Following the recent growth in Nigeria's main movie industry,Nollywood, there is a reason to be concerned on the backward trend in Kannywood, the northern version of the former. Anthony Ada Abraham compares both situations.
Kannywood, like Nollywood, is a movie industry in Nigeria, but both arms are driven by different ideologies.
While movies made in the Kano-based Kannywood are modeled after Indian movies, Nollywood draws from a rich pool of cultural mixes comprising those of the Yoruba and Igbo, as well as other minorities, with streaks of inspiration from the western world, especially Hollywood.
Many have complained that what is presently termed 'the Igbo movie industry' is a decline, a far cry from what 'Living In Bondage', one of the first Igbo movies came to represent.
Ernest Osogue, a presenter with FRCN's Capital FM whose broad knowledge of the movie industry can not be overlooked, explained to E-Train how the movie industry in the east is fading away.
"The Igbos are the owners of Nollywood. Any movie you watch depicts the cultural heritage of the eastern part. Their costumes, make-ups and every other input will tell you that these are Igbos".
Most of the veterans are Igbos. Consider someone like the late Sam Loco Efe (who is not an Igbo), but did all he could to promote the culture at any given opportunity, due to the standard and market but in a modern way".
Though many have upheld that the Yoruba movies solely promotes the western part, the good thing about their packaging and plot-lines is that it has taken them beyond borders.
Yoruba movies can be seen in London, their destination point in Europe. Inculcating whites into their cast, though an indication of playing to the gallery, sometimes helps to upgrade the standard.
This generalised opinion has prompted the Yoruba actors and others from external cultures to inter-weave, making Nollywood one of the fastest growing movie industries in the world, one that rakes in billions of naira.
Kano-based Kannywood is as old as the Indian movies. Kannywood has come short as regards show-casing its top stars when it comes to forming a bond with Nollywood, its more popular counterpart believed to be the center of movie-making in Africa, and one of the world's busiest.
Taking a critical look at the industry, it must be said that very few exhibit professionalism in diversifying, expanding their horizon by interacting with people from other cultures and sometimes, bringing them to act together.
Ali Nuhu is one of Kannywood's most successful exports, both to the world and Nollywood, and thus, must be appreciated for taking his act a step further.
Though many have said that his continued alliance with Nollywood is a sign of patronage to get him more roles, away from Kannywood, it is not difficult to see that he has immensely profited from belonging on both sides of the divide.
Considering that there is hardly any Nollywood movie in which he does not feature (gangster-related, love, adventure), it could be that Hollywood or his beloved Bollywood is not too far away.
Sani Musa Danja is another actor doing his best to modernise the Hausa movies. But criticism from some forces is hindering it. There was a time he spoke about bringing the movies to other cultures as the industry called Nollywood is for all.
AL-Amin Ciroma of LEADERSHIP HAUSA is also a stake holder in the industry. He has been doing his best trying to bring these men and women to mainstream acting, not forgetting their roots little wonder LEADERSHIP has a page dedicated to Kannywood so that they could tell what they are doing and the way forward.
Aside the fact that Nigeria has three major ethnic groups, it does not limit the minorities from telling their own story.
Movies like Igodo, Things Fall Apart, The Figurine, Black Gold, Inale, Mary Slessor, Sango, and a few others have been widely acclaimed, because they tell our own stories to a great degree.
Other tribes and culture can sell their heritage by expansion...modernising it by inviting notable faces to star in their movies even though their mother tongue would be a priority. A professional actor should be able to interpret any role.
Nigerian movie lovers look forward to seeing Ali Nuhu, Sani Danja, Omotola Jalade, Genevieve Nnaji, Tonto Dike, Jibola Dabo, Saheed Balogun, Sam Dede, Mercy Johnson, Ini Edo, Hauwa Maina and others ... in Benue, Bayelsa, Kogi, Sokoto, Kaduna, Kano or Maiduguri, doing something about the roots of the people for posterity sake.
Nollywood is for all, not a regional thing.
