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Clem Ohameze: A Distinguished Career in Nollywood

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Clem Ohameze stands among the veteran actors who helped shape Nigeria’s modern film industry, popularly known as Nollywood. With a career spanning more than two decades and appearances in hundreds of films, he has earned recognition for his versatility and his commanding portrayals of powerful, complex characters.

Early Life and Education

Clem Ohameze was born on 27 June 1965 in Port Harcourt, Rivers State. He attended Holy Family College, Abak Road, and later St. Paul’s College, both in Rivers State. For tertiary education he earned a diploma in Mass Communication at the Institute of Management Technology (IMT), Enugu, and later studied Sociology and Anthropology at the University of Port Harcourt (Vanguard, 2021).

Entry into Nollywood and Breakthrough

Ohameze began acting professionally in the late 1990s, a period when Nollywood was emerging as one of the world’s most dynamic film industries. His breakthrough came with the 1999 film End Time, where his intense screen presence established him as a natural for morally layered roles.

He went on to star in classics of the VCD era such as Last Burial (2000) and other widely circulated titles including Oganigwe and Ije (Guardian Nigeria, 2020). These films reached audiences across West Africa and the diaspora, making him a household name during Nollywood’s first wave of mass popularity.

Shaping Nollywood’s Character Archetypes

Ohameze became especially known for roles as traditional rulers, political power-brokers and authoritative patriarchs, helping to popularize the “powerful elder” archetype that remains a fixture of Nollywood storytelling. His deep voice and gravitas set a model for later actors portraying figures of authority.

Film historians often cite this period as pivotal: by the early 2000s Nollywood was distributing millions of VCDs annually, and actors like Ohameze helped define the visual and narrative language of Nigerian cinema before the era of global streaming.

Public Service and Politics

Reflecting a wider Nollywood trend in the mid-2000s—when several screen stars sought to translate their influence into public life—Ohameze contested for a seat in Nigeria’s House of Representatives in 2007 under the People’s Democratic Party (PDP). Although unsuccessful, his political venture highlighted the growing role of entertainers in Nigeria’s civic and political discourse (Premium Times, 2015).

Challenges and Personal Resilience

In November 2021, Clem Ohameze publicly requested prayers before undergoing surgery, a moment that generated widespread speculation about his health. He later clarified his recovery and dismissed unfounded rumors. His openness and resilience during this period underscored the strength that has characterized both his personal life and professional longevity (Vanguard, 2021).

Legacy in a Globalising Nollywood

As global platforms such as Netflix and Amazon Prime Video bring Nollywood films to international audiences, veteran actors like Ohameze serve as living links between the pioneering VCD era and today’s digital expansion. His body of work—over 500 credited films—remains a touchstone for how early Nollywood crafted narratives of power, tradition and family that continue to resonate worldwide.
Clem Ohameze’s enduring career stands as a testament to the first generation of Nollywood stars whose artistry transformed local storytelling into a global cultural export.

References

Vanguard. “Clem Ohameze Biography and Career.” 2021.

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PHOTOS: The Origin of the Name “Nigeria” Flora Shaw’s Proposal in 1897

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The name “Nigeria” first appeared in print on 8 January 1897 in The Times of London, in an article written and signed by Flora Shaw, the paper’s colonial editor. Shaw—who would later marry Sir Frederick Lugard, the future High Commissioner of the Northern Nigerian Protectorate—suggested the name as a concise and practical alternative to the long descriptive titles Europeans then used for the region.

Her proposal gave a single geographical label to an immense and culturally diverse area under increasing British influence. Shaw argued that a shorter name would simplify both administration and international recognition at a time when Britain was expanding its colonial presence in West Africa.

Derivation from the Niger River

Shaw’s name derived from the River Niger, the great waterway that flows through present-day Guinea, Mali, Niger, Benin, and Nigeria before emptying into the Atlantic.

The origin of the word “Niger” itself remains debated. Some scholars trace it to the Latin “niger,” meaning black, a term used by early European geographers to describe the dark waters or the people along the river. Others suggest it came from a local Tuareg phrase—often cited as egerew n-igerewen—used by peoples along the middle reaches of the river. Because neither explanation can be proven conclusively, historians generally present both as plausible.

Pre-Colonial and Early Colonial Descriptions

Before 1897, Europeans referred to the area with a variety of names:

“Central Sudan” or “Niger Sudan,” reflecting its location south of the Sahara.

