Technology and entertainment appear as solutions to the plethora of assumed challenges. These challenges are tribalism, favouritism, deafness to national goals by the citizenry and many others. The rising productivity from film technology is a communicative tool that marks an indelible mark on the possibilities of national unity in Nigeria. The exploration of Adebayo’s Seven Doors unveils an aesthetic and realistic trend in Nollywood’s casting. Technological mediation in the movie industry signifies a progression in the Nollywood’s function as a reporter of the society and a promoter of love amongst cultures.
Ajakaye during the presentation at the LSA 2026 conference, June 19, 2026 at Trinity University, Yaba, Lagos
Abstract
The study investigates the role of technology in shaping the representation of intercultural relationships in Nollywood cinema. As Nigeria continues to evolve as a multicultural environment, digital cinematography expresses social dynamics and the need for collective patriotism in Nigeria. Tribalism has built extreme negative effects on the citizenry’s psychology of thinking, decision making and the development of the society. The diversities of culture and language have been often misinterpreted as a routing cause of enmity and disregard for the national goals. This research explores how technology innovations promote casting dynamics as a current style in the Nollywood cinema, with a concentrated analysis on Femi Adebayo’s Seven Doors. Nollywood is not only a reflection of aesthetics but a confident mirror of the society. Adebayo’s Seven Doors is a reliable case study that portrays relationships beyond ethnic, linguistic, cultural and regional boundaries within the Nigerian context. The study intersects the complex interactions from technology, thematic preoccupations of Adebayo’s Seven Doors and possibility of national unity in Nigeria. The paper was premised on the function of film technology as a reporter of cross-cultural unions, switching of cultural values, sacrifice of respective ethnic beliefs, forgiveness, relevance of lingua franca, reframing power of education and adorable representation of Nigeria multitudinous features. Through qualitative content analysis, this study presents an expanding discussion from technological mediation, cultural integration and the transformative role of cinema in reshaping social weaknesses.
Keywords: Nollywood, Film technology, Tribalism, Intracultural relationship, National unity
Introduction
NOLLYWOOD is a dynamic force both within the domestic scene and on the international stage. It is not only a popular road to entertainment but also a means of reflecting occurrences of the society and educating its people. The vibrant film industry of Nigeria has carved a statutory position for itself on the world cinematic stage (Ugobude, 2023). It is not uncommon to see Nollywood being grasped beyond its nationality. Through technology, there have been a steady exportation of the varying beauties and lifestyles of the Nigerian culture across various countries in the world.
Film technology has shifted the traditional analog methods to the innovative digital methods. This has resulted in changes in the creative processes of cast dynamics and authenticity of presented plots (Mackay, 2023). Social media have made the distribution of productions easy and profiting. Actors build relationships smartly through heavy comments and responses; connections are built through these interactions and the society is assessed through an efficient chain of Nollywood professionals. The impact of technology on Nollywood has been dynamic and representative. Scripts demonstrated are on the basis of common outcomes of human relationships—marriage, parenting, work, success, jealousy, power, wealth and other sundries.
Statement of Problem
Tribalism remains a major problem in Nigeria, affecting politics, the economy, and other areas of national life. In politics, ethnic loyalty often influences leadership selection and voter decisions, weakening fairness and national integration. Tribalism is a state of excessive loyalty to a tribe or social group, resultantly recreating a negative mindset of other tribe (Ajala, 2023). Nigeria has felt the tension of tribalism in politics, employment, educational opportunities, marriage and many others. field of entertainment and education. Economically, it leads to unequal access to opportunities, favoritism, and regional imbalance in development.
Beyond these, tribalism also affects education, social relations, and interpersonal interactions, including marriage and community life. This study therefore observes that tribalism is a serious challenge in Nigeria and examines how Nollywood films, particularly Seven Doors, represent intercultural relationships that may help promote national unity and reduce ethnic divisions.
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Objectives of the Study
The objective of this study was to examine the role of technology in shaping the representation of intercultural relationships in Nollywood cinema, with particular reference to Femi Adebayo’s Seven Doors. It also sought to explore how Nollywood functions as a medium for promoting national unity in Nigeria by portraying meaningful interactions among characters from different cultural backgrounds. In addition, the study aimed to identify and analyze the thematic preoccupations in Seven Doors and how these themes reflect and support the ideals of national unity, with the broader intention of understanding how film narratives can contribute to reducing tribal divisions in Nigerian society.
