For so many years, the image of Nigeria to the rest of the world has been to an extent based on limited focal points, captured through the lenses of globe-trotting paparazzi, and foreign media, which has not served the country well.
For so many years, the image of Nigeria to the rest of the world has been to an extent based on limited focal points, captured through the lenses of globe-trotting paparazzi, and foreign media, which has not served the country well. But recently, some parts of that image have become all too clear to most Nigerians themselves as the searchlight now beams from within. Despite all the horrific tales of woes and the somewhat mundane excuses for leadership failures, as well as the kleptomaniac instincts of almost every Nigerian politician and the so called leaders, the Nigerian art and entertainment industry through Nollywood seemed up to the task of restoring the country’s globally tarnished image to an extent. At first, Nollywood postured itself as if armed with a solid package of well refined culture diplomacy and image laundering kit, rolling out on assembly lines and ready for export. But with the current outlook of things, it is clear to many that it was nothing but a façade.
In its initial clips, the movie industry was a bit fixated on rejuvenating the black magic world of voodoo and everything capable of making a baby scream for his mama in a scary dream. Some of the straight-out of the-wood cuts that became the early home videos were almost a turn-off to some people, while it massaged the nostalgic nerves of its most loyal fans, especially those living overseas. But in no distant time, change came. The transformation of Nkem Owoh from Marcus the village drunk to Osuofia Nwaezeigbo Nwokorie of Nneke, Ebenasaa did not create the suspicion that perhaps a tsunami was about to hit Nollywood and its effects would be far reaching. With a new name and a “Take no prisoner” attitude, the South East Joker unapologetically triggered a culture head-on collision between a borrowed bourgeoisie lifestyle of a few upper class Nigerians in Diaspora with the dignity of simplicity and untamed beauty of an African village life. From his attire to the naked display of a hunter’s instincts at Trafalgar square, as well as his non-negotiable demand for Agege bread at McDonald’s, it became clear that Nollywood was geared for a globetrotting take-off. On the music stage, Nigerian artists joined their Western counterparts in racking up well deserved earnings in hard currencies, packing heat in arenas worldwide as the global entertainment borderlines eroded. Perhaps not deliberately, but they were showcasing the energy, vibrancy, effervescence, respect and resilience of the Nigerian people in concerts and shows all across the globe, insisting that not all Nigerians are dupes, con artists and dishonest bunch they are often portrayed as.
This unexpected and unprecedented culture export was never fully tapped into as a major rebranding tool, which the country could have exploited for inexpensive global publicity stunts- talk about image laundering for cheap. Lately, some of the musicians themselves have hit an all time low in song writing. Although laced with good beats, their lyrics are nothing but a laundry list of every dirty politician and their associates, willing to dish out hard currency (Dollars in the millions) and SUVs for irritating praise jingles. Some of them have also joined the league of Jet-flying, ego tripping maniacs with a point to prove, but not smart enough to realize we don’t really care about all that. What has happened in the entertainment industry since the debut of Osuofia in London and now is subject to one’s opinion and mine may likely differ from yours.
Fast forward a few years later, the Nigerian entertainment industry seems to be gasping for air in an imaginary race to transform itself into an image, toxic and repulsive to most of its audience and fans. The efforts in refining its product line and repacking its brand into internationally acceptable consumer goods perhaps has gone too far, making it less attractive than when the VHS tapes and CDs that initially hit the world market shelves. Almost every good Nigerian movie producer or director has now decamped to the United State or about to, pitching tents on any available real estate in Houston, Atlanta and Northern Virginia for cheap street shots. With this trend, fans are left with nothing but a bootleg or copycat version of Hollywood movies, devoid of the original African setting that initially made them a must watch. One might ask what is wrong with going global. It is indeed not a bad idea for an industry to take its product worldwide, as long it maintains its competitive edge, guaranteed by a hawkish protection of its original recipe. In the case of Nollywood, it would be the local taste of its movies, showing the natural village and somewhat metropolitan settings- something which Hollywood lacked and was craving for.
Come to think of it, Hollywood has the money and props to make things disappear in razor sharp effects, while Bollywood’s (India) trick of the trade which made the industry number two in the world is its ability to turn simple singing and well choreographed dance moves into movies clips. In a world that craves for a return to innocence, Nollywood's magic bullet would have been its natural and raw settings, complemented by pure African beauty. With these characteristics, the Nigerian movie industry had the signature of success written all over it until the usual enemy- inferiority complex kicked in.
