DOCSLIB.ORG

New Excellence in English Junior Secondary 3 Teacher's Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Excellence in English Junior Secondary 3 Teacher's Guide NEW Excellence in English ECOND S A R R O Y I N U J E T 3 D E I A U C H E R ’ S G CURRENT NERDC Curriculum FREE DIGITAL NEW Excellence in English ECOND S A R R O Y I N U J E T D 3 I E A U C H E R ’ S G Contributors/Reviewers: E.T. Kolawole T. Oduseso Published by Cambridge University Press University Printing House, Cambridge CB2 8BS, United Kingdom Distributed in Nigeria by Cambridge University Press Nigeria Ltd 252E Muri Okunola Street, Victoria Island, Lagos State, Nigeria Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781108789707 © Cambridge University Press 2020 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2016 New edition published 2020 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 ISBN 978-1-108-78970-7 Paperback Authors: Liz Sparg, Nicole Levine, Louise Rapley, Tracy Wiles Editor: Gudrun Elliott Designer: Mellany Fick Typesetter: Baseline Publishing Services Illustrators: Will Alves, Sue Beattie, Rassie Erasmus Cover image by: krisanapong detraphiphat/GettyImages Every effort has been made to trace copyright holders. Should infringements have occurred, please inform the publishers who will correct these in the event of a reprint. If you want to know more about this book or any other Cambridge University Press publication, phone us at +234 703 844 5052 or send an e-mail to [email protected] Contents Introduction .............................................. 1 Evaluation tools........................................... 1 Term 1 Module 1 Back to school ................................... 4 Module 2 Making new friends .............................. 6 Module 3 Heroes and heroines.............................. 8 Module 4 Road safety .................................... 11 Module 5 Travelling by air ................................ 13 Module 6 Respect ....................................... 15 Module 7 Crime and corruption ............................ 17 Module 8 A cleaner, greener Earth.......................... 19 Module 9 Taking responsibility............................. 21 Module 10 Revision ....................................... 23 Term 2 Module 1 Patriotism for our country ........................ 26 Module 2 Sport ......................................... 28 Module 3 The media ..................................... 31 Module 4 School subjects ................................. 32 Module 5 Consumer rights ................................ 33 Module 6 The right to education ........................... 35 Module 7 Drugs ......................................... 37 Module 8 Jobs – providing services ......................... 39 Module 9 Film stars ...................................... 41 Module 10 Revision ....................................... 43 Term 3 Module 1 Should differences divide us? ..................... 46 Module 2 Keeping the peace .............................. 48 Module 3 Peer pressure................................... 50 Module 4 People who inspire us............................ 52 Practice Examination 1: Answers ............................ 55 Practice Examination 2: Answers ............................ 57 INTRODUCTION English is the official national language and • Engage with their other school subjects more medium of instruction in Nigeria. It is a meaningfully compulsory subject offered at both the Basic • Communicate with people effectively in Education Certificate Examination (BECE) everyday life and the Senior Secondary School Certificate • Understand important national and Examination (SSSCE). It is therefore an international issues extremely important subject, not only in the • Feel proud to be a citizen of Nigeria. school context, but in the wider context of communicating effectively in Nigeria. Evaluation This Excellence in English Junior Secondary Evaluation plays a central role in the teaching and course has been carefully developed by learning of English. Evaluation has two purposes: international and Nigerian educational experts, • It measures the level of each student’s and offers the following components: acquisition of the performance objectives • A Student’s Book written in accessible specified in the NERDC curriculum. language to enable understanding and • It enables the teacher to monitor each learning. The Student’s Book is also student’s development to identify areas of available in digital format. weakness or strength, and to offer extra • A Teacher’s Guide, providing answers support or enrichment where needed. for the activities in the Student’s Book. The Teacher’s Guide is only available in There are two types of evaluation that need to digital format. happen in the school year: • A Workbook with activities to consolidate • Formative evaluation important skills learnt in the Student’s Book. • Summative evaluation There is also an audio-visual Phonics Formative evaluation Programme