Table Of ContentNollywood
in Glocal
Perspective
Edited by
Bala A. Musa
Nollywood in Glocal Perspective
Bala A. Musa
Editor
Nollywood in Glocal
Perspective
Editor
Bala A. Musa
Department of Communication
Studies
Azusa Pacific University
Azusa, CA, USA
ISBN 978-3-030-30662-5 ISBN 978-3-030-30663-2 (eBook)
https://doi.org/10.1007/978-3-030-30663-2
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To
Maureen Ifeyinwa Musa
My Darling and Pillar
P
reface
It is safe to say there is emerging a “New World Entertainment Order,”
with its momentum from the Global South. For decades, pop culture
discourse was dominated by the cultural dialectics between imperialism
and anti-colonialism, between globalism and localism, between producer
nations and consumer nations, between high art and popular art. With
new media and globalization, communication networks have become
the prevailing structures of social engagement; allowing for fluidity and
dynamic exchange between groups. Instead of just a few entertainment
cultural centres, there are a growing number of entertainment cultural
centres, from Seoul to Rio de Janeiro, and from Lagos to Mumbai.
The new market for pop culture and entertainment is defined by tal-
ent and software, rather than hardware and capital. The internet makes
it possible to gain worldwide audience with minimal expense and finan-
cial investment. Global pop culture stars are born every day from all
regions of the world, thanks to social media. While Hollywood remains
the iconic movie capital of the world, it has since been surpassed by
Bollywood and Nollywood, judging by the number of movies produced
and the global distribution and consumption of their works.
Nollywood, as Nigeria’s premiere movie and entertainment industry is
popularly called, is a fast-growing glocal cultural force with large follower-
ship and influence across Africa and the globe. Nollywood movies, which
were initially produced and distributed via VHS Cassettes and DVDs, are
now widely screened in theatres in New York, London, Johannesburg and
elsewhere. They are watched by millions on YouTube and are broadcast
vii
viii PREFACE
on network channels or streamed online. The industry has definitely come
of age in the quantity, quality and reach of its entertainment content.
While it may have once been the case that Riverwood was viewed as “a
pale shadow of Nollywood1;” Nollywood, a Shadow of Bollywood; and
Bollywood, but a shadow of Hollywood2; those assertions no longer hold
true. Each of these industries, particularly Bollywood and Nollywood,
have come into their own, and can each claim a place in the pantheon of
global entertainment and pop culture institutions.
In this volume, scholars from Africa, Europe and the United States
bear credence, from their scholarships and experiences, to the glocal
giant that Nollywood has become in the space of over two decades. As
new and social media transform what was once fringe pop culture fare
into mainstream global entertainment, it is important that the public not
only be avid consumers, but that the be literate and savvy consumers as
well.3 The chapters examine the history of Nollywood, dating back to
the colonial films and Nigeria’s early indigenous Travelling Theatres and
films. They identify the social, cultural, economic and political factors
that gave rise to today’s home video movie phenomenon, Nollywood.
Authors, Adesina Azeez Lukman, Shaibu S. Hussein, Oloruntola A.
Sunday, Glorian C. Ernerst-Samuel, Ngozi Udoma and Soji Alabi give us
insight into the role of technology as well as global and local talent inter-
face in the evolution of Nollywood.
The reader is able to gain a unique understanding of Nollywood’s
core identity as an institution that sheds light on the realities of Nigerian,
African and African Diaspora pop culture and experience from an etic-
emic perspective. It shows how Nollywood is authentically local in ori-
gin, yet globally connected and relevant. Nollywood entertainment
themes and personalities bridge the divide between the local and the
global. Nollywood producers, writers, actors and actresses train their art
on the good, the bad and the ugly of African society, without falling prey
to what has been termed “Afro-pessimism”—the tendency to portray
Nigeria and Africa as only characterized by violence, disease, doom and
gloom. They are able to tell Africa’s story with balance and authenticity.
They celebrate Africa’s rich cultural heritage, exult in its triumphs, reflect
on its struggles, call out its ills like corruption, nepotism, dictatorship,
human rights abuses and violence, while pointing the way out of poverty,
disease, illiteracy and dependency.
The diverse perspectives provided by the contributors, Olufemi
J. Abodunrin, Ogungbemi C. Akintola, Morountodun Joseph and
PREFACE ix
Bala A. Musa illuminate the local and global cultural forces that tug on
the soul of Nollywood. Looking into the internal workings of the sto-
ries, readers are exposed to the entrepreneurial spirit, drive, talent and
creativity that have fuelled the rapid development of the industry. The
fact that Nollywood was birthed in the throes of national economic aus-
terity is a tale of rising from ashes to glory. This is not only a metaphor
of collective experience but for individual experiences that are captured
in many Nollywood movies. The life stories of Nollywood stars, many
of whom found success through hard work, determination and persever-
ance reflect but personal and collective narratives. Nollywood expanded
opportunities for women, the youth, non-professional artists, and people
of all backgrounds.
Unlike Hollywood and Bollywood, which are associated with specific
geographic locations, namely, Los Angeles and Bombay, Nollywood has
local, national and global identity and structure. It is centred in Lagos,
but extends to Benin, Onitsha, Accra (in Ghana) and elsewhere. Osakue
S. Omoera, Abdulmutallib Ado Abubakar and Sharafa Dauda show the
reach of Nollywood’s tentacles to different parts of the world and its
influence audiences from Benin, in the Mid-West to Kano, in the North.
Studios and artistes in these places see themselves as part of Nollywood.
