(137) Dear Netflix Naija, there are films and filmmakers in northern Nigeria
By
Muhsin Ibrahim
Nigeria’s diversity cuts across many things, chiefly cultures, ethnicities, religions and regions. Although several commentators consider the northern part more Islamic and the southern one more Christian, Muslims and Christians, followers of traditional belief systems and non-religious folks may be seen everywhere. Due to these complexities, the country is a house to two significant film industries – Kannywood and Nollywood – with many smaller ones operating under these brands.
Kannywood, the name
given to the “local” Hausa film industry with Kano State as its epicentre, is a
distinct and autonomous film industry in northern Nigeria. Nollywood has its root in the South, has mainly Christianity and
Western-influenced motifs as themes and produces films primarily in English or other
southern Nigerian languages. For Kannywood, however, Islam is arguably the
trademark, and the East remains their vital source of influence and
inspiration. Nonetheless, many people and institutions, including Netflix, see Nollywood
as “the default” Nigerian film industry.
Lumping Kannywood and Nollywood or
seeing the former as merely a Hausa branch of the latter is problematic. Hence,
a prominent Kannywood scholar, Carmen McCain, points out that “In most
scholarly discussions of Nollywood, Hausa films are footnoted as an ‘other’ to
Nollywood.” The implication of this is enormous. It, among other things, leads
audiences and potential investors like Netflix into failing to see and
understand Kannywood films in their peculiar socio-cultural and religious
contexts. But, yes, Kannywood operates differently from and is independent of
Nollywood.
On the one hand, Nollywood, now the
second-biggest film industry globally, succeeds
because it faces little or no challenge from its audience or any censorship
board. On the other hand, despite being arguably older than Nollywood, Kannywood
struggles a lot. Kannywood was
inaugurated in 1990 with a film entitled Turmin
Danya (dir. Salisu Galadanci). Two years later, in 1992, Living in Bondage (dir. Kenneth Nnebue)
began what later became known as Nollywood.
Subsequently, the editor of Tauraruwa magazine, Sunusi Shehu, coined the name ‘Kanywood’ [with a single “n” before several authors later on added the second “n”, the version that is more recognised globally today]. It appeared in the magazine’s August 1999 issue. While “Nollywood” appeared for the first time in a New York Times article titled “Step aside, Los Angeles and Bombay, for Nollywood” by Norimitsu Onishi in September 2002. The Nigerian newspaper, The Guardian, republished the article a few days later. The rest, they say, is history.
Moreover, the “local” Hausa language
has users more than any other West African language. The possible shortage of
professionals in Kannywood is due to a lack of support from the government,
other stakeholder and investors. Despite all these and more challenges, the
film industry stands on its feet and, I believe a little more push will
catapult it to the promised land.
Delineating the glaring yet ignored differences between Kannywood and
Nollywood is only part of the aim here. The primary objective is to remind Netflix
Naija that for “Africans [to] take
charge of African stories”, the message its parent Netflix emphasised when
launching the local franchise, all Africans – and, of course, all Nigerians – deserve to be carried
along.
Nigeria’s entertainment industry is a
lot like that of India. Mumbai-originated Bollywood does not and cannot
represent all films produced in the vast country. Netflix India understands
this truth early on and thus accommodates that diversity so beautifully in its rich
library collection of Indian films. There are several exciting films arguably
from all nooks and crannies of India on Netflix today. We earnestly wish the
same to happen in Nigeria.
Of course, Netflix Naija may argue
that the films Kannywood makes are, generally, below their standard. No one can
dispute that adequately. However, there are exceptions. Thus, they should get
in touch with those exceptional productions. An anonymous top-notch Kannywood
director told me that some producers have already approached Netflix Naija.
Quite regrettably, they have been, at best, told to go and fix this and that,
which they did, and, at worst, summarily snubbed.
Another way to embrace all is via commissioning
movies. Netflix Naija can engage Kannywood filmmakers to see the possibility of
sponsoring films or series. Northern Nigeria is rich with stories, perhaps more
than other parts of Nigeria, thanks to its fantastic mixture and, admittedly,
unfortunate incidents like the Boko Haram insurgency. The famous films, Voiceless and The Milk Maid, are only two examples based on a single event – Boko
Haram’s abduction of Chibok schoolchildren in the northeast. Netflix can and
should have originals from northern Nigeria. I bet that will be a commercial
success.
Filming in the North is different from telling northern stories. Thus, having films set in that region is not the same as having filmmakers from the area telling their stories. I am not an agent of division, not at all. I am, instead, an advocate of fairness and inclusion of all, regardless of their culture, ethnicity, region, religion, among other diversities. Therefore, northern Nigerian filmmakers and their films should equally be aboard the ship Netflix captains in Nigeria.
This is how we show "the Arewa spirit" we always love talk about verbally with no real action to that effect. Muhsin you're doing well. Way to use that PhD!!! 👌
ReplyDeleteHi sir Muhsin
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Your view is well respected by me! But the problem lies within the kannywood industry themselves not government or stakeholders, I mean look at other industries that portraits Islamic cultures they're doing fantastically wonderful! So the problem is the actors and actresses directors and producers they should create something out of the ordinary I bet you it's not only Netflix that will come knocking
ReplyDeleteI always enjoy your piece as this is the second I have read. Indeed, no body will tell our stories (the North) for us except us. We (the North) are always looked down upon. But the reality must surface especial as people of your nature are doing such great work. I believe there is neutrality in your works so keep the ball rolling. Allah Ya kara basira, Yayi jagora. amin. Don Allah kar a gajiya.
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