(A keynote address delivered at the Inaugural African Indigenous Language Film Festival Lagos on 4th July 2023)
‘Nollywood’s chances of capturing major nominations for the highest global film awards internationally runs through a pathway of our indigenous language films. When done excellently and imbued with the right cinematic expressions, it is these genre of films that will far more easily arrest global attention and celebration than the many recycled narratives that mimic Hollywood formulas’
THIS festival, simply put, is a huge opportunity to expand the value of Nollywood.
In the age of globalization, our art, our stories and our films play a vital role in representing us as individuals, communities, and nations. As the world becomes more interconnected, it is through our cultural expressions that we assert our unique identities, share our perspectives, and bridge gaps of understanding.
Language, being a fundamental component of culture, holds immense power in shaping our art forms. Our stories and films, when presented in the language of our cultures, carry a depth and authenticity that transcends mere translation. They become vessels of our heritage, carrying the nuances, emotions, and intricate meanings that may be lost in other languages. So when we create art and share stories in our native languages, we tap into a collective consciousness that connects us with our ancestors, our traditions, and our values. We honor our roots and provide a platform for the voices that have shaped us over many generations and civilizations. Our cultural and linguistic diversity, which is often diminished in the face of globalization, finds a vibrant expression in our art forms, reminding us of the beauty and resilience of our shared human experience. Beyond authenticity, telling our stories in our indigenous forms and languages is vital to cultural preservation. It helps safeguard the linguistic heritage that might otherwise fade away in the face of globalization and homogenization. Our indigenous languages hold generations of wisdom, folklore, and indigenous knowledge that are integral to our collective identity. By showcasing them on the silver screen, we ensure their survival, inspiring younger generations to embrace and cherish their linguistic roots.
Filmmaking is technology’s urban stage for cultural practice. It is THE storytelling form that is most immersive, most engaging and most accessible. When we present our art and stories in our own languages, we invite others to experience the nuances and intricacies of our cultures, we foster understanding, empathy, appreciation and dialogue. Because we live in a post-colonial era where dominant cultures and languages tend to overshadow smaller or marginalized ones, our commitment to creating art in our native languages is itself an act of resistance. It challenges the homogenizing forces of globalization and asserts the importance of diversity. By preserving and promoting our languages through art, we ensure that our cultural heritage continues to thrive and evolve, providing a counterbalance to the dominant narratives that often shape our perceptions.
Our indigenous languages are also artistically a treasure trove of cinematic experiences, given their diverse linguistic structures, and expressive potential.
These languages encapsulate centuries of storytelling, poetry, music, and visual arts, serving as vibrant mediums for creativity and self-expression. They possess unique phonetics, tones, and rhythms that can convey emotions and convey nuanced meanings. Our languages hold deep connections to local traditions, folklore, and historical narratives, offering a wealth of inspiration for artists and cultural preservationists alike. Indeed, the history of storytelling and the performance arts in indigenous languages in Nigeria has a rich legacy that dates way back even before our independence as a nation. In the northern and eastern parts of Nigeria for instance, there were always traditional theatre artists like Chief Mazi Mbonu Ojike, a renowned playwright, novelist, and cultural activist. He wrote and staged plays in the Igbo language, often addressing social and political issues. Ojike’s works, such as “Ije Odumodu” (The Journey of Odumodu) and “Iru di n’obi” (The Evil You Know), explored Igbo folklore, customs, and contemporary themes. Alhaji Aminu Kano, a prominent political leader and social reformer was also involved in theater production. He utilized Hausa language and culture to convey his political messages and promote social change. Aminu Kano’s performances incorporated elements of traditional Hausa arts, storytelling, and music. Bala Mohammed, a playwright and theater director also made significant contributions to theater in the northern region of Nigeria. He focused on producing plays in Hausa language, addressing issues of social relevance and cultural identity. His play “In da So da Kauna” (With This Handshake) gained popularity for its exploration of intercultural relationships. Chief Hubert Ogunde, widely regarded as one of the fathers of Nigerian theater, founded the Ogunde Theatre Company in the 1940s and utilized his plays as a medium to address social, political, and cultural issues. Ogunde’s productions, such as “Yoruba Ronu” and “Jaiyesimi,” blended traditional Yoruba elements with contemporary themes, captivating audiences and sparking conversations. Similarly, Chief Kola Ogunmola founded the Drama Society of Nigeria in the 1950s and produced a series of popular Yoruba-language plays, including “Ogboju Ode Ninu Igbo Irunmale” (The Forest of a Thousand Demons) first written as a novel by Chief D.O. Fagunwa. Ogunmola’s performances combined indigenous aesthetics, folklore, and historical narratives, attracting both local and international acclaim.
