“Still Living in Bondage”: Governor Umo Eno Strikes Back at Kenneth Okonkwo Over ‘Transgender’ Remark [VIDEO]

 

A fierce verbal exchange has erupted between Governor Umo Eno of Akwa Ibom State and Nollywood veteran-turned-politician Kenneth Okonkwo, following remarks made by the latter on Arise TV that described the governor as a “political transgender.” The derogatory characterization, made during a televised political commentary, has triggered widespread reactions and prompted a biting response from the Akwa Ibom leader.

Okonkwo, known for his iconic role in the classic Nigerian movie Living in Bondage, used his appearance on the TV program to critique the governor’s alleged political maneuvering. He accused Governor Eno of defecting from the Peoples Democratic Party (PDP) to the All Progressives Congress (APC) out of fear and self-preservation ahead of the 2027 elections, instead of out of conviction.

While sharing his thoughts on the state of cross-party defections in Nigeria, Okonkwo said, “The worst from the opposition is moving into the ruling party. The best from the ruling party is coming to the opposition. I give you an example with the Governor of Akwa Ibom State.” He then went on to quote a statement made by the Commissioner for Information in Akwa Ibom, who insisted that his own political orientation was rooted in principle—implying a strong disapproval of APC's values and thereby discrediting the governor’s decision to switch allegiances.

Delivering his critique with the metaphor “political transgender,” Okonkwo accused the governor of lacking political courage and authenticity, likening him to someone who “acts like a man but has the genitals of a woman.” The comment, intended to ridicule Governor Eno’s reluctance to engage in confrontational politics like former Rivers State Governor Nyesom Wike, was both controversial and incendiary.

“Can you imagine a whole governor coming out to say, ‘I can’t fight like Wike ooo! 2027, I want a smooth sail. I still love PDP.’ That is transgenderic,” Okonkwo mocked during the interview. Though he claimed to hold respect for actual transgender individuals, whom he described as “bold, beautiful, and brave,” he used the term pejoratively to undermine what he perceived as Eno’s political weakness.

Governor Umo Eno, visibly irked by the comments, issued a public rebuttal that—though lacking direct name-calling—was clearly aimed at the former Labour Party spokesperson. Speaking during a community engagement, the governor rebuked those criticizing his decisions without having a stake in Akwa Ibom State politics.

“So people that are talking, even those that are not from Akwa Ibom, even those who feel they have done things... they have tried everything... they have tried to become actor, they failed. They are still living in bondage, trying to put their mouth into what does not concern them,” Eno declared, firing a pointed jab at Okonkwo’s Nollywood past.

The governor went further, ridiculing Okonkwo’s professional credentials and political track record. “Tell them this is living reality. He should go to his state and fight. He is an attempted politician. He tried in Labour Party, he ran away. He tried acting, he was living in bondage. He is an attempted lawyer. He has never moved a motion before. So such people, don’t listen to them,” he said.

Governor Eno’s rebuke has sparked widespread debate on the appropriateness of language used in political discourse. Human rights advocates and political analysts have criticized Okonkwo’s metaphor as insensitive and reinforcing harmful stereotypes. Others, however, defended the actor’s comments as part of the rough-and-tumble nature of Nigerian politics.

Public reaction on social media has been divided. Some users slammed Okonkwo for being “reckless and disrespectful,” while others found his critique of Eno’s political decisions valid, even if the language was deemed harsh.

Political observers note that this feud reflects deeper tensions within Nigeria’s shifting party dynamics ahead of the 2027 elections. With defections, alignments, and strategy-building underway, emotions are running high—and, as this episode shows, no one is pulling punches.

Whether Governor Eno’s response will end the war of words or spark further verbal retaliation remains to be seen. What is clear, however, is that the line between Nollywood theatrics and political realpolitik continues to blur—much to the fascination of the Nigerian public.

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