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| Adesua Etomi |
During the 4th season of Big Brother Naija, which featured Ikechukwu Onyema, Avala, Mike Edwards, and at least 3 other diaspora Nigerians, an online debate ensued over perceived marginalization of local talent. It was not a new debate: the second and third seasons had up to 6 housemates whose following was arguably helped by their diaspora backgrounds. Nollywood has Adesua Etomi, Wereuche Opia, Osas Ighodoro, Adunni Ade, and more. In Nigerian music, Burna Boy, Tiwa Savage, Teni, Davido, Falz, Don Jazzy, Banky W, Naira Marley, and many others have found same privilege.
The trend is growing, especially in Nollywood, Nigeria’s film industry built with sheer local skill and hard work. From DVDs sold in Alaba and Upper Iweka, to the posh cinemas adorning urban city malls, the industry that started in the early 90’s has been on a steady growth trajectory for almost three decades. With better production expertise and funding has come a limelight drawing diaspora talent. Sometimes it is as though local actors are deemed less screen-worthy.
In our pop music industry, street cred, not foreign swag and accent, is key; but like politicians thrill the Nigerian public when they are found eating roadside corn or akara, the diaspora singer that rolls with pidgin is king. It is as though fans feel lucky the performer shares an aspect of their lives—something taken for granted in the local singer. In Nollywood, it gets more interesting.
Leveraging foreign accents and education, overseas returnees in the industry are bringing a refreshing touch to the screen. They are not necessarily better than their Nigerian-born counterparts, but the foreign allure is an asset. It is no surprise that today, many of the A-List players in Nollywood are either born or educated abroad.
Perhaps having a foreign background is key to breaking even in the industry today—or it grants diaspora players more access to big producers, birthing roles. It was not for nothing that Gifty Powers of BBN2, and Princess Onyejekwe of BBN3, came to the reality TV show wielding thick versions of locally produced foreign accents as a winning strategy.
There’s a cultural explanation for this: foreign appeal has always had a magical, if intriguing effect on the Nigerian psyche. Notwithstanding our pretenses to cultural independence, we still get fascinated by overseas mannerisms, even when they are fake.
For instance, though clearly exaggerated, Hank Anuku’s American accent in the 2001 film, Broad Daylight, helped propel him to the spotlight. With the accent and a brash, nonchalant personality, he captured the attention of the Nigerian audience despite underwhelming skill. The story may be different for some others but the theme is the same.
At 17, British-born Nigerian actress, Beverly Ifunanya Bassey, popularly known as Beverly Naya, was already charming British audiences, but it was not until 2010 that she started to gain critical acclaim. Beverly’s mother had encouraged her to return to Nigeria and join the growing Nollywood industry. She went as far as funding her first film, Home In Exile, as an incentive for Beverly to return fully to Nigeria. The film, which was produced during one of her holidays in Nigeria, was directed by Lancelot Imasuen and also starred Desmond Eliot and Francis Duru.
The eventual return to Nigeria signaled the beginning of Beverly’s journey to stardom. In one year, she earned the BON’s Most Promising Actor award in 2010; and City People’s Fastest Rising Actress trophy in 2011.
Shortly afterward, Mnet Africa came calling with Tinsel, and Beverly embraced Nollywood with both arms. From then on, directors could not get enough of the sexy ebony screen diva. Beverly became the new darling of Nollywood. Sex And The City. Surulere. The Meeting. Skinny Girl In Transit. The Wedding Party. Chief Daddy.
Wielding a British accent, class, and appeal, Beverly shot up faster than her equally talented Nigerian-born contemporaries who were attending auditions and trying to worm their way into big roles. There is no denying her obvious talent, yet one wonders if she would have made it so fast in the industry without the edge.
But it’s not just Beverly. We cannot ignore how Adesua Etomi came swinging after she floored viewers with her breathtaking performance in Falling and Knocking on Heaven’s Door. The Lagos-born actress who moved to the United Kingdom at age 13, came back to Nollywood with unimaginable talent though without the fame. It is almost impossible to overlook the role her Wolverhampton education played in shooting her straight into limelight. She was already bagging lead and major supporting roles while we were still learning to pronounce her name.
Others include Sophie Alakija, Zainab Balogun, Osas Ighodaro, Adunni Ade, Venita Akpofure, etc.—all either born or educated abroad.
Is this some sort of quiet diaspora high-jack of Nollywood?
Niyi Akinmolayan, director of The Set Up, which is currently cruising at number 1 among Nigerian movies on Netflix, argues that many of the big films do not feature diaspora Nigerians in their leads.
“How about AY’s films? 30 Days In Atlanta. Trip To Jamaica. How about Sugar Rush and Living In Bondage 2? These are big films. Will you also say they are dominated by foreign talent? I do not see that proposition,” he asserts.
For perspective, there is nothing wrong with Nigerians abroad being part of Nollywood or the larger show-biz industry. In fact, it is refreshing to have a fuller mix of Nigerians in the game. The point, however, is to ensure the growing trend of diaspora participation does not erode local talent in dire need of limelight.
Ultimately the matter is open for debate. From this corner, it is starting to look like a gradual gentrification of show-business is upon us. Some may say it is not real, but a shadow does not exist by itself.
***Tchidi Jacobs is a documentary filmmaker and Nollywood enthusiast. He writes from Lagos, Nigeria.***
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