Igbo Movies: On the verge of Extinction? - 2008-10-27

In the early 90's, NEK Video Links, in association with some young Nigerians of Igbo ethnic extraction, came up with “Living in Bondage.” Notable amongst them was Kenneth Okonkwo, Kanayo O. Kanayo, Bob-Manuel Udokwu, Ngozi Nwosu, Rita Nzelu, Ngozi Nwaneto and Okechukwu Ogunjiofor. Their vision was to introduce an alternative to the foreign movies that held sway in Nigeria at that time, while moving away from the drama presentations we used to have in those days. They probably did not know the extent their “little” effort will go. But, with the benefit of hindsight, it could be said that “Living in Bondage”, thereafter, became a fore-runner of a thriving movie industry in Nigeria. That movie (or home video, as we call it in Nigeria), directed by Chris Obi Rapu, was acted in Igbo Language, with English sub-title. So also were the couple of other movies that followed it, like “Taboo” and “Evil Passion”. To broaden their audience, accommodate a wider range of actors and generally take the whole thing to the next level, the producers and actors began to make these movies in English. It worked; the home video phenomenon became a Nigerian thing, and not just an Igbo thing. Today, Nollywood, as the Nigerian movie industry is known, is popular around the world  the Africa Magic Channel, which comprises mainly of Nollywood movies, is there on DSTV cable TV to be enjoyed by anyone who cares to. The interesting thing is that a number of other African countries, following the Nigerian example, have started to develop their own movie industries. Even more interesting is the fact that movies are now being shot with collaboration from actors, producers and directors from different countries, and with themes that go beyond national boundaries.

In Nigeria, notable producers and directors, after a while, also thought it wise to start presenting movies in their ethnic languages, as a means of preserving the language, as well as projecting their culture and ethnic ideals. The effect of this is that, aside from Nollywood, we also have a thriving Yoruba movie industry, and that is by any standard. Apart from the booming market for Yoruba movies, they occupy a place of pride, with exclusive channels on cable TVs like DiscEng and DaarSat. While Hausa movies are fast trailing behind the Yoruba movies, with an exclusive channel on DaarSat, the same cannot be said of Igbo movies. According to Ladi Lawal of Daar Communications Plc, DaarSat, in the mean time, cannot have an Igbo movie channel because there are not enough materials for that. If they were to start such a venture as things are now, they will run out of content in a couple of months. He adds that Daar Communications Plc is commissioning productions on Igbo movies to help save the situation.

But how far can the lone effort of a television company go? One may ask. Why are there not enough Igbo movies despite the fact that actors, producers and directors of Igbo ethnic extraction abound in Nollywood? To put it modestly, there are more actors and actresses of Igbo ethnic extraction in Nollywood than there are of any other singular ethnic group. So, the reason cannot be a dearth of practitioners who can interpret roles in Igbo. The reasons must bother on some other factors.

Many people believe that one of the reasons could be the fact that most Nollywood movies that have village scenes are set in the eastern part of Nigeria. Though these parts are played in English language, there is usually an infusion of Igbo phrases here and there. So, these Igbo directors and producers believe that those movies are their “Igbo version” of Yoruba movies. Some of them even beat their chest on account of their act of perceived “patriotism” and lack of ethnic bias. But that thinking is erroneous and illusionary. It smacks of self-deception. One point most be made clears and that is the fact that the merits of making movies in Nigerian local Nigerian languages are so many. So, it cannot be an Igbo movie if it is not an Igbo movie. That's for sure. 

Others allude to the fact that since the average Igbo man is “independent and broadminded, with a great spirit of entrepreneurship,” he does not care much about cultural continuity and revolutions. That reasoning, again, as an excuse, is in error. Igbos are found in every part of Nigeria and the world, excelling in conducting their businesses and contributing to the development of their host communities. Nothing stops them from striving to keep their cultural and ethnic identity alive, with the same vigor.

So, if Igbo producers and directors have excelled in making “Nigerian movies,” why have they been shying away from making Igbo movies? As Mr. Chiedoziem Amuzie, a Nigerian movie enthusiast, puts it, “The reason is simple. It is lack of initiative. We are in this position because Igbo producers and directors are simply not taking the right initiatives. While we commend them for making movies that every Nigerian can understand, they must realize that a people's language is the most important feature of their cultural identity. Movies done in Igbo should go side by side with those done in English. But a lot of Igbos think that English is better. But that is the farthest thing from the truth.” Chimezie Eluwa, an auto engineer, tends to corroborate Amuziem's views. He believes it's a result of the wrong attitude of many Igbos towards the Igbo Language. In his views, many Igbo parents still think they are being elitist if their children spoke English first. So, children are discouraged from speaking their native language even in their homes. “That is the height of ignorance. Yet these people think they are being civilized,” he adds.

Indeed, it is common knowledge that an increasing number of children born to Nigerians do not speak their native language. For the Igbos, it is frightening to note that 50 per cent of Igbo children do not speak the language and hardly know where they come from. If the trend continues, within the next two decades, the Igbo language could be on its way to extinction. Drastic and urgent action is, therefore, needed to elevate the use of the Igbo language, and the value placed on it. In this context, the fledging movie industry in Nigeria lends itself as a credible tool. Igbo movie producers and directors must shun the consistent down-grading of the influence, importance and relevance of the Igbo language to the general pool of a great Nigerian cultural matrix.

The question of limiting their audience should not arise at all. It is a known fact that Yoruba movies are watched by movie fans of other ethnic extractions in Nigeria, since the English sub-title provides the bridge. Moreover, Igbos are one of the three largest ethnic groups in Nigeria, found mainly in Imo, Abia, Ebonyi and Enugu States, apart from constituting, at least, 25 per cent of the population of Rivers, Delta and Bayelsa State. They also constitute a reasonable percentage of the population of Cross River, Akwa Ibom and Benue States.

In view of all these, the matter of the fact remains that these movie directors and producers have no tenable excuses. They should simply start taking the right initiatives. Perhaps, by so doing, they might just save the day.