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The Mike Adenuga family brought the cast of Anikulapo together for a Christmas celebration in 2022.
Bimbo Ademoye, Kunle Remi and Mr Macaroni were among the stars from the Netflix film who joined the Adenuga family for the festive gathering.
The celebration offered a more personal glimpse of the cast away from the cameras and the world of Anikulapo, with the actors spending Christmas in the company of the family.
From a film set to a family Christmas table, the cast had clearly moved beyond simply making a movie together.
What makes a celebration memorable for you—the people around the table or the memories created there?
There is an interesting distinction between Wale Adenuga’s Papa Ajasco situation and the question of whether Kunle Afolayan could control the use of characters from Aníkúlápó.
Kunle Afolayan could potentially take legal action, but being the director or producer does not automatically make him the owner of every character or commercial right connected to the film.
That question would come down to the paperwork behind Aníkúlápó — who owns the copyright, who owns the underlying characters and names, what Afolayan’s production and financing agreements provide, what the actors’ contracts allow, and whether an outside appearance is simply an actor appearing as themselves or the actor being marketed specifically as an Aníkúlápó character.
Yes, Kunle Afolayan could potentially have a copyright claim, but whether he would actually have a viable case depends heavily on what exactly was performed at the private Christmas party, who owned the relevant rights, and whether it was truly private.
Under Nigeria’s Copyright Act 2022, copyright owners generally control public performance and adaptation of protected works. The Nigerian Copyright Commission specifically lists staging a play and adapting a work as acts that ordinarily require authorisation.
An actor appearing at an event is one thing. Selling tickets by advertising, for example, “Come see Saro and Arolake from Aníkúlápó”, complete with the characters’ names, costumes, imagery or branding, is a very different proposition.
Wale Adenuga has said that characters such as Papa Ajasco are intellectual property controlled by the company, while actor Abiodun Ayoyinka has spoken about restrictions on independently using the Papa Ajasco character for commercial opportunities.“He cannot use the copyrighted brand name Papa Ajasco for personal ventures because it is our duty to protect the brand from inappropriate usage that could damage its reputation.”
He also clarified:
“He has not been barred from accepting advert jobs. As he himself stated, all that is required is to seek official approval from WAP. This is part of brand protection.”
The person who plays a character is not necessarily the person who owns the character.
An actor can become so closely associated with a character that audiences stop separating the two. The face becomes the character. The performance gives the name its cultural memory. The audience may even feel that the actor is the character.
Yet legally, recognition and ownership can be two different things.And that is where this story gets more interesting than simply asking, “Can Kunle Afolayan sue?”
When an actor makes a character famous, where does the actor’s identity end — and the creator’s intellectual property begin?
And if audiences cannot separate the two, should the commercial rights be just as easy to separate?
If a group of actors recreates your movie for fun at a private party, where does harmless homage end and copyright infringement begin?
That is the real legal grey area.
Source -; societyreporters
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