Recently, the cold hands of death have snatched up some of the veteran and seasoned actors and actresses of the field. But as this ugly cloud hangs overhead, the younger generation is committed to image and persona redefinition, completely mimicking what obtains in Hollywood, especially the low-lifers. The line between talent and gutter behavior is almost completely blurred out.
The likes of Tonto Dike, hit the stage young, vibrant and very lovely, but since then have managed to acquire for themselves a fake, “Wanna be”, unattractive American ghetto attitude, with such an adulterated American accent that distracts from their act. Trust me on this one. Having lived half of my lifetime in the United States, I know when one sounds American. I have always wondered if the chain smoking and heavy liquor consumption on set among Nollywood female actors is always part of their scripts. If so, of what value is it? I am just wondering. The marriage between the Nigerian and Ghanaian movie industries seemed like a perfect union at first, but the insatiable quest to shoot every movie in the United States has turned the romance into a three-some, resulting in output that could easily pass for mere soft porn. When you put John Dumelu, Yvonne Nelson, Jim Iyke, Rukki Sanda and Tonto Dike in a closed door movie set, pants quickly come off and it is often out rightly gross.
A friend of mine who is a Nollywood producer told me a few years ago that casting in Nigeria is sometimes based on the actor's possession of certain character traits that mirror the assigned role. I have since then hoped that my friend was just teasing, but it does not look like it. Diehard Nollywood fans like me have always wanted to see the day when Patience Ozokwor A.K.A Mama. G will begin to play nice with her movie daughter in-laws, the day Tony Umez will grow a spine and stand his grounds before his movie wives and that Chiwetalu Agu's diabolic concussions burn out of charms, setting free all village women bound by his spell and that day was quickly coming.
Nollywood started to repackage itself, adjusting roles that make their movies less predictable, but during that process, a new gang of renegades crashed in, taking lawlessness to a whole new level. The heavily tattooed, pants sagging, profanity spitting, reckless bunch have come to realize that just as in Hollywood, good or bad publicity could also make good business in Naija. As long as Nigerian youths continue to admire promiscuous characters like Kim Kardashian, Nicky Minaj and more, this Nollywood brand of bad asses will always have their meal tickets punched all the way to the bank and make no apologies for it. There was also another class of Nollywood assembly that jumped ship and navigated into the dark and treacherous terrain of politics, leaving their fans in awe. Leading this pack is Richard Mofe Damijo popularly known as RMD with Nkiru Silvanus alias “Ble-ble” cheerleading. As it turns out, these political rookies are finding out that in Nigeria, there is nothing entertaining about politics. There are no props or film tricks. In the political jungle, if you dash in head first, you will find out the cut-throat is real.
The defection of Nollywood actors and actresses to the USA and UK might sound like a huge bang for the buck to the individuals, but the true success of the industry should be measured in its ability to collectively lure Hollywood, USA and other global entertainment industries to set up shops in Naija. After all, the raw talent is there in abundance, inexpensive labor force is available as well as a huge market share for grabs. In the entertainment business, a strong legacy is not built by trading brand for quick cash and this is what Nollywood is now doing. Each year, Hollywood spends millions of dollars is scouting for locations outside the United States for cheaper tax credits to shoot movies. This would have generated the notoriety and profit Nollywood so deserves.
The fact remains that Nollywood still has the potential to rebrand itself and thus help rebrand Nigeria’s image. However that enhancement can only be accomplished with a succession of loyal stakeholders, actors, actresses who see the greater good in a collective endeavor of the industry. In show business, originality is the key to success and it ensures longevity of products. When most Nollywood artists prefer to sound like, dress like and behave like Hollywood rejects, it then means they are not even proud of their own output. Where does that image leave the fans that pay the bills through movie purchase? Some of the artists are doing okay for themselves, landing gigs in the US and Europe, snatching up foreign based spouses and having their babies born in the US and European hospitals for guaranteed citizenships, but collectively, Nollywood’s growth seems stunted at the moment. The question now remains whether we are looking at a Nollywood that has become a positively acceptable global brand or one that has completely gone rogue.
New York, USA
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The views expressed in this article are the author’s own and do not necessarily reflect the editorial policy of SaharaReporters
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