Nollywood Has A Critical Diversity Problem

 

Nollywood Has A Critical Diversity Problem

2026 will be a century of filmmaking in Nigeria since the first feature film, "Palaver: A Romance of Northern Nigeria"  was shot in the kingdom of Toro in 1926 by the English filmmaker and military officer, Geoffrey Barkas.

The making of "Palaver" has been published in the second edition of my NOLLYWOOD MIRROR® Series

in 2014 and the publication is distributed by Amazon, Barnes and Noble and other booksellers.

Nollywood, the first indie film industry in Africa is known as the second largest in the world after the Bollywood of India in the quantity of film productions which are mostly videos and not on celluloid. And the phenomenal guerilla filmmakers have attracted global attention to the Nigerian film industry with many articles, essays, news reports and several books written by Nigerians and foreigners in the news media and academic institutions. And documentary films have been produced on the phenomenon of Nollywood.

Majority of the writers and documentary filmmakers have focused on the most dominant features of Nollywood and Kannywood which are largely dictated by the three major tribes of Igbo, Yoruba and Hausa in Nigeria.

Majority of the actors and producers are from the three tribes and so their movies have been based on the narratives and perspectives on the sociocultural, socioeconomic and sociopolitical themes of their ethnicities. 

The few filmmakers from the minor tribes have been able to represent their regions and tell their own peculiar stories. But most of the peculiarities of their tribes have not been shown in Nigerian movies.

One of the most accomplished and prolific filmmakers is Lancelot Oduwa Imasuen from Benin in Edo State and has been the leading storyteller of the lives and times of Edo people and the foremost film studies scholar on Nigerian movies in indigenous languages,  Prof. Osakue Stevenson Omoera has studied and written on Imasuen's movies.

See "Audience Reception of the Benin Language Video Film in Nollywood" by Prof. Osakue Stevenson Omoera

Journal of African Cultural Studies

Vol. 26, No. 1 (March 2014), pp. 69-81 (13 pages)

Published By: Taylor & Francis, Ltd.

https://www.jstor.org/stable/24758457

I am still waiting for the best film productions of Imasuen that will show the rest of the world the great myths and mysteries of the great Edo people of the Benin Empire such as an epic film on  Prince Ekaladerhan, whom the Ife people now called Oduduwa.

We have epics of Yoruba stories in Nollywood, but the filmmakers have often forgotten that the minority group of Nupe people can't be ignored in the historical films on Oyo Empire, because the demigod, "Sango", the third Alaafin of Oyo was born to an Oyo father (Oranmiyan) and a Nupe mother, who was the daughter of the Elempe (Nupe king). He is considered half-Yoruba and half-Nupe, having spent part of his youth in Nupe kingdom before becoming a powerful Oyo ruler known for wielding fire. 

Nupe people have been underrepresented in both Nollywood and in Kennywood, even though they are mostly Muslims.

See the cinematic image of a Nupe cavalryman wearing lifidi (padded armour). Drawn in 1911 by Carl Arriens.

This is enough evidence that Nupe must have great untold stories that will captivate the cinema.

Among the most popular actors and actresses are personalities from the minorities like Nollywood divas Kate Henshaw, Ini Edo, Nse Ikpe-Etim and Mercy Johnson Okojie. But they have been featuring in Nollywood English movies often focused on common themes of the lives of Igbos and Yorubas and not on their own tribes who are lagging behind in the shadows of the major tribes.

Mercy Johnson-Okojie

Mercy Johnson-Okojie produced the Igala epic "The Legend of Inikpi" in 2020. But she has ignored telling the peculiar stories of her Ebira tribe of Kogi State. 

The popular actor, Efa Iwara has not told us any of the stories of his Yakö people in the Yakurr Local Government Area of Cross River State.

The diversity problem goes beyond tribal bigotry in the competition for leading roles for the principal cast in movies. 

There have been complaints of tribal discrimination against actors from ethnic minority groups in Nigeria.

They have been denied special roles in preference for actors from the major tribes who have the largest audiences of movie-goers at the cinemas and largest viewers of both public and cable TV channels and majority of the  viewers of videos streaming on YouTube channels, Netflix, Facebook, Instagram and other online platforms. So, the producers say their choice of the actors is based on popularity of the star power of an influential actor or actress and not based on tribal preference. 

