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BAYO ADEBOWALE-A GREAT AFRICAN WRITER!!


BAYO ADEBOWALE-GREAT AFRICAN WRITER

Showing posts with label YORUBA LANGUAGE. Show all posts
Showing posts with label YORUBA LANGUAGE. Show all posts

Tuesday, December 27, 2011

SAVE YORUBA LANGUAGE! -BUY ALL YORUBA PUBLICATIONS EVEN IF YOU ARE ABROAD!- ALAROYE NEWSPAPER IS SAVING YORUBA LANGUAGE!- THE FOUNDER ALAO ADEDAYO TELLS HOW HE STRUGGLE TO PUBLILSH IT!- DO YOUR OWN TO KEEP YORUBA FROM DYING!

FROM yeyeolade.wordpress.com

Alaroye Newspaper IS SAVING YORUBA LANGUAGE From DESTRUCTION!-ALAO ADEDAYO FOUNDER TELLS HOW HE FINALLY SUCCEEDED IN PRODUCING A FLORISHING YORUBA NEWSPAPER ! –YORUBA IS DYING! —WHAT CAN YOU DO TO SAVE IT??-FROM VANGUARD NEWSPAPER((NIGERIA)

by
 Alao Adedayo-Founder/savior of Yoruba Language thru his GREAT newspaper Alaroye! Do Your own part and BUY it every week, get your children to read it- FIGHT TO SAVE Yoruba Language. FROM DYING!
I stumbled four times to make Alaroye a success story – Alao Adedayo
July 8, 2011
Musa Alao Adedayo, a.k.a Agbedegbeyo, is the Publisher/Chief Executive Officer, World Information Agents Limited, the publishing company of the popular Yoruba newspaper, ALAROYE. He spoke to BASHIR ADEFAKA about himself and how he stumbled four times to get it right with the vernacular paper that has today become a success story in the newspaper industry in Nigeria. Excerpt
How did you start out in life?
I am a Muslim but I am not a biased person because God Himself never loved a biased person.  But those who know me from the beginning used to call me Alao Agbedegbeyo.  When I talk of people who know me from the beginning, they are people from the  70s, early 80s and so on.
I came from Abeokuta to Lagos in 1980 doing Ewi (lyrics) artist.  In those days as an Ewi person, you must be attached to a particular musician and I was with Dele Abiodun, who was like my master.  Ewi was like side-attraction at a show and it would come on stage while the musician and his band members were taking a rest.
I had also participated in some dramas through the likes of Jide Kosoko, Ishola Ogunsola, (Dr. I. Show Pepper) and Adebayo Salami (Oga Bello).  It was because of the Ewi that I used to present in those days that Jide Kosoko would always come to Dele Abiodun’s shows.  He would say to me, “Alao, we are having an outing somewhere and I want you to perform your Ewi there,” and I would say no problem.
How did Ewi correlated with the broadcaster that you were?
By and large as God would have it, through that channel, as I have mentioned before, I became a broadcaster.  Sometime in 1979, Radio Lagos started a programme called, Kebuyeri, which was mainly for the Awada Kerikeri group that was then run by Adebayo Salami popularly called Oga Bello.  We went to a show at Ebute Metta and Adebayo Salami and his group members had also come to that show.
It was there he saw me and said, “Ah, Alao! Radio Lagos has just given us a programme and we want you to be in it” and I said no problem.  We didn’t even discuss money because what was more important to us at that time was the job.  That was how we started the programme and it became overwhelmingly popular turning me into a celebrity.
Behind that programme, a plan was going on by the management of Radio Lagos and the producer of the programme, Adebayo Tijani, communicated to me that management was talking about me and that was how I became a newscaster with Radio Lagos reading Yoruba news at that time.
I left Radio Lagos in 1981, which was a real year of politicking in the country.  Then, Radio Nigeria Ikeja which was established within that time was located in Ikoyi and in fact when we were there, we were always abusing and calling them, “Agberekusu f’ohun Ikeja” that is, people who were on the Island claiming to be speaking from Ikeja (laughs).  I eventually found myself at the Radio Nigeria Ikeja and later NTA but I did not stay long before I left.
When you left service, where did you go?
When we joined broadcasting, most of us did not get the job because of our educational qualifications and so, when I left the NTA, it was an opportunity for me to now go and improve myself, which then took me to the Nigerian Institute of Journalism (NIJ) and then the universities for my first and later second degrees.
How did Alaroye come into the show?