Theoretical Framework
This study was anchored on intercultural communication theory and social identity theory. The theory of intercultural communication was developed by Edward T. Hall and others in the Forensic Service Institute in the early 1950s (Rogers, Hart & Miike, 2002). It serves as a rudimentary stage that checks the strength at which personalities or groups from distinct cultural settings navigate challenges on communication, relation and values. The theory has also been reported that-cultural differences affect verbal and non-verbal styles of communication, resolutions of conflict and management of relationship (Gudykunst & Kim, 2003). This theory is applicable in interpreting the management of cultural misunderstandings that connect characters, build unity and prosperity among the agents of the script.
The theory of social identity was developed by Henri Tajfel in the late 1960s. It simply emphasises on common aspects shared with in group members (Hodson & Earle, 2017). It provides hints to how cultural group membership carves self-value and attitudes towards others. This theory will be applied on the manners in which personal and ethnic characters of Adebayo’s Seven Doors accept or resist the tension of intercultural unions.
These two theories would be handy in realising the objectives of this study. They would deconstruct Adebayo’s Seven Doors not only as a Nollywood production but also a narrative displaying the possibilities of harmony and peace in the multi-cultural environment of Nigeria. The results of actions and dialogues in the movie would be weighed in support of national unity in Nigeria.
Synopsis of Adebayo’s Seven Doors
Seven Doors was produced by Femi Adebayo Salami in 2024. It was theatrically released on the 13th of December, 2024. It was directed by Femi Adebayo and Adebayo Aremu Salami. The movie comprises six episodes with that engage the audience in believable flows.
The film develops its narrative by integrating intercultural relationships into its thematic focus. It begins with Adedunjoye, a Yoruba man married to Chiamaka, an Igbo woman, and their two children. Their peaceful life is disrupted by internal conflicts in Ilara, especially the injustice suffered by Agunbiade under the local chiefs. Adedunjoye is drawn into the crisis and is later identified through divine consultation as the rightful king. Though he initially resists, he eventually accepts the role after persuasion from his wife, marking his transformation.
After his coronation, Adedunjoye experiences spiritual revelations that expose ancestral expectations. He is instructed to “knock seven doors,” symbolizing marriage to multiple wives. While the kingdom celebrates his emergence as king, instability soon follows. Prince Adeoye, feeling sidelined, fuels conflict, and the king is troubled by disturbing dreams that later become reality, including the loss of his daughter.
Deeper revelations expose a generational curse linked to Adedunjoye’s great-grandfather, whose pursuit of long life led to suffering and the death of his wives. This burden begins to affect the present, as jealousy develops among the king’s wives due to his affection for Chiamaka. Despite efforts to maintain peace, the kingdom continues to experience spiritual unrest and tragic consequences.
Adedunjoye confronts both political and spiritual crises tied to his lineage. The defeat of Esusu, a symbol of corrupt power, brings resolution. Through reconciliation, ancestral guidance, and moral awakening, peace is restored in Ilara, highlighting unity, justice, and responsible leadership.
Descriptive Portrayal of Some Germane Characters from Adebayo’s Seven Doors
Oba Adedunjoye (Femi Adebayo Salami): He hails from the Adekogbe family. He struggles between romantic emotions, community demands and metaphysical debts.
Chiamaka Adedunjoye (Chioma Chukwuka Akpotha): She is the first wife of Oba Adedunjoye. She represents an epitome of the submission expected of a wife to her husband.
Agunbiade (Dele Odule): Agunbiade is a man of the middle class family. The chiefs of Ilara Kingdom collapse his house from their unjust hunger for money.
Olonjongbodu (Ganiu Nafiu): He is the village chief priest. He is an old man who is accurately acquainted with the history, values and intricacies of Ilara Kingdom.
Prince Adeoye (Muyiwa Ademola): He is a wealthy prince and one of the men entitled to be king in Ilara. He is not happy over the oracle choosing Adedunjoye.
The Hausa Investor (Saeed Mohammed): The Hausa man is brought to the king by a Yoruba man. This investment would employ five hundred people in the town.