that can be accessed free of This happens continuously during class charge from the Cambridge University instruction. It can take the form of teacher, website (www.cambridge.org). It can be used peer- or self-evaluation. to help students recognise and pronounce • Teacher-evaluation: This can be formal English sounds. or informal. – Informal evaluation can be done The purpose of the English throughout the year by the teacher’s observation of each student’s progress in Studies curriculum classroom situations, for example while The main objectives of the English Studies students are working in pairs and groups. curriculum are to enable students to: A record book can be kept to record • Develop the basic language skills of comments about each student based on speaking, listening, reading, comprehension, these observations. The comments can writing and grammar structure identify both strengths and weaknesses, • Enjoy a wide range of local and international for example: ‘Needs more practice with texts written in English, including fiction, formation of diphthongs; Reading fluency non-fiction and poetry has improved this term’. Introduction 1 – Formal evaluation can be done during the • Self-evaluation term as follows: Teachers can evaluate This is similar to peer-evaluation except that oral activities done in the classroom and the student works individually to reflect on take in and mark essays, comprehensions, his or her work. and grammar structure exercises. The Revision module at the end of each term Summative evaluation can be used as a test. This is used at the end of the school year, in • Peer-evaluation the form of an examination. The examination This can be done in the classroom in is essentially marked by the teacher, or another the form of group or pair work. Once an suitably qualified educator. The result of the activity or exercise is completed, the partner summative evaluation decides whether a student or other members of the group can give can be promoted to the next school level. constructive feedback. 2 Introduction TERM 1 Module 1: Back to school Module 6: Respect Module 2: Making new friends Module PS:7: Crime mindmap-text and corruption Module 3: Heroes and heroines Module 8: A cleaner, greener Earth Module 4: Road safety Module 9: Taking responsibility Module 5: Travelling by air Module 10: Revision 3 T MODULE ERM 1 Back to school 1 Listening and speaking e) Olanna feels very disappointed and anxious. f) “I pushed back the tears that began to well Activity 1 (SB p. 2) in my eyes.” a) My cousin plays in a band. /æ/ g) All Olanna’s old friends are to stay together b) Let’s talk later, after school. /ɔː/ in one class, but she has to move to a c) That’s a very funny thing to say about new class. your friend. /ʌ/; /ə/ h) Olanna’s goal to make new friends might d) Look over there! /ʊ/ become easier to achieve, because she has e) I love trees because they provide cool shade. been moved to a class where she knows /iː/; /uː/ very few students. f) I am not going to the movies; are you? /ɒ/ g) Have you heard the latest news? /ɜː/ Summary h) There is mud all over the carpet. /aː/ Activity 6 (SB p. 5) i) Did you spend all your money? /e/ j) Please bring me some lunch. /ɪ/ Olanna was nervous about the new school year. Her father expected her to improve her results. Reading and comprehension As she walked to school, she made a list of goals: to get better marks in Mathematics and Activity 4 (SB p. 4) English, to join the running team and choir, to a) C. From paragraph 1, we know that the keep old friends and make new ones. When she writer feels anxious about the school year. got to school, her friend, Awele, told Olanna b) D. In the simile, “my stomach churned that she was in a different class, without any of like porridge being stirred in a pot”, her friends. This made Olanna anxious and sad. the writer is saying the feeling in her (78 words) stomach could be compared with the motion of stirring porridge. Vocabulary development c) B. In the metaphor, “my father’s comments buzzed in my head”, the writer is Activity 7 (SB p. 6) saying the things that her father said a) irritating – annoying went around and around in her mind, b) approaching – walking towards as bees do around a flower, and kept c) calmer – more relaxed her attention. d) stirred – mixed by moving it around with a spoon Activity 5 (SB p. 5) e) goals – plans to achieve something a) Olanna’s father expects her to get better f) choir – group of singers (collective noun) results at school, especially for Mathematics and English. Grammar b) She loves singing and running. Activity 8 (SB p. 7) c) Her goals are to improve her results in Mathematics and English, join the running a) Adjective: good team and choir, and keep her old friends and b) Preposition: in make new ones. c) Verbs: approached, felt; adverb: calmer d) She feels that the boys are irritating. 4 Term 1 d) Nouns: porridge, stomach Literature e) Pronoun: I f) Verbs: began, beat, ran Activity 13 (SB p.