A woman viewing two Nollywood actresses, Nunnsi Ojong and Celina Ideh from a minority group in southern Nigeria featured in my Lagos in Motion documentary film.

A scene from my "Lagos in Motion documentary film showing an Igbo actress Cynthia Agu and an Edo actress, Franca Aide.

Lest we forget, we are the best storytellers of our own stories and our stories are best told in our own languages.

We can't call the Nigerian film industry Nollywood when millions of people from the ethnic  minorities have been ignored and marginalized among the stakeholders. 

The estimated population of Nigeria is over 236,747,130 of which 30% are Hausa; 15.5% are Yoruba; 15.2% are Igbo; 6% are Fulani;. 2.4% are Tiv; 2.4% are Kanuri; 1.8% are Ibibio and Efik; 1.8% are Ijaw and 24.7% are from the remaining minorities of the over 250 ethnic groups in Nigeria, the most populous country in Africa.

While 29.5% (Hausa-Fulani), 20.3% (Yoruba), and 16.6% (Igbo) were historically listed as major, this leaves roughly a third or more of the population as part of various minority groups. 

The Diversity Problem of Different Sexual Orientations 

The other cases of lack of diversity and inclusion In Nollywood and the Nigerian film industry come from sections of the society with people profiled as Lesbian, Gay, Bisexual, and Transgender (LGBT) and the larger community of the LGBTQ (Lesbian, Gay, Bisexual, Transgender, and Queer).

There have been cases of widespread LGBTQ+-phobia; prejudice, fear, hatred, or discrimination against people based on their sexual orientation, gender identity, or expression, encompassing homophobia, biphobia, and transphobia. 

The causes of LGBTQ+phobia are often religious beliefs and traditional taboos.

The largest dominant religions of Christianity in Nollywood and Islam in Kannywood forbid homosexuality and in extreme cases of intolerance, homosexuals have been attacked and banished from film productions and treated as outcasts in the society.

Homosexuality is a crime in Nigeria. Therefore, the film industry does not accept a community of people with diverse sexual orientations and gender identities. And so will not promote

inclusivity, covering individuals who are not heterosexual or do not identify with the sex they were assigned at birth. But they cannot be ignored.

They have the fundamental human rights to tell their stories and amplify their voices in Nollywood and Kannywood and WE MUST PROTECT THEM from the violations of their liberties as bonafide citizens of Nigeria and fellow humans with the same equal rights to live and work in love 💕, peace and unity. 

Diversity and inclusion will accommodate the best talents and accelerate the sustainable development and advancement of the entertainment industry and the creative economy of Nigeria.

Key Components of a Diversity Problem

Unconscious Bias & Stereotyping: 

Prejudiced, automatic assumptions that affect hiring, promotion, and daily interactions.

Underrepresentation (The "Glass Ceiling"): A lack of diverse talent in top-level leadership roles, often due to systemic barriers.

Lack of Inclusion: 

Having a diverse staff but failing to create a welcoming environment where those individuals feel valued and supported.

Cultural Clashes & Communication Barriers: 

Misunderstandings due to differences in cultural norms, communication styles, and values.

Inequitable Treatment: 

Unequal pay, limited opportunities for advancement, or exclusion from key projects based on social identity. 

Consequences of Unaddressed Diversity Problems

Reduced Innovation: 

A homogenous group fails to bring diverse perspectives to problem-solving.

Lower Productivity & Morale: Cultural clashes and unfairness increase employee turnover and decrease productivity.

Reputational Damage: 

Organizations may face negative public perception if they appear non-inclusive. 

A diversity problem is generally solved by defining specific, unique challenges rather than taking a one-size-fits-all approach to inclusion. 