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Your observations are on target, Mr. Abraham. I personally didn't know of a 'kannywood' version of Nollywood till I read your submission here. It could be because I have lost intetest in alot of the mass, watered-down products of Nollywood. Like the saying goes"they don't make them like they used to." Alot of the players are recycled over and over again to the extent that their moves and style have become predictable. The rumors about blood oaths and occultic affiliations have ostracised those who want out of such loops, personality issues and so on.
The way I see it from your angle Mr. Abraham, Kannywood is but a mirror of the culture in which it does operate. Not long ago, most northern states would rather hire an Indian teacher, than hire a Nigerian national of southern origin. Somehow the brains behind Kannywood's India connection only had to draw from history. Good authors always start from a familiar environment. And film / video making is like a story and the writer/ director is the author. For Nollywood to embrace Kannywood as well as the minority groups, the players or to use Nigeria's popular diction, stakeholders should and must be willing to reachout and tell a good story of minority issues and culture.. they must train, assist and assimilate minority actors/actresses playing along the heavy hitters who are currently pulling in the naira in billions. That way they can transition to being big players themselves and can better showcase their minority take on cultural, political and social issues.
Ofcourse movie making is big money and that means big money. Even in Hollywood sometimes it becomes a family affair. Unnecessary payroll is attached to production outlays / overhead just to take care of a family member, an unemployed friend etcetera. Things of this nature plays into Nigeria 's national fabric of nepotism, , thus working against a truly national, homogeneous industry in which allcomers have a level playing field.
It is also generally accepted that he who pays the piper dictates the tune. Since this industry is heavily capitalized, those with the wherewithal at this time must and will continue to put their capital for maximum return. But eventually, through watered down mass products as currently being churned out by Nollywood, the principe of consumer choice will create room for some ingenious Producer, director and players of the neglected cultures to have a successful say in the consumer's choice sooner or later.
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The problem I sense in "Kannyeood" is essentially religious. The exponents of Kannywood trying to portray and reflect their moslem
Good piece of history "assabiblunt" in your commentaries. For some reason, the North often forces itself into the state of self-induced memory lapse whenever it becomes convenient to forget. Yes, it wasn't long ago that Southerners seeking teaching positions in the North were classified as "Foreign Expatriates" in their own country, and were given "teaching contracts"....in their own country. Although, the Northern Governments preferred Indian teachers from India over Nigerians with the same qualifications, or even better, it is no arguing to add that naturally, Indian teachers would seek ways to teach Indian cultural practices which in essence, would affect or mirror Indian cultures in films produced in Northern Nigeria. Have the North been in denial all these years about its cultural history, while at the same time, willing to promote cultural practices alien to the Northern people? The answer to this question is of course, very obvious. Their love for anything Arabic, or has Saudi Arabia's name on it has made many of us in the South-South wonder why someone would give you the title of an "Alhaji" (visitor) cause you so much elation and an embellishment, to the degree that being labelled a visitor gives one a sense of accomplishment!! This is the kind of cultural norms that a Kannywood should seek to dislidge in the psyche of the North. Whether it is Hollywood, Bollywood, Nollywood or Kannywood as the LEADERSHIP article portrays, the truth always lies in the ability of each Producer to tell, or refine their stories for the consuming audience. The Jews told or re-told their stories through film, and the modern world now judges them according to what they see in film. Similarly, Bollywood's story lines often reflcet the values and aspirations of Indian aristocrats and the middle class. The underbellies or the physical grunts of India's so-called "untouchables" and their stories are never told for the world to see the degree and depth of government sanctioned discrimination that defines India, beyond the facade. Similarly in Nollywood, the Igbo producers are quick to seize on the opportunity to tell their stoy through the prism of Ibo perspectives. The same thing would happen in Kannywood. By the same token, sooner or later, someone would begin perhaps, to tell the story of those from the minority tribes all over Nigeria and perhaps, will show a contrasting view about their perspectives on Nigeria's history, since some aspects of Nollywood presentations are not entirely representative of the entire cultural histories of what the film industry would care to show the world. I would sincerely urge these producers to note that there are over 240 different tribes and languages spoken in Nigeria. If Nollywood cared to be truly representative in their film production practices, it must seek inclusion in their scripts with regards to aspirations of those who are itching for their stories to be told as well.