Effects of Pay Television on Nigerian Indigenous Culture: a Study of Nsukka Local Government Area

EFFECTS OF PAY TELEVISION ON NIGERIAN INDIGENOUS CULTURE: A STUDY OF NSUKKA LOCAL GOVERNMENT AREA.

A DISSERTATION SUBMITTED TO THE FACULTY OF ARTS, UNIVERSITY OF NIGERIA, NSUKKA

ATTA, CHRISTIAN NNAEMEKA

PG/MA/14/69317

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTERS DEGREE IN THEATRE AND FILM STUDIES

SUPERVISOR: DR .UCHE NWAOZUZU

DECEMBER, 2015.

TITLE PAGE

EFFECTS OF PAY TELEVISION ON NIGERIAN INDIGENOUS CULTURE: A STUDY

OF NSUKKA LOCAL GOVERNMENT AREA

APPROVAL PAGE

This project has been approved for the Department of Theatre and Film Studies, University of

Nigeria, Nsukka.

______Dr. Uche Nwaozuzu Date (Project Supervisor)

______Dr. N,Oyibo Eze Date (H.O.D )

______External Examiner Date

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CERTIFICATION

Atta, Christian Nnaemeka a postgraduate student in the Department of Theatre and Film Studies with Registration number PG/MA/14/69317 has satisfactorily completed the requirement for the

Award of Masters in Theatre and Film Studies. The work contained in this project is original and has not been submitted in part or in full for any other degree of this or any other

University/Institution.

______Dr. Uche Nwaozuzu Atta, Christian Nnaemeka (Supervisor) (Student)

DEDICATION

To my father Ugwu, Atta who left to the world beyond without my giant stride in academic.

Adieu Papa! And to my beloved mother Atta Margret who always wants the best for me.

Memories are made of these.

ACKNOWLEDGEMENTS

I sincerely acknowledge my supervisor Dr. Uche Nwaozuzu for his encouragements and fatherly roles to the success of this project. To Professor Emeka Nwabueze for the inspiring lectures he impacted on me. I am grateful to other erudite scholar’s like- Dr. Felix Ufedo Egwuda-Ugbeda,

Dr. Ifeanyi Ugwu and Dr. Ngozi Udengwu for having good times to lecture me on this programme. And to the Head of Department of Theatre and Film Studies, Dr. N. Oyibo Eze for his co-operation to ensure that this programme came through.

ABSTRACT

The moving of African from primitive to computer age has imposed a great threat on our indigenous culture thereby creating a threat on our identity. As a result of exposure to Pay Television, the traditional culture of Nsukka people is being adulterated. Selectivity in Pay Television that avails us the opportunity to view any channel we want contributes immensely in eroding of our indigenous culture. Our Youths have abandoned our conservative way of dressing for semi-nakedness styles like sagging, “low –waist”, “show bras and pants” all in the name of fashion. The youths are no more interested in our traditional music and songs that impact morals; rather they prefer hip-hop songs that showcase nudity on the screen. There is an erroneous conception from scholars that Pay Television and other social media should wipe out our indigenous culture. Some scholars view our indigenous culture as being superstitious and mystic in nature which is a misconception. The objective of this research is to give guide on the channels to watch especially our youths , to ascertain whether Pay Television that affords Nsukka people the opportunity of selecting any channel of their choice is responsible for adulteration of their culture , to ascertain whether the youths that engage in the dressing patterns used in Nsukka are influenced from what they see on screen, to ascertain whether the case of raping and other crimes that are prevalent in Nsukka are as a result of Pay Television programme, to ascertain the age group of people that are responsible for the crimes, to ascertain whether Pay Television is responsible for the Nsukka youths that prefer hip-hop music to their indigenous music and songs. Recommendations are made on how Nsukka indigenes should go back to the basis and learn how to restore their culture. Sociological and Historical methodologies were used in this research.

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TABLE OF CONTENTS

Title Page i Approval Page ii

Certification iii

Dedication iv

Acknowledgements v

Abstract vi

Table of contents vii

CHAPTER ONE 1.1 Introduction 1

1.2 Statement of the Problem 9

1.3 Objective of the Study 10

1.4 Significance of the Study 10

1.5 Scope of the Study 11

1.6 Limitations of the Study 11

1.7 Research Methodology 12

1.8 Operational Definition of Terms 13

CHAPTER TWO REVIEW OF SCHOLARSHIP 16

2.1 Television Programme 16

2.2 Theoritical framework 16

2.3 Culture and Entertainment 19

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CHAPTER THREE THE PEOPLE AND STUDY AREA 30

3.1 Geographical Location of Nsukka Communities 30

3.1.2 A brief history/origin of Nsukka 31

3.1.3 Their world view 31

3.1.4 Economy and Occupation 43

3.1.5 Culture and Festival 44

CHAPTER FOUR THE EFFECT OF PAY TELEVISION ON NSUKKA CULTURAL AREA 51

4.1 The Impact on the People’s Culture 51

4.2 The Attituditional and Social Impact 56

CHAPTER FIVE SUMMARY, CONCLUSION AND RECOMMENDATIONS 62

5.1 Summary 62

5.2 Conclusion 62

5.3 Recommendations 63

WORKS CITED 65

APPENDIX 73

CHAPTER ONE

Introduction

1.1Background of the Study

Nigeria is experiencing a period of serious threat on identity as a result of exposure to Pay

Television. Our culture, values, tradition, norms and moral values are in serious challenge at the altar of modernity. The issue of “Gay Marriage” that the promoters are proposing is something entirely different from our indigenous culture. It also denies the primary purpose of marriage and further weakens the family bonds that the society is trying to maintain. Institutionalizing homosexual marriage which westernization is imposing on us would bad for marriage, bad for children. Excessive positive perception of the Western World by Nigerians may translate to unpatriotism for our own country. Nigerian Youth’s perception of Western especially, America behavioural norms and values as well as being better than our own country is a key element in present day acculturation, leading to low–image and flaring desire to migrate to the West. In

Africa precisely Nigeria, we have stories that recorded the people’s cultural experiences before the advent of colonial masters. These stories serve as the repository of the people’s beliefs, social philosophies and observations about life. They also provide insightful information about their environments. In these stories, we find the people’s attitudes to natural phenomena and depict the way of life of a particular community. The stories are generally educative and at the same time entertain the audience.

They are also part of the socialization process, because through them, the community perpetuates its knowledge about culture, norms and values. The situation in Africa precisely

Nigerian culture has changed as a result of cultural imperialism. The imposing of Western

2 culture on the culture of the people in developing countries of the world with a perfect reference to Nigerian situation has caused more harm than good. It is against this background that Deborah

Yakubu writes that:

Cultural imperial often refers to American’s cultural influence on other countries, for better or worse. A man’s right lies in his confidence and personality which is greatly nurtured by his culture. A man is essentially the product of his culture. It beats and moulds a person into a particular shape. Culture makes people think, speak, dance and behave in a particular manner. It is culture that makes one ‘Kanuri’ ‘Jukun’ Hausa ‘Igbo’ ‘Yoruba’ ‘Alago,’ Tiv etc (1). Africa as a continent and Nigeria as a country have their given cultures which are unique in their own respect. This culture may not be absolutely the same among all countries and even within a country, a lot of cultures exist but there are features that differentiate Africans from other people of the world. Deborah further asserts that “the issue here is that any person with passion for the

African culture today will believe that the very material, spiritual and aesthetic fabric of African people had been destroyed by western civilization” (Deborah, 1).

Our identities have been virtually swept aside by the forces of modernization. It is in respect to this unhealthy development that Isaiah Berlin comments that:

Few things have done more harm than the belief on the part of individuals and groups (or tribes or States or nation or churches) that he or she or they are in the sole possession of the truth (…..) It is a terrible and dangerous arrogance to believe that you alone are right: have a magical eye which see the truth and that others cannot be right if they disagree. This makes certain that there is a goal and the only one for one’s nation or church or the whole of humanity and that it is worth any amount of suffering (particularly on the part of other people). If only the goal is attained–through an ocean of blood to the kingdom of love. (or something like this) said Robespierre and Hitter, Lenin, Stalin and I dare say leaders in the religious war of Christian V: Muslim or

Catholic V Protestants sincerely believed this: the belief that there is one and only answer to the central questions which have organized mankind and that one has it oneself – or one’s leader has it-was responsible for the ocean of blood: But no kingdom of love sprang from it… or could … (63). Traditional culture is changing rapidly and for the worse. It is lamentable in Nigeria; culture no longer has a grip on the Nigerian populace especially on our youths as our society seems to be plagued with decayed moral codes and values.

This study views globalization as another form of cultural imperialism. In this context, it can be observed that Pay Television is seen as an instrument of globalized society, expanding and sustaining the scope of cultural dominance and imperialism of the Western World. Pay

Television as an agent of this change achieves this effect through its nature of selectivity (i.e. watching any channel of one’s choice).

Pay Television exposes Nigerian Youths to imitate behavioural mode of personalities they admire including fictional characters they identify on the television screen. They imitate such popular stars like 2face Dibia,Flavour, Terry G, Timaya, Bimbom Babatude, Ice Prince, Zamani

Zii, Paul Okoye, Pero Adeniyi and many others who display semi-nudity at times when performing and fail to acknowledge our popular musicians and performing artists like-Chijioke

Mbanefo, Obioma Asogwa, Paschal Umunna, Waziri, Ifeanyi Agbedu, Ikorodo Umueze

Nsukka, Udu Bunchi, Messmese, Ababa Nna and the rest of them that promote our indigenous culture. As an art form, the television medium is capable of influencing the attitudes, characters, lifestyles and culture of individuals either positively or negatively. The magnetic effect can be attributed to the vicarious nature of Pay Television as a slice of life. The representation of reality in television is vividly portrayed to the audience. Unlike theatre, television avails the

4 audience the opportunity of viewership in the confines and comfort of their homes. As an art form, television has become a part of the human society. According to R. Kolker “we so believe in the presence and reality of images that we may take them at face value” (14). This implies that television is capable of stirring the emotions of the people, positively or negatively. Early

Nigerian television laid more emphases on our indigenous culture, history and the moral sensibility of the people which could be the reason for our local television channels but, unfortunately, the reverse is the case because the main focus is now on the negative side that could dent the image of Nigerian Society. There are recurrent traces of glamorized criminality, obscenity and immorality chiefly caused by the enculturation of alien lifestyles in Nigerian through selectivity in Pay Television.

In November 1975, Home Box Office (HBO), a subsidiary of the large Time Inc. Media Empire became the first Cable Program Service (network) to distribute its programming by satellite.

According to Megan Mullen, “this was a major legal technological and economic accomplishment which effectively began with what is known as Cable’s Satellite era” (1). Over the next several years, HBO would be joined by other satellite Pay Cable Services, including

Show Time (1978), The Movie Channel (1979), Cinemax (1980), Play- boy TV (1982), and the

Disney Channel (1983. These Pay Cable Services and others represent only the latest stage in the nearly half-century history of Pay Television industry. In fact, even Pay Cable specifically predates HBO’s satellite debut by more than half a decade. The earliest Pay Television systems used broadcasts typically scrambled by the originating station and then descrambled by equipment in subscriber’s homes. The system had emerged in response to a perceived demand for sorts of high-budget, commercial free entertainment not being offered by broadcast networks.

