigerian movies that won awards in international arena said the quality of content of the great summit would mirror the true quality of talents that this country has. Workers will take their time to produce the right content by virtue of the investment in each film and have the proper publicity and marketing network/budget that every film company should have to input into the distribution of each film in order to exhaustively tap profit from the sprawling market available in Nigeria and outside Nigeria.
Asked why the need for sudden union, the ever smiling screen goddess said, “‘Before Hollywood, there was Fort Lee…’ which is to say that before sophisticated structural organisation, there would always be the years of seeming ‘un-organisation’ which are those years every industry spend in cutting her teeth.
Unionisation will correct the un-organised image of the Nigerian film industry, the present impression to corporate bodies, the ordinary Nigerian, the Nigerian government and interested foreign partners.” She said the pinnacle would open the door that foreign film industries have been waiting to walk through to interact with Nigerian film workers and owners based on merit, choice, not reference. Unionisation will enable the Nigerian movie workers to request their right at any time through dialogue or necessary pressure from the Nigerian movie owners without any government interference because these are two market forces dependent on each other for production.
She also said that twice in the past, the Actors and Directors Guilds of Nigeria had called for strikes because members wanted improved working terms. The strikes failed because they are registered only as associations, and not representative of all movie actors and directors in Nigeria. The present coalition of guilds is still not representative of all movie makers in Nigeria, neither can any umbrella body represent workers and owners i.e. employees and employers without creating constant conflicts of interest.
The statement highlights that what is operational in the industry are poorly produced content, poorly paid practitioners, low budget, non-existent product publicity, limited distribution. A Ghana Union influenced market strategy to take over Nigerian Actors’ jobs in Nigeria by Ghanaian actors due to lack of a legislation backed structure that protects Nigerian actors. Equally operational, is the bane of movie owners and their hired producers being given the job of professionals in the face of the guild who are powerless to stop this trend for lack of any legislative backing.
Conclusively, Clarion Chukwurah's call for unity will go a long way in defining the original owners of the business, who are the employers, and all persons or companies who input financially into the production process that results in the end product that is the film content.