Of Africa, Colonialism, and a Granny's Memory

"How I mumbled adoring, reverent prayers to my grandmother in those early days of my market gardening. My grandmother, who had been an inexorable cultivator of land, sower of seeds and reaper of rich harvests until, literally until, her very last moment. When I was too small to be anything more than a hindrance in the family fields, I used to spend many productive hours working with my grandmother on the plot of land she called her garden. We hoed side by side strips of land defined by the row of maize plants each carried, I obstinately insisting I could keep pace with her, she weeding three strips to my one so that I could. Praising my predisposition towards working, she consolidated it in me as a desirable habit.
          She gave me history lessons as well. History that could not be found in the textbooks; a stint in the field and a rest, the beginning of the story, a pause. 'What happened after, Mbuya, what happened?' 'More work, my child, before you hear more story.' Slowly, methodically, throughout the day the field would be cultivated, the episodes of my grandmother's own portion of history strung together from beginning to end.
          'Your family did not always live here, did not move to this place until after the time that I was married to your grandfather. We lived up in Chipinge, where the soil is ripe and your great-grandfather was a rich man in the currency of those days, having many fat heard of cattle, large fields and four wives who worked hard to produce bountiful harvests. All this he could exchange for cloth and beads and axes and a gun, even a gun, from the traders. They did not come to stay in those days; they passed through and left. Your great-grandfather had sons enough to fill a kraal, as big, strong, hardworking men. And me, I was beautiful in those days,'

NollyCulture Launched

Welcome to the NollyCulture blog, the discourse arena for everything Nollywood, everything Africa. NollyCulture explores the critical socio-cultural questions at the intersection of media, religion, and culture, with particular emphasis on contemporary Africa (continental and Diaspora) as framed and portrayed by Nollywood--the Nigerian film industry.

In little over its twenty-years existence, Nollywood has become Africa's most dominant and transnationally accessible expression of popular culture, telling African stories, with African voices, to African (and growing global) audiences.

Africans are said to be notoriously religious; and religion plays complex roles within cultures. NollyCulture therefore concerns itself primarily with how Nollywood articulates, frames and portrays Africa and the Diaspora through the creative tension within and between religion and culture.

Sometimes it's subtle and at other times brazen in its representations, raising for itself admirers and critics in equal measures. But Nollywood never shies away from its message: religious and socio-cultural normative forms underpin the framing of the discourse, the language, and the representation of gender, class, and power in Africa.

Let's talk Nollywood then--its movies, narratives, and stakeholders (actors, producers, marketers, audiences, etc.). Let's discuss Africa--its peoples, cultures, and societies. Bring your passion for Nollywood and for Africa. Have your say. Express your opinions. Show some love. Agree. Disagree. But don't hate on anybody.