Nollywood in Glocal Perspective Bala A. Musa Editor Nollywood in Glocal Perspective Editor Bala A. Musa Department of Communication Studies Azusa Pacifc University Azusa, CA, USA ISBN 978-3-030-30662-5 ISBN 978-3-030-30663-2 (eBook) https://doi.org/10.1007/978-3-030-30663-2 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. 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Cover credit: © Alex Linch shutterstock.com This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland To Maureen Ifeyinwa Musa My Darling and Pillar PREFACE It is safe to say there is emerging a “New World Entertainment Order,” with its momentum from the Global South. For decades, pop culture discourse was dominated by the cultural dialectics between imperialism and anti-colonialism, between globalism and localism, between producer nations and consumer nations, between high art and popular art. With new media and globalization, communication networks have become the prevailing structures of social engagement; allowing for fuidity and dynamic exchange between groups. Instead of just a few entertainment cultural centres, there are a growing number of entertainment cultural centres, from Seoul to Rio de Janeiro, and from Lagos to Mumbai. The new market for pop culture and entertainment is defned by tal- ent and software, rather than hardware and capital. The internet makes it possible to gain worldwide audience with minimal expense and fnan- cial investment. Global pop culture stars are born every day from all regions of the world, thanks to social media. While Hollywood remains the iconic movie capital of the world, it has since been surpassed by Bollywood and Nollywood, judging by the number of movies produced and the global distribution and consumption of their works. Nollywood, as Nigeria’s premiere movie and entertainment industry is popularly called, is a fast-growing glocal cultural force with large follower- ship and infuence across Africa and the globe. Nollywood movies, which were initially produced and distributed via VHS Cassettes and DVDs, are now widely screened in theatres in New York, London, Johannesburg and elsewhere. They are watched by millions on YouTube and are broadcast vii viii PREFACE on network channels or streamed online. The industry has defnitely come of age in the quantity, quality and reach of its entertainment content. While it may have once been the case that Riverwood was viewed as “a pale shadow of Nollywood1;” Nollywood, a Shadow of Bollywood; and Bollywood, but a shadow of Hollywood2; those assertions no longer hold true. Each of these industries, particularly Bollywood and Nollywood, have come into their own, and can each claim a place in the pantheon of global entertainment and pop culture institutions. In this volume, scholars from Africa, Europe and the United States bear credence, from their scholarships and experiences, to the glocal giant that Nollywood has become in the space of over two decades. As new and social media transform what was once fringe pop culture fare into mainstream global entertainment, it is important that the public not only be avid consumers, but that the be literate and savvy consumers as well.3 The chapters examine the history of Nollywood, dating back to the colonial flms and Nigeria’s early indigenous Travelling Theatres and flms. They identify the social, cultural, economic and political factors that gave rise to today’s home video movie phenomenon, Nollywood. Authors, Adesina Azeez Lukman, Shaibu S. Hussein, Oloruntola A. Sunday, Glorian C. Ernerst-Samuel, Ngozi Udoma and Soji Alabi give us insight into the role of technology as well as global and local talent inter- face in the evolution of Nollywood. The reader is able to gain a unique understanding of Nollywood’s core identity as an institution that sheds light on the realities of Nigerian, African and African Diaspora pop culture and experience from an etic- emic perspective. It shows how Nollywood is authentically local in ori- gin, yet globally connected and relevant. Nollywood entertainment themes and personalities bridge the divide between the local and the global. Nollywood producers, writers, actors and actresses train their art on the good, the bad and the ugly of African society, without falling prey to what has been termed “Afro-pessimism”—the tendency to portray Nigeria and Africa as only characterized by violence, disease, doom and gloom. They are able to tell Africa’s story with balance and authenticity. They celebrate Africa’s rich cultural heritage, exult in its triumphs, refect on its struggles, call out its ills like corruption, nepotism, dictatorship, human rights abuses and violence, while pointing the way out of poverty, disease, illiteracy and dependency. The diverse perspectives provided by the contributors, Olufemi J. Abodunrin, Ogungbemi C. Akintola, Morountodun Joseph and PREFACE ix Bala A. Musa illuminate the local and global cultural forces that tug on the soul of Nollywood. Looking into the internal workings of the sto- ries, readers are exposed to the entrepreneurial spirit, drive, talent and creativity that have fuelled the rapid development of the industry. The fact that Nollywood was birthed in the throes of national economic aus- terity is a tale of rising from ashes to glory. This is not only a metaphor of collective experience but for individual experiences that are captured in many Nollywood movies. The life stories of Nollywood stars, many of whom found success through hard work, determination and persever- ance refect but personal and collective narratives. Nollywood expanded opportunities for women, the youth, non-professional artists, and people of all backgrounds. Unlike Hollywood and Bollywood, which are associated with specifc geographic locations, namely, Los Angeles and Bombay, Nollywood has local, national and global identity and structure. It is centred in Lagos, but extends to Benin, Onitsha, Accra (in Ghana) and elsewhere. Osakue S. Omoera, Abdulmutallib Ado Abubakar and Sharafa Dauda show the reach of Nollywood’s tentacles to different parts of the world and its infuence audiences from Benin, in the Mid-West to Kano, in the North. Studios and artistes in these places see themselves as part of Nollywood. On Nollywood’s global reach and impact, Sandra Mooser, Gloria Chimeziem Ernest-Samuel, Bala Musa show the interconnectivity and mutual infuence between the local and global in inspiration, content, style, funding and values. Sandra Mooser illustrates how Nollywood’s infuence extends to Europe, with specifc reference to Switzerland. Nigerians and Africans in the Diaspora have taken Nollywood with them to their new societies. They are making movies in Nollywood tradition in other African countries, Europe, North America and Asia. Nollywood flm festivals are held in New York, Toronto, London, Paris, etc. Nollywood movies are the rave in the Caribbean. Movies, like Osuofa in London (2003) and Paradise in America (2016) are shot on location in Nigeria, the UK and America. Nollywood is truly a glocal phenomenon. Many Nollywood stars have become international icons. Some act and produce in Nollywood, Ghallywood and Hollywood. They have received awards at the African Movie Academy Awards and other inter- national flm festivals. Nollywood has grown to be more than just a movie-making industry. Nollywood artistes’ crafts and the industry itself now encompass movie-making, music, comedy, fashion, etc. The stars are cultural ambassadors in the true sense of the word. They are brand x PREFACE ambassadors and spokespersons for global corporate brands. They are goodwill ambassadors for the United Nations, humanitarian organiza- tions and philanthropies. Some have leveraged their fame, power and popularity to gain political offce. Nollywood is both an entertainment and economic institution. Next only to crude oil, it is arguably, Nigeria’s greatest export and economic pillar. It is the product of people’s ingenuity. In a country with high lev- els of unemployment, and where many look to government for jobs and political patronage, Nollywood stands apart as a product of the people’s creativity and entrepreneurship. Despite, or rather, in spite the challenges of lack of substantial support and investment from government or big business, Nollywood continues to fourish and provide employment and income for artists. This is an example of the success and vitality of civil society and grassroots initiatives. The Nigerian government, recognizing the power and strength of the industry, has tried to establish healthcare and retirement plans for Nollywood artistes in the bid to encourage its growth. Other efforts to support the industry have included the support of the National Film Institute in Jos, and a plan for establishing a Film Village in Abuja, the national capital.