These early system were critical precursors to modern cable because they planted in the public

5 minds the notion that new technologies are continually poised and waiting to enhance, though not necessarily to replace existing TV program options. Even the more significantly, wire forms of Pay Television were also being tested as of the mid-1950. From the beginning, wired Pay

Television System were either operated in conjunction with a Community Antenna Service

(early cable) or were designed so that this sort of combined service could be started in the television (CATV) industry. Along the line, Pay Television developers tended to see the existing local CATV networks.

The channels that showcase immoral scenes have adverse effect in the early lives of our children.

It is a well known fact that everything children see or hear early in their lives affects them in one way or the other. Positive parenting role model indicates that in the best interest of our children, we should limit their exposure to violent acts. Unfortunately, violence is one of the most popular forms of entertainment in Pay Television channels. Most of the programmes in “Prime time” channels contain violent acts. This leads to higher increase on aggressive behaviour among our youths. This causes injury to our youths and people around them. Therefore, we have to be proud of our indigenous culture and despise Western culture because our culture is our identity that speaks for us. It is against this background that Sabine Jell-Bahlsen comments that:

I see no need to be ashamed of a culture and beliefs that others contemptuously call “pagan, long gone, defeated and death” the people still alive, although their world and their views are under attack. The ethnographic Present acknowledges the traditionalist “continued life and existence and the veracity of their experiences and achievements” in order to underscore the immediacy, relevance and validity of the existential and spiritual significance of the time-tested wisdom, particularly concerning water conceived by the ancients(x). Sabine Jell-Bashlsen is advocating that African precisely Nigeria should be proud of her culture and protect her image. Our culture is rich, vivacious, dynamic and stable. We have an enviable

6 identity by our cultural heritage such that over several millennia of this continent’s existence, it has provided the desired protection, succor and solace to its person’s self definition, self perception and self –image of that person as a member of a group exhibiting uniform culture that are consistent with the value of that group. It is in support of this view that C.O.T. Ugwu says that:

The relevance of traditional religion in the inculcation of moral values and education among the Igbo of Nigeria cannot be over-emphasized… the inculcation of these values in young ones at early stage of childhood development speaks volume of the importance of traditional Moral instruction. It is clear that the recognition of these values in their culture and the readiness of the agents to inculcation them have all gone a long way to create enabling environment for growth of moral education and instruction among the young ones In Nsukka people (116-123). In another development, it is of essence to define the word culture in relation to the subject matter. Obah Augustine citing Okorie Aguene is of the view that culture “is all the qualities which group man together and distinguish him from the rest of animal kingdom” (1).

Culture to a considerable extent is preserved and promoted by tradition. Tradition is the handing down of beliefs, experiences and customs from generation to generation especially in oral form or by a process of traditional performance and communication. Culture distinguishes one society from another and gives form and meaning to a people’s existence. Onigue,Otite and Ogionwo define culture as,” the complex whole of man’s acquisitions of knowledge, moral, beliefs, arts, customs, technology etc, which are shared and transmitted from generation to generation” (29).

In this definition, culture includes those things, which man has invented and produced that we can see, feel, or hear, as well as those aspect of man’s behaviour, which we cannot see, namely knowledge, beliefs or morals, language, philosophy, attitude etc.

Pay Television exposes Nigerian Youths to indecent dressing and other social vices that are not ideal models for the understanding of our culture and custom. Hitherto, youths were known for decent dressing until the coming of what is today regarded as modernity/ enlightenment that has increased several social vices. Now, people are no longer eager to know their culture and its values. Our youths go half-naked all in the name of fashion which is abysmal to our traditional culture. They fail to understand that exposing one’s body cannot make him or her look attractive rather it will attract negative reaction to him or her. It is painful to see people walk down the street with stage wears. Does it mean that our parents or ladies were not well informed or that they knew but refused to comply? Our parents need to teach our children our traditional dress codes. It is on this backdrop that Euphemia Chinyere has this to say “please, put a stop to “copy” be original and create a style that will boost yourself confidence and self consciousness” (110).

Dressing is a reflection of people’s culture, tribe, country or even a community.

Fashion has a practical purpose. It is a natural place for love, art, history, and culture to mix.

What we wear is influenced by culture and social latitudes. Most cultures have gender differentiation of clothing appropriate for men and women and these differences can come in terms of colour, styles and fabrics. In Nigerian indigenous culture, women are required to wear conservative clothes. They are meant to cover their body than men. Women of integrity or higher personality status are known to have been modest dressers; they wear modest dresses or attires because they believe that everybody is being judged the way he or she dressed. Our girls that appear naked not minding the implication do resort to prostitution in order to belong among the happening class.

Researchers have also shown that the anti-social attitudes of our youths are accepted to be associated with heavy exposure to violence on the screen more especially our boys. Violence is

8 one of the global concerns today in all segments of the world and the learning environments which a child is exposed to are also assumed to contribute to the increase of aggressive behaviors’.

Prostitution attires and exposing our bodies that call to question fidelity to God do paint our culture black. Everywhere these days, people dress “to kill”. Some young girls who dress in this manner are called “Baby Oku” meaning hot babies. It is against this development that Donatus

Onwubiko quoting E.GWhite comments that:

Instead of spending every moment in endless sewing? Make the evening a pleasant social season a family reunion after the days duties. Many a man would thus be led to choose the society of his home before that of the clubhouse or the saloon. Many a boy would kept from the street or corner grocery. Many a girl would be saved from the frivolous misleading association the influence of the home would be to parents and children what God designed it should be a lifelong blessing (32). People should not be blind folded by what they call civilization when it comes to run down our culture. Our choice should depend on our background and our background has a lot to do with our culture. It is against this backdrop that Samuel Huntington points out that:

People define themselves in terms of ancestry, religion, language, history, values, and customs and institutions. They identify with cultural group, tribes, ethnic group, religious countries, and nation and at the broadest level of civilization. People use politics not just to advance their identity. We know who we are only when we know who we are not and often only when we know who we are against (21). The drastic change in our culture and the heavy pressure that comes with it is affecting us tremendously. This time, our culture which serves as our identity is gradually fading away because we Africans intentionally want to imitate Western culture to our own detriment. It is unfortunate that we copy the colonial masters who did not see anything good in our culture, but

9 termed them fetish, savage, barbaric, mystic and unsophisticated. It is against this background that the researcher intends to showcase how the behaviours or attitudes which the Youths` exhibit today can directly or indirectly be contributed to their constant viewing or exposure to

Pay Television. Above all, our mentality to believe that everything the Western World does is better than ours should put to an end because our problems cannot be solved with the same level of our thinking. Therefore we should stop imitation of all kinds.

1.2 Statement of the Problem

Over the years, Nigerian culture has sadly been eroded by external forces or foreign influence leading to the near extinction of it. These cultural traits like our festivals, dress pattern, music genre and even our indigenous language have been source of our identity as a nation.

In the academic circle and our society as a whole, there are no serious efforts by the researchers to delve more into researches that will engender rejuvenation of Nigerian indigenous culture.

However, cultural diversity is the organized way of African life and education before the advent of Western education.

To allow a complete erosion of it would amount to a total loss of our societal myths, legends and folklores. Selectivity in Pay Television that avails us the opportunity to view any channel we want contributes immensely in eroding our indigenous culture. Corruption has sneaked into our social life as a result of early exposure to pornographic films in the lives of our children. Our youths have abandoned our conservative way of dressing for semi-naked styles like sagging,

“low-waist”, “Show bras and pants”, all in the name of fashion. The Youths are no more interested in our traditional music and songs that impart morals; rather they prefer hip-hop songs that showcase nudity on screen. It is a well known fact that social media do not add much to our

10 ethical communication. It is against this background that this research work intends to suggest that our people should go back to our root and learn how to restore our indigenous culture.

1.3 Objective of the Study

This work intends to ascertain the effect of Western culture over our indigenous culture as a result of exposure to Pay Television. It also intends to examine the negative aspect of imitating alien culture at the expense of African Indigenous culture. Therefore, by the end of the research, some definitive conclusions would have been attained. These include that Pay Television is destroying the traditional culture of Nsukka people. The indecent pattern and music genre in

Nsukka communities are as a result of what people watch on television screen. The issue of rape, prostitution, and other crimes that are prevalent in Nsukka communities are as a result of exposure to Pay Television. The age groups that are responsible for the crimes are between 15-35 years.

1.4 Significance of the Study

The purpose of this research is to create awareness on the devastating effect of Pay Television on our indigenous culture which many people are oblivious of. The study will also help Nigerians to propagate their culture and values that have been dwindling over the years. The study will also be of immense help to all the Nigerians especially our Youths to know the negative effect of Pay

Television in their lives and to be more morally conscious and adopt a life of moral rectitude in order to get our society cleansed from its corrupt state. This work will serve as a reference material to intending researchers who may want to research more on this topic or on related areas.

1.5 Scope of the Study

The statement of the problem of this study has an implication on its scope. This study is on the effects of Pay Television on our indigenous culture. Nsukka Local Government Area is selected in the Eastern part of Nigeria and it comprises of three communities – Mkpunanor Ihe n’ Owerre,

Nru, Opi, Ede-Oballa, Obukpa, Lejja, Obimo, Edemani, Aro and Eha-Alumona Communities.

The study is divided into five chapters:

Chapter one states the background of the study and it also spells out the research problems, the rationale behind the study, Significance, Scope, Theoretical Frame Work, Limitations,

Methodology of the study and nature/sources of data. Chapter two is the review of Scholarship on the effects of Pay Television on our indigenous culture. Chapter Three showcases a general over view about Nsukka Communities and their culture. Chapter Four portrays the effects of Pay

Television on Nsukka metropolis/Presentation of Data Analysis while Chapter five concludes the study and makes necessary recommendations.

1.6 Limitations of the Study

Lack of information on any research writings about the effects of Pay Television on Nsukka culture was one of the biggest challenges the researcher met in the course of this research work.

There was also a problem of knowing the actual oral account as people interviewed gave their divergent answers on the effects of Pay Television on Nsukka Urban.

1.7 Research Methodology

In the course of this research, two methodologies were used, they include: The Historical and

Sociological Methodologies. Emeka Nwabueze is of the view that, “Historical research deals with evidence. It involves description of past events, attitudes, event or facts” (57).

This method is used briefly to investigate the location and origin of Nsukka people in the South-

Eastern part of Nigeria as well as their culture. The Sociological Methodology according to Sam

Ukala:

Involves a high degree of the research’s interaction with the Society being studied. His/her source will be mainly oral. The function of this methodology is describe, expose, or establish what is its causes and point to requirements for its maintenance, improvement or discouragement (13).

The research method being used by a researcher in a course of study is largely determined by the nature of the research problem and the objective of the study. Therefore, the study deals with the sample questionnaire/oral interview. The study also evaluates the effect of Western culture on

Nsukka indigenous culture as a result of exposure to Pay Television. The methods of data collection/analysis employed in this study include: The research design, nature and sources of data, simple random sampling and method of looking at culture and entertainment in Nigeria with particular reference to Nsukka Local Government Area in South- Eastern part of Nigeria.

Research design here describes the methods and plans employed in carrying out this study. The aim of this study is to highlight the influence of Pay Television on Nsukka indigenous culture and suggest ways to ameliorate the situation.

The historical and sociological approaches were used to critically evaluate the cultural heritage of Nigeria and analyze the implications of Pay Television in eroding Nigerian indigenous culture

13 at present. This study serves as an advocacy for the restoration of Nigerian indigenous culture with particular reference to Nsukka culture area, using the relevant data collections.