It was in May 1985 when I was 25 and while I was still working as a Yoruba newsreader with the NTA that I decided to try my hands in publishing, which brought about the Alaroye.  Between May and October of 1985, I was only able to publish four editions of the tabloid that was meant to be weekly.  I was doing it alone because I had no such money to hire people.   It thus became a staggered publication because it was a one-man’s idea and as a result, no prospective partner was willing to support or invest in the business.  It was also like that because Yoruba newspaper business at that time was seen as a barren land.  So, naturally, it died.
Further effort was made at resuscitating the paper in 1990 but it couldn’t get to the vendors,  though it was being published. It was to be launched that year so that some funds could be raised. On the day of the launching, a prominent member of the community who was a friend of both the chief launcher and chairman, Lai Balogun, died. So it was a wrong day for the Alaroye’s show as the whole community was thrown into mourning and no one remembered the launch.
In 1994 when I made the third attempt at the publication, I was convinced that Alaroye would one day emerge a success story because, for four weeks, I was able to publish the weekly paper consecutively and throughtout the period,  it was well circulated and generally accepted.
And because I had acquired more knowledge about all it required to make a successful print media, Alaroye was able to stand and  able to meet the standard of a newspaper. Yet, it couldn’t go far because I could not raise the required fund to keep it going.  And for two years, it remained like that until July 2, 1996, when we were able to revisit it and tried our best to make it what it is today.  That was the fourth attempt and it has now come to stay.
I thank God that today, Alaroye is seen not as a happenstance, but a planned revolution in the newspaper industry in Nigeria.  And it is so because, no Yoruba newspaper has been so successful because most of the earlier issues, people have said, were translataion of English newspapers or repetition of news items already carried on radio and television.
Alaroye is original for its thorough analysis, research works and investigative journalism that many have appreciated as having put the newspaper on a very high pedestal. It informs, educates, entertains and analyses events as they unfold through the Yoruba culture. For this, it circulates in Nigeria, wherever Yoruba domicile, with the print run sometimes as high as 150,000 copies per week.  I have the reason to really thank God today because, in Nigeria, particularly among the Yorubas, Alaroye is a language. It is the culture.
The Conference of Yoruba Leaders showcased by your newspaper, which debuted in 2002, hasn’t seemed to produce any result considering the fact that Yorubas are still intolerably disunited.  What is the problem?
The problem we have in Yorubaland is the way we play our own politics.  What Alaroye is trying to do is to serve as a bridge to bring all the leaders together.  There is need for a connecting point, which will connect all Yoruba people with one another.  We have very, very intelligent, well exposed and highly patriotic sons and daughters of Yorubaland.  We cannot run away from the fact that we are Yorubas; we had been Yoruba people before Nigeria and we will remain Yoruba people within Nigeria.
Yes, political party differences are there but we should be able to know that there is difference between politics and governance.  So, during election, you can abuse and criticize yourselves but once election is over, issue of governance becomes the central point while politicking is set aside for another election season.  And if you are the governor, you should see yourself as the father of all, as the head of government and people should see the governor beyond his party but as the leader that all of us should relate well with as one of our own.
In the year 2002, I went to Papa Abraham Adesanya and I said to him, “E ma bawon se oselu.  Ema bawon da si oro oselu.  Asiwaju Yoruba ni ki’e je” (That Papa should not be part of politics other Yorubas played but that he should be okay with himself as Leader of the Yoruba Nation).
He asked me why.  We talked a lot about it and he agreed with me.  Not only that I went to discuss it with him, we made it a critical editorial issue, which some of the Afenifere members then responded to.