These artists, among many others, played crucial roles in preserving and promoting indigenous languages and cultural expressions through theater. Their works showcased the diversity and richness of Nigeria’s cultural heritage, encouraging audiences to appreciate and celebrate their own linguistic and artistic traditions.
These visionary artists, along with their contemporaries, traveled extensively across Nigeria, taking their theatrical productions to various communities. They employed innovative staging techniques, lively music, dance, and humor to engage and entertain audiences. Their efforts helped to bridge the gap between urban and rural communities, making theater accessible to a wider audience and nurturing a sense of cultural pride. The impact of these pioneers reverberates to this day. Their work laid the foundation for Nollywood. Their contributions not only preserved the cultural heritage of Nigeria but also challenged societal norms, advocated for social change, and empowered local communities.
The indigenous language films of Nollywood are therefore unique and important cultural assets in the ways that they breathe life into our stories, infusing them with authenticity and resonance. Whether it is the Hausa, Igbo or Yoruba language films, they possess a unique cadence, intonation, and rhythm that adds depth and richness to the characters, their interactions, and the overall cinematic experience. They provide a sense of rootedness, reminding us of the diversity and cultural tapestry that defines our nation, Nigeria. We have over the last two decade seen clear proof of this across the continent. On the Multichoice DSTV cable network, the Africa Magic language channels have had a significant impact on the viewing audiences of the African continent. These channels, which include Africa Magic Yoruba, Africa Magic Igbo, Africa Magic Hausa, Africa Magic Swahili and the Mzanzi Channels all cater to specific regional languages and cultural preferences. By providing content in local languages, they have played a crucial role in promoting cultural diversity and inclusivity. They have helped foster a sense of identity and pride among viewers who identify with these languages and cultures. They have provided a platform for local stories, traditions, and customs to be showcased and celebrated, which has resonated with audiences across the continent. And the availability of programming in regional languages has led to increased viewership and engagement among audiences who might otherwise have limited access to content in their native languages. This has contributed to the growth of the African television industry and the expansion of local talent and the creative economies. Moreover, the indigenous languages in Nollywood films is fostering inclusivity and representation. It has allowed many of our marginalized communities, in the Niger Delta, in Kogi, in Ondo or in the deeper deserts of the North west to see themselves on screen, to hear their mother tongue reverberate in a cinematic landscape that often overlooks their existence and historical narratives. This recognition is not only empowering; it is a step towards greater social cohesion and understanding, bridging divides and building bridges of empathy and appreciation.
Making films in indigenous languages can also play a significant role in re-engineering how our young people especially in rural communities learn complex subjects like science and technology. In places like Ethiopia and Rwanda producing science-related content in indigenous languages has made complex subjects more accessible to a wider local audience, including those who may struggle with English or feel more comfortable learning in their native language. By using familiar linguistic and cultural contexts, indigenous language films can break down barriers and engage young learners in a way that resonates with their cultural background and experiences. By drawing on local traditions, practices, and natural environments, these films can enhance the understanding and relevance of scientific principles for young learners. This approach helps bridge the gap between abstract scientific theories and real-life applications, making the subject matter more relatable and meaningful. This linguistic exposure enhances cognitive development, as research suggests that bilingualism or multilingualism can foster critical thinking skills and cognitive flexibility, benefiting the learning of complex subjects such as science. So our indigenous language films carry much power and potential beyond entertainment. By leveraging the power of indigenous language films, Nigeria can foster a new approach to science and technology education that is culturally inclusive, engaging, and relevant. These films can help spark curiosity, promote scientific literacy, and inspire a new generation of young learners to explore and excel in scientific fields, leading to long-term positive impacts on educational outcomes and national development.
This is why this festival is important because it can become our staging post for how we embrace and expand this creative genre and what we need to do to harvest its best benefits. I have a few ideas. The first of course is education. We need to provide targeted filmmaking education for aspiring filmmakers who are passionate about telling stories in their native tongues. It requires collaboration between language experts, scriptwriters, and directors, working together to create the curriculum that not only delivers technical film education but how that technical expertise is deployed in content to blend imagination with authenticity, and linguistic integrity. It will also mean specific focus on paying stronger attention to subtitling, not just as a translation of dialogue but as a purveyor of meaning. There are phrasings, turn of phrase, insinuation, parables and proverbs in our languages that require translation, not of words but of meaning. We need to grow expertise in these areas by collaborating with culture curators, local historians and language instructors who are able to expand context and help viewers with the deeper meanings of the dialogues in these films.