In the course of this research, data were collected through the primary and secondary sources.

The primary sources in the research include: Sample questionnaire/oral interview. The Police,

Traditional rulers, Youths and Clergies. Secondary sources of data comprise existing scholarly literatures such as books Journals, Theses, Newspapers, Magazines, Dictionaries, New letter encyclopaedia, internet sources and other relevant materials that deal on culture and entertainment. Data were collected and analyzed in relation to the research questions and objectives in a descriptive manner. The modern Language Association (MLA) style of documentation is used to acknowledge sources consulted in the course of this study.

1.8 Operational Definition of Terms

Pay Television

Lostz, Amanda defines Pay Television as:

A television broadcasting in which Viewers pay by subscription to watch a Particular channel. Pay television, subscription Television, Premium television or premium Channels refer to subscription based Television services usually provided by both Analog and Digital cable and satellite Television but also increasingly via digital Terrestrial and internet Television (8). Thesaurus Dictionary defines Pay Television as “a commercial service that broadcaster provides television programs to viewers who pay a monthly charge or per-program fee.”

CULTURE

O.A.C Anigbo Opines that:

Culture is all the qualities which group men together and distinguish them from the rest of animal kingdom. The most basic aspect of That quality is the capability of men to communicate and receive back information from one another. This can be done within and through all human groups (25). E.I. Metu and O.Ojoade refer to culture as a total way of life of a given people” (5). Every tribe in Nigeria has its own way of life. Culture is what differentiates one tribe from the other hence it is described amongst the Igbo’s as “Uzondu” (way of life).

O.A.C Anigbo further writes that:

To understand culture, one must appreciate the nature requires close associations with his fellow man for the Promotion of greater security and inter dependence. This is so at all stages of his life but more so at the beginning for he takes a longtime to maturity.(27). Amadi, A.I and F.U. Nnamani comment that:

Culture is the beliefs, ways of life, art, and customs shared and accepted by people in a particular society. It includes their music, art, religious beliefs, traditions and language. It has a universal acclaim. Indeed it could be described as the mark of identity of a particular people or race. The diversity in the cultural practice justifies the adage which says “one man’s meat is another man’s poison which means that what is acceptable in one community could be a taboo in another community…. (144). S.C Chuta defines culture as “all material and spiritual characteristics and products of human intelligence acquired from the remote past in the advancement of humanity” (200). In this definition, he reeled out aspects of culture to include language, knowledge, human institutions, technology, belief, traditions and customs. Kroeber A.L says that “the culture of the world past

15 and present from an inter-connected continuum and is somewhat arbitrary to dichotomize this continuum on the one specific issue of whether particular cultures do or do not have writing and to call them civilized or uncivilized accordingly” (32).

A.Ogundipe observes that “culture is the identifying totality of the way of a people as enshrined in their material and non-material aspects of life” (96). The material aspects of culture could surface in various ways such as food, architecture, artifacts, creative and recreational objects such as clothing, books, houses and music, while the non-materials encompasses the peoples congestive culture, their thought of pattern, perception and their world view. These could equally be expressed through drama, songs, dance, music, films and other artistic works. To any artistic work, culture reflects in entertainments as no artistic producer, produces work in a vacuum.

Invariably, as the iconic representation of life and action, culture is unavoidable in any performing art in a given society.

CHAPTER TWO

REVIEW OF SCHOLARSHIP

2.1 TELEVISION PROGRAMME.

Preamble: The emergence of the concept of globalization in the period between the latter part of the ninetieth century and the early years of the twentieth century with its widespread entrenchment in the most of the countries of the world with varied degrees and dimensions lends credence to this study. The case of its impact in Nigeria is quite severe.

The cultural fabric of Nigeria has suffered a seemingly irreparable damage in the face of globalization. The Nigeria media sectors like- our television houses, radio, films, cinema etc have by contents and productions eroded the cultural values of Nigeria. They patterned their contents on the Western model which are in contrary to Nigerian indigenous culture. Muyals

Manenji in this regards comments that “The effect globalization has had on culture is immense and divers. It has affected people’s cultural behaviour in different ways. People have had to change their living” (1).

The excessive broadcast of western or foreign films in most of Nigerian television channels needs to be seriously checkmated with punitive measures on erring stations. Television programme is an institution of public communication. It brings to the communication process an intensity and complexity that is overwhelming. Television programme can be therapeutic in nature. It can provide solace; boost morals and enable viewers make sense of many aspects of their lives. As the Henley Centre Research Suggests, change in our life style gives television greater significance. C. Peacock affirms Henly’s suggestion when he expresses that:

A perspective of television as a commodity, television drama as something that reflects the principles of consumer choice that has been dominant in political thinking on broadcasting since the peacock reports application of market economy model in its consideration of the financing of media (21). According to K. Miller, They were concerned with the effects of television programming

(particularly violent programming) on the attitudes and behavior of the American public” (281).

Interestingly, Gerbner, Goss, Morgan and others further note that:

Television is unique in the history of media, It does not require literacy, mobility or great expense and it bring a Uniform set of images into every home. Because it is ubiquitous, nonselective and diverse in subject matter, It has become a central force in shaping modern culture. New generations have been raised with television as the primary storyteller in their lives and it helps shape and accounts for “the cultivation of shared conceptions of reality among otherwise diverse publics” (26). Television programme whether consciously or unconsciously has been part of the typical

Nigerian culture.

Despite the stipulated percentage of local and foreign contents on Nigerian television channels, there have been violations over the years without any form of severity. For instance, in a study titled “Exposure of Children and Teenagers to Internet Pornography in South Western Nigerian,

Concerns, Trends and Implications, Ojo.O and O. Fasuba submit that sexuality trends among teenagers and children in Nigeria was culturally Alien’s to Nigeria society in the past”(3). The authors further point out that among other factors; exposure and enculturation through importation of various Western films and foreign cultures have been widely responsible for the ugly situation. Ojo.O and Fasuba in order to give a clear picture of the situation assert that:

Adolescent’s sexuality behavior in Nigeria and sub-Sahara Africa is seriously going through transformation from what is used to be in the past. They attributed this to the effect of modernization caused by industrialization, education, exposure and enculturation through importation of various Western films and Western cultures which were alien to the Nigerian culture in particular and Africa as a whole. The major deterrents against these vices were previously cultural orientation and religious beliefs. Unfortunately, the internet more than any other agent of social change has contributed in no small measure to the removal of guilt, fear and shame associated with unconventional sexual activities (118). In a similar study by E.O Egbochukwu and I.B Ekanem, titled “Attitudes of Nigerian Secondary

School Adolescents towards Sexual Practices, Implications for Counseling Practices” the authors identified various ant-cultural issues and behavioral problems that Nigerian society has to grapple with. Such problems according to the study include truancy, disobedience, vandalism, assault, stealing, violent demonstration, drug offences, examination malpractices and secret cult activities. The authors lament that:

There appears to be a consensus among Nigeria researchers and observers that many traditional values are changing rapidly and for the worse. One area of life in which the decline of cultural values is obvious is in the area of sexuality. It is lamentable in Nigeria, culture no longer has a grip on the youth as our society seems to be plagued with decayed moral codes and values and so the sense of right and wrong is eroded. Apart from the blame apportioned to parents for their negligence, scholars are of the opinion that adolescents are naturally open to the normal sex drive while this drive is increased by the impact of permissive western cultures transmitted through the stimuli conveyed by the mass media (177-183). The study further proves that adolescents are aware of and familiar with the various environmental stimuli that came to them through films and pictures and exposure to pornography and Western Films account for 65. 1% which stands as a major variable exerting a large measure of influence in the attitude of adolescents in general. Therefore, the contemporary theory of

19 consumption in Africa which speaks of hybridist and resistance to foreign cultures is yet to be rooted and appreciated in Nigeria. It is in respect to this that Ebue Chioma writes that:

All the strata of the society should rise to the occasion and save the young ones from the sharp slid in moral “I see children that are faced with a lot of challenges. Children that their environment is so much dealing on them, that at times they don’t really know which way to follow” (9). The vision of our society should be to produce erudite and dynamic youths with self confidence who will contribute positively in protecting our cultural values for the growth of the nation.

Gerbner, G.L Gross,N.Signorielli and others are of the view that “Television cultivates from infancy the very predispositions and preferences that used to be acquired from primary sources… the repetitive pattern of television’s mass produced messages and images forms the mainstream of a symbolic environment” (17-18). Still G. Gerbner, L. Gross, and others posit that:

Cultivation theory in its most basic form, then suggests that exposure to television, over time, subtly “Cultivates” viewers perceptions of reality. This cultivation can have an impact even on light viewers of television, because the impact heavily on viewers has impact on our entire culture. Television is a medium of the socialization of most people into standardized roles and behaviors. It function is in a word, enculturation (175).

Therefore, The purpose of natural indicators project is to identify and tract the “cultivate” effects of television on viewers.

2.2 Theoretical Frame Work

This work showcases a situation whereby the wind of globalization has almost blown off traces of African culture and tradition. Thus, the theoretical frame work focuses on theatre and neoliberals.

Blomgren, Anna-maria on his own view states that:

Neoliberalism is commonly thought of as a political philosophy giving priority to individual freedom and The right to private property. It is not however, the simple and homogeneous philosophy it mighty appear to be. It ranges over a wide expanse in regard to ethical foundations as well as to normative conclusion. At the one end of the line is “anarcho-Liberalism”, arguing for a complete Laissez-faire, and the abolishment of all government. At the end is classical Liberalism, demanding a government with Functions exceeding those of the so-called watchman state (224). Harvey David points out that:

Neoliberalism is in the first instance a theory of political economic

Practices that propose that human well-being can best be advance by liberating individual entrepreneurial freedoms and skills within an institutional framework characterized by strong private property, rights, free markets and free trade. The role of the state is to create and preserve an institutional framework appropriate to such practices (2). Harvey’s in his definitions experienced an emphatic turn towards neoliberalism in political economic practices and thinking since the 1970s. Harvey proposes with his definition to view neoliberalism, not as the rejuvenation of liberalism in general, but as a distinctive economic theory which in recent times has replaced a more mild-mannered embedded liberalism, that is

Keynesian approaches to macroeconomic governance inspired by modern liberalism. According to Uche Nwaozuzu, some of the defining concepts of neoliberalism are “freedom of choice and respect for private property. It also acknowledges the individual rights that underpins the relationship between the producers and consumers, and champions the ultimate realization of human ends (13-19).

Oxford Advanced Learner’s Dictionary defines neoliberalism as “a political movement that espouses economic liberalism as a means of promoting economic development and securing political liberty.

Dag Einar Thorsen and Amund Lie comment that:

Neoliberalism is perhaps best perceived of as a radical descendant of liberalism ‘proper’ in which traditional liberal demands for ‘equality of liberty’ have bent out of shape into a demand for total liberty for the talented and their enterprises…(16). In this, neoliberalism resembles the parallel phenomenon of “neo-conservatism which is not, either, a new form or recent revival of traditional conservation, but rather a new and unique and decidedly more uncompromising, set of political ideas. The concept of neoliberalism suggests a particular account of the development of liberal thought. It suggests that liberalism was at one point in time an influential political Ideology, but that it at some point lost some of its significance, only to revive itself in more recent times in a new form.