“Hausa Territories,” in reference to the influential Hausa city-states of the north.

“Niger Empire,” used loosely in nineteenth-century travel literature.

These labels highlighted powerful pre-colonial polities such as the Sokoto Caliphate, Oyo Empire, Benin Kingdom, and others, but none captured the entire territory in a single term.

Colonial Context and the 1914 Amalgamation

Shaw’s suggestion came at the height of British colonial expansion in West Africa. By 1900 the British government had proclaimed the Protectorates of Northern and Southern Nigeria, formalising its control over the region.

In 1914, Sir Frederick Lugard—by then Shaw’s husband—oversaw the amalgamation of these two protectorates to form the Colony and Protectorate of Nigeria. The name proposed by Flora Shaw seventeen years earlier became the official designation of the new political entity.

This act of naming exemplified a broader colonial pattern: compressing diverse ethnicities and kingdoms into a single administrative unit for imperial convenience. While the name “Nigeria” would later become a source of national pride, it originated as a tool of British governance.

Path to Independence and Enduring Legacy

The name endured through decades of colonial rule and into the era of nationalism. When Nigeria achieved independence on 1 October 1960, the colonial label became the name of the new Federal Republic of Nigeria, symbolising a modern state forged from many peoples and histories.

Over a century later, “Nigeria” remains more than a geographical term. It is a reminder of how colonial encounters shaped modern African identities and of how Nigerians have since infused the name with their own meanings of sovereignty and unity.

Key Timeline

Pre-1897: Region variously described as Central Sudan, Niger Sudan, Hausa Territories, Niger Empire.

8 January 1897: Flora Shaw publishes the article “Nigeria” in The Times of London.

1900: British government consolidates territories as Northern and Southern Protectorates.

1914: Lugard oversees the amalgamation; the name “Nigeria” becomes official.

1 October 1960: Independence as the Federal Republic of Nigeria.

Sources
Flora Shaw, “Nigeria,” The Times (London), 8 January 1897.

Lord Lugard and Flora Shaw

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Lancelot Oduwa Imasuen: The “Governor of Nollywood” and Champion of Edo Culture

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Lancelot Oduwa Imasuen, fondly nicknamed “the Governor of Nollywood,” stands as one of the most influential voices in Nigerian cinema. Over three decades, the Benin-born filmmaker has combined prolific creativity with a deep commitment to preserving the heritage of the Edo people while shaping Nollywood into a globally recognised industry.

Early Career and Entry into Nollywood

Imasuen’s professional journey began in 1995, during Nollywood’s formative years when the home-video boom was transforming Nigeria’s entertainment landscape. Driven by a passion for storytelling and a keen eye for social commentary, he quickly rose through the ranks as one of the industry’s most energetic and visionary directors.

Prolific Directing and Landmark Films

Often described as one of Africa’s most productive filmmakers, Imasuen has directed and produced well over 100 films, spanning drama, comedy, historical epics, and social thrillers. Among his most acclaimed works are:

Issakaba (2000–2002) – the cult classic vigilante series that became a household name across Nigeria and West Africa.

Games Men Play (2006) – a popular drama exploring contemporary relationships and urban life.

Adesuwa (2012) – a lavish Benin Kingdom epic that earned critical praise and several major awards.

Awards and International Recognition

Imasuen’s historical drama Adesuwa was a landmark achievement, winning three awards at the 2012 Africa Movie Academy Awards (AMAA), including Best Nigerian Film, and earning nominations for Best Director and Best Costume Design. These accolades confirmed his reputation for combining cultural authenticity with cinematic excellence.

(Sources: Africa Movie Academy Awards archives; Premium Times, “Adesuwa wins big at AMAA 2012,” April 2012)

Champion of Edo Culture

Beyond entertainment, Imasuen has become a leading ambassador for Edo culture and the Benin Kingdom’s heritage. Through films like Adesuwa and numerous other projects, he has brought the grandeur, history and traditions of his homeland to national and international audiences, ensuring that indigenous stories remain central to Nigeria’s evolving film narrative.

Legacy and Continuing Influence

With a career that spans over 30 years, Lancelot Oduwa Imasuen remains a guiding force for younger filmmakers. His ability to blend cultural pride with universal storytelling has helped Nollywood transition from a local video market into a globally recognised cinematic movement. For aspiring directors, his career demonstrates how African filmmakers can honour their roots while captivating audiences worldwide.

