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Emmanuel Osiebe out with “Dance city”

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Emmanuel Osiebe aka OSHA, ceo Groove Control has unveiled the first ever dance movie in Nigeria. The award winner in both Dance Choreography and Fashion-Modeling with years of experience in events and programs (live and recorded)will wow movie lovers with his initiative, dance movie. Osha is unarguably Nigeria’s foremost dance and fashion choreographer. He started the popular trend of using props in dance routines and medley of songs with sound effects in performances in Nigeria.


Born in Manchester, England; he began dancing when he was 12 years old; at that time it was for the fun and for the love of it. He later moved into professional dancing, modelling and choreography; and since then he has not looked back; training and grooming fashion models and dancers, handling choreography for dance and fashion projects, runway, photo shoot direction, creative direction, content development and back stage management.


From doing the first ever dance video (hip-hop/break dance) with Oby Onyioha in Nigeria, OSHA has worked with top artistes like Alex O, Mike Okri, Majek Fashek, Tyna Onwudiwe, Lagbaja, Weird Mc, Zdon, Tuface, Sonny Okosun, Salawa Abeni, Dele Tiawo, Dayo kujore, Daniel Wilson and a host of others till this date. He is also respected for the fact that most of the (dance) videos he choreographed won awards.


Osha has also be making his mark in the fashion industry working on top creative events/projects like the African fashion week Nigeria 2x, Fayrouz l’original expression, Meet the models, St Moritz style selection 3x, This day fashion show 2x, Silver bird model search, Most beautiful girl in Nigeria 2x, Miss Nigeria 2x, Beauty of Africa Intl pageant 3x, Miss malaika 3x (kora), Miss Nigeria independence Uk beauty pageant. And worked with top international designers like Zizi Cardow, Adebayo Jones, Tiffany Amber, Ade Bakare, Jesse Jabari, Ejiro Amos Tafiri, T Bally, Deola Sagoe, Data Okorodudu just to mention a few.
Groove Control (Events Planners)a registered company that deals with entertainment, creative projects and film are the proud owners of the forth coming dance city. And are motivated in creating innovation, positive trends and empowering individuals.
Dance city is a celebration of dance, music, art, fashion, photography, ideologies, experiences, communication, philosophies all enhancing the possibilities of life’s experiences.


The movie is scripted in such a manner that product placement sponsors can be a part of it; while interested dancers, models and upcoming recording artistes can also come on board by logging on
www.dancecity.me


In anticipation for the great project, auditions for dancers, models and upcoming recording artistes would come up in Abuja, Akwa Ibom, Bayelsa, Benin, Calabar, Lagos and Port Harcourt.
Speaking about the initiative, OSHA calls Dance City the marriage of Dance, Fashion and Music. “We already have the support of Denrele Edun the OAP and God of the red carpet, DJ Jimmy Jatt
who OSHA calls the world famous musicologists of the turn table; and certainly Zizi Cardow our multi award winning, internationally known and respected fashion designer whose works has graced many fashion weeks and international media”.
The originator of Dance city, OSHA will be supporting two NGOs.
According to him, in many parts of the world, the loss of a husband is just the first in a lifetime of tragedies a widow must endure. Widows can be stigmatized, stripped of their inheritance and property rights and denied the chance to find work. Neglected by authorities and overlooked by researchers, they are often invisible, left to raise their children and care for their relatives in poverty. So we will be supporting the Advocacy for widows empowerment foundation (Adwef).

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SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

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SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

 

As a film student, my evaluation of Seven Doors, the Netflix mini-series produced and directed by Femi Adebayo and others, may differ from the general audience’s. While the audience is integral to the film’s meaning, my academic perspective allows me to appreciate the cinematic craftsmanship that underlies the narrative.

Unarguably, in the same way that auteur theory highlights the director’s creative vision and Schreiber theory emphasises the screenwriter’s role, mise-en-scène theory underscores the art director/production designer’s contributions to the film’s visual language.

The art director/production designer plays a crucial role in creating the mise-en-scène, encompassing settings and props, costumes, facial and body expressions, lighting and colour, and character positioning within the frame. Therefore, the art director of Seven Doors, Olatunji Afolayan deserves a special recognition for designing visual elements that evoke nostalgia and cultural memory.

That you may know, the vintage chinawares and floral metal bowls in Seven Doors are props and carefully designed elements that contribute to the film’s visual composition and spatial relationships. The mural and sculptural designs are creatively etched on the walls and plotted to depict the period piece seamlessly. The choice of architectural designs (constructed or adapted) is a brainchild of the art director’s attention to detail when selecting these props, which helps create a sense of realism and authenticity.