This study also will anchor on social learning theory (SLT). The social learning theory as propounded by Albert Bandura, advocates that individuals, especially the young ones, imitate or copy modelled behaviour from personally observing others, the environment, and the media.

Albert Bandura first developed the social learning theory (SLT) in 1962. Albert Bandura as cited in o’connor opines that “That theory stipulates that people learn by observing others, and thought processes are keys to understanding personality” (4) Bandura believes that aggression reinforced by family members was the most prominent source of behaviour modeling. He further submits that “children use the same aggressive tactics that their parents illustrate when dealing with

22 others as cited in Isom” (206). Social Learning Theory presupposes that people, especially children and or the youths tend to learn certain behaviours from the movie actors and imitate these actors whenever a relevant situation presents itself in the feature

It also examines how drama and theatre can mobilize, sensitize and educate the masses on how to regain our traditional culture that modernization and Westernization have almost eaten up. The researcher has done an extensive investigation about this ugly situation and formulated strategies and tactics of African emancipation and development which is situated for this kind of research.

2.3 CULTURE AND ENTERTAINMENT

The African indigenous culture from time immemorial has fashion moral, religious and philosophical attitudes to life.

J.A. Sofola, is of the view that African cultural values include, and emphasis on “wholesome human relations” among people, respect for elders , “Community” fellow feeling, as reflected in communal land tenure and ownership” “ live-and-let live philosophy; altruism (including medical and economic variants of it) and hospitality” (1). Oliver A. Onwubike citing Dr. Festus writes about cultural values to include “Metaphysics of Man, Respect for elders, Hospitality, kindness, and Brotherhood as some of the cardinal African values before the advent of Western culture and civilization” (13).

Having shown that morality is largely dependent on culture, it is wise that this study takes a cursory look at the meaning of culture. Culture as a concept has been defined by various scholars. There is no universal agreement on the meaning of the concept of culture. M.I

Ifeannacho citing Pidginton, in his contribution submits that culture is “the sum total of the material and intellectual equipment whereby they satisfy their biological and social needs and adapt themselves to their environment” (as cited in M.I Ifeannacho, 3). It can deduce from

Pidginton’s definition that the intellectual culture of a society shapes and determines how its members think and feel. It also determines their actions and perception about life. Osy Enekwe citing Ember, defines culture as “the set of learned behaviours, beliefs, attitudes, values and ideals that are characteristic of a particular society or population” (6). M. Haralambos and R. M

Holborn see culture as “a lifelong process without which an individual would bear little resemblance to any human being defined as normal by the standards of his or her society” (as cited in Enekwe, 7). Edward Taylor, a British anthropologist in his contribution, submits that culture is “that complex whole which includes knowledge, belief, art, moral, law, custom, and any other capabilities and habits acquired by man, as a member of society” (as cited in

Ifeannacho, 3). This shows that culture of a people can be noticed from the pattern of dress, language they speak and behavioral pattern. According to Raph Linton, “Culture of a society is the way of life of its member; the collection of ideas and habits which they learn, share and transmit from generation to generation is known as socialization” (25). The individual becomes acclimatized to the norms and values of their society. No society can exist without the existence of certain norms and values that guide the actions of the people in that locality. This refers to the societal guidelines as a “design for living held by members of a particular society” (as cited in

M. Haralambos and R.M Heald, 3). These guidelines must be shared, maintained and adhered to by its members. No adherence to culture could result to a chaotic situation which could mar communication and communal co- existence of the society. Based on this fact, it could be inferred that without culture, there would be no human society. In defining culture, the cultural policy for Nigeria according to Obah Augustina, states that:

Culture is the totality of the way of life evolved by a people in their attempt to meet the challenges of living in their environment which gives order and meaning to their social,

political, economic and religions norms and of organization thus distinguishing a people from their neighbors (5).

It can be deduced from the above definition that culture, as concept, can be referred to as the pattern of thought, value and belief that characterizes people’s activities and perceptions, which distinguishes them from others. Stuart Hall in his own contribution submits that culture generally

“consists of meaningful social action and the variable systems of meaning which give significance to our actions (and) allow us to interpret the action of others” (22). The above definitions entail that the culture of a society has a lot to tell about that society. In other words, we can recognize where one comes from via his/her dress, language, beliefs, and social attitudes among others. R. Kolker explains that “Culture can be understood as the text of our lives, the ultimately coherent pattern of beliefs, acts, responses, artifacts that we can produce and comprehend every day” culture determines our pattern of life and perception. R. Kolker’s definition posits that culture reflects and shapes the kind of artistic work, which could be music, films or artifacts that a society produces. He further notes that “Culture is not nature; it is made by people in history for conscious or even unconscious reasons, the product of all they think and do.

Every culture has its own notion of life, existence, ethics and norms. This shapes the people’s perception of what is right or wrong, moral or immoral in a particular society. Based on this notion, Nashid Kamal succinctly maintains that:

Culture is healthy term when it is seen as the record of our response to the challenges of living in a given socio- historic environment. There is no foundation for culture outside a people’s response to the challenges of actual living. In short, people create or produce culture in the process of creating their lives (44).

The operational totality that underlines African culture as a “complex whole” had in, all truism, been denigrated by the imperialist values. Therefore, African playwrights, dramatists and critics are becoming conscious of their heritage, invest intellectually on the confinement of literature, projecting the symbiotic relationship between literature and culture with a firsthand purpose of sustaining their culture in the presence of Western civilization.

Thus, Hameed Lawal observes that:

Consequently most Nigerian writers are very conscious of their cultural heritage. They appear to be more interested in reacting a whole traditional way of life, bringing out with varying degrees of realism and differences, shapes of attitude, triumph and failures (105). African culture is a symbolism of the various fractions that form the whole of their (African) existence, ranging from their way of life down to their sociological prevalence that made them who they are, and through it, that these societal traits are directly affected by European values, leaving us falling apart. Thus China Achebe commented in his historical novel “Things Fall

Apart” that:

The white man is very clever. He came quietly and peacefully with religion. We were amused at his foolishness and allowed him to stay. Now he has won our brothers and our clan can no longer act like one. He has put a knife on the things that held us together and we have fallen apart (124-125). The above assertion showcases the height at which the African culture has been denigrated.

Culture as Leon Trosky observes is the organic sum that defines a society. Wole Soyinka quoting him expresses thus:

Culture is the organic sum of knowledge and capacity, which characterizes the entire society. You embrace and

penetrate all field of human work and achievement, rises above this level an elevates it gradually (23). In the same vein, Hameed Lawal sees culture as:

… The totality of the way of life evolved by a people in their attempt to meet the challenge of living in their environment which gives order economics aesthetic thus disfiguring a people from their neighbours (377). D.E. Compell on his own part defines culture as “a complex web of information that a person learns and which guides each person’s actions, experiences, and perceptions” (2).

Our cultural values have to be documented in our myths, songs, symbols and signs, proverbs and riddles and in our works of art so that people should see it as a tradition. Patricia Marshal defines cultures as “consistent ways in which people experience, interpret and respond to the world around” (4).

Television producers should focuse on morally sound programmes with African cultural initiatives, precisely Nigerian indigenous culture. In respect to the above submission, L.I Nwogu citing Maria Bello opines that:

Culture and its promotion do not mean to return to the past, but rather an appreciation of the resources of the past and its contribution to the present as well as our imaginative response to such contributions in the light of our present problem and as a strategy towards our development in the future (43). The very subject of African thought and culture touches directly on the question of African life is different from Western culture. It is as a result of this notion that Leon Trosky comments that:

… Culture once signified a ploughed, cultivated field, as opposed to untouched forests and virgin lands. Culture was juxtaposed to nature, that is what had been achieved by human efforts was contrasted with the gifts of nature. This juxtaposition fundamentally remains its force even today.

Culture is all that has been created, built, assimilated and achieved by man throughout the course of his entire history, in contrast with what has been given by of man himself as an animal species … (2). It is very clear that a civilization that is not dependent on a culture or harmonized with it introduces permanent crisis in the culture. This is the reason Native Anthropology is encouraging trans-cultural, bi-cultural and cross-cultural education. It is in respect to this views that Geert

Hofstede defines “culture as the collective programming of the human mind that distinguishes the members of one human group from those of another” (21).

According to L.I, Nwogu, “there is a tendency on the part of some developed countries to impose their experiences and culture on the developing countries under the pretext of promoting certain universally applicable scientific principles” (41-42). This is otherwise known as enculturation.

This could be reflected in the people’s film, television, language and mode of dressing, lifestyle and value system. Hence in a bid to protect the society from the insurgency of such alien, immoral contents in media and entertainment, censorship becomes pertinent and inevitable.

Unfortunately, the quest for materialism has made people in our entertainment industries to see nudity as a tradition in their various productions. In reaction to this obscene development in Nigerian movies, O.S.J Bankola avers that:

No tribe in Nigeria will condone uncontrolled display of nudity, lust and sexual acts in public and this is a moral value which the African and Nigeria film producers could teach the outside world, just as the Indians are unique with their singing films and other operatic productions (50).

This act can be well qualified by Nolin’s reaction to the flagrant display of obscenity by film makers which he referred to as the “Imbecilities of futile optimism, hoping that materialism and purist of dirty lucre will compensate for the loss of the nation’s soul” (as cited in F.O Shaka,

243). Musa Bello in his contribution, concludes “the Southern Nigerian movie crews (Igbo and

Yoruba) are common rivals trying to out-do each other in the noxiousness of nudism” (62).

Musa’s conclusion could be perceived to be consumed by sentiment and religious undertones.

The fact remains that no part of the country is left out in this mess.

Nudism, according to A.S Obiefuna has become a cankerworm in the Nigerian Video

Film Industry. Hence:

In a bid to step up be like the whites, the movie makers have continually depicted and celebrated nudism and pictures of semi-naked girls and sometimes stark naked girls in the home videos. This is the most troubling and demeaning factor in the Nigerian movie industry as it not only down plays the country’s image but also constitutes an undying virus blearing the sight of the growing African child from appreciating the African sense of modesty and chastity (79). This implies that nudity is not cultural in Nigerian tradition. Based on this, K.O Ijaduola observes that “most of films are found not to be projecting the values and norms of our society, but they are too foreign-oriented in their cultural projection” (73). This blunt display of nudity in our movies can be said to be proliferated by the incursion of the Western culture into the

Nigerian Society and sharpened, by the Ghanaian-Nigerian co-productions. Due to the hard nature of the Nigerian economy, many films portray violence and transgresive sex as a means for survival, especially on the part our women. On this note,Foluke Shaka citing Harding explains the reason for the fast sale of sex related films thus:

Video movies focus on sex as a vehicle and strategy for bringing about economic change in an individual’s life. As far as the narrative goes, representing illicit sex with one or more partners is not the end in itself, rather it is the exposure of the acquisition, by any means of violent acts suggested in the video. The agency for change is the putative efficacious relationship between transgressive sex and a consequent supernatural power to bring about a specific result the acquisition of wealth and/ or power. The issue of transgressive sex and violence according to F.O.

Shake sold fast irrespective of the moral opprobrium they create (244).

Some of the musical productions like “Reggae blues or After the Reggae play the blues” by

Harry song, “ Olu maintain” by 2Face Dibia, My Woman My Everything” by Potoranking

Wade, “Nobody but me” by Venesa M.K.O, “Eze Nnun” by Pnyno, “Ukwu” by Timaya,” and

“Sexy Rosie” by Flavour and many others promote nudity and other sexual abuse.