Secondly we need to educate against and police cultural misrepresentation in indigenous language films. There have been way too many instances where important cultural symbols and nuances have been misused or randomly altered in the interest of creative license. One of the main challenges is the portrayal of indigenous cultures through the lense of inaccurate or irrelevant global stereotypes or colonial representations. It is therefore crucial for filmmakers to approach indigenous language films with careful cultural sensitivity, conducting thorough research and consulting experts from the respective communities to ensure authentic portrayals. Especially in the areas of the spiritual and native practices that seem to dehumanize us as a people. The prevalence of narratives of human sacrifices, village witches and wizards, the inordinate worship of money and the degrading of the girl-child or random domestic abuse are areas of cultural misrepresentation prevalent in our contemporary indigenous language films that needs to be urgently eradicated.
Another issue is the dominance of mainstream urban narratives and market pressures, which can sideline indigenous language films or push them towards conforming to a more homogenized and commercialized style. This is a deeply troubling reality because the urban versions of our indigenous languages have corrupted the linguistic authenticity of the languages themselves. And this of course dilutes the cultural narrative and uniqueness of these films, as they adopt generic storytelling structures or compromise their indigenous roots to appeal to broader audiences.
And of course the poor financing infrastructure for indigenous language films can hinder their production quality and distribution. Limited funding, marketing, and exhibition opportunities make it challenging for filmmakers to produce high-quality content that accurately represents indigenous cultures and languages.
To address these, it is crucial for our regulatory institutions to be deliberate about supporting these genres of films. I am excited to see that the Nigeria Film Corporation is a partner of this festival. We need the NFC to explore specific financing opportunities for our indigenous language films and filmmakers and to promote and prioritize collaborative efforts with local communities, engaging indigenous language speakers, cultural experts, and storytellers in the creative process. Increased support from government agencies, film organizations, and investors contributes to quality production and promotion of authentic indigenous language films. Addressing misrepresentation in indigenous language films will require a collective effort from filmmakers, industry stakeholders, communities, and audiences.
I have said it before but perhaps it bears repetition at this forum. Nollywood’s chances of capturing major nominations for the highest global film awards internationally runs through a pathway of our indigenous language films. When done excellently and imbued with the right cinematic expressions, it is these genre of films that will far more easily arrest global attention and celebration than the many recycled narratives that mimic Hollywood formulas. The Academy of Motion Picture Arts And sciences who present the annual Oscars prescribe that film entries in the International Film category be 70% in local language for a good reason. It is a low-hanging fruit for many of us who dream of winning an Oscar. And I believe there are several compelling reasons why African countries should focus on the opportunity of this rule because we indeed stand a higher chance of being nominated if we produce our best films in our indigenous languages. Here’s a few reasons why:
Cultural Authenticity: Using indigenous languages allows African filmmakers to authentically portray their unique cultural identities and narratives. The Academy often appreciates and recognizes films that showcase diverse cultural perspectives, which can lead to increased recognition and nominations.
Rich Storytelling Traditions: African countries have a wealth of rich oral storytelling traditions embedded in their indigenous languages. By using these languages in films, African filmmakers can tap into the depth and beauty of their storytelling heritage, which can captivate international audiences and attract attention.
Unique Perspectives and Experiences: Indigenous languages often carry with them unique perspectives and experiences that can offer fresh insights into storytelling. By presenting stories in their indigenous languages, African filmmakers can provide a window into their cultural realities, shedding light on important social, historical, and contemporary issues. Such films tend to garner attention for their authenticity and originality.
Increased Cultural Representation: The Academy has been actively striving to promote diversity and representation in recent years. By presenting films in indigenous languages, African filmmakers contribute to the global film landscape by showcasing the linguistic and cultural diversity of the continent. This increases the chances of recognition and awards, as it aligns with the Academy’s commitment to inclusivity.
International Appeal: Films in indigenous languages possess a distinct flavor and appeal that can attract global audiences. The uniqueness and authenticity of these films can generate curiosity and interest, leading to wider distribution and exposure. This exposure, in turn, enhances the chances of nominations and awards, as more people become aware of and appreciate the African cinematic offerings.
While making films in indigenous languages does not guarantee an Oscar win, it increases the likelihood of recognition and nominations due to these factors. The combination of cultural authenticity, unique storytelling traditions, diverse perspectives, increased representation, and international appeal contributes to a compelling case for African countries to explore and embrace their indigenous languages in filmmaking. By embracing the language of our cultures in our creative endeavors, we assert our unique identities, celebrate our diversity, and contribute to a more inclusive and harmonious global society. Let us continue to cherish and promote the languages that hold our stories, for they are the very essence of who we are.
They are the vibrant heartbeat of our culture and the real foundation upon which our stories are built. In doing so, we strengthen the very fabric of our national identity.
Thank you.
Femi Odugbemi, fta., rpa.
Founder/CEO, Zuri24 Media Lagos.
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