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Thursday, May 13, 2010

"ARUGBA"-TUNDE KELANI'S LAST GREAT YORUBA FILM!-UPDATED WITH ALL ARTICLES ABOUT IT DAILY!

FROM yeyeolade.wordpress.com \"BLACK IS BEAUTIFUL!" BLOG-

“ARUGBA”,TUNDE KELANI’S GREAT YORUBA FILM,A LANDMARK IN YORUBA FILMS PREMIERES-FROM THE SUN NEWSPAPER,NIGERIA JULY,2008


By Yeye Akilimali Funua Olade

from thesunlonline.com



Sunday, July 20, 2008



ARTSVILLE

BY TOYIN AKINOSHO



Kelani Caricatures OBJ In Arugba

THERE’s no mistaking the parody of former President Olusegun Obasanjo in the action of Peter Badejo’s character in Tunde Kelani’s newest film, Arugba, screened at the University of Ibadan’s Arts Theatre last Wednesday.



In the presence of Obasanjo’s close aide, Afe Babalola, who was guest of honour at the event, one of the series commemorating the University’s 60th anniversary, Kelani presented the story of a king of an imaginary small town, somewhere in Nigeria’ s southwest, who makes a loud splash against corruption, rigorously prosecutes an economic reform and handily welcomes foreign investors. But the word on the street is that the fruits of the reform don’t trickle down, the Kabiyesi deeply distrusts people, including his assistants, believes in his own gut feeling and has enough weakness for women to compromise on his own core principles. The leadership portrait emerges as the key subplot in a love drama featuring the Arugba, the virgin who carries the sacrificial calabash during the Osun Osogbo festival and a young dancer intent on winning her. Bukola Awoyemi is fresh as a sea breeze as the Arugba and the movie benefits from its wide array of experienced stars, including Lere Paimo, Kareem Adepoju, Bukky Wright and Badejo, himself an accomplished artiste, who is making a debut in Nigerian movie project. There’s applause for Segun Adefila’s choreography and his direction of the winsome Crown Troupe in segments that feature as drama within the drama. But Adefila’s portrayal of the Arugba’s suitor is rather casual and comes up rather plain in this gripping, fast paced feature. Kelani is a brilliant arranger of pictures (the sequencing is consistently neat) and an ardent promoter of the Yoruba worldview. He’s also a gadgetry freak. The film is shot in High Definition format (with Panasonic P2 HD/DV) which can be outputted in 35-mm celluloid print. “The technology is getting more exciting,” the filmmaker enthuses. Arugba feels, like most TK’s other films, an intimate story telling, something gorgeous for the family around the dining table at home. But what stops this outstanding filmmaker from reeling out a grand, sky hugging, vast vista of a movie, with crowds that actually look like real crowds in big festivals, with festival rehearsal scenes that are close to frenetic preparations that actually happen before a mammoth feast like Osun Oshogbo’s, with picturesque sites that are comparable with Osun groves, and an airy landscape that take the movie outside of intimate, family drama? At the height on which he stands in African cinema, Kelani can raise the money for such a movie.



Osofisan, Ishola Tackle Fagunwa On Stage



THE playwright Femi Osofisan is directing the play Langbodo, Wale Ogunyemi’s adaptation of Daniel Fagunwa’s epic novel, Ogboju Ode Ninu Igbo Irumole. Akinwunmi Ishola, the professor of Yoruba studies, will be directing a stage adaptation of the same novel, in Yoruba. Osofisan is running rehearsals with his cast in Ibadan, whereas Ishola has camped his actors in Ile Ife. The premiere is August 15, in Lagos and there will be performances in Lagos, Ibadan and Abuja. It seems likely that the Yoruba performances will run on stages in some key southwest cities. Chams, the electronic card company, is the sponsor.