Some films like College Girls /Efia, the school Girl 1&11, Private Students 1&11, Shattered

Mirror/The Riches 1&11 and many others failed to lay more emphasis on culture, history and moral sensibility of the people which could be the reason for the blossoming of Nollywood but, unfortunately, the reverse is the case because the main focus is now on the negative side that could dent the image of Nigerian society. The sale of many films with obscene contents in them shows nothing sells like sex in show business. For instance, Zeb Ejiro proudly takes pride in his film, Domitilla (Ashawo no be work) because the movies made a good profit as cited in nwogu”

(62).

The above comments infer that the primary aim of most film makers and musical producers are to make money; not to ridicule the vices in the society and prevent the social ills.

CHAPTER THREE

THE PEOPLE AND STUDY AREA

3.1 Geographical Location of Nsukka Communities

Nsukka is a town and Local Government Area in Enugu State South East of Nigeria. Nsukka

Communities are made up of - Obukpa, Aro, Ihe n’ Owerre, Edemani, Obimo, Ehalumona,Opi

Ede-Oballa, Lejja and Nru. Nsukka is known as the site of the University founded by Late Dr.

Nnamdi Azikiwe, the first President of Nigeria. Nsukka has an area of 30 sq. km. and a population of about 90,000. It drives much from its status as a university town. Infrastructural facilities are reasonably adequate and include a large market called “Ogige Market” for agricultural produce at comparatively cheap prices, a good network of roads, post offices, a telephone exchange, finance houses and banks, medical and sporting facilities. Currently,

Nsukka has a number of Federal Parastatals in its University such as National Biotechnology

Development Agency (NABDA), Energy Research Centre (ERC) and many others. Nsukka has some of the most recognized educational Institutes like Nsukka College of Education; St.

Teresa’s College Nsukka (all boys) is one of the oldest Secondary School in the South East and is situated at the heart of Nsukka. Queen of the Holy Rosary Secondary School is all girls, and also operated by the Catholic Diocese of Nsukka. Nsukka High School is a (Government run) public School with Anglican Church heritage. Model Secondary School, Nsukka is a day school for male and female Students. There are Urban Girls and St. Cyprian’s Special Science School for girls and many others.

3.1.2 A brief history/origin of Nsukka

Nsukka is a home to members of Igbo ethnic group. Oral history has it that little is known about the origin of Nsukka except that the Kingdom of Nri in Anambra State had contact with Nsukka in earlier periods. In 1967, Nsukka was one of the Biafran towns to be captured by the Northern forces during their so-called “Police action” at the outset of the Nigeria Biafra War. This action during which Nsukka University was burned down created many refugees and contributed to the chaos and suffering inherent in this bloody conflict. Nsukka town has a very ancient culture and traditions that are almost lost in antiquity due to the late awakening of the indigenes to the relevance and necessity of the pursuit of intellectual erudition and research. Each community is composed of many other smaller villages and clans. Oral history has it that Nsukka has a very close tie with three other neighboring towns: Obukpa, Okpuje and Eha which are said to have common ancestral origins. Nsukka, Obukpa and Okpuje are siblings of Asadu Ideke Alumona while the last Eha is a patrilineal brother of the other three relations. The town is therefore called

“Eha-Alumona”.

In 1919, a Catholic Mission house and School were opened by the Missionaries. From there, the

Missionaries spread their work to other parts of Nsukka through the establishment of Churches and Schools. There is a Clinic which later became a fully fledged hospital and was named after

Bishop Joseph Shanahan in 1943.

3.1.3 Their world view

Nsukka people hold their world view that the universe is divided into four major departments-

Uwa (world) Mmo (ancestor) Alusi (Deity) and Okike (Creator). It is along this line that

Onwuejeogwu enunciates that; “Uwa (World) Mmuo (Ancestral world deity) and Okike

(Creator) interact in a complicated web of cosmic relationship” (139). He further states that:

The traditional doctor called dibia afa can be manipulating the afa controlled by agwu, Interprets the nature and character of these relationships. The action of Alusi (Deity) are directed by its chief priest. Only Chukwu (Almighty God) cannot be manipulated. That Chukwu (Almighty god) influences one’s Life. One’s Chi (Personal god) is regarded to be With the person always, directing his or her Proreactive actions on earth (139). John Fowler sees worldview as:

A construct about the make up of life as it struggles with the questions of reality, truth, ethics and history. It is a construct that about appoint of departure, a sense of direction, a locus of destination and a strategy of unity for human thought, life and action. (1). Accordingly, the construct satisfies a fourfold needs:

First the need to unity thought and life; second, the need to define good life and find hope and meaning in life ,third the need to guide thought, forth, the need to guide action. At the core of every persons being lies the worldview that constitute the world. Charles Kraft writes as the “control box” of culture that determines thinking, action or doing, and determining values” (2). Worldview, therefore, exerts a strong shaping influence and power on a person’s life. In the same manner, the traditional African worldview has a strong influence and shaping power on the African in that, it unifies the African’s thoughts and life. It defines the good life that must be pursued, preserved and protected; and it guides the thinking choices and actions. The traditional

African worldview often hinders the internalization of Christian message and practice among many African Christians.

Hurbert, Bucher on his own reveals that:

There are two main concerns in the traditional African belief system: The first one is to make life possible and so to sustain it – which explains the concern about fertility and food. The second has to do with finding solutions for that

which disturbs life. Setbacks, illness, death, and all forms of suffering must be dealt with, and power to counteract these is necessary (15). He further reasons, that bad magic, demon possession, sorcery, and witchcraft are among the mystical powers that should be contracted and overcome. When the traditional African ignores the clear word of scripture to consult with “experts” in manipulating power. They are actually seeking for power to contract evil.

Since this traditional power wants life in its fullness and as completely as possible they have a need, therefore, to affiliate with power that command the power of life.

Worldview gives meaning to life and comprises a crucial role in identity formulation and integrity.C.H, Kraft points out that:

A worldview plays a cardinal role in molding individuals and society. It serves the evaluation –judging and validating function and provides psychological reinforcements for that group. World view, the deep level of culture, is the culturally structured set of assumptions (including values and commitments/ allegiances underlying how a people perceive and respond to reality. World view is not separate from culture; it is included in culture as the deepest level upon which people base their lives (1).

Nuskka people believe in life after death- reincarnation which they call “ilua-Uwa”.

They believe in deity and this may be owned by an individual, a family group, a community or a society at large. The popularity of a particular deity is dependent upon its efficacy. Such deities like “Adoro-ero” “Ohe Nsukka”, and “Aja di Abo” of Eha-Alumona are popular. A particular deity may command a large fellowship if it is efficacious. Deity in Nsukka can be invoked by an individual called “Onyishi” (The most eldest in the village), a group of persons or the entire communities at large. They appease those deities for good health, bumper harvest and for mutual relationship among themselves.

In Nsukka, deity has the capacity to make a witch fall sick, confess and die. One of the major functions of deity is protective. As they protect the mortal beings, the living in Nsukka to propitiate them by offering Kola -nuts, food and drinks along with performances. Deity in

Nsukka is widely feared and revered. Nsukka people hold their view that if an evil person dies he or she will not be given a befitting burial.

They believe that three principles could be isolated as operative in the shaping of person’s life.

These are: “Akara aka” literally meaning lines of the hand, that is lines found on a person’s palms; Chi that is a person’s personal guardian spirit, or the invisible pilot of the day to day activities of human beings, and the physical/ psychic endowments of the persons concerned.

From time immemorial, Nsukka people believe fully on religious and ritual activities. Gennep quipped that life passes through four transitional ritual stages namely; birth rites, puberty, and adulthood and death rites. As shown below in this cyclical diagram which Nsukka people participate on.

Birth Rites

Death Rites Puberty Rites

Rites of Adulthood

Participation in any of these ritual activities is a sure way of paying homage and allegiance to the numerous gods. Festivals are usually accompanied by all these rites. Therefore, sacred cum ritual tradition is crucial in Nsukka because it helps in deepening the religious obligation of the living and the supernatural power is strengthened.

Nsukka people hold their belief system that some animals and plants are kept sacrosanct and that its regular uses are abhorred based on individual’s or group religious affinity to them .These are otherwise called totems. The Igbos observe totem as the word or name given to an animal, object or natural events, which has a special religious or spiritual association with a person or a group of people. It is a taboo for Nsukka people to kill or eat the totems that are worshipped and revered.

Python - As a Totem in Nsukka.

Python as a Totem in Nsukka Communities

Tortoise - As a Totem in Nsukka communities

Iroko tree - As a Totem in Nsukka communities.

Mahogany tree - As a Totem in Nsukka communities.

It is worthy of note that each totem has some taboos guiding it. According to L.I. Ngwu, “taboos which Igbo call “Aru” or “Nso ani”- taboo against the earth goddess) and the Yoruba Esse or

Ewo (abomination) mean something set apart or sacred by religions, customs or forbidden to certain persons or uses, of person, subject to a taboo’’ (10-11). The breaking of a taboo brings misfortunes, danger and the offender is exposed to the wrath of the divinity and the ancestors.

In worldview of Nsukka people, Kola-nut ordinarily known as “Oji Igbo” is well celebrated among Nsukka communities. It is the first thing to be served in any function. They use Kola-nut to pray and the prayer is organized in local language. They use the slogan that Kola-nut doesn’t hear English or any other language except their mother tongue. Therefore, they make a lot of money through selling Kola-nut.

The diagram shows Kola-nut (Cola accuminata) used in worship or in other ceremonies in

Nsukka communities.

Kola-nut (cola acuminate) ordinarily known as “Orji Igbo” plays vital roles in Nsukka communities. People eat it and use it in worship of God and the gods and in divinities. Kola-nut has so many different species but the “Oji Igbo” itself belongs to kola acuminate specie. It is well respected among the communities in Nsukka, Nigeria and Africa at large. Nsukka people are known to be religiously conscious about the value and essence of kola-nut. Even though, it observes what Damain Opata called “a democratic circumstances to participate in all the rituals”

(105).

In every ceremony, be it during traditional sacrifice or offering, festival of local or national importance, Christian ceremonies like wedding, bazaar or launching of any kind, marriage and meetings, Kola-nut takes pre-eminence over any other programme than prayers.

The Igbo word Oji has already been taken as an acronym for “Omenala jikoro Igbo onu” –The tradition or custom that binds Igbo people together. The lobes of Kola-nut are of male or female types and usually when prayers are offered with Kola-nut, the male cotyledon is preferred as we live in an Igbo patriarchal world where the males dominate their female counterparts. Usually the head of the cotyledon (Anya Oji) is removed and offered to God or the lesser gods at the end of the invocation prayers. In Nsukka, the tradition of breaking the kola-nut and the observance of all the ceremonies associated with it is a pointer to the fact that kola-nut has come to stay. Kola- nut which is also a symbol of hospitality among Nsukka people does not hear any language

(dialect) other than that of a people on whose soil the function of breaking it is performed. Kola- nut is used in various ways in Nsukka and really it comes to stay.

Nsukka communities believe on the efficacy of Traditional Medicine and Medical Practices.

Over and against the hygiene, dosage availability of orthodox Medicine and Medical practices have been considered very efficacious in Nsukka communities. Considering the efficacy of

43 traditional medicine Ubruche, J.O opines that “Traditional or indigenous Medicine includes all mystical preparations that prevent and cure diseases, enhance life and provides means of achieving one’s aspirations” (5).