Oba Adejuwon (Kolawole Oluwasegun Ajeyemi): He is the great-grandfather of Oba. His desperation to be the Onilara of Ilara makes him to strangle his brother to death. He is the oldest king of Ilara
Seven Wives (Jumoke Odetola, Aisha Lawal, Wumi Toriola, Womi Toriola and others): These are the wives of Oba Adejuwon Adekogbe whose lives were taken by Esusu’s power. They depict eponymous body of characters for the movie is titled, Seven Doors. Some of them are: Abo, Aduke, Awele, Ajile, Awele. To appease their spirits, Oba marries Asake from Onasanya family, Kofoworola from Adeyanju family, a woman from Ejiwunmi family, Damilare from Bale Agbe family, Ibidun from Ogungbemi family and a woman from Asogunlore family.
Methodology
This study adopted a qualitative research design, focusing on textual and filmic analysis of Femi Adebayo’s Seven Doors, which was selected for its relevance in portraying intercultural relationships, leadership, tradition, and conflict within Nigeria’s culturally diverse society. The study specifically involved “fetching out” the thematic preoccupations of the film through thematic analysis, where recurring ideas, symbols, character interactions, and narrative developments were identified, extracted, and interpreted. Particular attention was given to how intercultural relationships were represented and how these thematic concerns reflected broader social realities such as tribalism and cultural tension in Nigeria. The study was guided by the objective of revealing the underlying messages embedded in the film in relation to national unity, while also examining how technology-driven cinematic techniques were used to challenge ethnic divisions and promote harmony among diverse groups. Ultimately, the findings were discussed within thematic preoccupations of Seven Doors and the potential of Nollywood as an instrument for social integration and national cohesion.
The Relationship between Certain Thematic Preoccupations and Elements of National Unity in Adebayo’s Seven Doors
“King Adejuwon, it would have been better we resolved this on earth, so that it doesn’t become an issue when we get to heaven… Even though I wish to stay here longer, (heaves) but you no longer want me here among you. (Heaves) Ah! People of Ilara, just because I have no relatives in this town, (crying) that’s why you all hate me. But when we meet again…” (Episode 6: Scene 16).
The toughest villain in Adebayo’s Seven Doors disappears from the sight of Ilara people. A tribalistic conclusion becomes a striking bone in the neck of an innocent man, his family and the society he loves.
Power of Education
The movie depicts the strength of education to effectuate changes in our personal lives, family and the society. Education matches unlike minds for the sake of mutual development. Chiamaka rejoices herself and Tade’s victory with an Igbo song and her husband joins the dance as he enjoys the melody. This keeps the audience amazed at such a genuine affection between a Yoruba man and an Igbo woman. “lenu ya…oo otua…ngwa le, mba now…” (Episode 1: scene 2)
Oba’s educational status earns him a level of supporting personalities beyond the boundaries of culture. When Adedunjoye becomes king, he focuses on the productivity that the Hausa man’s investment would bring upon the land. He engages the Hausa man with a pure heart and makes straightforward decisions with him.
Yoruba villager: Káábíèsí oo!
Oba: Bó o wá ni…?
Yoruba villager: À kábíèsí, a kú oríire…
Oba: Àáà
Yoruba villager: Ó ní nǹkan tòun fẹ́ gan-an la fi hàn un.
Oba: Ó dáa bẹ́ẹ̀
Yoruba villager Ó wá fi yé mi o, ó ní Company tòun fẹ́ dá sílẹ̀ yẹn wí pé á tó èèyàn five hundred tó ma ṣiṣẹ́ níbẹ̀…
Hausa Investor: Na gode, don Allah ka gaya wa sarki cewa kamfanin da nake son kafawa, zan bukaci ma’aikata five hundred amma zan kawo mutane daga wurina wanda five hundred.
Yoruba Villager: Ehn Kábíèsí, nǹkan tí Mallam ń sọ náà ni wí pé àwọn èèyàn 500 yẹn ìyẹn ọmọ ìlú wa yìí, nílùú wa nílàárá, ni wọn ma jẹ́. (Episode 2: scene 25)
Hence, this confesses the possibility of intracultural relationship in Nigeria as far as both hearts are sincere and intentional about a settled family. The Yoruba man introduces a Hausa man to Oba and he gives him a listening ears. The three persons in this scene are productively oriented to attain economic breakthrough in Illara. The Yoruba man appears to be bi-lingual and when Oba cannot understand what the Hausa man, the former assists his king with the English translation. In the end of this discourse, the investment of this Hausa would employ five hundred people from Ilara.