Load more

Recommended publications
  • 7.30Pm Wednesday 6 October: Nollywood Babylon 7.30Pm
    HOME ABOUT FILMS VENUE Welcome to the UK's first ever festival dedicated to Nigerian popular cinema. Our TICKETS week-long series of screenings celebrates the creativity and energy of the world's £3 each or £12 for a festival pass second largest film industry. With five feature films and one documentary, Nollywood Now! showcases the drama, tension and excitement of a truly global film culture. FILM PROGRAMME Wed 6 Nollywood Babylon Thu 7 Osuofia in London 7.30pm Wednesday 6 October: Nollywood Babylon Fri 8 Dangerous Twins Sat 9 White Waters The festival kicks off with a panel discussion Mon 11 Arugba featuring industry experts, followed by a screening Tu e 1 2 Modupe Temi of the documentary feature Nollywood Babylon, FOLLOW US which captures the Nigerian film industry in its Join our Facebook group social and political context. A great ‘beginners guide’ for people new to Nollywood. Follow us on Twitter [email protected] VENUE 7.30pm Thursday 7 October: Osuofia in London Deptford Town Hall New Cross Road London SE14 6AF One of the biggest and best loved Nigerian comedy Map movies ever. When he inherits his brother’s fortune, More info about Deptford Town Hall Osuofia (Nkem Owo) swaps village life for the bright lights of London. The jokes are mostly on THANKS TO OUR FUNDERS him, but he’s smart enough to spot a scam when he sees one. Not to be missed! 7.30pm Friday 8 October: Dangerous Twins Nollywood megastar Ramsey Nouah plays a double role as twin brothers. The quieter twin convinces his brash Lagos-based brother to go to London and pretend to be him and get his British wife pregnant.
    [Show full text]
  • Original Paper Nollywood: Indigenous Culture, Interculturality, and The
    Communication, Society and Media ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) Vol. 3, No. 1, 2020 www.scholink.org/ojs/index.php/csm Original Paper Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen Samba DIOP1* 1 Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway * Samba DIOP, Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway Received: October 30, 2019 Accepted: November 12, 2019 Online Published: December 12, 2019 doi:10.22158/csm.v3n1p12 URL: http://dx.doi.org/10.22158/csm.v3n1p12 Abstract Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen.
    [Show full text]
  • Nollywood in the Diaspora: an Exploratory Study on Transnational Aesthetics
    Universiteit Gent Academiejaar 2009-2010 Nollywood in the Diaspora: An exploratory study on transnational aesthetics Sophie Samyn Master Kunstwetenschappen Masterproef Vakgroep Kunst-, Muziek- en Theaterwetenschap, optie Theaterwetenschap (Podium- en Mediale Kunsten) Promotor: Prof. Dr. Christel Stalpaert Co-promotor: Dr. Karel Arnaut i CONTENT Preface 1 Acknowledgments 2 1. INTRODUCTION 3 1.1 Introduction 3 1.2 Methodology 4 1.2.1 Research purpose and method 4 1.2.1.1 Research purpose, relevance and structure 4 1.2.1.2 Research subjects 5 1.2.1.3 Research method 8 1.2.1.4 Source-criticism 8 1.2.2 Theoretical frame 9 1.3 Empirical context 14 1.3.1 Nollywood 14 1.3.1.1 Cinematographic production 14 1.3.1.2 Film consumption: Cinema, TV and the home video 15 1.3.1.3 Nigerian home video 16 a. Development of the industry 16 b. Production: making film with minimal budgets 17 c. Distribution: a never seen spread on the continent 19 d. Content and form: African film made by Africans 22 e. Transnational dimension of Nollywood 25 1.3.2 Nigerian Diaspora 27 1.3.2.1 Pre-colonial migration 27 a. Hausa migration 27 b. Religious migration 28 c. Slave trade 28 1.3.2.2 Nigerian migration in 20th – 21st century 28 a. Context 28 b. Prostitution 30 c. Bad reputation 31 d. Causes of migration 32 e. Diasporic communities 34 ii f. Nollywood in the diaspora 36 2. CASE STUDIES: Nollywood made in Europe 39 2.1 Transnational subjects 40 2.1.1 Pioneers: Tony Akinyemi and Leonard Ajayi-Odhekiran 40 2.1.2 The show must go on: Isaac izoya 43 2.1.3 Spiritual and social outreach: John Osas Omoregie 46 2.1.4 Satire: Azubuike Erinugha 48 2.2 Nature of the transnational practice 52 2.2.1 Aim 52 2.2.1.1 Celebrate Nigerian contemporary culture 52 2.2.1.2 Inform and educate the people 53 2.2.1.3 Promote integration 55 2.2.2 Film 56 2.2.2.1 Nollywood 57 2.2.2.2 Realism vs.