- By Ekenyerengozi Michael Chima,

The Founder/ CEO,

International Digital Post Network Limited,

Screen Outdoor Open Air Cinema (SOOAC)

https://www.amazon.com/author/ekenyerengozimichaelchima

https://www.linkedin.com/in/michaelchimaeyerengozi

New Nigeria

www.pinterest.com/nigeriansreport

Tel: +234 706 637 9246

PS:

Ekenyerengozi Michael Chima (also known by the pseudonym Orikinla Osinachi) is a prominent Nigerian writer, publisher, and multimedia producer born on January 30, 1963, in Lagos Island. 

Professional Roles & Media Presence

He is the Founder and CEO of the International Digital Post Network Limited, the first Nigerian company to attract the IMAX Corporation to Nigeria, King of Kings Books International and Screen Outdoor Open Air Cinema (SOOAC). He secured International partnership with the Cinewav of Singapore for the "One Village, One Cinema" initiative and partnership with the 

International Chamber of Media & Entertainment Industry (ICMEI) of India for the Bollywood To Nollywood Filmmaking workshops for international co-productions between India and Nigeria.

Writer & Publisher: 

He is the Publisher/Editor of several online platforms, including Nigerians Report Online, Nigerian Times, and the Founder and Publisher/Editor of the popular NOLLYWOOD MIRROR® Series on Nollywood and the Nigerian film industry.

Consultant: 

He has served as a social media consultant and previously worked as a National Program Consultant for UNICEF Nigeria and independent Production Manager of "Money Wise" business magazine programme on DBN TV.

Advocacy: 

He is recognized for his advocacy for girl-child education supporting the compulsory education of the millions of underprivileged girls out of school in Nigeria.

Art, Literary & Creative Works

Chima is a notable artist with local and International exhibitions of his drawings and paintings. He  was the national curator for the 1993 World AIDS Day "Art Against AIDS" exhibitions at the National Museum and National Theatre in Nigeria.

He is a prolific writer who is the author of numerous books spanning fiction, poetry, and historical commentary: 

Books: 

He published his first book, Children of Heaven, in 1987.

His notable titles include Bye, Bye Mugabe, a collection of short stories; collections of his poems in Children of Heaven, The Prophet Lied and Scarlet Tears of London;  The Victory of Muhammadu Buhari and the Nigerian Dream on the 2015 presidential election in Nigeria, In the House of Dogs and Diary of the Memory Keeper.

Prizes

Chima won the first prize in the national essay competition on What I Like Best in Nigeria organized by the Pop magazine in 1976.

His poem "Song of Patriotism" won the first prize in a national poetry competition on the Nigerian Television Authority (NTA) in 1987.

His poem, "Empty Shells in Our Oil  Wells" was one of the finalists for the 2000 Music Society of Nigeria national poetry award.

His short story, "One Day at Obalende Bus Stop" won the third prize in the 2002 Lire en fête short story competition organized by the French Cultural Centre in Nigeria.

Early Success: 

He directed his first play at age 17 and at 18 he became the youngest independent professional scriptwriter for TV in Africa, writing episodes for the puppet drama series of the Nigerian Television Authority (NTA), the largest TV network on the continent from 1981-84. See 

Nigeria: 'I Started Writing Professionally At 18' - allAfrica.com

https://allafrica.com/stories/201212030437.html

Visual Media: 

In 2016, he produced the photo album LAGOS in MOTION, documenting Africa's largest megacity from the principal photography of his first long documentary film project, "Lagos in Motion: Sights and Sounds of Africa's Largest Megacity".

Education & Affiliations

Education: He attended St. Gregory's College, Lagos, and later had further education from seminars and workshops by the Nigerian Television Authority (NTA) in 1980, Book Development Council of Nigeria in 1982, Johns Hopkins University's Population Communication Services (JHU/PCS) in 1984 and 1990,  PATH in 1985, UNICEF in Nigeria in 1988, World Health Organization (WHO) in 1993 and other organizations.

Memberships: 

He has been a member of the Association of Nigerian Authors (ANA) since 1987, the Chautauqua Literary and Scientific Circle (CLSC), Digital Cinema Society (DCS), International Law Office (ILO) and Online News Association (ONA). He participated in the Digital Media Law Project (DMLP), a major initiative based at Harvard University's Berkman Klein Center for Internet & Society. Originally founded in 2007 as the "Citizen Media Law Project," it provided legal resources and education for independent journalists and online media

Chima’s work often bridges the gap between sociocultural analysis and political documentation.