Also, the transformative value of a woman is shown. The love between Chiamaka and her husband is second to none in the movie. Oba confides in his wife, even as an Igbo woman, she is overjoyed to hear this request from her husband’s town. She persuades her husband with both English and Yoruba Language. It is for the unmatched passion he possesses for his wife that he responds to the call of the elders.
Chiamaka: My Love, there is absolutely no reason for you to decline this offer…it is your birth right…
Ọba: Darling…you know for now, it is you, the children and I. Tí ń bá ti jọba yìí gbàrà báyìí!
Wife: Hm
Ọba: Mo ti di bàbá gbogboogbò
Wife: Ah!
Ọba: Mi ò ní ráyè fún Family…
Wife: That is not going to happen, I will be by your side…Ẹ jẹ́ ọkọ mi, I will cope… Òṣùbà mi rèé…kábíèsí, ẹ jọ̀ọ́…
Fola and Tade: Káábíèsí oo (Episode 1: scene 11)
In the earliest times of his marriage to the six Yoruba women, Chiamaka happens to be the favourite wife of Oba. Even before his marriage to these six women, he feels devastated when she is hurt by this royal requirement of polygyny.
Chiamaka: Ofu, ibuo, ito, ino, ise, isi namu wo isa, seven wives! No…it is fair enough that I have to share you with the entire community but with six more wives…no!…Ademidun, remember nítorí ìfẹ́ la ṣe dá olólùfẹ́, nítorí tì ẹ̀ lỌlọ́run ṣe dá mi…(Episode 4: scene 8)
He goes to Orisa Aganju and laments emotionally for he knows how precious Chiamaka is to him. Hence, Oba understands the normalcy of any woman being hurt and disappointed about sharing her husband with other women.
Ọba: Ẹ̀yin alálẹ̀, kí ló dé, Òòṣà Aganjú kí ni n tí mo ṣe, ó ṣe jẹ èmi? …Ìfẹ́ ló ní kí n jọba, mo jọba. Mo wá jọba ọ̀hún tán, adé fẹ́ fà mí nífẹ̀ẹ́ ya pẹ́rẹpẹ̀rẹ. Ẹ jọ̀ọ́ ẹ má jẹ́ ó rí bẹ́ẹ̀…Ìfẹ́ lỌlọ́run ọba fi dá ilé ayé. Ìfẹ́ tì ẹ nìlárá ní tí wọ́n fi ń fún ọ lákùkọ adìẹ…(Episode 4: scene 10)
Even on the wedding celebration, Chiamaka cries shamelessly like a baby and walks out on the marriage for the pain is extremely heavy for her to bear. With immediate effect, Oba does not forget all that they have been through, he follows her.
Ọba: …adé tí mo fi ń pàṣẹ fún wọn nílùú ìlárá rèé, èmi ọkọ rẹ Ademidun rẹ rèé, Amaka jọ̀ọ́… Amaka mo bẹ̀ ẹ́, mo bẹ Ẹlẹ́dàá rẹ…(Episode 4: scene 16)
Hence, the love and agreement between two or amongst many personalities should not be forgotten only because of cultural differences. Even if differences shall occur, each party must be informed of the new development.
Seven Doors as a Title
Seven Doors as a title also breaks the stereotyped conclusions on cultural differences. A woman from the Igbo circus, Chiamaka Adedunjoye is not excluded from the seven wives of Oba Adejuwon. Hence, the movie is not titled “Six Doors” but rather “Seven Doors”. There was not an ounce of cultural segregation as the Igbo woman is seen as a head wide and a legal wife as the other six wives. All the seven wives are eponymous to the tile of the movie.
Chiamaka as an Igbo woman is not underrated in a Yoruba Kingdom.