References
Africa Movie Academy Awards archives, 2012.

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PHOTOS: The Death of Alhaji Adegoke Adelabu The Peculiar Man of the Masses a.k.a Penkelemesi, 1958

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Do you know about a man in IBADAN called ADELABU?

One of the places you must endeavour to visit in the historic town is Taj Mahal in Oke Oluokun. That’s the residence and final resting place of Alhaji Adegoke Adelabu, the Lion of the West.

Adelabu needs no introduction. He was the afternoon star that scared the elderly.

He was the morning dew that drenched both friends and foes. It’s almost 61 years ago of his death, but he refused to be forgotten. For those who are not familiar with Penkelemesi.

Gbadamosi Adegoke Adelabu died at his prime (Age 43).

Lagos was stuned. Nigeria went into a state of shock the whole of Ibadan stood still.

His Yoruba was flawless. His English was impeccable. Adelabu was not the one to mix Yoruba with English in the same sentence.

Though small in stature, he was intellectually a giant. With his brilliance, he dazzled and dwarfed his peers.

He dressed and appeared like a rustic villager. He never seemed to smile, not to talk of laugh. His Yoruba was devastating in pithiness and sarcasm. He knew how to leave every audience with a phrase that could not be forgotten.”

His Lebanese friends, the *Younan family*, saw his appointment as a golden opportunity to market the Penkelemesi brand.

It was decided that textile materials bearing Adelabu’s image and name be produced and sold. It was expected that the cloth would also serve a subtle campaign strategy for Adelabu who was aiming to become the premier of the West.

When the first shipment arrived, neither Adelabu nor the Younan family, expected what happened. They had expected sale to be slow and gradual.

To their pleasant surprise, the Penkelemesi fabric became an overnight bestseller. It became the social uniform, not only in Ibadan but throughout the Western Region.

According to Iya Agba, textile merchants were using the cloth to sell other brands. You must buy another brand before “Aso penkelemesi” could be sold to you.

Tailors were praying daily for Adelabu. There was no tailor in Ibadan that did not get one or two yards to sew from the fabric.

The Younan family did not wait for the stock to run out before the second shipment was ordered. It also recorded massive sale.

This time around, Idumota traders and Onitsha merchants joined the bandwagon. The Lion of the West was the toast of the moment. He was not only a successful politician; he had also demonstrated that he was business savvy.

With the 1956 elections approaching,

He was confident of becoming the premier,

His business partners were also confident. It was decided that in addition to the penkelemesi cloth already in the market, a special cloth should be ordered for his inauguration as the premier.

The cloth was indeed special. It showed Adegoke Adelabu as the Premier holding the keys to the Western House of Assembly! It was going to be a hot cake.

To finance the project, Albert Younan obtained a loan from African Continental Bank (ACB).
Adelabu had however not taken into consideration the political wizardry of Obafemi Awolowo. As fate would have it, it was Awolowo who became the Premier.

You want to know what happened to the cloth already ordered?

“You are not the only one. The management of ACB also wanted to know” More importantly, the bankers wanted to know how the Younans were going to repay the facility. Yet the cloth could not be sold as Adelabu did not become the premier. Albert Younan found himself in a financial jeopardy.

On March 24, 1958, Younan sent a desperate message to Penkelemesi. It was a plea for help. The bank was on his neck. He had been given a final deadline by the bank. Adelabu decided to assist his friend by following him to the head office of the bank in Lagos to plead for further credit.

He bade his family farewell and promised to be back before evening.

He was assured that his request would be considered. Younan was happy. Adelabu was happy. He went off to see Okotie-Eboh.

It was on the return journey to Ibadan that the unthinkable happened btw Ode-Remo and Iperu. Albert Younan was the one driving the ash-grey Peugeot saloon car. Adelabu was seated beside him. Two of Adelabu’s aides were also in the car.

Without warning, the Peugeot collided head on with a light yellow Austin which was on its way to Lagos. Other three died but Younan survived.

The following morning when his death became the headline news “Adelabu Is Dead” announced the Daily Times.

It was a day RED LETTER DAY to the whole of western region.

*Kingsley Ozumba Mbadiwe* presented a coffin to the family on behalf of his political party, the NCNC.

This brought about the yoruba abuse “Olori gbo’ro bi posi Adelabu” because the casket looks long and robust (special)

Adelabu died on Tuesday March 25th 1958 and was buried on Wednesday

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