    [Show full text]
  • English Aim for Excellence with Cambridge! Cambridge Excellence in English Junior Secondary Offers You a First-Class Print Excellence in and Digital Course in English
    Excellence in Aim for Excellence with Cambridge! Cambridge Excellence in English Junior Secondary offers you a first-class print English Excellence in and digital course in English. The course has been developed in accordance with the 2013 NERDC Curriculum and Scheme of Work. It offers students accessible, high quality content to ensure the best foundation for future learning. English Cambridge Excellence in English Junior Secondary 3 has two components. Junior Secondary CON SE DA A Students’ Book which offers: R R O Y • accessible language to enable understanding and learning I N Excellence in Excellence English U • local and international content supported by full colour Excellence in J E illustrations and photographs Secondary Junior English T D E 3 I • a variety of activities and exercises to consolidate the skills of 3 ECO U S N Teacher’s Guide Guide Teacher’s R D A O A I R N Y U J T G E 3 E C A C I D listening, speaking, reading, comprehension, grammar and writing H E R ’ S G U H E R ’ S 3 • revision sections throughout the book, which facilitate evaluation Teacher’s Guide CURRENT NERDC Curriculum of students’ progress. • Practice Examination Paper to prepare students for the Available digitally! Basic Education Certificate Examination they will write at the end of Junior Secondary 3. Student’s Book Excellence in English Excellence in FREE English Junior Secondary Junior A Teacher’s Guide which offers: ECOND S A R R O Y I N • Schemes of Work to help plan weekly lessons U J E T D E 3 I A U G 3 C H E R ’ S Teacher’s Guide Teacher’s • clear teaching guidelines • answers to exercises and activities in the Student’s Book • Evaluation Tools to help assess students’ development CURRENT NERDC Curriculum of specific skills.
    [Show full text]
  • Creativity in Acting: Strategies for the Separation of the Performer’S Real Identity from the Construct in Nigeria
    c e n a n. 23 Creativity in Acting: strategies for the separation of the performer’s real identity from the construct in Nigeria Osakue S. Omoera Ambrose Alli University – Ekpoma, Nigeria Email: [email protected], [email protected] Emmanuel Ozoemenam University of Ibadan – Ibadan, Nigeria Email: [email protected] Abstract Resumo This article centres on the art of acting in Ni- Este artigo centra-se na arte da atuação na geria. Its problematic is informed by the beha- Nigéria. Sua problemática é informada pelo viour of some actors/actresses/performers who comportamento de alguns intérpretes que tend to live their ‘stage life’ or ‘screen life’ in tendem a viver sua “vida nos palcos/ nas te- their normal everyday living. The study adopts las” em suas vidas cotidianas, o que muitas the historical-analytic, interview and observa- vezes resulta em conflito entre sua personali- tion methods to examine this misconception dade real e suas construções. O estudo ado- and how they colour the society’s appreciation ta métodos histórico-analíticos de entrevista of theatre arts as a discipline. It further argues e observação para examinar esse equívoco, e that although actors/actresses have been seen como esses conceitos falsos geram uma falta as entertainers, they should train on how to ne- de apreciação, por parte da sociedade, das ar- atly separate what they construct on stage from tes do teatro como uma disciplina. Além disso, their daily living. The paper suggests, among argumenta-se que, embora eles tenham sido other things, self-discovery and psychologi- vistos ao longo do tempo como artistas, eles cal distancing as panaceas to the challenge.