L .E Ugwueye and Ugwu C.O.T. on their own are of the view that Medicine in African religion is dependent on spiritual belief. It is inevitably connected with the supernatural (51). In Nsukka communities, traditional medicine does not engage in any orthodox form of diagnosis. However it uses divination to unravel the causes of illness and recommends therapeutic measures to be applied to a patient to regain health. In this regard, R.C. Mitchell writes that “divine healers are basically spiritual counselors and physicians. Individuals bring a wide variety of request to these priest” (25). Ugwu C.O.T. further reasons that:

Through the practice of both divination and medicine, “diseases thought to be source of pain, fear, hopelessness and which “unleashes” terror, excruciation with impurity are made powerless, managed, controlled and curved completely (25-26).

In Nsukka communities, the practice and belief in traditional medicine tends to be much needed in time of crisis.

3.1.4 Economy and Occupation

Nsukka is an agricultural –trade centre for yams, cassava, maize, pepper (Ose Nsukka), garden egg, palm Oil, Kernels, Kola –nut etc by the local people. Weaving is their traditional local craft from the beginning. Nsukka people are known for agriculture. Men, Women and Youths see farming as a means of livelihood. They have the richest farmers in the South-East of Nigeria through the Garden Egg and Yellow Pepper (Ose Nsukka) they are producing.

The research has it that their yellow pepper and garden egg are the best species of its kinds in

Nigeria. They have their daily market called “Ogige Nsukka Market” where they are sell their

44 products. People come from various places of the world to buy their products. Their passion for agriculture reduces the crime rate in Nsukka. Nsukka people are known for palm wine tapping.

The palm-wine they produce is the best in the south-East. The local people make a lot of money through palm-wine tapping. They have another local market called “Ikpa-market’’ where most of their local products - like coco yam, water yam, bitter leaves, melon etc are being sold. Nsukka people are industrious, focused and have a very stable economy.

3.1.5 Culture and Festival

A number of festivals are celebrated by the people of Nsukka including Omabe Masqurade festival, Onwa Eto (the 3rd moon) festival which is characterized by the slaughtering of several

Fowls in each household for each child in the household and in memory deceased family members; the Onwa Ise (the 5th moon) festival which is also known as the moon markes the beginning of the harvesting of yams. Onwa Esaa (the 7th moon) festival was noted as the period for the commencement of the eating of dried cocoyam (Echicha). According to Ezema Benjamin

“of the numerous festivals by which Nsukka was known for, only the Omaba festival is still being widely celebrated in the town” (3).

Masquerade performance called “Omaba” festival is an ancient culture that all the Nsukka people participated in. This incarnate being is a spirit which implies the concept of life after death. In Nsukka, masquerade helps in social control. F.U. Ugbeda comments that:

The concept of incarnate being emphasizes the continuity to as reincarnation in Africa, it is believed that the dead can come back into the world of the living by being born to an offspring or a close relation, or through visitation in form of incarnate being hinge on people’s cosmology. It is not pretence or a false show (30).

The issue of this incarnate being is both sacred and secular and even metaphysical. The secrecy behind the masquerade is never exposed to women, children and even uninitiated. It appears in various forms, kinds and shapes. There are beautiful ones called “Echaricha” and the aggressive and stubborn ones called “Oriokpa”. There is another beautiful one called “Owa-egara”. This type entertains people through charting. They are all performing in an open place when the need arises. Omaba Masquerade comes and goes. It features in every two years. In social activities like initiation ceremonies, at rite of passage during rituals, during festival, at birth, at death, during political rally, at installation of the king and other notable occasion in Nsukka, the presence of another types of masquerades are unavoidable presence because it brings some aesthetics into the performance. Such Masquerade like-“Ekwe’’, “Ekpe” Agujo’’, “Wonder’’

“Oriokpa” “Ujamu” or “Echaricha”and many others.

During Omaba festival performances, traditional charms are used by some of the male participants who play active roles. It is in respect of this view that Tagbo Ugwu writes that:

It is a truism that what has made festival with masquerade performance an enduring legacy in Africa is that one grows with it especially in its function of participating in all the activities rejection aesthetics (27).

In fact, any form of disrespect to Omaba masquerade in the community by anybody is sacrilegious and the consequence could be disastrous. It is a well known fact that “the obviousness of the mystical, metaphysical, mythological and thaumaturgy nature of incarnate being (masquerade) can hardly be fathomed” (30).

This masquerade festival is such that it has created an irresistible urge to both Christian and the traditional religious practitioners. It has really come to stay. The educational elites are not left out either.

The “Ishima” Masquerade on the stage of performance is sided by both ways by traditional practitioners in Nsukka Communities.

Owaegara Masquerade in Nsukka Community.

Oriokpa Masquerade and a group of traditional participants.

Ujamu Masquerade on motion.

The oracle divination (Ifa) plays a vital role in the culture of Nsukka people. The oracle prophesizes and gives an advice about the course of past, present and the future events. The oracle provides an answer to puzzling questions. The messages of the oracle are passed across the people through the oracle priest. F.U Ugbeda, points out that:

The proof of the efficacy of Oracle is that it can decipher things that are latent and shrouded in Secrecy. It is ifa oracle that can reveal to the people the cause and the nature of sickness can be cured or averted in future (17).

This implies that the Ifa Oracle serves as the mouth piece between the immortal world and the mortal world. In Nsukka, no marriage will take place if the Ifa said no to it. Therefore, the role of Ifa is mystic in nature. They respect Ifa to a high esteem.

CHAPTER FOUR

THE EFFECT OF PAY TELEVISION ON NSUKKA CULTURAL AREA

4.1 The lmpact on the People’s Culture.

Nsukka people in the South-Eastern part of Nigeria have experienced outrageous derailments in several aspects of their culture as a result of exposure to Pay Television and other Western influences. Westernization has left Nsukka communities barren of their indigenous thoughts aspirations, inspirations, self respects and above all their cultural heritages. They are made to cultivate the habit of foreign culture and civilization at the determent of their indigenous culture.

For instance, in each of their social and political occurrences and gathering rather than performing their traditional music it is the foreign music that would grace the occasion. The domination of the colonial master gave Nsukka people little free hand to face their culture. A lot of strange culture were learnt and exhibited which affect their moral values and growth. It is against this background that Damian Opata comments that:

I do not know how many people in Igbo land can now define themselves by their religion, by their language, by their history and by their Institutions. These marks or signatures of Identity have all been virtually swept aside by the combined forces of Modernization and Christianity (3).

Folktales are of great value for indirectly introducing the child to social- economic relations in the society. The folktales of a people serve as commentaries on their fears and aspirations. It awakens children’s creative ability. The story as an agent of socialization is absent nowadays in

Nsukka communities. It is a method where children should develop their intellects and their social lives as they take their turns at the nightly story telling session. This stories that Nsukka communities share among themselves and inculcate morals on it are now sacrificed at the altar of

52 modernity. The influence of Western culture in Nsukka communities also touched on our marriage rites. The steps taken in choosing a partner where parents have direct link has been abandoned. The “Igba Nkwu” wine carrying ceremony which is supposed to be done in a brides home village is now done in the big cities where parents of the bride are residing.

The method of divination to know the fate of the union has been abandoned by many indigenes of Nsukka communities. Western culture has really derailed the Igbo marriage precisely in

Nsukka communities. According to T.U Nwala, “since the early days of nationalist movement, the question of cultural domination by Western society through the forces of colonialism has been recognized as a serious practical and theoretical problem. Cultural emancipation was one of the stated objectives of nationalist movement” (225).

The new yam festival otherwise called “Iri ji” in Igboland is a festival that has a wide acclaim, but unfortunately, many indigenes in Nsukka communities are not observing this tradition anymore. They see it as a means of worshiping idol. The new yam festival is a festival that our forefathers map out for thanksgiving to God for the year’s rich agricultural harvest characterized by heavy feasting and darting. Westernization has influenced this tradition a lot to the extent that people begin to eat yam anytime they want in Nsukka communities.

Puberty stage rite and other initiation ceremonies are fading away as a result of Western influence. Most communities in Nsukka involve in the initiation ceremonies- masquerade societies or different cults (age groups). These include rites of separation, ritual of transition or luminal or marginal stage and finally the aggregation or integration into the new stage.

Anthropomorphic images in Nsukka communities are no more observed like before because of

Western influence. Anthropomorphism is the attribution of human characteristics or behaviour to

53 that which is not human. To make real and life the idea of the sacred man, he moulds into human form the images of what he conceptualized as God, the pristine ancestors of his community which are usually placed at the centre of the village square or market and in some other places; they are placed at the entrance to the community. This obviously draws their attention for worship from time to time. It is in this respect that E.B I dowu comments that:

…He (Olodumare) speaks, he commands, He acts, he rules, he judges, he does all that a person of the highest authority in whose control everything is will do. Unless man forms God in his own image, God will be reduced to a mere abstract idea or an intellectual conception. There is no escaping from anthropomorphism if our worship of God is to be real and our conception of God whom we worship is to be concrete. This also applies to divinities that are real to African minds. (26)

Anthropomorphic Images in Nsukka communities play significant roles in human life, but unfortunately its efficacies are no more observed like before because of Western influence.

River (Uhere Opi) used by Nsukka people and by Traditional Religious practitioners during worship to God and gods

Communities in Nsukka hold their belief that if one is sick and a scarifies is made on the spot of

Anthropomorphic image, the person will be healed. But now, people’s interest is on some of the magic, pastors and the rest they watch on the television.

Abushi (Holy Water): this is also another way through which the Nsukka communities objectify their religion. The traditional practitioners prepare “Aboshi” (Holy water) for cleaning and other purposes by sending a Virgin(male or female) to a flowing stream or river to fetch water .The lad will be instructed to while fetching the water back the source of the river and then place a fresh palm leaf (Ommu) across the mouth.

He or she should be instructed not to talk to anyone until he or she reaches the required destination (Shrine or home) with the water and consequently dropping the fresh palm leaf. This quantity of water fetched through this process automatically becomes holy water. This process of tradition is still in vogue as those who consult medicine men still get this type of water administered unto them.

Nsukka youths generally these days are not interested to know more about this style of tradition.

Their interest is on the magic water they see on television used by the pastors and the rest.

Apart from losing our cultural and traditional attires and dressing code to Western imperialism in Nsukka, we have also lost our local food delicacies like- ‘Echicha’ Otipir’i, Aribo Osise’

‘Igbangwu’ ‘Peppe’ and the rest of them as well as our traditional worship to the alien culture.

We have our native foods but we discover today that most of our people are no longer interested in our local foods, rather they prefer the Western foods they see the advert on television.

More so, our local dialects are gradually going into extinction due to preference for foreign language the young generations can hardly communicate in our dialects. These problems are not peculiar to Nsukka indigenes alone. It is a universal problem to all the Nigerians. People in

56 various areas imitate the super stars they watch on television who want to copy the west in all aspects of their lives. The question is must we copy everything Western? Can’t we promote our rich cultural and traditional way of life?