Ọba: Afọbajẹ ẹ mà pẹ̀lẹ́, nígbà tí mo gbọ́ ẹ̀rù bà mí…
Afọbajẹ: Adédùnjoyè, kí ní ń ṣe ọ́ rí?…
Ọba: Ah ah! …èmi ni mò ń ṣe ìlú ni?…
Afọbajẹ: Ká ṣe wí pé ìwọ ti ṣe ohun tí ifá pé o ṣe ni ohun tó ṣẹlẹ̀ sí ìlú ìbá smá ti ṣẹlẹ̀ sílùú…(Episode 3: scene 9)
Also, the chief priest does not advise the king to abandon his first wife, Chiamaka. He humbly orders Oba to marry six more wives and not seven Yoruba woman.
Olonjongbodu: Ṣebí obìnrin méje tí baba-ńlá yín dẹ́mìí wọn légbodò ná ní kẹ́yin ọ́ fẹ́ padà kẹ́ẹ le fi ẹlẹ́dàá wọn ṣìpẹ̀ àwọn tó ti kọjá lọ… (Episode 3: scene 10)
The priest believes in the positivity that the presence of Chiamaka invites into the Oba’s peace. The movie advises the worthiness of whoever deserves worth.
Relevance of the Lingua Franca
The mission of English Language as a unifying language cannot be underrated in Adebayo’s Seven Doors. It can be easily seen in the borrowed means of communication in Adedunjoye’s immediate family. One would realise that the English is used more that the respective native language of Adedunjoye and Chiamaka. This creates a floor of similarities between both parties and recreates them as a genuine family (Check Episode 1: scene 11).
Chiamaka Adedunjoye and her friends also employ the Nigerian lingua franca to settle a barrier that linguistic differences attempts to cause upon the setting of the scene. While she purchases Women Union wares, the three characters do not speak Igbo completely. They rather combine it with English so that the audiences would not be shocked by the unnatural relaxation of Igbo dialect in the preparation of a Yoruba ceremony.
Chiamaka: Akwa amaka ja cha o, ogini di?
Clothier: I carry eye enter market now…
Chiamaka: Mana ka, wocha kodi,…umu wanyin no na union ye si village anyi we bia, onyi fit cha han, what do you think?
Chiamaka’s Friend: It is not bad
Clothier: Ima na owe u ka age shi yea apka…nmu wanyi kanyi bunu
Chiamaka: Obu ezi okwu.
Chiamaka’s Friend: We don’t know say all the clothes he don ready…who is going to buy all these things?
Chiamaka: Ó bẹ̀rẹ̀ o! Just say you are looking for someone to pay for you… (Episode 2: scene 10)
Hence, the relevance of Nigerian’s lingua franca is not just to sieve out the educated from the uneducated. English is a language of co-operation and love. The cultural differences amongst various tribes in Nigeria are brought together with a single voice, English Language.
Presence of Intracultural Conflict
In Adebayo’s Seven Doors, most of the conflicts against the protagonist: Adedunjoye and some of characters with major roles arise from same tribe as Yoruba. The movie does not label conflict to be sprung from regional boundaries. The hypocrisy, bribery and eventual punishments that the involved villains deserve are shown. Ọ̀tún and the other chiefs collapse Agunbiade’s house with a bulldozer only out of their land-stealing and selfish attitude to make money by any means. Agunbiade runs to them at such destructive action and their heartlessness is inhumane as they proceed without remembering how the former invited them for the launching of the house.
Agúnbíadé: Ẹẹ̀ le wólé mi o…(Episode 1: scene 3)
Olukosin: Se ìwọ ò mọ̀ pé iwájú ilé Ọ̀túnba lo wà ni,…?
Agbaakin : Àsé ìhàhín lọ̀ ń bọ̀ lò ń wa mọ́tò bí ẹni tí ọ̀ lọ́pọlọ
Ọ̀tún: Kò lọ́pọlọ ni kì í ṣe pé bí ẹni tí
Wálé: Bàbá olóyè
Ọ̀tún: Ehn ehn
Wálé: Ẹ̀yin ni mo wá rí
Ọ̀tún: …kí ló dé?
Wálé: Wọ́n ní ẹ̀ ń wó àwọn ilé onílé
Ọ̀tún: Ọ̀dẹ́, wọ́n ní à ń wo àwọn ilé onílé àbí à ń wólé
Agbaakin : Ọpọlọ rẹ̀ ló ti lọ́…
Wálé: Ẹ̀ ń sọ ọ́ inú yín dẹ̀ ń dùn, nígbà tí ẹ bá ti ta gbogbo ilẹ̀ tó wà níkàápá yín tán kí ló dé tẹ́ ò lọ sókè kẹ́ẹ máa lọ máa tojú ọ̀run… Èwo àwọn tó jù wá lọ wọ́n ma bá wa dá síi o.
