NOLLYWOOD ARTISTIC CONTENT N.A.C

Artistic contents is something that has turned out to be one major reason why we participate in few or many forms of art; be it film making, script writing; character personality and advantages and even film watching (lol). By and large, the artistic contents of our present 'nollywood' seems so peculiar that it leaves you dumb with questions such as:
1.How can a ghost look left & right before crossing the road? ‘Dem dey fear accident?’ 
2.Why does the TV go off by itself after the ‘breaking news’?
3.Why do all native doctors paint one eye?
4.Why must every advert Start with a loud scream?
5.Why must every juju part be represented by lightening & thunder under the bright sunlight?
6.Why do Nigerian movies always have part one to five?
7.How can Segun Arinze be Ramsey Noah’s dad… Any resemblance?
8.Why will a blind mother say, “I’m happy to see you my son”?
9.Why is Jim Iyke always coming back from America & speaking with a fake British accent?
10.Why is it that the characters die or run mad immediately after deir confessions?
11.Epic Village Movie Set in the 90s still finds Mercy Johnson with Brazilian hair, how come?
12.Hw can N2bn fit into a small Ghana-Must-Go bag?
13.Must all hired assassins be found in uncompleted or abandoned buildings? ‘Na dem papa house?’ 14.Why must a film have Part 1,2, 3; Return of The Film 1,2 & 3; The Same Film ‘Reloaded’ 1,2 & 3? WHY!?
15.Wil a Yoruba movie ever be complete without a visit to the ‘Baba’?
16.Study:9 out of 10 times, Olu Jacobs dies of heart attack in Nollywood movies,why?
17. “15 years ago” & Ini Edo calls her Boyfriend with a Bold 5.. How is this possible?
18. Why will d parents call their child 3 times nd ask him/her how many time did I call you? ‘Dem no sabi count?’
19.When poor people come to Lagos to struggle dey always make it, if na so why poor people still dey Lagos? We all know its just an 'art' but don't you think we should be mindful of what we put out on screen to avoid criticisms from our viewers???

A living legend - WOLE SOYINKA

It's no doubt how true our heading sounds, because when you see him in public, with the sight of his neat though unshaved but well combed white hair, you'll indeed conclude that He is a legend. Its no other than WOLE SOYINKA. Akinwande Oluwole Soyinka (born 13 July 1934) is a Nigerian writer, notable especially as a playwright and poet; he was awarded the 1986 Nobel Prize in Literature , the first person in Africa and the diaspora to be so honoured. Soyinka was born into a Yoruba family in Abeokuta . After study in Nigeria and the UK, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its struggle for independence from Great Britain. He is also a vigorous critic of contemporary literature and has engaged in heated debates with others Africans who have accused him of writing in an obscure idiom that owes more to European traditions than Nigerian ones. In turn, he has argued against the Négritude movement, stating that "The Tiger does not boast of his tigritude." A passionate attachment to his Yoruba roots combined with a fearless experimentalism has continued to make him a controversial figure.Much of his later writing has been satire directed against corrupt African leaders such as Bokassa and Amin, whose predecessors invarious African states were targets of such plays as Madmen and Specialists. He is notably known for Quotes such as: -'EVEN WHEN I'M WRITING PLAYS, I ENJOY HAVING COMPANY AND MENTALLY I THINK OF THAT COMPANY AS THE COMPANY AM WRITING FOR' -'POWER IS DOMINATION, CONTROL, AND THEREFORE A VERY SELECTIVE FORM OF TRUTH WHICH IS A LIE' - 'AND I BELIEVE THAT THE BEST LEARNING PROCESS OF ANY KIND OF CRAFT IS JUST TO LOOK AT THE WORK OF OTHERS' -'BOOKS AND ALL FORMS OF WRITING ARE TERROR TO THOSE WHO WISH TO SUPPRESS THE TRUTH' In 1957 his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as "The Immigrant" and "My Next Door Neighbour", which were published in the Nigerian magazine Black Orpheus. This was founded in 1957 by the German scholar Ulli Beier , who had been teaching at the University of Ibadan since 1950. Soyinka received a Rockefeller Research Fellowship from University College in Ibadan, his alma mater, for research on African theatre , and he returned to Nigeria. He produced his new satire The Trials of Brother Jero . His work, A Dance of The Forest (1960), a biting criticism of Nigeria's political elites, won a contest that year as the official play for Nigerian Independence Day . On 1 October 1960, it premiered in Lagos as Nigeria celebrated its sovereignty. Also in 1960, Soyinka established the "Nineteen-Sixty Masks", an amateur acting ensemble to which he devoted considerable time over the next few years. Soyinka published works satirising the ' Emergency ' in the Western Region of Nigeria,as his Yorùbá homeland was increasingly occupied and controlled by the federal government. when the civil war came to an end, amnesty was proclaimed, and Soyinka and other political prisoners were freed. For the first few months after his release, Soyinka stayed at a friend’s farm in southern France, where he sought solitude. He wrote The Bacchae of Euripides (1969), a reworking of the Pentheus myth. He soon published in London a book of poetry, Poemsfrom Prison . At the end of the year, he returned to his office as Headmaster of Cathedral of Drama in Ibadan, and cooperated in the founding of the literary periodical Black Orpheus. And together with scientists and men of theatre, Soyinka founded the Drama Association of Nigeria...

Piano by D. H. Lawrence

Softly, in the dusk, a woman is singing to me; Taking me back down the vista of years, till I see A child sitting under the piano, in the boom of the tingling strings And pressing the small, poised feet of a mother who smiles as she sings. In spite of myself, the insidious mastery of songBetrays me back, till the heart of me weeps tobelong To the old Sunday evenings at home, with winter outside And hymns in the cosy parlour, the tinkling piano our guide. So now it is vain for the singer to burst into clamour With the great black piano appassionato. The glamour Of childish days is upon me, my manhood is cast Down in the flood of remembrance, I weep like a child for the past

leviathan by George oppen

Truth also is the pursuit of it: Like happiness, and it will not stand. Even the verse begins to eat away In the acid. Pursuit, pursuit; A wind moves a little, Moving in a circle, very cold. How shall we say? In ordinary discourse— We must talk now. I am no longer sure of the words, The clockwork of the world. What is inexplicable Is the 'preponderance of objects,' The sky lights Daily with that predominance And we have become the present. We must talk now. Fear Is fear. But we abandon one another.

pals and pad

Lead us not into temptation! That we may know all that seems fit and right from wrong. How sure are we to stick? Oh! Pals of desirous beauties and pads filled with unknown filties. Would we last as twine or just pads? Would our presence remain solid or just like the claws of a neathing pin, or would it be a feeling of nothing but a Caribbean swing? Oh! See how it makes a soul wake into a million thoughts. Do they for once feel like a pal or just pads? Though; flashes and trashed of a good life yet to be seen, or maybe it's an etorcism of great behind scenes. And reality; to them goes like a dream, but aren't they meant to be just pals rather than pads?

pearls2harmony

Happiness comes in many forms, in the company of good friends, in the feelings you get when you make someone else's dream come true, or in the promise of hope renewed. Its ok letting yourself happy because you'll never know how fleeting that happiness might be.