White men colonized Africa; those colonial masters arrived with their own culture and languages, which Africans consciously or unconsciously imbibed. In the process of accepting the new culture and language, they forgot to sift carefully and select the important ones. The colonial masters provided Africans with their own languages and painted array of benefits that would accrue him (the African) once he mastered the white man’s language and culture. Today in

Nigeria, many people are even ashamed to speak their local dialect in the public. They prefer to speak English language because they believe it is the best language to speak. We often see two couples everywhere in Nigeria who hail from the same village in Nigeria whose children cannot speak their native language instead, they speak English and in most cases they do not speak simple and correct English but pidgin. What an aberration? Our cultural heritages have been watered down by western civilization. Gone were days where life was treasured and values were welcome and held with high level of respect. As of then in Nigeria precisely Nsukka, parents hide their faces in shame with their daughters found out to be non-Virgin by their husband during

Wedlock. The motions of chastity and Virginity have been rendered absurd in Nigeria this time around. The moral excellence of Nigerian society has overnight transformed into moral decay.

Elders are no longer respected; our rich cultural festivals and ceremonies are now seen as forgone culture’

4.2 The Attituditional and Social Impact.

Globalization dislodges the culture of Nsukka communities which result in mutation. Its social impact calls for redress and policy discourse for cultural reinstitution and sustainability. For

57 instance, heavy exposure to screen violence has been proven to stir anti-social behaviours among the Youths in Nsukka communities. J.O. Nnabuko and T.C Anatsui comment that “some violent materials in movies include: sex scene, nudity obscenity, vulgar language , curses, indecent dresses, killings, murder, rape, beating up women, smoking, molestation and harassment” (215).

These according to them could have a devastating effect on the psyche of the youths. N.C. Nnaji, on his own view submits that:

Teens exposure to the glitz and glamour, violence and eroticism in Nigerian home video has tended to mainstream them into erroneous belief and interpretation of the world around them (282).

The level of moral degeneration among the indigenes of Nsukka is at alarming rate as a result of infusion of alien culture. Nsukka youths are still striving to go back to the era of Adam and Eve in the garden of Eden when nakedness was the order of the day forgetting what the Holy Bible says that, “when they saw that they were naked, they became ashamed “(Genesis:1;7).The youths daily choices on what to wear depend greatly on fashion not minding the positive or negatives implications. Our ladies no longer think about the acceptable values and norms of the society.

They believe that anything goes. What is acceptable as modest in Western culture may not be acceptable in this part of the world. More often one hears such saying as “baby you are hot” especially when some ladies dress rough or go on something highly revealing in Nsukka communities. There is a wide spate of corruptible practices among the youths. The major one denting and soiling our image locally and internationally is prostitution. On a large scale, corruption can be seen at the family, peer group, the school and even in the church. Poverty and lack of cultural orientation had been seen as the major causative factor. Corruption especially prostitution has dealt a serious havoc on the Nigerian populace, precisely Nsukka communities as a result of the actions that people imitate on television screen. Corruption has sneaked into our

58 social life as we practice nude culture as a result of the early exposure to some scenes on the television, films and even some musical, productions that showcase immoral act.

This trails the child to adulthood and causes more havoc to the younger children. Even in the political scene, thuggery, rigging, assassination and other evil practices are the order of the day, thereby giving the youths the sense of engagements.

It is in respect to this development that C.O.T Ugwu posits that:

Corruption has already made our foundation frail, weak and woolly. In the religions scene, Nigeria is beset with daunting doctrinal skirmishes and these have led to further splits and divisions. There are a lot of charlatans, and cheats in the Nigerian religious landscape who claim to have the “finger of God” anointing them (65).

The implication is that television programme and home movies have replaced the traditional culture that is impacting moral to our society. Statistics have also shown that most of the bad of behavioural patterns are learnt by teenagers or youths in Nsukka communities today is from the idolized actors and actresses they watch on screen.

Our traditional styles of songs and dancing steps are no more relevant to our youths. For instance, in Nsukka traditional style of dancing, when one dances and faces upwards (that is looking up to the sky) as most men’s dances are designed, it shows the acknowledgement of the existence of the supernatural beings whose abode is in the sky, on contrary, when one dances and faces downwards as usual with female dancers, it is a recourse to the earth goddess or other goddess, ( sea goddess and marine spirits) who are conceptualized as goddesses of fecundity and who of course bless women with procreation. These practices though clandestine they may sound, are very rife, vivacious and sustained among the Igbo traditional religion which Nsukka communities do observe. Nowadays, Nsukka Youths do not have interest in their traditional

59 music and dancing steps, instead, they focus on learning “belly” style of dance and other

Western acrobatic styles of dancing.

The dressing pattern Nsukka People watch on television this time around has also influenced their traditional mode of dressing. Dressing in certain colours has special meaning or message on their culture. Nsukka people prior to this time wore black for mourning but because of imitation of the Indian culture and belief, some now wear white for mourning and some still wear black

“Unu” for mourning and white for wedding . The issues that are confronting Nigeria in this wind of change are of great concern to the extent that instead of taking a new born baby to kinsmen for a proper initiation rite traditionally, our people now prefer taking the baby to the Rev. Frs. or pastors in the church for dedication and thanks giving ceremony.

The Nsukka communitarian spirit is such that if one finger gets soiled it will affect others. In other words, if one looks askew at issues bothering on an infringement of a taboo, it could turn to affect such a person or any member of his household. But our youths these days do not observe such culture and tradition as a result of Western influence. Some of the totemic animals that were not eaten by Nsukka communities from the olden days are now eaten by their youths as a result of Westernization that blinded them to observe such cultural belief system. Pay Television and other social media have tremendously affected Nigerian indigenous culture.

In Nsukka Communities, our traditional ways of hard work are influenced through reality shows that copy Western ways of life. Such programmes on television like “Who wants to be a

Millionaire” “Big Brother Africa” and the rest of them make people to be lazy. Many people focuse on these types of games and fail to work hard in other fields of human endeavors thinking that one day, he or she will be a Millionaire. This act of laziness generates a lot of crimes in our communities today and in Nigeria at large. Many Nigerians especially our youths who choose to

60 be lazy as a result of indulging in such games, engage in drug addiction, rape gangsters, bribery, prostitution, robbery and the rest of them. These values have dangerous effect on the youths who ignorantly mimic them as a way of life.

The proliferation of pornographic films into our TV channels in Nigeria society precisely

Nsukka is also another negative issue of cultural imperialism. Imported “blue movies “as they are known for, are as popular as other movies circulating among Nigerians, both adults and youths. These movies corrupt and defile the minds of people –patronizing them, which is as a result of people practicing alien culture in our society. Public discussion of sex for Nsukka indigens is regarded as taboo, which should not be practiced, but it is common now as a result of what people watch on television channels.

Conclusions on Data Collection

Based on the data analyzed in this study as well as the findings made, the study concludes as follows:

Majority of the viewers of Pay Television in Nsukka communities made it known that over seventy percent of TV shows being in Prime Time, E-channel and others contain some anti- social behaviours. This study tends to agree that violent media are associated with aggressive behaviour. That people who view media violence are more likely to have increased feeling of hostility decreased, emotional response to the portrayal of violence and injury that-lead to violence behaviours through imitation.

This reflects to cultural condemnation of alien culture and a robust resurgence of Nigeria indigenous culture.

Communities in the Eastern part of Nigeria. The excessive broadcast of western or foreign films in most of Nigerian television channels needs to be seriously checkmated with punitive measure

61 on erring stations as mentioned earlier on this research work. Despite the stipulated percentage of local and foreign contents on Nigerian television channels, there have been violations over the years without any form of severity.

Therefore, National Broadcasting Commission (NBC) needs to descend heavily on erring television stations as a way of salvaging the cultural fabric of the Nigerian society.

CHAPTER FIVE

SUMMARY, CONCLUSION AND RECOMMENDATIONS

5.1 Summary

It is a well known fact that exposure to Pay Television and other social media have affected the promotion of cultural heritage in Nigerian society with a particular reference to Nsukka. The restoration of Nigerian indigenous culture that is collapsing as a result of Western influence needs urgent attention to revive it. No doubt, teenagers and youths generally are vital segment of the society who could be instrumental in promoting Nigerian cultures. But unfortunately, the mentality and lifestyle of the teenagers and youth in Nigeria precisely Nsukka communities have been grossly affected by exposure to Western cultures to an extent that rather than promoting their indigenous culture, they have become hardened acolytes and promoter of Western culture.

The relevance of culture and tradition in Nsukka communities cannot be over emphasized. The study therefore, concludes by prescribing way forwards towards the restoration and promotion of

Nigerian indigenous culture as it affects the moral standard and the cultural values of the people with particular reference to Nsukka communities.

5.2 Conclusion

It has been established by scholars that no society can develop without proper integration of the culture of the land. Culture itself cannot develop the society except it is promoted by all segments and institutions of the society. Based on the data collected and analyzed in this study as well as the findings made, the study concludes that exposure to Pay Television and other social media have contributed immensely in “watering down” Nsukka indigenous culture.

The teenagers and youths show more interest on Western culture because; they see it as a normal trend in our contemporary society. The oral interview that the researcher carried out in Prison

Service/Police Station, Churches, Schools and Public offices concludes that majority of the people living in Nsukka communities are influenced from what they watch on television screen.

Consequently, exposure to Western culture by Nigerians through Satelite television and other social media has inadvertently affected their attitudes, thoughts, belief system, lifestyles, cultural affiliation and general worldview. For this reason, we argue for the protection and promotion of our culture. Nigerian’s indigenous culture is rich, vivacious, dynamic and stable. We have an enviable identity made feasible by this cultural heritage such that over several millennia of this continent’s existence, it has provided the desired protection, succor and solace to its citizenry.

We should be on the revival of traditional morality which our country Nigeria was known for.

Parents should play the vital role of ensuring moral behaviour of their children, in paying attention to the kind of clothes they buy for them or they are allowed to wear, the type of films,

Televisions ,they watch, even the type of phone calls they make when staying with them.

Through all these measures, moral vices and crimes in our society will surely eradicated or minimized. This is time to say no to cultural imperialism and uphold our rich cultural values in high esteem.

5.3 Recommendations

The following recommendations are given by the researcher in order to salvage Nsukka indigenous culture that has been eroding over the years and make suggestions for further studies in relation to this study. Parents, traditional rulers and Town unions in various localities should assist the youths to leave good lives by inculcating in them the norms and values of Nigerian indigenous culture.

The shrines, gods, their emblems and masquerade should be preserved for posterity as one can find hundreds of ancient Roman and Greek gods preserved in temples for tourists.

The National Broadcasting Commission (NBC) should screen every programme before it is aired and ban some TV shows either on cable or on any channels that portray indescent or pornographic contents. More research on the effects of Pay Television on the Nigerian indigenous culture has to be carried out. Such work could yield a different or similar result from the current study. Studies of this nature should be undertaken in bigger towns or cities in Nigeria because; the findings could be more significant in educating Nigerians.

This study also recommends that Nigerian youths should read motivational books and films that are moralistic or programmes about culture (e.g. documentary on culture) in order to make them better citizens of the society knowing full well that they are the leaders of tomorrow. Youths should learn to occupy their time with fruitful activities, imbibing the traditional norms, values and cultures of their society so as to pass it down to the younger generation.