CORA Holds Book Editing Workshop In October



THE Committee For Relevant Art (CORA), working in partnership with Bookbuilders Editions Africa, is hoping to bring back Dan Izevbaye, emeritus professor of English as well as Gbenro Adegbola, CEO, Evans Brothers, to address participants at the 3rd Workshop On Book Editing, which holds from October 22 to 24, in Lagos. “The two are quite popular with our participants,” says Chris Bankole, head of Book Builders and the workshop’s leading facilitator. “Everyone wants to hear Prof Izevbaye talk about editing a novel and everyone wants to hear Gbenro speak on the publishing process.” The Workshop On Book Editing was started last year for the purpose of developing a generation of fully trained book editors who are expected to energise the book industry. Participants are given a general overview of the editorial process, initial assessment of a book, copy editing, substantive editing, science editing, proof-reading, indexing, grammar and usage, cliches, Nigerian malapropisms. The workshop looks at the challenges in editing creative writing, both of children and adult fiction and has a do-it-yourself segment. Participation fee is N20,000.



ANA Pairs T.M. Aluko With Mandela At 90



THE Lagos Chapter of the Association of Nigerian Authors (ANA), wants to celebrate TM Aluko’s 90th birthday by visiting him at home to read from his works as well as from writings of the South African sage Nelson Mandela. It’s not clear why Chike Ofili, the chapter’s chairman wants a pairing of the two men, in Aluko’s Apapa home, on July 26. Other than sharing the same age, the two grandfathers don’t come across as having similar priorities in the prime of their lives. Mandela is not a writer; his Long Walk To Freedom is a product of an extensive interview after 27 years in jail. Aluko did not lead a rebellion, although one of his novels, Conduct Unbecoming is a substantial effort at illuminating where Lagos went wrong and how a once carefully governed city ended up a chaotic urban sprawl whose leaders interprete the phrase ‘mega city’, as something hip when really it means uncontrollable. But you have to give it to Ofili. He looks for material where there appears to be none, just to keep the society, ANA in the public consciousness. He had actually led a team of writers to Pa Aluko’s house on the day of his birth, which was June 14. “Aluko, like Ekwensi, hasn’t been properly attended to in terms of literary scholarship,” Ofili says. “On July 26, we are giving him a home delivery.” Ofili is scouting for those who have Mandela’s writings and any South African resident in Nigeria who happens to be a culture enthusiast. His contact is chikeofili@yahoo.com. He also appeals to ANA members who are 50 years and above “to be there by 2pm to partake in celebrating longevity in this season of deaths in the art family.”



© 2003 – 2007 @ Guardian Newspapers Limited (All Rights Reserved).



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This entry was posted on September 20, 2008 at 9:30 am and is filed under AFRICA, BLACK CHILDREN, BLACK CULTURE, BLACK MEN, BLACK NATIONALISM, BLACK PEOPLE, BLACK WOMEN, BLACKS IN AMERIKKKA!, THE BLACK RACE, TUNDE KELANI-GREAT YORUBA FILM MAKER, YORUBA FILMS. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.



10 Responses to ““ARUGBA”,TUNDE KELANI’S GREAT YORUBA FILM,A LANDMARK IN YORUBA FILMS PREMIERES-FROM THE SUN NEWSPAPER,NIGERIA JULY,2008”

Bisi Afrika Says:



October 16, 2008 at 4:23 pm
Reply

hello, i will like to say well done to the master of all filme maker in nigeria today, which is TUNDE KELANI and TADE OGIDAN, they are mt role model because they produce and direct. Anythings you guys do i think is the best.



I use to appreciate people like LATE YOMI OGUNMOLA, MUYIWA ADEMOLA, ANTAR LANIYAN, ABBEY LANRE, SAHEED BALOGUN and my youngest Directoe and producer KUNLE AFOD.



As for me i will like to a great Script Writer & Producer Like TADE OGIDAN & TUNDE KELANI



Yoruba films is best.



Bisi Afrika Says:



October 16, 2008 at 4:30 pm
Reply

To Mr. Tunde Kelani and Mr. Tunde i will like to have their contact, is very important to me, because i want to know more about you people and i also have a gift of write a good story.



Sir, i need your support by getting your phone No. or email address.