Focus on Nollywood

As a major stakeholder in the Nigerian film industry, Chima has documented its evolution through the NOLLYWOOD MIRROR® Series: This is a comprehensive book series—available in print and digital formats—designed to capture the "big picture" of the industry for a global audience.

The First Edition celebrates Nollywood's icons, its emergence as an African phenomenon, and its strategy for breaking into global markets.

The Second Edition highlights "New Nollywood" developments (circa 2014), including the epic Invasion 1897, the evolution of digital filmmaking, and the first Hollywood star from Nigeria, Orlando Martins.

Film Festivals: 

He is the Founder and Festival Director of the annual Eko International Film Festival and Zenith International Film Festival.

Political Commentaries

His political writings focus on pivotal moments in Nigeria's democratic history:

The Victory of Muhammadu Buhari and the Nigerian Dream: This book serves as a personal testimony and historical chronicle of the 2015 presidential election. It analyzes the principal actors behind the first time an incumbent president was defeated in Nigeria’s history.

Digital & Periodical Analysis: Through his platforms Nigerians Report Online and Nigerian Times, he provides ongoing commentary on Nigerian federalism, social justice, and leadership.

Satirical Critique: 

Works like Bye, Bye Mugabe use short stories to offer a broader critique of African leadership and political dynamics beyond just Nigeria. 

Nsibidi is Older than the English Language

Nsibidi is Older than the English Language

Nsibidi existed from the 3rd century before the metamorphosis of the English language from the West Germanic languages in the 5th century.

Nsibidi used on an Efik tray made in the 19th century. A mermaid encircled with diagrams including Nsibidi ideogram.

Nsibidi has been described as a Semasiographic script comprised of ideograms and pictograms that were used in southeastern Nigeria among the Ejagham (Ekoid people), Efik, Igbo, and Ibibio societies.

The Ejagham originally came from Northeast Africa which supports my analogy of the origins of Igbo Ukwu art of the ancient Igbo Ukwu Kingdom with the ancient Indus Valley Civilization of the 2600 BCE to 1900 BCE.

Igbos believe that they are descendants of one of the Sons of God who descended from heaven and had a relationship with one of the daughters of Eve. 

(Genesis 6, Holy Bible)

Lucy (Australopithecus) the oldest

fossilized bone comprising 40 percent of the skeleton of a female of the hominin species Australopithecus afarensis was discovered in 1974 in Ethiopia, at Hadar, a site in the Awash Valley of the Afar Triangle, by Donald Johanson, a paleoanthropologist of the Cleveland Museum of Natural History.

Insibidi is the secret language of the Ekpe Leopard Secret Society of the Efik, Ibibio and Igbo societies.

Nsibidi means The Beginning in my mother tongue of the Igbos  sharing borders and ethnic similarities with the Efik and Ibibio tribes.

Nsibidi is more than a written language.

It is also a sign language of the Ekpe Leopard Secret Society and unknown to the various Nigerian artists who have been doing nothing more than to copy and paste Insibidi for drawings, paintings, sculptures, prints and potteries and posing and posturing as experts, Nsibidi is also expressed choreographically in a movement of hands and footsteps of secret language communication by members of the Ekpe Leopard Secret Society and used by the dreaded Ekpe masquerades.

I once confronted an Ekpe masquerade decades ago in the early 1990s on the popular Fola Agoro Road leading to the University of Lagos on my way to visit a beautiful girlfriend, Naomi, the Joy of my heart.

As others were either avoiding or running away from the scary looking Ekpe masquerade holding a machete and bell and a chain was tied to the waist held by his guides, I stood face-to-face with him. He was growling and snorting angrily. I was not afraid, because I have also met original Ekpe masquerades during festivities in my mother's hometown of Umuda Nsigwu in the Umuahia North Local Government area of Abia State of southern eastern Nigeria.

Two weeks ago, whilst waiting for a tailor in front of his residence in the Ekpri Nsukarra village in Uyo, a friendly discussion with one of his young neighbours drifted off to Nsibidi and the Ekpe masquerades and he demonstrated one of the movements of their secret language. 