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INTERNET SOURCES Dag EInar Thorsen; Amund Lie. “What is neoliberalism”. Retrieved Jan. 2013. Retrieved from http://www.folk.uio.no/daget/neoliberalism.pdf. Ezema, Benjamin Chinweike. “Brief History of Nsukka” Retrieved from http://naijasky.com/Nsukka. 11, May 2014. Ijaduola, K.O “Films and Sex Attitudes of Students: Implication on School Management”. Interntional Journal of African & African American Studies, 73 – 82. Retrieved from htt://www/ojcs.siue.esdu/.../152. . 2013. Kandakai, T.L., prince J.H., Telljohann S.K and Wilson C.A, . “Mother’s Perception on Factors Influencing Violence in Schools”. Journals of School Health, Vol. 69, No 5. 189-159. 1999. Leon, Trotsky. “Culture and socialism”. Retrieved From https:// www.wsws.org/.../ cutt- 023.htm/?...23 October, 2008. Muyale- Manenji, F. “The Effect of Globalization on Culture in Africa in the eye of an African Woman in ECHOES. World Council Church, http://www.wcc/what/jpc/effglob.html , 1998. Nnabuko, J.O and Anatsui. “Nollywood Movies and Nigerian Youths- An Evaluation”. JORIND, 10(2) 214-22, Retrieved Jan. 28th, 2013. Retrieved from http://www.ajol. Info/journals /jorind. 2012.

Nnaji, N.C. “Uses and Gratifications of Home Videos among the Nigerian Teenage Audience: Implications for Cultural Development and Sustainability. African Research Review”: An International Multidiciplinary Journals Ethiopia, 5(4). 21, 275-290. http://www.ajol. Info. Retrieved February 6th, 2013. Nwogu, L.I. “Cultural Promotion and Image Portrayal in the Nigerian Movies. Unpublished M.A. Thesis, Department of Theatre and Performing Arts, Ahmed Bello University Zaria, Nigeria”. Retrieved from http://www.hld.handle.ne /12345678/1962. February 23rd, 2013. Obiefuna, A.S. “The Bastardization of Culture and Value in Nigerian Home Videos: A Study Selected Nigerian Home Videos”. Seminar Paper Presented at the 23rd Conference of the Society of Nigerian Theatre Artists (SONTA) at the Department of Theatre and Cultural Studies, Nasarawa State, University, Keffi, Nasarawa, Nigeria. From June 2nd-6th, 2010.

Retrieved from http://www. Sonta –Nigeria. Org/data/site/1/ down. Retrieved February.25th, 2013. Ogundipe, A. Gender and Culture in Indigenous Films in Nigeria Codestria, 88-107, 2004. Retrieved from http:// www. Codesria.org/IMG/PDF/ Ga-chapter. Retrieved June 23rd, 2015. Ralph, Linton. Nigerian Arts and Culture – Festivals, Taboos, Norms and Values. (ed). Retrieved from Pulse. Ng/Arts-and –Culture. 14th October, 2015.

DICTIONARY ENTRIES

Cambridge Advanced Learners Dictionary and Thesaurus, University Press, 2015. Merriam, Webster. Define Pay Television at Dictionary. com. Retrieved from www.thefree dictionary.com/pay+tv. 11th June, 2015. Urban Dictionary. Unveiling Sexiest Nigerian Celebrities. Retrieved from www. Nigeria films. Com/…/ unveiling –sexie. 21st,Nov.2013. NEWSPAPER EDITION The Narrator Newspaper. The Trend in Miniskirts Among Secondary School Students in Enugu is Alarming on the Increase. June/July 2015(ed.) vol.1 N0.2 P.9. HOLY BIBLE

Holy bible, New International Version. 7th edition.

ORAL INTERVIEWS

Nsukka Divisional Police Stations, personal interviews, (with some officers like –Asp. Eze

John, Insp. Musa Lawal, Insp. Femi, Adeoluwa, Asp. Mary Odo. Corporal. Sy. Ugwu, Sergent.

I.K Obodo and the rest of them). 10th-25th May, 2015.

Nsukka Traditional Rulers, personal interviews, (with some persons like –HRH Igwe Spenser

Ugwoke, HRH, Igwe Ray Okey Ugwuja. HRH Igwe Philip Eze, HRH Igwe Ochike, HRH Igwe

S.N Okoro, HRH Igwe Simon Obeta and the rest of them).5th-20th July,2015.

Clergies in Nsukka Communities, personal interviews, (with some clergies like – Rev Fr. Kevin

Eze, Rev. Emma Ngwoke, Rev. Fr. Greg Omeje, Pst Ngozi Eze, Pst Nwachukwu Daniel, Pst

Josephine Eze and many others) 7th-28 september, 2015.

Youths in Nsukka Communities, personal interviews (with some persons like - Ogwo Ernest,

Ezugwu Ikechukwu, Omeje Ekene, Okechukwu Ezema, Egwu Keneth, Asogwa Ejike, Okwor

Ikenna, Eze Jude, Eze Joy and many others) 5th October-20th November, 2015.

FILMOGRAPHY

Title: College Girls/Efia, The School Girls 1&11 (2012).

Producer: Ugochukwu Samuel & Uchenna Mbunabo.

Director: Evans Anaele.

Title: Player N01&11 (2008).

Producer: Ifeanyi Anagor.

Director: Mosses Inyang.

Title: Shattered Mirror/ The Riches 1&11 (2012/13).

Producer: Onyinyechi Nwatu.

Director: lancelot Oduwa Imaseun.

Title: Private Students (2013).

Producer: Iyke Divine.

Director :Yuri Concept.

MUSICAL PRODUCTIONS.

Title: Reggae Blues (2015).

Producer: Harry song.

Director: Simtech.

Title: Nobody but me (2014).

Producer: Venesa M.K.O.

Director: Justine Campus.

Title: My Woman My Everything (2015).

Producer: Potoranking Wade.

Director: D.J Brown.

Title: Eze Nnunu (2015).

Producer: Pnyno.

Director: D.J. Brown.

Title: Ukwu (2015).

Producer: Timaya.

Director: Bambalow.

Title: Sexy Rosie (2015).

Producer: Flavour.

Director: P-square.

Title: Olu Maintain (2015).

Producer: 2 Face Dibia.

Director: Cinderell.

APPENDIX

SECTION 1

I am a master degree student of Department of Theatre and Film Studies in the University of

Nsukka. I am carrying out a study on the effects of Pay Television in Nsukka cultural area.

Please, assist me by providing appropriate response to questions below. The study is purely for academic purposes and you are hereby being assured on the information supplied, would be treated with utmost confidence and in strictest manner. Thanks in anticipation.

SECTION II

Size of Population

The population of youths in Nsukka communities within the age of 15-35 years are about five thousand persons and the researcher interviewed three thousand five hundred of them on the reasons why they give preference to hip-hop music /Western dress pattern to our indigenous styles and each of them responded. The population of police men in Nsukka communities is about eight hundred and fifty and the researcher interviewed two hundred of them on the crimes that are prevalent in Nsukka local government area as a result of exposure to Pay Television and each of them responded. The population of priests in Nsukka catholic diocese and other pastors in other churches are perhaps seven hundred of them and the researcher interviewed two hundred and twenty of them on the low level on moral standard in Nsukka communities as a result of

Western influence and each of them gave his/her various answers. The population of traditional rulers in Nsukka communities is about eighty of them and the researcher interviewed fifty of them on the exposure to pay television which contributes immensely on eroding the cultural area of Nsukka communities and each of them responded.

MAP OF NSUKKA COMMUNITIES

VALIDATION

This questionnaire was validated. I am convinced that eh researcher will arrive at a positive conclusion on the effects of pay Television on Nsukka cultural area after carrying out this questionnaire.

Dr. Uche Nwaozuzu Date (Supervisor)

QUESTIONNAIRE:

Please indicate your responses by ticking in the appropriate bracket [ ] or comment below where necessary.

PERSONAL DATA

1. What is your name? ------

2. Your gender? [ ] male [ ] female

3. Marital status? [ ] single [ ] married

4. Your occupation? police[ ] clergy[ ] youths[ ] Traditional ruler[ ]

5. Have you ever heard about Pay Television? [ ]yes [ ] no

6. Have you ever watched any program on it? [ ]yes [ ] no

7. Do you agree that some Programs on pay TV help in eroding Nsukka cultural area ? [ ] yes [

] no

8. Do you agree that what people watch on pay TV influenced their characters in Nsukka

communities? [ [ yes [ ]no

9. Do you agree that pay TV contributes on the crime rate in Nsukka local government area? [ [

yes [ ] no

10. Do you agree that the youths were affected most? [ ] yes [ ]no

11. Are there measures to be taken to revive Nsukka cultural Area? [ ] yes [ ]no

If yes list them

1 ------

1. ------

2. ------

3. ------

4. ------

SECTION 3

PRESENTATION OF DATA AND ANALYSIS

Analysis in table 1, 2, 3 reveals the demographics of the respondents. From the analysis, 1 ,

59.4% of the respondents are female while 40.6% are male

Table 3 analysis reveals the occupation of the respondents. 74.3% of the respondents are students, 12.4% are police, 10.9% are clergies and 2.5% are traditional rulers. These represent the physical observation of the researchers.

Table 4 shows the age distribution of the respondents. 66.8% of the respondents are within the age bracket 15 – 30 years, 17.8% of the respondents are within the age of 31-50 years and

15.4% are within the age bracket of 50-80.

Analysis in the table 5 shows respondent rate of watching pay Television or channel television. It reveals that 81.7% of the respondents often watch channel television. 14.9% are not often viewers while 3.5% are undecided. It could be deduced from the analysis that majority of the respondents are often viewers of television channel.

The advent of station on television packages like MVTV and DSTV such as MUVI TV, Africa magic which presents various scenes of Nigerian home movies all the time has made it easier for people to be addicted to Nigeria movies. Also people believe that movies are very entertaining hence increase in exposure.

Analysis in table 6 displays subject’s response on whether Pay Television and westernization are responsible for the abuse of Nsukka culture and other prevalent crimes. Here, 83.2% of the subjects said yes, 14.9% said no, and 2% of the subjects were undecided. This could have been

78 informed by the fact that selectivity in Pay Television is responsible for the watering down of

Nsukka Cultural area.

SECTION 4

TABLE 1 Group Population Sample

Youths 3,500 5,000

Police 250 850

Clergies 220 700

Traditional rulers 50 80

Total 2020 6630

Table 11 gender of the respondents

Male Female Total

820 1200 2020

(40.6%) (59.4%) (100%)

Table 3

Students Police Clergies Traditional ruler Total

3,500 250 220 50 2,020

(74.3%) (12.4%) (10.9%) (2.5%) (100%)

Table four: Age distribution of respondents

15-30% 31-50% 50-80% Total

1350 360 310 2020

(66.8%) (17.8%) (15.4%) (100%)

Table 5: Respondents rate of watching channel TV

Often viewers Not often viewers Undecided Total

1,650 300 70 2,020

(18.7%) (14.9%) (3.5%) (100%)

Table 6: Responses of the subjects on whether they have watched channel Tv. Yes No Not sure Total

1580 370 70 2020

(78.2%) (18.3%) (3.5%) (100%)

Table 7: Responses of the Subjects on whether Pay TV is Responsible in eroding the culture of

Nsukka, whether it is the cause of indecent dressing pattern, whether it is the cause of rape and other crimes, whether the youths are solely responsible for such act, and whether pay TV is responsible for the youths that prefer hip-hop music and songs to indigenous music and song.

Yes No Not sure Total

1680 300 40 2020

(83.2%) (14.9%) (2.0%) (100%)