This is my own phone No.08051841122, 07025448278 or E-mail address bisioneesa@yahoo.com



Thanks.



Yeye Akilimali Funua Olade Says:



October 17, 2008 at 12:11 pm
Reply

Bisi Afrika,will send this to T.K. at his e-mail and he will reply you- oda? O se o.



olabode odeyemi Says:



November 6, 2008 at 10:06 pm
Reply

you’ve been known to produce GOOD FILMS,baba,one day our film will win an oscar award.this i pray .amen



Wilson Says:



November 23, 2009 at 5:31 am
Reply

Hi,

can u pls link me up with Olabode Odeyemi, we went to high school together and have lost touch for over 21 years. I currently lives in Philadelphia USA. Thanks



adekunle abiola Says:



November 8, 2008 at 11:03 am
Reply

Kudos, Baba! I must say i know arugba will be a blockbuster like any of your films. Cant wait to see it, I really need to cause i need it for my project. Be good to inform me when u’re showing the film in any cinema in nigeria, pleeeeeease. Sky is ur beginning sir, Long life!



Durowade Najeem Olarewaju Says:



April 14, 2009 at 9:41 am
Reply

I think the movie industry can strive better with the likes of Tunde Kelani and Tade Ogidan being in the administative post.I mean they are just too great.I think that’s why you don’t see them producing movies anyhow like most of our young producers.They are the ICON of our time in Yoruba land.



oye Says:



December 7, 2009 at 9:53 am
Reply

Uncle TK,

Well done sir.

ls when will arugba get into the market for us to have in our homes?

Rgrds



Flint Says:



January 15, 2010 at 4:01 pm
Reply

why are we african so obssessed to win an oscar, this goes to say we still do not believed that what we have is the best, we wait on the white man to approve it first before we believe it is good enough. What is with this winning oscar of a thing, by the way the oscar is not even a world award it is a hollywood award with just a section for best foriegn language movie, now does that translate to a world award, why can’t we take pride in what is ours, why can’t the amma(african movie academy award) be the highest award and honour to an african film maker, why must we always think that what we have is not good enough until the white says it is good enough, i believe the amma is what all africans should be hoping and wishing their film makers to win as their best and highest accolade.Before i forget i love tunde kekani’s work and i believe arugba is one of his best works.



oluwatoyin Says:



February 6, 2010 at 10:42 am
Reply

hello,my name is toyin Akinrosoye am a scritwritter am i want to lent how to direct a yoruba films,sir help me out

77777777777777777777777777777777777777777777777777777777777777777777777777777777777777777

FROM TUNDE KELANI'S BLOG
tundekelani.blogspot.com

Tk's Notebook


Wednesday, February 18, 2009

ARUGBA Goes Mobile



Right now, I feel like a recalcitrant, sober, itinerant husband creeping into bed after a long, unexplained absence from the matrimonial home. I cannot explain it and I am not going to try but why is writing sometimes so tedious? I envy writers who have to write with deadline looming all the time. They are nothing short of super humans. However, they continue to be my inspiration and hopefully they will dash me some more to write regularly. One thing for sure is that there is enough to write about as we embark on the special screenings of Arugba, our latest film in fifty seven local government councils and development areas of Lagos State. I can confirm authoritatively that it is a reality. It was flagged-off yesterday 17th February, 2009 with a packed press conference held at the Press Centre of the Lagos State Secretariat. My speech follows.

Ladies and gentlemen of the press, we are gathered here today to flag-off a very important journey, a set of premieres of our latest film Arugba in each local government and development area of Lagos State.

Physical contact with the audience is a filmmakers delight and this opportunity to observe and interact with the audience of Arugba is most appreciated. I must therefore acknowledge the visionary leadership of His Excellency, Governor Babatunde Raji Fasola, the Executive Governor of Lagos State for providing this opportunity to screen the film Arugba in each of the 57 Local Government councils and development areas of Lagos State. By doing so, the Lagos State government is opening up an important communication channel between the government and the governed. This feed-back channel, in accordance with modern approaches to governance will avail government a vital insight into the feelings of the people of Lagos State. Modern approaches to governance puts a lot of emphasis on interactivity as interactivity with the governed ensures inputs from the people in the governance process. True development cannot be achieved without the input of the people, after all, development is fundamentally about people. This set of screenings will surely fulfil this important purpose.