Ọ̀tún: kàá dáa fún ọ,… Àwa olóyè Ìlárà la dúró yìí…(Episode 1: scene 4)
This betrayal spins in the head of Agunbiade and he attempts suicide. Aside Agunbiade, Ogunlana and another man is killed a car and cutlass respectively. The chiefs assume that God loves their illegal acts. Bribery and unmanaged desperation is seen in the character of Prince Adeoye. The chiefs of Ilara encourage him with promises that he would be the next Onilara of Ilara. He bribes them with his heavy pockets. Ọ̀tún and the other chiefs are deceitful and not loyal to the king.
They meet Prince Adeoye to use the staff to kill Oba. They convince the family of the staff to develop interest to “je oye opa”. The chiefs themselves beseech the king as though the staff family originally had interest in the entitlement. Later, Adeoye persuades Opayemi with a car to show Oba his staff.
Agúnbíadé: Àgbàlá tó bá ń sára inú ẹ̀kọ tí nǹkan ò bá lé e ó ń lé nǹkan… Ẹ wòó Àwọn ará ilé Ọ̀pá wọ́n ń gbé Ọ̀pá bọ̀ wá ààfin láti wá káa yín mọ́…Bẹẹ́ ṣe kúò láàfin ni kí ẹ máa dù báyìí o
Ọba: Wọ́n fẹ́ pa mi nìyẹn! (Episode 5: scene 17).
The battle that Oba fights with Esusu is a result of a generational curse which was initiated by his great grandfather, Oba Adejuwon. He battles with death, discomforts and other evils. In the second room which he is asked to sleep on his left side, he battles with the brother of Oba Adejuwon again who was killed as a desperate step of his great-grandfather to become king of Ilara (Episode 2: scene 3). When conflicts arise between persons and groups; personalities involved should avoid labelling feuds as results of cultural differences.
Courageous Reflection of Hausa and Igbo Culture
The movie shows a confident mirroring of the two other major nations in Nigeria. These cultures are Yoruba and Hausa. Chiamaka sings a victorious song with Tadetola after winning Adedunjoye’s side in the wide distance tennis game (Check Episode 1: scene 2). Her husband also joins the dance in happiness.
Chiamaka’s culture shows again when Adedunjoye celebrates a formal investiture of his monarchical beginning. After she is called by her husband_ her family members, the Igbo chiefs and Igbo Women Union join the jubilation. The Igbos conclude with “Káábíèsí oo”.
The Hausa man is fully dressed in his white riga and Islamic cap when he meets the king. He speaks his language also (Episode 2: scene 25). All these do not disturb the progress and the eventual objective of the discussion.
The various cultures in Nigeria should not lose their indigenous identities but rather be connected by replicable representations of her multitudinous traditions. Chiamaka is a notable agent of this thematic preoccupation. Even as an Igbo woman, her children answer Yoruba names: Fola and Tadetola.
She also adjusts her emotional hunger after she complains. She spends lesser time with her husband when he becomes the king and she does not complain after Oyewale explains royal responsibilities to her (Episode 2: scene 6). Also, before arriving at Ilara, she is found in English wares. Immediately she becomes the Queen of Illara, she wears Yoruba wares except she is not going out-door.
Chiamaka is also found speaking Yoruba is several scenes. She mostly calls her husband “Ademidun” and not “My Love” or “Obim”. She also speaks Yoruba even with her Igbo mates while she purchases dresses for the Women Union for her husband’s royal ceremony(Episode 2: scene 10).
While Chiamaka addresses the people of Ilara in the party, a Yoruba Chief arises to tell the king that the Yorubas do not understand what his wife is uttering. Chiamaka switches to Yoruba language and the people are happy.
Chiamaka: I want to use this opportunity to thank Almighty God.
Agbaakin: Eh eh Kábíèsí o ẹ jọ̀ọ́, gbogbo wa kọ́ la gbọ́ fíntìnfíntìn tí olorì ń sọ…
Chiamaka: Mo kí gbogbo ìlú ìlárá o, ìlárá ò ní bàjẹ́ o, tẹ́ẹ bá gbà mí láyè, mo fẹ́ kọrin fún ọkọ mi. Ẹ̀ jẹ́ ń pọ́kọ mi lé, ẹ̀ jẹ́ pọ́kọ mi lé oo…(Episode 2: scene 11).