An art director is said to be a “master of visual storytelling, a weaver of worlds, and a conductor of the cinematic orchestra.” The look, feel, mood, and colour pallets that connect all the departments are designed by an expert—the art director. Olatunji Afolayan’s technical depth and prowess are the apparent signature of Seven Doors. Without Afolayan’s ‘dirtied hands’, Seven Doors would remain bald and bland.

In conclusion, the art director/production designer is an essential member of the filmmaking team, and their contributions to the mise-en-scène deserve recognition. Olatunji Afolayan’s work in Seven Doors is a testament to the importance of the art director/production designer in creating a visually stunning and engaging film.

Undoubtedly, Olatunji Afolayan is the god of mise en scene in Seven Doors.

Steven Anu’ Adesemoye

SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

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Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

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Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

 

The mother of Nigerian Afrobeat sensation Ayra Starr has sent social media into a frenzy with a playful revelation about having a crush on someone who, humorously, calls her “mummy.” In a video that quickly went viral, she expressed her excitement about the possibility of meeting her crush at Ayra Starr’s upcoming show on Christmas Day.

Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

Captioning the video, Ayra Starr’s mother wrote: “Wahala, my crush is calling me mummy. Anyways, we will meet at Ayra’s show on the 25th.” Her candid and lighthearted confession immediately captivated fans, sparking a wave of speculation about the identity of her mystery crush.

Many have taken to social media to guess the individual who has captured Ayra Starr’s mother’s affections. A popular theory among fans is that the crush might be none other than Don Jazzy, the renowned Nigerian music mogul and the boss of Ayra Starr’s record label, Mavin Records. However, Ayra’s mother kept the identity of her crush under wraps, leaving fans to wonder and eagerly anticipate any clues that might surface.

As the excitement for Ayra Starr’s Christmas Day show builds, fans are eagerly awaiting the event, with many now watching closely to see if Ayra’s mother’s cheeky prediction about meeting her crush will indeed come true.

Stay tuned for updates and watch the video below as the mystery continues to unfold!

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Tiwa Savage Reveals Divorce Struggles: “It Made Me Depressed and Turned Me Into the ‘African Bad Girl'”

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Tiwa Savage Reveals Divorce Struggles: "It Made Me Depressed and Turned Me Into the 'African Bad Girl'"

Tiwa Savage Reveals Divorce Struggles: “It Made Me Depressed and Turned Me Into the ‘African Bad Girl'”

 

Nigerian music sensation Tiwa Savage has opened up about her turbulent divorce from Tunji “TeeBillz” Balogun, sharing deeply personal insights about the emotional toll it took on her life and career.

Tiwa Savage Reveals Divorce Struggles: "It Made Me Depressed and Turned Me Into the 'African Bad Girl'"

Speaking candidly on The Receipts Podcast, the 44-year-old Afrobeat star reflected on the heartbreak of her 2018 separation, which she revealed was exacerbated by her struggles with postpartum depression and public backlash.

“I Was Nigeria’s Sweetheart”
Tiwa described how her rise to fame was met with widespread admiration, as she followed what she called the “perfect path” of societal expectations.

“When I started, I was Nigeria’s sweetheart. I could do no wrong. I went to university, got married, had a baby — everything by the book. But then everything came crashing down, and I became the target of criticism,” she said.

The separation, which TeeBillz announced online, marked a turning point in Tiwa’s life. Despite not initiating the breakup, she recalled being vilified in the media and by the public.

“I Was Told I’d Never Win”

Tiwa revealed how the overwhelming criticism pushed her into a dark place. “At the time, my baby was just a few months old, and I was already dealing with postpartum depression. My body wasn’t the same, and I was depressed. But instead of support, people attacked me,” she shared.

After attempting to tell her side of the story in a public interview, she faced even more backlash.

“People said, ‘How dare you go and talk? You’re a woman, and you’re supposed to hold the home together.’ Famous people called to tell me I’d never win, and it was my fault because I was a woman. It was heartbreaking,” Tiwa recounted.

 

Reinvention as the “African Bad Girl”
The constant criticism and emotional pain led Tiwa to transform her image and embrace a bolder persona.

“It made me depressed for so long, but it also made me angry. I thought to myself, ‘If I did everything right and still got attacked, why should I bother?’ That’s when I became the ‘African Bad Girl,’” she said.

Tiwa explained how she began to rebel against societal norms, opting for tattoos, shorter skirts, and bikinis. “I was just wild. It was my way of coping and reclaiming control of my life after being judged for so long,” she added.

Despite the challenges, Tiwa’s resilience and reinvention have made her an enduring icon in the global music scene, solidifying her place as a trailblazer in African entertainment.

The revelations highlight not only the personal cost of fame but also the cultural pressures that women in the spotlight often endure. Through it all, Tiwa continues to inspire, proving that reinvention is a powerful tool for survival and success.

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