I am delighted to inform you that Arugba has been selected in competition at the approaching Pan African Film and Television Festival FESPACO 2009 holding in Ouagadougou, Burkina Faso from 28th February to 7th March, while The Women of Color Arts and Film (WOCAF) Festival in Atlanta, Georgia, USA has already programmed the film to feature at this year’s festival from 19th March to 22nd March, 2009. For me however, it is gratifying that we have this opportunity to show the film to its primary audience before it goes out to the international community.

The Film Arugba is yet another effort to state a case for our language and culture in a fast globalising world. It touches on wide ranging issues such as gender equality, HIV/AIDS, good governance and many other contemporary issues, all within the context of traditional

and contemporary Yoruba culture. The heroine moves smoothly between the two sides of the same culture coin, functioning as the votary maid in the traditional Osun festival yet, a key figure in her secular University. She combines traditional virtues of chastity with modern life skills that enables stand against the distractions of modern living.

Ladies and gentlemen of the press, I invite you to join me in flagging off the screening of Arugba in the 57 Local government councils and special development areas of Lagos State.

Posted by Tunde KELANI at 11:01 AM Labels: Arugba

6 comments:

Iredotp said...

I am excited about the film 'Arugba' and just can't wait to watch the complete movie. I tends towards the cultural(not surprising as I am a reporter on the arts and culture desk)I believe the society will be better if we are able to go back to our cultural values which has been eroded by colonialism and the greed of our current crop of 'rulers' who can not speak the truth!

March 18, 2009 7:55 AM

The y river said...

I love this too.

March 18, 2009 8:23 AM

yelebalogun said...

This post has been removed by the author.

April 4, 2009 8:19 AM

yelebalogun said...

I grew up knowing my first interest to be in acting more because Baba Ade-Negro's Theatre Group were rehearsing close to my family house in Ado-Odo then in late 1970s.

Today, as an experienced screen writer, actor and producer, I featured in "Arugba" as Pastor, I felt on top of the world.

TK's contribution to Nigerian, African and by extension global film industry is immesurable.

Well done Baba.

You are our pride.

Yele Balogun, the producer of "Aramanda" (The Amazing God), directed by Jare Adeniregun, acted the role of Pastor in "Arugba".

April 4, 2009 9:41 AM

Bola said...

I am so dying to see this, hopefully we would get the originals here in the states, else i will have to send for it from home.

May 20, 2009 12:28 PM

Adekunle Falae said...

When Is Arugba going to be avaialable

June 7, 2009 2:59 PM

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Tunde KELANI

Blog Archive

▼ 2009 (2)

► July (1)

Ayantunji Amoo Goes Home

▼ February (1)

ARUGBA Goes Mobile

► 2007 (2)

► February (1) To Lapland And Back In Five Days

► January (1) When Reality Overtakes Art

► 2006 (1)

► December (1) Year 2006 - a retrospective...

About Me

Tunde KELANI

Tunde Kelani holds a Diploma in the Art and Technique of Filmmaking from the London International Film School, London. After many years in the Nigerian Film Industry as a Cinematographer, he now manages Mainframe Film & Television Productions, an outfit formed to document Nigeria’s rich culture. Tunde Kelani has worked on most feature films produced in the country in his capacity as a Cinematographer and Director.