In this scene, to assent the reality of the movie, it is truthful to say that not all of her Yoruba utterances are in the right Yoruba accents.
“Nìgbo tí ko, nígbó tí kò lálè níbìkan ẹ jẹ́ ń pọ́kọ mi lé.” (The Yorùbá villagers follow the music).
Chiamaka does the extreme, sharing her husband who has made a thousand promises to never share her sexual and emotional rights with any other woman. There should be a sacrifice of one culture for another.. Recognition of Facilitating Forces is found in Adebayo’s Seven Doors, the audience observes the salutations of other cultures where needed. The contributive quotas that the Igbo and Hausa nations provide to the main protagonist are not humiliated. When Adedunjoye becomes king, he recognises and appreciates his adorable and understanding wife who admonished him to embrace the royal offer.
Ọba: Ọpẹ́ mi ò ní pé tí ń bá dárúkọ èèyàn kan. Ẹni-bí-ẹni, Ìfẹ́ mi, ayọ̀ mi, gbogbo ohun tí mo ní láyé mi, Chiamaka Adédùnjoyè. (Episode 2: scene 11).
He also recognises the special involvement of the Hausa man with enough enthusiasm. He embraces his business ideology as an economic and social engineering gift to the penury and laziness of the youths. Oba is delighted about the Hausa man finding the land axis in Ilara fertile enough for the latter’s business.
The movie also features the switching of cultural values as a result of intercultural relationships. A cultural attitude is borrowed from the Igbo culture into the Yoruba culture For instance, the death of Fola is also called “Adanna” which is a common name for the first daughter in the Igbo town. Also, the Igbo are known to appreciate the birth of a male child. This is probably the reason Olonjongbou does not make extreme spiritual efforts to save her soul even after her parents feels a lot of pains.
Ọba: Báwo lẹ ṣe mọ̀
Ifá: kábíèsí, iná ò ní jó lóko kí mọ̀jàlà rẹ̀ ò mọ́ délé ròyìn. Ẹ wòó…kèé sọ̀rọ̀ ọsipítù o… Ó gbọ́dọ̀ kúò ńbí báyìí báyìí (Episode 6: scene 4).
Why wasn’t she taken to the hospital? Why did the chief priest accept her death without carrying out spiritual pleadings? In contrast, Tadetola who is a male child was taken to the hospital and the chief priest came as a deus ex machina, unveiling spiritual incantations and beseeching as a better route to save his life.
When Oba’s six more wives were called back to the palace, he cuddled them and prayed for them. This marks a settlement between Chiamaka and the other wives. Oba ate and dined with his seven wives. The seven of them were in same Yoruba attires. This situation exposed the last wife being introduced the exchange of Yoruba and Igbo meals between Chiamaka and the last wife (Episode 6: scene 9).
Chiamaka’s culture shows again. After the Yoruba spiritual leaders fortify him, the spiritual leaders in Igbo also dress in their traditional dresses: white lace shirt, Okpu Agu, Ọgọdọ and others. These spiritual leaders of Igbo also fortify Oba for his battle with Esusu. This would command a sense of togetherness amongst cultures and bring beauty to the Nigerian family. Reliable roads of national unity are trust, sociability, sincerity of hearts and other sundries.
Conclusion
The study concludes that technology plays a crucial role in the Nollywood industry and the society eventually. Technology and entertainment appear as solutions to the plethora of assumed challenges. These challenges are tribalism, favouritism, deafness to national goals by the citizenry and many others. The rising productivity from film technology is a communicative tool that marks an indelible mark on the possibilities of national unity in Nigeria. The exploration of Adebayo’s Seven Doors unveils an aesthetic and realistic trend in Nollywood’s casting. Technological mediation in the movie industry signifies a progression in the Nollywood’s function as a reporter of the society and a promoter of love amongst cultures.
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- Rasheedat Ajakaiye is of Department of Language, Arts and Social Science Education Department, Faculty of Education, Lagos State University, Ojo, Nigeria. [email protected]
