DOWNLOAD THE COMPLETE PROJECT

639 Users found this project useful

THE IMPACT OF EXCESSIVE RITUAL THEMES IN NIGERIA HOME VIDEOS

CHAPTER ONE

INTRODUCTION

1.1 BACKGROUND OF THE STUDY

The media is a mirror of society. Like other movie industries in the world, Nollywood is significantly involved in the framing, reflection and identity construction of Nigeria and African society through its cultural representations (Akpabio, 2007; Anoliefo, 2008; Babawale, 2009). According to Uwah (2011), the use of films as a meta-narrative in exploring the religious identity of Africans is something of a revelatory process towards understanding not only the religious culture of the people but the efficacious use of indigenous languages and communalism as practiced in Africa. This paper is thus aimed at interpreting the industry’s ritualistic representation as distinct from other mainstream film industries.

1.1 Background on Nigerian Movie Industry

Nigeria's home video industry, popularly known as Nollywood is the third largest film industry in the world after America’s Hollywood and India’s Bollywood (Alozie, 2010). It produces more than 1,000 video films annually and it is estimated that 120 films are released weekly across Nigeria (Osei- Hwere and Osei-Hwere, 2008; allafrica.com, 2008). Most of the films produced are viewed at home, not in theaters and that qualifies them as home-videos (Ebewo, 2007). They are also regularly scheduled and shown on free to air television, cable and satellite channels at home and around the These movies create awareness, expose, inculcate and assist in resurrecting some of the indigenous socio-cultural heritage that might have been eroded as a result of modernization and imperialism, and helping the new generation to know what their culture and tradition entails through different films or movies they watch.

The make-believe attribute of the film as a medium of communication which many individuals, people and organizations can utilize for different purposes, (positives and negatives) has not only helped in shaping minds, but also contributed to increase in moral values among the audience. Films have been recognized as a popular culture which not only mirrors, and tells stories of the societies which it subsists; it also depicts the lifestyles, attitudes,environments and activities within and around them (Adenugba, 2007). From the above, the mirroring and influencing potential of films are clearly seen. Films have also been used to indoctrinate people to imbibe certain beliefs and act in certain ways (Oloisadeba & Ekeanyanwu 2014). Film is produced by the people of the milieu who can put forth actual representations and portrayals with defined objectives (Asemah, 2011).

Apart from transmission of culture and tradition to their audience, films also perform entertainment functions. There is no gain saying the fact that anyone that is not in a good mood can have assurance of lighting his or her mood after watching a series of films and feel relaxed.

However, in recent times; it seems the Nollywood industry is deviating from the above mentioned roles, as they seemingly tends to expose their audience (especially the vulnerable and gullible youths) to danger of believing one could get rich without the necessary and required hard work, but by mere engaging in some diabolical means to become rich, famous and wealthy through different ritual contents they are exposed to in the films (Asiegbu 2017). The way Nigerian youths perceive ritual as a way of cutting corner and become rich overnight without considering the negative effect, is borne out of what they usually watch in films as portrayed in Nollywood movies can be seen in our national life today. The spate of ritual killings, occultism, secret cults, get-rich-quick syndrome without blinking an eye as per the outcome seem to be indices of exposure and consumption of different Nollywood movies with ritual content. It is no subject of debate that certain films or home videos seem to encourage young Nigerians to engage in all sort of dubious and "unholy" practices to get either money, fame or position (Olugbenga 2017).

According to Alozie (2010), Nollywood was given significant impetus in 1992 when businessman Kenneth Nnuebe wanted to sell a large shipment of videocassettes from Taiwan and decided they would sell faster if they had something on them. The production of the movie “Living in Bondage” thus gave birth to what became the second largest industry in Nigeria after agriculture with little or no help from the government (The Economist, 2006).

Prior to the emergence of Nollywood in 1992, film begun in Nigeria for over seven decades, as the first known film, “a newstreel”, was exhibited at the Glover Hall in Lagos in 1903 (Babawale, 2009). However, “Palaver” became the first film shot in Nigeria at Jos in 1904 (Alozie, 2010). That was the era when Colonial Film Unit (CFU) came into existence during the British rule. The films produced were primarily aimed at propagating political, social and economic policies of the colonial administration and Western cultural values at the expense of domestic ones (indigent populations) (Anoliefo, 2008). But the trend began to change in the 70’s when indigenous players began to surface.

That was when the first independent film, an adaptation of Wole Soyinka’s “Kongi’s Harvest”, was made in 1970 (Ekwuazi, 2007).

Kunzler (2007:1) summarizes the emergence of Nollywood thus; It is an industry that developed out of a context related to domestic and international cultural, economic and political environments. It is heterogeneous in nature and can roughly be divided into Yoruba, Hausa and Igbo video films which designate their production centers in the southwest, north and south-east of Nigeria respectively.

Thus, like other cinemas which sustain and challenge the myths of a county’s nationhood, Nollywood is guided by the tenets of African nationalism and cultural identity (Williams, 2006:6).

1.2 STATEMENT OF THE PROBLEM

‘Ritualism’ is an important aspect of African traditional religion and it is one of the dominant themes portrayed in Nigerian movie industry (Okwori, 2003; Akpabio, 2007; Alozie, 2010; Uwah, 2011). It is often conveyed or expressed through the use of African indigenous languages. However, critics and the regulatory body (National Film and Video Censors Board) have severely criticized Nigerian home videos for placing too much emphasis on what is described as ‘negative themes’, which include occultism, blood, corruption, sex, violence, fetishism, ritualism and other negative practices.

Despite the criticisms, new videos are released into the market thus necessitating this study. Also considering ritualism as an aspect of African traditional religion, the present study seeks to investigate the prevalent significant depictions, subjects, contexts, perceived purposes and directions and totems portrayal of ritualism in Nigerian home videos, in relation to African indigenous language and culture.

