ON SCREENINGS AND SENSIBILITIES

Yinka Olatunbosun

Crown Troupe of Africa set the tone for the day with the protest drama performance titled “Not Nolly’’ directed by Segun Adefila. This followed the opening agit-prop play titled “Area” – a performance that chronicles Nigeria’s socio-political challenges and the paradox of Nigeria’s oil and natural resources. Characterised by Brechtian technique of alienation, the lines were articulated through monologues and chorused lines. 

Though cheeky, the drama which simultaneously provokes laughter and introspection is a socio-political commentary on poor governance, nepotism, religious bigotry and citizen’s role in nation building. Signalling the start of the fourth edition of the monthly series, Unchained Vibes Africa, the performances and discussion sessions were held at its traditional venue, Freedom Park Lagos. The event featured stakeholders from the movie industry who deliberated on the theme, “Not Nolly: Asserting Filmmakers’ Artistic Freedom.”

 The panel discussion which was moderated by the seasoned journalist and culture advocate, Jahman Anikulapo featured Taiwo Ajai-Lycett as the keynote speaker. Other panelists include Segun Adefila, Robert Young, Kola Alapini, Francis Onwochie and Victor Okhai. 

The conversation was reactionary. Earlier, there were reports in the media of public officials blaming Nollywood for encouraging money-ritual and kidnapping with their content. During a plenary session at the House of Representatives in January, Nollywood was blamed for creating content that glamourised ritual killings and kidnappings. One such assertion was also credited to the Minister of Works and Housing, Babatunde Fashola, who spoke at a symposium organised by the United Action for Change. He reportedly claimed that Nollywood, through its movies, is reinforcing the belief that human parts can be turned into money. In the same vein, the Minister of Information and Culture, Lai Mohammed, also said that Nollywood films may be influencing young people into rituals. 

In her keynote address, Ajai-Lycett waded in on the issue, acknowledging the power of the media content on popular culture. However, she warned against a knee-jerk response that is devoid of diligent consideration and smirks of highhandedness. “We need to put on the front burner instead Nollywood’s most critical contribution to the Nigerian narrative which will serve as an entire conversation by itself. This may well be our call to set up a think tank, organise and launch our own Netflix of inspiration and motivation,” she said.

For her, it is rather culture, not politics, that promotes progressive society. For this reason, she argued that the entertainment industry must rise decisively to the challenge, using its collective strength and ability to communicate intelligence, justice, freedom, love, religious tolerance amongst other virtues. 

“When our mothers can stand and fight in public, then we know that we don’t have class. The entertainment industry has already shaped our present and will continue to define our future. What we watch or listen to can shape our mindset and affect how we perceive the world and how we relate to others. We must therefore be concerned about the likes of Big Brother Naija. 

Ajai-Lycett affirmed that the creative industry should motivate, mobilise and inspire the people as the guardian of the nation’s cultural heritage. 

“The industry wields such a powerful influence over people. It is therefore logical to expect the industry to own up to its responsibility and indeed display a higher accountability. I’m not afraid that people are knocking the industry. I think they are telling us how important we are to the development of this country. It is only fair that we are culpable in the present decay of the society,” she argued.

Other panellists expressed concern that the idea of holding Nollywood responsible for the growing rate of ritual killings and other societal menaces, if left unchecked, could suppress creativity. In his intervention, the consummate actor, Norbert Young, condemned the habit of blaming Nollywood for the prevalence of crime. He began with a reference to the classic definition of tragedy and how that was overturned by the playwright-screenwriter Arthur Miller’s view of tragedy and the common man. “The work that we do is very sacred. We treat our business as a religion, very close to our heart. Don’t join issues with people who don’t know what they are saying. It wears you out. What Nollywood has done in this country, the government since 1960 has not been able to do it. Why are you now dragging Nollywood into your failure? How did we teach the world how to do rituals?”

Segun Adefila, who was later named as the Artist of the Month by Unchained Vibes Africa described the whole situation as ‘scapegoatism.’ 

“We must look for somebody to blame. It is true. We should be happy that they (the government) are waking up to realise the power of the arts. In Nigeria, we are forced to bring out water from the rocks and then killed for drinking it. We shouldn’t be bothered; we shouldn’t be angry that we were accused. I don’t even think it is worth a seminar,” he said.

The event which was anchored by the actor Sam Uche Anyamele also featured open mic performances by Muyen and B-Meri Aboki.