On Nollywood’s global reach and impact, Sandra Mooser, Gloria
Chimeziem Ernest-Samuel, Bala Musa show the interconnectivity and
mutual influence between the local and global in inspiration, content,
style, funding and values. Sandra Mooser illustrates how Nollywood’s
influence extends to Europe, with specific reference to Switzerland.
Nigerians and Africans in the Diaspora have taken Nollywood with them
to their new societies. They are making movies in Nollywood tradition
in other African countries, Europe, North America and Asia. Nollywood
film festivals are held in New York, Toronto, London, Paris, etc.
Nollywood movies are the rave in the Caribbean. Movies, like Osuofia in
London (2003) and Paradise in America (2016) are shot on location in
Nigeria, the UK and America. Nollywood is truly a glocal phenomenon.
Many Nollywood stars have become international icons. Some act
and produce in Nollywood, Ghallywood and Hollywood. They have
received awards at the African Movie Academy Awards and other inter-
national film festivals. Nollywood has grown to be more than just a
movie-making industry. Nollywood artistes’ crafts and the industry itself
now encompass movie-making, music, comedy, fashion, etc. The stars
are cultural ambassadors in the true sense of the word. They are brand
x PREFACE
ambassadors and spokespersons for global corporate brands. They are
goodwill ambassadors for the United Nations, humanitarian organiza-
tions and philanthropies. Some have leveraged their fame, power and
popularity to gain political office.
Nollywood is both an entertainment and economic institution. Next
only to crude oil, it is arguably, Nigeria’s greatest export and economic
pillar. It is the product of people’s ingenuity. In a country with high lev-
els of unemployment, and where many look to government for jobs and
political patronage, Nollywood stands apart as a product of the people’s
creativity and entrepreneurship. Despite, or rather, in spite the challenges
of lack of substantial support and investment from government or big
business, Nollywood continues to flourish and provide employment and
income for artists. This is an example of the success and vitality of civil
society and grassroots initiatives. The Nigerian government, recognizing
the power and strength of the industry, has tried to establish healthcare
and retirement plans for Nollywood artistes in the bid to encourage its
growth. Other efforts to support the industry have included the support
of the National Film Institute in Jos, and a plan for establishing a Film
Village in Abuja, the national capital.
The expansion and success of Nollywood have inspired the growth of
the likes of Ghallywood (Ghana), Riverwood (Kenya) and Bongowood
(Tanzania). There are industry ethos that reflect local and global
perspectives in the making of Nollywood. The authors show how
Nollywood looks inward and outward in processes and practices. There
is robust cultural exchange between Nollywood or sister institutions in
Africa and beyond.
Nollywood defies some dominant narratives regarding the broader cul-
ture. It holds up African culture in ways that are positive and appealing.
The mixing of English and local languages in many Nollywood movies is
a specific Nollywood norm. Other African media industry have followed
that script. Nollywood can be seen to be encouraging gender equality and
redressing gender disparity through the number of influential female writ-
ers, actresses, directors and producers in the industry. Its format encour-
ages aspiring artistes and entrepreneurs to enter the industry, even if they
do not have significant professional background or financial resources.
For some, this volume will be an introduction to Nollywood as a
powerful cultural phenomenon. Those familiar with Nollywood will gain
insights from the rigorous intellectual analyzes, giving them a better
grasp of the industry, regardless of their positions as practitioners, fans,
PREFACE xi
stakeholders, policy-makers or new comers. The style adopted by the
authors will engage and serve the general reader as well as the very liter-
ate in media, pop culture and movies.
The authors offer pointers on the way forward for harnessing the
potentials of the entertainment industry to continue to contribute to
national goals of nation-build, cultural transformation, economic pros-
perity and human development. As an evolving industry, the treatise
provided enable readers to gain well-rounded knowledge and under-
standing of the raison d’etre, the workings, influence and challenges of
Nollywood. The volume shows the interface between Nollywood and
the surrounding environment. As the most populous nation in Africa and
its strongest economy, it is not unexpected that Nigeria’s cultural ware
would have such mileage in the continent and beyond. Nevertheless, the
success of Nollywood is a by-product of the effective cultivation of the
diverse and rich elements of the symbolic environment.
As an institution, Nollywood has attracted its fair share of both acco-
lades and criticisms. This volume helps readers appreciate the strug-
gle for self-identity and sense of purpose within Nollywood. It is to be
commended for speaking eloquently to both local and global audiences.
Readers are presented with how Nollywood serves a social glue, on the
one hand, and while also threatening the social fabric by some of its ethos.
This is inherent in the system and applicable to other media industries and
cultural institutions as well. Nollywood insiders and outsiders, alike, will
find the various perspectives highly illuminating, engaging and motivat-
ing. It will leave the reader wanting to learn more about the industry and
engage with it as a pop culture and entertainment institution.
Azusa, USA Bala A. Musa
Notes
1. Mauri Yambo, Kenya’s Riverwood. Mauri Yambo Blog. https://mauriyambo.
blogspot.com/2017/03/kenyas-riverwood.html. Accessed 10/25/2018.
2. Mauri Yambo, Kenya’s Riverwood. Mauri Yambo Blog.
3. Bala A. Musa and Ibrahim M. Ahmadu, New Media and (Il)Literacy and
Prosocial Entertainment: Implications for Youth Development. In B. A.
Musa & J. Willis (Eds.), From Twitter to Tahrir Square: Ethics in Social
and New Media Communication, vol. 2, pp. 319–335. Santa Barbara, CA:
Praeger, 2014.