View my complete profile

Thursday, April 29, 2010

LATI OWO wikipedia.org

Àkójọ àwọn olùkọ̀wé ará Nàìjíríà
Lát'ọwọ́ Wikipedia
Lọ sí: atọ́ka, àwárí
Àwọn àkóónú [bòmọ́lẹ̀]
1 A
2 B-E
3 F-K
4 L-N
5 O - P
6 R-T
7 U-Z
8 Itokasi

[àtúnṣe] A
(Abimbola Adelakun)
Aderemi Adegbite
Adam Abdulahi
Yusufu Adamu
Carol Azams
Chris Abani
Chinua Achebe (1930– )
Wale Adebanwi
Bayo Adebowale (1944–)
Remi Adedeji (1937– )
Abiola Adegboyega
Dapo Adeniyi
Mobolaji Adenubi
Kole Ade-Odutola
Kayode Aderinokun
Pius Adesanmi
Akin Adesokan
Nwaizu Charles Chioma(1982-)
Anne Omolola Famuyiwa
Sean Adetula
Toyin Abiodun
Toyin Adewale-Gabriel
Dapo Adeleke
Sola Adeyemi (1965– )
Chimamanda Ngozi Adichie (1977– )
Emeka Agbayi
Rita Aghadiuno
Tolu Ajayi (1946– )
Segun Akinlolu
Segun Akinyode
Akilu Aliyu
Odinaka Anudu
Isiaka Aliagan
Olufunmi Aluko
T.M. Aluko (1918– )
Elechi Amadi (1934– )
Ifi Amadiume
Peter Anny-Nzekwue
Ike Anya
G. O. Apata
Sefi Atta (1964– )
Babatunde Awoyele
Anne Axis
Unoma Nguemo Azuah
Nnorom Azuonye
Tunde Akinloye
Ayotokunbo Ajewole
((Rosemary Shimite Erazua-Oniha))
[àtúnṣe] B-E
Babafemi Badejo
Francoise Balogun
Biyi Bandele
A. Igoni Barrett (1979– )
Charles Bodunde
Qasim Bolaji-Ashogbon
Tubal Rabbi Cain (1964–)
Chin Ce (1966– )
John Pepper Clark (1935– )
Samuel Ajayi Crowther (1809–1891)
Olumbe Bassir
Folasayo Dele-Ogunrinde
Umaru Dembo
David Diai
Jude Dibia (1975– )
Ebereonwu
Philip Effiong
[1]

