NOLLYWOOD: Multilingualism in language of expression and sectional tantrums

In the recent times, many worries and concerns are raised against the standard practices in the Nigerian film industry. Generally, most of these concerns are tilted towards the survival means of the stakeholders- how and why the art should pay bills.

This development is understandable, especially with the soaring popularity of the Nigerian film experiments across the globe. One would think that, after three decades of Nigerian Citizen Cinema, stakeholders should be smiling to the banks, while concentrating and consolidating on building critical audience with special attention to cultural memory, national identity and poverty alleviation. +

But what gives me serious cause for concern, is the puerile sectional agitation by the Yoruba speaking movie makers under the aegis of both the Association of Nigeria Theatre Arts Practitioners (ANTP) and Theatre Arts and Motion Pictures Practitioners Association of Nigeria (TAMPAN), for parity with their English speaking counterparts, hence, the birth of Yorubawood. I cannot but laugh at this neology. I feel impelled to say that there should not be anything like Yorubawood; the contraption called Nollywood is even debatable. Why should we create another ‘wood’ that does not exist? There are lots of indigenous expressions such as Yoruba, Igbo, Hausa and other languages. Regardless of the languages, they are all under Nollywood.

There are fifteen national languages recognized by the Indian constitution and these are spoken in over 1600 dialects among which are Hindi, Bengali and Telugu. The languages of expression in their films cut across Hindi and English. Whereas, another appellation for Indian film industry is Bollywood. How come they did not classify some group Hindiwood , Bengaliwood, Teluguwood and another Bollywood? Same for China, and other countries across the globe.

And talking about who is making money and who does not or simply put, who is rich and who is poor. To my mind, this is just a reflection of complexities and complicities on the part of the Yoruba movie makers. Complexities? Yes! Most of these people lack the self-worth, while some over believe in their capabilities. In the same vein, most of these people are accomplices in the present state of the industry. How?

First, you can’t compare a film with national outlook and appeal with a regional outlook; they may never record the same box office success. That is not to say that Yoruba movies cannot have national and even international appeal, it all depends on the total package and presentation. Language of expression is never a barrier in filmmaking.

Second, film business is meant for total creative people and not mediocre. It goes beyond shooting a feature length in five days and releasing same twice a month in a DTH format. From packaging, (storyline, shooting style, technicalities, subtitling), media hypes, marketing/distribution and even monitoring/evaluation, every hand must be on deck.

Third, Omotola Jalade- Ekeinde, Joke Silver Jacobs, Olu Jacobs, Jide Kosoko, Bimbo Akintola, Late Bukky Ajayi, Bukky Wright, Lateef Adedimeji, Seun Akindele, Femi AdebayoProf. Sola Fosudo and a couple of others are all A-list cross over actors. They are all Yorubas. But do you know why they are doing well? Aside a stroke of luck, they are professionals. Most actors in the Nigerian movie experience are not professionals, especially the Yorubas. They are also rounded business men and women. How? Their English Nollywood counterparts handle their acting careers on strict business ethics known in Nigerian parlance as, ‘money for hand back for ground’. Besides, most of them have management companies and do not compromise standard. Call it pride if you wish.

This stands in total contrast to the kind of communal filmmaking the Yoruba movie makers are engaged in. Most of the Yoruba actors and stakeholders need to acquire skills, reskill and upskill. Modern filmmaking has gone beyond ‘alarinjo theatre’ model. Modern filmmaking requires a modicum of creativity, talents, education and technology. There are lots of Yoruba filmmakers who have refused to join the ANTP or TAMPAN and are doing great. Me think self assessment is highly needed here.

Communal film making is the art of providing services to every member of a group in turn with little or nothing as mode of remuneration. This is the simplest way I can explain this cankerworm that has eaten deep into the fabric of the most Yoruba actors and filmmakers in the name of caucus and apprenticeship. I have personally taken this up with the leadership of TAMPAN at a forum, and it was denied. Caucus can only kill creativity; cross fertilisation of ideas and expertise grows it. If Omotola Jalade- Ekeinde, Genevieve Nnaji, Nadia Buhari, Tonto Dike, etc were to be doing communal filmmaking, by now, they will be frying bean cake in their villages.

Also, the modern slavery called apprenticeship in the Yoruba film circle as an offshoot of communal filmmaking must be abolished. It is a pure case of the blind leading the blind. It is really a laughable matter. They exhort, exploit, and even mislead their apprentices. An apprentice has this to say, “…I joined Adekola Tijani film caucus with N5, 000 form fee and N35, 000 training fee…yet we still pay N100 for rehearsals. I pay for my accommodation, transportation and feeding to locations, regardless of the number of days. I may be featured in one scene or nothing in most cases…I paid for membership Identity Card, the card has refused to come till now.” Need I say more on this.

Finally, film has only one language- good story telling technique. Regardless of the language of expression, a good film is a good film even without sound. We were watching Indian films at cinemas in the 80s without subtitling and we enjoyed them. Same with Chinese films and others. Tsotsi won the Best Foreign Language Film at the coveted Oscar awards. Tsotsi was shot in Afrikaans language. Yoruba filmmakers should learn to do it right and they will get it right. Tunde Kelani, is doing well in that direction. He may not be stupendously ‘rich’, but he is happy.

I am looking forward to a round of applause for pure Yoruba speaking films on Hulu, Amazon, Netflix and even at the Oscars. It is possible and, in my time, too.

 

Picture credits- Internet