    [Show full text]
  • Celebrity Endorsement of Political Aspirants and Its Effects on College Students in Lagos
    This is the version of the article accepted for publication in Journal of African Media Studies published by Intellect doi: 10.1386/jams.9.3.487_1 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/32045 Celebrity endorsement of political aspirants and its effects on college students in Lagos Añulika Agina and Akpevwe Ekwevugbe Pan-Atlantic University, Lagos Abstract This article examines two main research questions: what factors justify celebrity endorsement as an election campaign strategy given the increasing doubts associated with celebrity involvement in politics? Did celebrity endorsement of political aspirants influence young adults‟ voting behaviour during the 2015 elections in Lagos? Using mixed method approaches, and supported by source credibility and celebrity endorsement debates, a survey was conducted with a sample of 375 students of the Yaba College of Technology. Three semi-structured interviews with members of successful campaign teams were also conducted. Our findings revealed that campaign managers have huge confidence in the celebrity endorsement strategy for several reasons and would employ the approach in future. Further, the young people interrogated revealed that two-thirds of them are fans of Nollywood stars and music icons. But they were not influenced to vote on the basis of the celebrities‟ say-so. These findings are somewhat consistent with extant literature, but suggest the need for further studies regarding how celebrities translate fandom to votes. Keywords: celebrity endorsement, celebrity, politics, voting behaviour, election campaigns, Nigeria Introduction Media celebrities are highly regarded in their societies; and this enables them function as effective promoters of persons, issues, products, and causes since they are perceived as believable, trustworthy, likeable and persuasive (Austin et al, 2008) agents.
    [Show full text]
  • Agina Anulika Thesis2015.Pdf
    WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Nigerian filmmakers and their construction of a political past (1967-1998) Anulika Agina Faculty of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2015. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Nigerian Filmmakers and their Construction of a Political Past (1967-1998) AÑULIKA AGINA A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy May 2015 ACKNOWLEDGEMENTS Conducting this research has put me in the debt of many, which I fear I may not adequately make good. As the Igbos of Nigeria say, she who is without wealth must have words of praise. Here, I turn my indebtedness to words of praise. I thank my funders, the School of Media and Communication SMC, Pan- Atlantic University (formerly Pan-African), under the leadership of Emevwo Biakolo, who granted the financial resources to begin and complete my doctoral studies at the University of Westminster.
    [Show full text]
  • University of Ghana
    University of Ghana http://ugspace.ug.edu.gh Legon Centre for International Affairs and Diplomacy (LECIAD) CULTURAL DIPLOMACY AS SOFT POWER IN ADVANCING NATIONAL DEVELOPMENT: A COMPARATIVE STUDY OF NIGERIA AND THE UNITED STATES OF AMERICA BY NANA AKUA TENKORANG (10307168) THIS DISSERTATION IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE MASTER OF ARTS DEGREE IN INTERNATIONAL AFFAIRS LEGON JULY 2019 University of Ghana http://ugspace.ug.edu.gh DECLARATION I, Nana Akua Tenkorang, do hereby declare that this work is entirely by my personal effort, supervised by Dr. Boni Yao Gebe. I further declare that all the works that have been consulted or quoted have been duly acknowledged. I also declare that this dissertation has not been presented either in part or in whole for any other degree elsewhere. ………………………………… ………………………………………… NANA AKUA TENKORANG DR. BONI YAO GEBE (STUDENT) (SUPERVISOR) DATE………………………… DATE……………………………. i University of Ghana http://ugspace.ug.edu.gh DEDICATION I dedicate this work to God Almighty for his unfathomable faithfulness and kindness ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS I wish to express my most profound appreciation to my parents Ambassador Kwame Asamoah Tenkorang and Mrs. Gloria Tenkorang for their unwavering support and commitment throughout my master‘s program. I will always remain indebted to you for your immense love, guidance and prayers. My warmest gratitude also goes to my supervisor Dr. Boni Yao Gebe for enriching me with such a world of knowledge. Your selflessness as well as your able supervision and guidance has led to the successful completion of this work, and for that I am infinitely grateful.
