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Rainforest Conservancy In Bayelsa State: Need For Action

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This initiative is aimed at the establishment of civil society-led indigenous people-owned rainforest conservancies in Bayelsa State and is in line with the principles and spirit of the Ramser Convention on Wetlands; Convention on Biodiversity (CB) and the UN Convention on Climate Change (UNCCC). It is expected that the indigenous landowners, civil society organisations and NGOs will co­manage the conservancies with government and donor agencies.

Climate change and global warming are the greatest problems of the world today. Over the last few years, and in different fora across the globe, world leaders; environmentalists; policy makers and other stakeholders have met to discuss possible solutions to the various environmental problems arising from climate change.

The environment has been decaying so fast so much that it may no longer fully support any form of life in the next few decades if humanity do not come together and fight this degradation. In this regard, humans are the most affected. There are a lot of vehicular emissions and gas flaring in Bayelsa State. There is deforestation and destruction of biodiversity. More carbon dioxide is replacing oxygen in the atmosphere. These problems have serious adverse effect on the environment and sustainability of life on the planet earth. So far no concrete action is being undertaken by the various governments in Nigeria and something urgent needs to be done.

Conservation of biodiversity and pollution of the environment. Oil extraction started in Bayelsa State some Background

Oil extraction industry and urbanisation are in plain contradiction with the 50 years ago with the discovery of Oloibiri oilfield. Today, however, Bayelsa State is one of the leading producers of oil and gas’ among the oil mineral producing states in the country. Since 1996 when Bayelsa State was created with capital at Yenagoa, there has been accelerated deforestation and loss of biodiversity in the capital city area. The city is being developed physically without any Environmental  Impact Assessment being carried out to determine the extent of environmental damage being done to the environment and the people who inhabit the capital.

To check this air pollution and loss of biodiversity problem, Development Pathfinder, an NGO, is of the opinion that a small Rainforest Conservancy Project be initiated to convince the indigenous landholding families to put their land into best practices of sustainable forest management, sustainable eco-farming and sustainable eco-tourism.

The initiative is timely so as to mitigate the forthcoming destruction of biodiversity that will arise from the Integrated Oil and Gas Project and the Gas Power Station both at Gbarain near Yenagoa.

Development Pathfinder will network with all levels of government; all oil exploration and exploiting companies and donor agencies to support this initiative since it is a global property meant to maintain the planet earth.

Definition

A conservancy may be defined as a specified piece of land or territory which natural resources must be managed under best practices by the indigenous landholding families, thus making it a civil society led approach. None, one or more villages communities may be located within a conservancy. The object of conservancy is sustainable forest management, using various tools such as forest landscape zonation; reduced impact logging; forest stewardship or certification, environmental governance, sustainable agriculture, livestock, fishing, fresh water resources management; wildlife culture and wetland management. Obviously, this will bring about tourism based community development, through ecotourism and more jobs will be created and poverty will be greatly reduced in the conservancies.

Experiences in other countries

A number of countries all over the world are into conservation. Namibia gained independence from South Africa in 1990. its land mass is 823,700sq.km with a population of about 2 million. It has four biomes: desert, savanna, woodland, and wetland. Its economy depends greatly on natural resources, minerals, agriculture, fisheries, wild life tourism. In 1996, four conservancies were in existence. By 2002, 35 conservancies have emerged. This brings some 15,300.000 hectares of land under best practices in natural resources management.

In South Africa, there are both natural and urban based conservancies. In Australia indigenous people have title to land and lease some to the government for national park and co-managed with the indigenous people. Thus in Australia, the government and indigenous people are working together to advance the environment sustainably.

In countries where oil is extracted, in South America (Costa Rica, Gyuatemala, mexico, Peru etc) indigenous reserves are operated by the natives in partnership with their governments, the oil companies and donor agencies.

Since 1990s, Cross River State communities have introduced sustainable forest management techniques. Ever since, they are not only being supported by donor agencies but also gaining a lot through eco-tourism. One of the best success stories is the Ekuri initiative in Akamkpa LGA of the state.

Objectives

-Reduction of carbon emissions to reduce climate change

– Introduction of Environmental Governance

– Introduction of Local Community Agenda 21

– Sustainable forest management

– Culture and indigenous people

-rural livelihood and poverty eradication

– Eco-tourism based community development

– Wetland management

– Marine conservancy and zoning

– Seed farm centre

-Wildlife farming

– Forest landscaping and zoning

– Sustainable agriculture and fishes

– Maintain meteorological station

-Any other activity to restore the environment in line with global demands.

Pilot Projects

There could be as many conservancies as possible particularly at industrial stations and oilfields as well as in other areas where families are willing to participate. Examples include:

i. Brass Island

ii. Gbarain Gas Plant area

iii. Egunema (100ha), Epebu

iv. Oguta (100ha), Epebu

v. Obimonoti (100ha) Otuabula II

vi. Agili Otuabagi, Ogbia

Funding Mechanism

This project expects partnership and funding from various sources-multilateral, bilateral, international NGOs; National, State and Local Authority and Private organisations. The funding of rain forest conservancy establishment is highly supported by the Multilateral Environment Agreement (MEAs) which is relevant for the state.

GLOBAL ENVIRONMENT FACILITY (GEF)

The GEF was set up by the UN system to fund projects as part of the Clean Development Mechanism of the Kyoto protocol. It allows development providers to improve projects such as this to reduce green house gases to achieve sustainable development. Nigeria is a member of GEF and there is a Bureau in the Federal Ministry of Environment, Abuja which is supporting projects in some states in the country.

Above all, the state government should as a matter of urgency establish an independent rainforest conservancy trust fund which will not only promote project documentation and transaction cost, but also kick start small projects before soliciting for help.

Conclusion

The ability of a people or community to follow sustainable development path is determined to a large extent the capacity of its people and institutions. This statement is taken from chapter 37. Agenda 21, the blue print for sustainable futures produced by the Earth summit in 1992 at Rio De Janeiro. Brazil. But more than a decade and 3 half after, the international community continues to grapple with the theory and practice of capacity building in sustainable development and how best it can be anested.

A conservancy approach to natural resource management when indigenous people control their resources to meet global properties of biodiversity of climate change is in accordance with Agenda 21, the blue print of sustainable futures. It is also the best approach to governance for environmental sustainability in line with MDGs. Bayelsa State and indeed other states in Nigeria should therefore embrace the idea of developing conservancies so that our environment and its natural resources may be reasonably conserved.

 

Sam Egunema

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‘Lie From The Pit Of  Hell,’ Family Debunks Pete Edochie’s death Rumours

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The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.

Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.

“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.

Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.

“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.

The rumour had sparked concern among fans before the family’s clarification.

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‘Mother’s Love’ Challenges Nigerian’s Film Portray Of Motherhood

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Omotola Jalade-Ekeinde critiques Nollywood’s lack of mother-daughter stories ahead of her directorial debut, ‘Mother’s Love.’ See the cast and 2026 release date.

Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.

“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.

Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.

At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.

But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.

The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.

It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.

Beyond the film itself, Omotola’s  interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.

For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.

“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”

Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.

Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.

Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.

That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.

Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.

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Funke Akindele’s  Behind The Scenes Crosses ?1.77bn

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Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.

Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.

Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.

The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.

Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.

What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.

Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.

Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.

Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.

Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.

And right now, that alignment seems firmly in her hands.

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