Embracing Nollywood: Celebrating Nigeria’s Cinematic Identity
As a Nigerian filmmaker deeply invested in the evolution of our film industry, I feel I must weigh in on the insightful discourse brought forth in Dika Ofoma’s article discussing the multifaceted identity of Nollywood: https://akoroko.com/nollywood-identity-crisis-nigeria/
The term “Nollywood,” while subject to varied interpretations and criticisms, embodies an essential aspect of Nigeria’s cinematic heritage that demands acknowledgment and careful consideration.
The debate on whether to embrace or distance oneself from the term “Nollywood” is undeniably valid. Notably, Mo Abudu’s rejection of the term raises relevant points about the connotations associated with it, often implying inferior quality. This labeling can inadvertently undervalue the remarkable work produced within our industry, creating a dichotomy between ‘exceptional’ and ‘typical’ and possibly ‘mediocre’ Nollywood films.
The history of Nigerian cinema, predating the coining of “Nollywood” in 2002, is rich and diverse. It flourished through grassroots storytelling, reflecting the lives, challenges, and aspirations of everyday Nigerians. The tales depicted in early films were drawn from the essence of our society, resonating deeply due to their relatability and authenticity. These narratives, often portraying struggles against evil and espousing Christian morality, were revered by local audiences, fostering a unique cinematic culture. “To God be the Glory!” was the standard phrase that buttressed a many Nollywood productions, and indeed it was glorious to witness.
The evolution of Nollywood from the era of direct-to-video releases to the contemporary phase reflects a paradigm shift in storytelling techniques, inspired by global influences, particularly Hollywood. This transition led to both positive advancements in technical quality and a shift toward more aspirational storytelling, depicting the lives of the elite. However, in doing so, it seemed to dilute the unapologetic Nigerian identity that initially propelled Nollywood to global recognition.
Recent developments, such as the resurgence of culturally conscious storytelling and the reclamation of indigenous languages in mainstream films, signal a promising reconnection with our roots. Filmmakers like Kunle Afolayan, rooted in culturally resonant stories, continue to attract audiences, highlighting the enduring appeal of narratives deeply rooted in our culture.
The challenges faced by Nollywood, particularly in remaking classic films, echo the struggle of retaining the essence of originals while succumbing to the influence of Hollywood storytelling techniques. The loss of core themes in these remakes often stems from overcomplication, veering away from the simplicity and relatability that defined the classics.
To achieve global success akin to industries like Bollywood and South Korean cinema, Nollywood must harness its diverse influences and tell authentic Nigerian stories that appeal to both our local and international audiences. Films like Kemi Adetiba’s “King of Boys”, the Esiri brothers’ “Eyimofe” and C.J Obasi’s “Mami Wata” demonstrate the potential of original, well-crafted stories rooted in Nigerian life and culture, capable of captivating global viewers.
The significance of the term “Nollywood” transcends mere nomenclature; it encapsulates Nigeria’s cinematic legacy. Rather than seeking disassociation, the endeavor should involve a collective effort by filmmakers to reshape the perception of Nollywood. By celebrating originality, innovative storytelling, and brilliance in our narratives, we can gradually shift the narrative around Nollywood from mediocrity to excellence.
Nollywood stands at a crossroads, balancing its prolific history with aspirations for global recognition. The responsibility lies with current filmmakers to redefine Nollywood’s legacy by embracing our roots and pushing the boundaries of innovation. This way, we can ensure that the term “Nollywood” becomes synonymous not with mediocrity, but with the brilliance, cultural richness, and storytelling excellence that characterize our unique cinematic landscape.
I encourage my fellow creatives to embrace the term “Nollywood” not as a limitation but as a catalyst for propelling our narratives, celebrating our culture, and carving an esteemed place in the global cinematic sphere.
For me, the term “Nollywood” opens doors and in the last 14 years of being in the industry it has continued to open doors for me locally and internationally. Now, what I do when I’m in the room determines whether the term is a force for good or evil. And so far, I feel I’ve done a lot of good 😎
Sincerely,
Emil Garuba
Sutoritera