- Ekenyerengozi Michael Chima

#God

#chima

#nsibidi

#ekoid

#english

#german

#igbo

#efik

#ibibio

#ejagham

#uyo

#abia

#umuahia

#ekpe

#masquerade

#leopard

#secret

#society

#igboukwu

#indusvalley

#africa

#ethiopia

#lucy

#eve

#genesis

#bible

#art

#history

Nastassja Kinski Can Play Mary Slessor

 

Nastassja Kinski Can Play Mary Slessor

Since 1988, I have completed my comprehensive research for the historical film on Mary Slessor, the famous Scottish missionary and heroine and saviour of twins among the Efik and Ibibio tribes in now Cross River and Akwa Ibom States of south-south region of Nigeria.

I met with the Mr. Lai Arasanmi of blessed memory, who was the Manager, Programmes, Nigerian Television Authority (NTA) , Ahmadu Bello Way, Victoria Island, Lagos whose resume included B.Sc. Broadcast Journalism, Bowling Green State University, Ohio, USA, 1975; M.A. Speech Communication; Cert. Public Entreprise Management, ASCON. Member: Nigerian Guild of Producers/Directors with several awards. But I abandoned the project and became an evangelist on the streets and public transport buses in Lagos.

There have been attempts of both film and TV productions of the dramatic life of Many Slessor. But none has been successful, because of poor research, poor characterization of her personality and erroneous art direction and production design. Jeta Amata's "Mary Slessor" was not well done in casting and storytelling as can be seen in the video on https://youtu.be/ospsnFdqsck?si=CQIjzAHamcCaFhA8.

Any "Mary Slessor" without her Scottish accent is wrong characterization and should not have been done.

In my research, I had access to copies of the letters of Mary Slessor, especially the personal letters to her sister.

Presently, no Nollywood actress can play Mary Slessor, because none of them has attained that standard of intellectual acumen and professionalism in acting historical figures of such magnitude.

Nastassja Kinski can play the leading role in the film adaptation of Mary Slessor.

I was convinced by her role as "Tess", the 1979 epic drama film by Roman Polanski, the film adaptation of Thomas Hardy's 1891 classic novel, "Tess of the d'Urbervilles". that was nominated for six Academy Awards, including Best Picture and won the Oscars for Best Cinematography, Best Art Direction and Best Costume Design.

Nastassja Kinski met Roman Polanski at a party in 1976.e He urged her to study method acting with Lee Strasberg in the United States and she was offered the title role of Tess. 

In 1978, Kinski underwent extensive preparation for the portrayal of the  English peasant girl and she had to learn and acquire a Dorset accent through elocution studies:

"I was given the book almost a year prior to read, I then had to transform myself and lose my German accent completely. I worked with a coach from the National Theatre in London, Kate Fleming. It was almost an intellectual voyage. I went to live in the countryside of the deep part of England, on a farm, did everything they did, and learned it. When the time came in Paris to do my test, it was with our director and our producers Claude Berri and Timothy Burrill, I had done a screen test with Roman prior to that, for Dino DeLaurentis, but now this was for Tess. Preparation is an amazing thing. It, somehow, after all the work, carries you if you are fully present, it carries you through like a bird, like big inner and outer wings."

Nastassja Kinski can undergo the same preparations for the role of Mary Slessor and I am convinced that even at the age of 64 years, she will bring out the great personality of the iconic Scottish missionary and also learn to speak the native languages of the Efik and Ibibio tribes she loved and lived with till her breath in their midst on earth.

The awesome life of Many Slessor would be most appreciated in the historical film based on the facts she documented in her dairies and letters.

Mary Slessor stands just outside Ikotobong court house, which can be seen with its thatched roof on the right side of the photograph. 

Mary Slessor with her adopted children.

Mary Slessor stands with a number of villagers outside her house in Ekenge

Pots in which twin babies were exposed due to the superstitions of the natives (photo c. 1880)

In 1889 the British Government established a Protectorate in Calabar and, on account of her unique influence, she was invited to take up the office of Magistrate and Superintendent of the district court. It had already become customary for locals to refer their disputes to her for settlement.