    [Show full text]
  • Premier Lifestyle Magazine Version 19.Cdr
    Dec 2020 BREAK-OUT EDITION Richard Mofe Damijo T H E N A M E | T H E M A N | T H E L I F E S T Y L E 2020: The Year that 20 African Models Who Nigerian Achievers Award 20 Most Creative Reshaped Our Lifestyle Took Over the World 2020: All You Missed African Designer Labels W W W . P L M A G . N G Inside This Editor’s Note Edition: hat a year 2020 has turned out to be; what a year! We will remember it as Wthe year of the COVID-19 pandemic – a year which redefined our lifestyle and choices. The year also turned out to be a significant one for Africans across the globe – who have battled the stigma of racial discrimination and poor governance for so long. 2020: The Year that 20 African Models Who Reshaped Our Lifestyle Took Over the World With a mandate to become one of Africa’s leading lifestyle magazines within its first two years, Premier Lifestyle Magazine debuts with a compelling edition which will undoubtedly leave readers spellbound with stories that enlighten, educate and entertain a broad section of society. In our special December 2020 Break-Out Edition, we have looked inward as a means of Nigerian Achievers Award 20 Most Creative capturing the world. The choice of using 2020: All you Missed African Designer Labels Nollywood actor, Richard Mofe Damijo as our cover personality was in recognition of his work in the entertainment industry and his reputable lifestyle off the scenes. Team: Premier Lifestyle Magazine is on a mission to Michael Mgbeahurike disrupt the lifestyle space by promoting Publisher personalities who are role models in society and Chidiebere Mgbeahurike showcase exemplary values.
    [Show full text]
  • Omenka-Film-Issue.Pdf
    VOLUME 2 ISSUE 3 ARTS ARCHITECTURE & DESIGN BUSINESS LUXURY AFRICA N5000 R362 $25 £17 €22 NIGERIAN THEATRE, TV & FILM: PAST, PRESENT & FUTURE NIGERIAN FILM AS AN ART DISTRIBUTION IN NOLLYWOOD THE ETISALAT PRIZE FOR LITERATURE: REPRESENTING THE DIVERSITY OF AFRICAN VOICES TAIWO AJAI-LYCETT, SADIQ DABA, WALE OJO, TUNDE KELANI, KUNLE AFOLAYAN KUNLE IDOWU, MICHAEL ‘TRUTH’ OGUNLADE, LALA AKINDOJU, O.C. UKEJE OBIJIE ORU, STANLEE OHIKHUARE, MIKE-STEVE ADELEYE THE FILM ISSUE OMENKA MAGAZINE VOLUME 2 ISSUE 3 2 OMENKA MAGAZINE OMENKA MAGAZINE VOLUME 2 ISSUE 3 VOLUME 2 ISSUE 3 CONTENTS ARTS ARCHITECTURE & DESIGN BUSINESS LUXURY AFRICA N5000 R362 $25 £17 €22 VOLUME 2 ISSUE 3 DEPARTMENTS ANTENNAE NEWS, EVENTS 10 Sink Hits at the Local Box Office 10 Annecy International Animated Film Festival to Show Three South African Films 11 Perivi John Katjavivi: Confronting The Mostly ‘Unseen’ in Post- Colonial Namibia 11 The Book of Negroes Sweeps Canadian Screen Awards 12 Free State Wins at Luxor African Film Festival Award 12 The 12th New African Film Festival FEATURES 14 A Concise History of Nigerian Theatre, TV & Film, and the Future of Drama 16 Nigerian Film as an Art 18 The Academia and the Media, Partners in Promoting Nollywood 20 Africa Rising on the International Scene 28 Charting New Territory with Animation 30 Ebele Okoye Weber on Animation in Nigeria 32 In Conversation with Richard Oboh 44 5 OMENKA MAGAZINE VOLUME 2 ISSUE 3 CONTENTS FOCUS PLAYING THE BOSS PROFILES, INTERVIEWS THE PRODUCERS AND DIRECTORS Icons of the Screen 128 Using Documentary to Impact 44 A Legend of the Reel Africa Positively 52 Sadiq Daba is Like Fine Wine 132 Thriving in a Male-Dominated Industry 58 Quintessential Wale Ojo 134 The Real Deal! The Unfolding Generation 138 Raising the Bar 64 A Fine Gentleman..