Etebom Ekpo
Michael Echeruo (1937– )
Amatoritsero (Godwin) Ede
Eyitemi Egwuenu
Victor Ehikhamenor
Cyprian Ekwensi (1921– )
Buchi Emecheta (1944– )
E. Nolue Emenanjo
Perpetual Emenekwum-Eziefule
Olaudah Equiano (c. 1745–97)
Rosemary Esehagu (1981– )
Femi Euba
Awal Idris Evuti
Chielozona Eze
Vera Ezimora
Abitogun Oladipo Ojo
Itunu-Abitogun Oyinlade Oladipo
Akinbami Oluseyi Macaulay
Aderinola Richardson (nee Aderemi)
[àtúnṣe] F-K
Daniel Olorunfemi Fagunwa
Adebayo Faleti
Toyin Falola
Healson Adedayo Farore, Sr.
Dan Fulani
Bilkisu Funtuwa
Haliru Audu
Harry Oludare Garuba (1958– )
Jumoke Giwa
Helon Habila
Obo Aba Hisanjani
Ogaga Ifowodo
Anita Omoiataman Ihaza
Rita Ihekwaba
Senator Ihenyen
Ikhide R. Ikheloa (Nnamdi)
Esiaba Irobi
Akinwunmi Isola
Uzodinma Iweala
Obi "Obiwu" Iwuayanwu
Festus Iyayi
Abubakar Imam
Oritsegbemi Emmanuel Jakpa
Femi Jeboda
Prince Joshua Olawuyi
Biodun Jeyifo (1946– )
Mike Jimoh
Samuel Johnson
Kokalu O. Kalu
Uduma Kalu
Hamzat Kassim
Sulaiman Ibrahim Katsina
Olubukola Kwegan
[àtúnṣe] L-N
Abimbola Lagunju
Obakanse S. Lakanse
Akeem Lasisi
Amina Mama
Oliver Mbamara
Ayodele Morocco-Clarke (1973–)
John Munonye
Akanji Nasiru
Uche Nduka
Austyn Njoku
Obi Nwakanma
Martina Awele Nwakoby (1937– )
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Angela Nwosu
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Godwin Ubong Akpan
[àtúnṣe] O - P
Obo Aba Hisanjani
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Iheoma Obibi
Obinna Charles Okwelume
Hyacinth Obunseh
Sunny E. Ododo
Taiwo Odubiyi
Odia Ofeimun
Chike Ofili
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Olu Oguibe
Ike Oguine
Molara Ogundipe
Samuel Olagunju Ogundipe
Tolulope Ogunlesi
Denrele Ogunwa
Omolola Ijeoma Ogunyemi
Yemi D. Ogunyemi
Ijeoma Ogwuegbu
Francis Ohanyido[2] (1970– )
Tanure Ojaide
Steve Nezianya
Bamiji Ojo
Akinloye Ojo
Olatubosun Oladapo
Gabriel Okara (1921– )
Oladejo Okedeji
Wale Okediran
Chika Okeke
Remi Okere
Niran Okewole
Christopher Okigbo (1932–1967)
Onookome Okome
Ike Okonta
Nnedi Okorafor
Dike Okoro
Rudolf Ogoo Okonkwo
Wole Oguntokun
Osita Okoroafor
Ben Okri (1959– )
Afolabi Olabimtan
Simbo Olorunfemi
Taiwo Oloruntoba-Oju
Esho Oluborode
Alade E. Oluwadamilola
Kole Omotosho (1943– )
Nduka Onwuegbute (1969– )
Osonye Tess Onwueme (1955– )
Dillibe Onyeama
Frank Onyebu
Nwando Onyeabo
Alexander Orok
Nnaemeka Oruh
Dennis Osadebay
Femi Osofisan
Chinye Phiona Osai
Sanya Osha
Sola Osofisan
E.C. Osondu
Niyi Osundare (1947– )
Tony Nduka Otiono
Helen Ovbiagele (1944– )
Jamin Owhovoriole
Stella Dia Oyedepo
Bunmi Oyinsan
Dupe Olorunjo
Naan Pocen
Seni Ogunkola
Tolulope Popoola
[àtúnṣe] R-T
Remi Raji
Aderemi Raji-Oyelade
Ken Saro-Wiwa (1941–95)
Lola Shoneyin
Mudi Sipikin
Ladipo Soetan
Zulu Sofola (1935–95)
Bode Sowande (1948–)
J. Sobowole Sowande
Ugochukwu Ejinkeonye
Wole Soyinka (1934– ), awarded the 1986 Nobel Prize in Literature
Emmanuel Sule
Mohammed Sule
Muritala Sule
Kola Tubosun
Adebisi Thompson
Amos Tutuola (1920-97)
Morenike Taire
Odijie Ehis Michael
[àtúnṣe] U-Z
Uche Nworah
Ebele Uche-Nwakile
Françoise Ugochukwu
Clarius Ugwuoha
Odili Ujubuonu
Gracy Ukala (formerly Osifo)
Adaora Lily Ulasi (1932– )
Sumaila Isah Umaisha
Karo Umukoro
Chika Unigwe
Emman Usman Shehu
Ronnie Uzoigwe
Jumoke Verissimo
Ugonna Wachuku (1971– )
Segun Williams
Ken Wiwa (1968– )
Molara Wood
Oladipo Yemitan
Sa'adu Zungur
Ubong Alfred



Àyọkà yí le fẹ̀ jù báyìí lọ. Ẹ ran Wikipedia lọ́wọ́ láti fẹ̀ẹ́ jù báyìí lọ![àtúnṣe] Itokasi
1.↑ Philip Effiong, Jr.
2.↑ [http://www.africanwriter.com/authors/102/Francis-Ohanyido
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Ọjọ́ tí a ṣe àtunṣe ojúewé yi gbẹ̀yìn ni 23:05, 5 November 2009.Text is available under the Creative Commons Attribution/Share-Alike License; additional terms may apply. See Terms of

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