The unrestricted exposure to and portrayal of materialistic tendencies from the supposedly wealth gotten from ritual in Nollywood movies call for concern vis-à-vis the damning consequences of doing anything (no matter how negative) to make money and live a good life. One could probably opine that the excessive and unrestricted viewing of certain films more often than not, can prompt the viewers to want to practice what they often see on the screen. Portraying ritual contents as a way of getting rich quick viz-a-viz the display and flaunting of materialism, and materialistic tendencies in Nollywood movies seem to be the order of the day. While the above serves to offer explanation to the common strand of rituals that daily typify Nigerian home videos; it still leaves gap on viewers' reactions and dispositions towards these ritual themes.

1.3 OBJECTIVES OF THE STUDY

The main objective of the study is to determine the impact of excessive ritual themes in nigeria home videos

Others includes;

1. To explore the portrayal of rituals conveyed through indigenous language in Nigerian home videos.

2. To identify the cultural totems, subjects, and contexts predominantly depicted in Yoruba language home videos as a form of Nigerian indigenous language media offering.

3. To examine the portrayal of ritualism in Nigerian home videos and the implications it has on cultural representation and perception.

1.4 RESEARCH QUESTIONS

1. To what extent are rituals portrayed in Nigerian home videos and how are they conveyed through indigenous languages?

2. What are the dominant cultural totems, subjects, and contexts depicted in Yoruba language home videos, and how do they contribute to the representation of Nigerian indigenous language media?

3. How is ritualism portrayed in Nigerian home videos, and what implications does this portrayal have on cultural understanding and perception?

1.5 RESEARCH HYPOTHESES

1. Indigenous languages play a significant role in conveying rituals in Nigerian home videos, contributing to the preservation and transmission of cultural practices.

2. Yoruba language home videos predominantly depict cultural totems, subjects, and contexts that reflect the rich heritage and traditions of the Yoruba people, shaping the narrative of Nigerian indigenous language media offerings.

3. The portrayal of ritualism in Nigerian home videos varies in its representation, ranging from traditional practices rooted in cultural heritage to sensationalized depictions influenced by modern interpretations and audience preferences.

1.6 SIGNIFICANCE OF THE STUDY

The examination of factors contributing to kidnapping for rituals in Nigeria, particularly from a South East perspective, holds significant importance on multiple fronts. Firstly, it addresses a pressing societal issue that threatens the safety and well-being of individuals, families, and communities, particularly in the SouthEast region. Understanding the root causes and contributing factors behind these heinous acts is crucial for developing effective preventive measures and interventions to combat the phenomenon.

Secondly, the study sheds light on the socio-economic and cultural dynamics at play in Nigeria, providing valuable insights into the intersection of traditional beliefs, economic desperation, and criminal activities. By exploring these factors within the specific context of the SouthEast region, the research can uncover region-specific nuances and patterns that may differ from other parts of the country, thus enabling targeted and tailored strategies for addressing the problem.

Furthermore, the findings of this study can inform policymakers, law enforcement agencies, and community leaders in designing holistic approaches to tackle kidnapping for rituals, including legislative reforms, law enforcement strategies, public awareness campaigns, and community empowerment initiatives. Ultimately, the research has the potential to contribute to the promotion of safety, security, and social cohesion in Nigerian society, particularly in the SouthEast region, where the issue is prevalent.

1.7 SCOPE OF THE STUDY

The scope of this study encompasses an in-depth analysis of the factors contributing to kidnapping for rituals in Nigeria, with a specific focus on the South East region. It involves examining socio-economic, cultural, and legal aspects relevant to the phenomenon. The study will explore historical trends, socio-cultural beliefs, economic disparities, and law enforcement responses related to ritualistic kidnappings. Additionally, it will involve gathering qualitative and quantitative data through interviews, surveys, and document analysis to provide a comprehensive understanding of the issue. The study aims to generate insights that can inform policy interventions, law enforcement strategies, and community-based initiatives to address kidnapping for rituals effectively in the SouthEast region.

1.8 LIMITATIONS OF THE STUDY

Limitations of this study may include challenges in accessing accurate and comprehensive data on kidnapping for rituals due to underreporting and stigma associated with the crime. Additionally, the study's focus on the South East region may limit the generalizability of findings to other parts of Nigeria. Constraints related to time, resources, and ethical considerations may also impact the depth and scope of the research, potentially influencing the comprehensiveness of the analysis.

1.9 DEFINITION OF TERMS

1. Kidnapping: The unlawful abduction or seizure of an individual, often for ransom, extortion, or other illicit purposes, including ritualistic practices.

2. Rituals: Formalized procedures or ceremonies performed according to prescribed rules or customs, often associated with religious, cultural, or traditional practices.

3. Socio-economic factors: The social and economic conditions and influences that shape individuals' behaviors, opportunities, and outcomes, including poverty, inequality, employment, education, and access to resources.

4. South East Nigeria: Refers to the geopolitical region comprising the states of Abia, Anambra, Ebonyi, Enugu, and Imo, characterized by distinct cultural, social, and economic dynamics within the Nigerian context.

5. Underreporting: Refers to the phenomenon where incidents of crime or other events are not officially reported or documented, often due to fear, distrust of authorities, or cultural factors.

6. Stigma: Social disapproval or negative attitudes associated with certain behaviors, conditions, or characteristics, leading to discrimination, marginalization, or social exclusion.

7. Law enforcement responses: Refers to the actions, policies, and strategies implemented by law enforcement agencies, including police, judiciary, and other authorities, to prevent, investigate, and address criminal activities such as kidnapping for rituals.

  DOWNLOAD THE COMPLETE PROJECT