    [Show full text]
  • Appraise the Use of Music in the Wedding Party Movie
    AN APPRAISAL OF THE USE OF MUSIC IN THE WEDDING PARTY MOVIE BY JOSEPH, VICTOR MATRIC NUMBER:14/3082 SUBMITTED TO: THE DEPARTMENT OF MUSIC AND CREATIVE ARTS SCHOOL OF EDUCATION AND HUMANITIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF BACHELOR OF ARTS IN MUSIC OF BABCOCK UNIVERSITY, ILISHAN-REMO, OGUN STATE, NIGERIA SUPERVISOR: PROF. MICHAEL O. OLATUNJI APRIL, 2017 1 CHAPTER ONE INTRODUCTION 1.1. Background to the Study "Wait a minute! You ain't heard nothing yet!” – Al Jolson (ReelRunDown, 2016). Those were the first words spoken on film; the first words of the 1927 feature film, “The Jazz Singer”. However, music had long already made its appearance in the movie theatres; “a paid pianist was present to perform at the Lumiere brother's first film screening in 1895” (Wierzbicki, 2009, p. 20). This tradition continued through the early silent films (comedies or expressionist), which had live music played mainly through improvisation with the aid of cue sheets, at each showing of the film (ReelRunDown, 2016). From the movie King Kong in 1933, which was the first movie to have a comprehensive scoring throughout the whole plot, till date, music has proven to be an indispensable tool in the art of film production, such that it is difficult to believe that film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector” (London, 1936). And little wonder because, music, when properly utilized can serve several purposes including establishing: (i) Mood, emotion
    [Show full text]
  • JAMS 7.3.4 Nollywood Online Manuscript
    Journal of African Media Studies, volume 7, number 3 Nollywood online: between the individual consumption and the communal reception of Nigerian films among African diaspora Afra Dekie , University of Antwerp Philippe Meers , University of Antwerp Roel Vande Winkel , University of Antwerp Sofie Van Bauwel , University of Ghent Kevin Smets , University of Antwerp Various video-on-demand (VOD) platforms streaming Nigerian films have popped up on the Internet since 2011. These VOD platforms facilitate the consumption of Nigerian films among African diaspora. Despite an increasing academic interest for Nollywood audiences, these new modes of viewing Nigerian films online have yet to be explored. In this article, we will therefore give attention to the consumption and the reception of Nigerian films on the Internet among African diaspora of Nigerian, Ghanaian and Cameroonian origin in the cities of Antwerp and Ghent, Belgium. In this study, we adopted a media ethnographic approach, including fieldwork and semi-structured in-depth interviews. Although scholars have suggested that the Internet fragments and individualizes film viewing, the results of this study show that indeed online Nigerian films are most often watched individually by the respondents, yet, the reception of the films remains a social practice of shared meaning-making. Keywords: Nollywood; African diaspora; online films; video-on-demand; audience research; African popular culture. Introduction With an enormous amount of 997 feature films produced in 2011 (UNESCO 2013), Nollywood not only booms on its domestic market, but also attracts audiences worldwide. From a grocery store in Texas (Abah 2011) to a street vendor in St. Lucia (Cartelli 2007) or a video shop in London (Esan 2008), today Nollywood films can be easily purchased in most parts of the world.
    [Show full text]