During her forty-year ministry in Africa, Mary Slessor contracted malaria (which never left her), as well as other fevers and health-wracking illnesses. She ministered to head-hunters and cannibals.

She interceded in inter-tribal warfare and she saved countless babies who were left to die in the jungle due to the superstitions of the natives. The birth of twins among the Efiks had always resulted in infanticide because they believed it was the result of a great sin by the mother and evidence of a curse. They would be abandoned in the jungle to wild animals. Mary rescued a number of twins and raised them herself, saving numerous lives. On one occasion she nursed a chief back to health, to the great relief of his wives, all of whom would have been sacrificed if he had died. They gathered around her to ask about her wonderful powers and she replied:

“I have come to you because I love and worship Jesus Christ, the Great Physician and Saviour, the Son of the Father God who made all things. I want you to know this Father and to receive the eternal life which Jesus offers to all those with contrite and believing hearts. To know Jesus means to love Him, and with His love in our hearts we love everybody. Eternal life means peace and joy in this world and a wonderful home in the next world. My heart longs for you to believe in Jesus, to walk in His paths, and to know the blessings of eternal life through Him.”

The natives said Mma Mary Slessor was a mother, a teacher, a court President, and a Consul of the Southern Protectorate of Nigeria who traversed the area as far as Arochukwu in Abia State preaching the gospel.

“Mary Slessor came from Scotland to Calabar and then moved to Okoyong. She stayed at Calabar and even built a wooden storey building house there but now they are trying to renovate that place.

“After that, She left Okoyong to Use Ikot Oku. From Ikot Obong village where you have the district court sign board to Use Ikot Oku where you have the bridge, that bounds Ibiono Ibom and Itu local government areas, her tombstone is about half a kilometre from here. 

“I have had her oral history from one of our longest Chiefs, Chief Etim Udoudo who reigned over 30 years. That man even sang the song the woman sang before she died. I have gotten the history from my grand father’s second wife, Adiaha Akpan Usung (nee Adiaha Akpan Ekarika). She told me stories about her. I have also gotten oral evidence from one of the twins that she nurtured, late Elder Mrs Ceecee Akpaninyang who happened to be my aunt.

“The woman stayed here and worked. She built her house on that hill, that was her base. According to Chief Udoudo, she used to move and she was carried on what was called ‘amake’, a sort of swing, where young men would put her on their shoulders and travel across this bridge through Arochukwu. The bridge links Atan, Onoyom to Arochukwu to Ikpe Ikot Nkon; that was the route she used to travel,” he said.

According to Elder Usungurua, it was during one of such trips that Mma stumbled on the Long juju shrine where people were used for sacrifice. Mma Slessor was said to have informed the British government of the activity there which led to the destruction of the shrine.

Her advance into Ibibios territory was aided by the fact that the British government was building roads in that region. “Get a bicycle, Ma,” government officials said, pointing to the road, “and come as far as you can. We will soon have a motor car service for you.” At fifty-seven years of age Mary gamely learned to ride a bicycle after a government official presented her with a brand new model from England.

The early months of 1909 found Mary covered with painful boils from head to foot. “Only sleeping draughts keep me from going off my head,” she related. She later became severely ill from blood poisoning. She was taken to Duke Town near the coast where members of the mission attentively nursed her back to heal. But after five weeks of such care she was eager to resume her ministry responsibilities inland, and did so before some officials and doctors thought it fully advisable.

Eventually her health declined to the point that the Mission’s doctor forbad her to travel by bicycle. Hearing of her need for an alternative means of transportation, a group of ladies in Scotland sent her a Cape cart, a basket-chair on wheels capable of being maneuvered along quite easily by two boys or girls.

In the closing years of her life Mary established churches and schools in the villages of Ikpe, Odoro Ikpe and Nkanga further up Enyong Creek. She carried out ministry at those locations unaided by fellow missionaries. To her deep disappointment, the Mission had already concluded that health conditions were not safe enough in that region to place other missionaries there. To the end, however, she continued to be assisted by several African girls who lived with her as foster daughters.