THE IMPACT OF HOME VIDEO ON CULTURAL PROMOTION

THE IMPACT OF HOME VIDEO ON CULTURAL PROMOTION
( A case study of Basorun Gaa)

ABSTRACT

The study, “The Impact of Home Video on Cultural Promotion (A Case Study of Basorun Gaa)” sought to find out the effectiveness of home videos in promoting cultural practices in Nigeria, using the development of media theory and cultural imperialism theory to anchor the discussion and survey research method, considerable data was generated. Major finding revealed that home videos portray African indigenous culture and language which constitute the golden pot of our heritage in as well as it promotes our culture and tradition in Nigeria and even in generation to come.  The study concludes that there is a significant relationship between the viewership of home videos (Basorun Gaa) and the promotion of cultural practices, propagation of traditions, cultural values, norms and aspirations of the people. The study therefore recommends that home videos in indigenous African languages could serve as an informal class room for the learning of these languages, especially when the home videos are subtitled therefore promoting cultural practice; it also encourages multiculturalism as non-speakers of such languages could understand and appreciate the culture attached to that language.

CHAPTER ONE: INTRODUCTION

1.1     Background of the Study

Nollywood, a term coined following the style of Hollywood (referring to the US film industry) and Bollywood (referring to the Indian film industry), is the generic name for the Nigerian film industry. The global attention currently enjoyed by the Nollywood is due to efforts to create a distinct film tradition. However, in spite of its prolific and legendary output, which has made Nollywood the second largest (after Nollywood) film industry in the world, the Nigerian government has contributed very little to the growth of this industry in terms of funding or the provision of a favorable environment. Thus far, the industry has advanced by virtue of the individual efforts of dominant producers and marketers. Although, Nigerian films have been viewed as cultural products of the nation, the indifference of the government toward the industry has denied it the status of a foreign exchange cultural currency that enhances our country heritage through transmission of messages.

In most parts of Africa, especially the Sub-Saharan area, discourse on the relevance of culture has remained dominant in the last five decades. Several scholars Ngugi (1989), Olukiran (2001) Danko (2001), Prah (2009) and Kajo (2014) have drawn attention to the inseparability of language, culture and development. By this, it means that language is a by product of culture, in turn, a vehicle of culture and invariably, the driver of social interaction.

Home video as a vehicle for promoting indigenous culture has to do with references to Nigerian theatre, this is because the evolution of film industry in Nigeria, as elsewhere, found a significant number of dramatis personae in the theatre. Ekwuazi (2007, p.79) alludes to this is his discussion of the three step transition of stage actors to television then to celluloid or the cine film and finally to the home video genre.

The genuine effort at film making in Nigeria started in 1947 with the establishment of the colonial film unit which commenced the shooting of documentary films in the country. The production of the feature films came ten years later (1957) when Federal films made moral disarmament. This was followed by bound for Lagos’ (1962) and culture in transition (1963) Ekwuazi (2007, p. 81 )stated that the first independence film, an adaptation of  Wole Soyinka’s Kongi’s Harvest, was made in (1970). It should be noted that no film was made in indigenous languages even with the establishment of the Federal film unit shortly before independence. However with the commencement of feature film production by independence outfits in the 1970s a significant number of films in indigenous languages were made. For example, Aiye (1979) and Jayesimi (1980) were made by Huber Ogunde; OrunMooru and Aare Agbaye by Moses Olaiya. There were also IrekeOnubudo; EfunsetanAniwura, Fopomoyo, Ose Sango, AgboMeji, OgboriElemoso, Okun Ife, Vigilante, IjaOrogunKadara, IjaOminira, Ajani Odun and many others. It is also important to mention the pioneers in the production of indigenous language films. These include Chief Huber Ogunde, Ola Balogun, AdeyemiAfolayan, Moses Olaiya, Brenda Shehu, Eddie Ugboma, IsholaOgunsola. They were joined much later by younger producers such as AfolabiAdesanya; the current Managing Director of Nigeria Film Corporation.

The preceding statistics show that films in indigenous language were made in quick succession from the late 1970s to mid-1980. It also shows that films in Yoruba language dominated the scene. The reason for this phenomenon is traceable to the existing structure provided by  the Yoruba traveling theatre, especially in terms of personnel and the market. The natural transition to the home video mode according to Olagoke (2002) among the early popular home video films is living in bondage (1992), the first in indigenous language is Aziza (1990) by Kenneth Okonkwo following by Okochu (1991) by G. E. Ibeanusi. Since then, hundreds of video films in various indigenous language have been produced thereby enhancing the promotion of culture.

According to Kajo (2014, P. 37) “film is concerned ideas, as concepts and ideas are translated into realities that to a high degree contribute in solving either perilous problems or stimulate exciting moments within and around the environment” Therefore, if such ideas are in African indigenous languages it will make it very easy for better understanding.

Home video thus serves as a memory bank for the tradition, culture, value, norms and aspirations of the people. Films in indigenous African languages therefore serve as electronic database for the preservation and propagation of such languages. Also film in indigenous African languages could serve as an informal class room for the learning of these languages, especially when the films are subtitled, it also encourages multiculturalism as non-speakers of such languages could understand and appreciate the culture attached to that languages. Furthermore, the use of the African indigenous languages in film also helps the cast in the interpretation of the roles as it has been established that actors deliver and interpret lines better in their indigenous languages.

Home video in African indigenous languages constitute the golden pot of our heritage. Positive attempts and strategies to ensure their survival should be encouraged and supported, thus this study seek to examine the impact of home video in cultural promotion with particular reference to Basorun Gaa a Yoruba home video.

1.2     Statement of the Research Problem

Home videos constitute the golden pot of our heritage in as well as it promotes our culture and tradition in Nigeria and even in the foreign land. It helps us to be united to enable transmission of heritage from one generation to the next.

Khrushchev (1997, p. 176) stated that film has been one of the most influential media for over hundred years. Not only can you recall your most exciting or fearful moments at the movies, you can also probably remember moments in ordinary life when you tried to be as graceful, as selfless, as tough, or as compassionate as those larger than life figures on the screen.

Video-film also provides us with powerful aesthetic experiences, insights into diverse, cultures and glimpses of new ways of thinking. Pieget (1981, p.24) also decree that what human being perceived is stored in their brains permanently. By this, it means that video-films in indigenous language is paving ways for the influx of Nigerian values and culture in our society, it has been observed that mass media, especially film is a powerful medium for propagating western culture. Therefore, the contention here is how effective are home videos as vehicle for promoting Yoruba and other languages and do the public really perceive indigenous home movies as fulfilling the cultural heritage of Nigeria through promotion of indigenous language.

1.3     Objectives of the Study

The broad objective of this study is to examine the impact of home video on cultural promotion with Basorun Gaa as the Case Study. Specifically, the study is anchored on the following objectives

1. To ascertain the portrayal of culture in home videos
2. To find out the viewers who are exposed to home videos.
3. To assess the rationale behind viewership of home videos.
4. To ascertain how the public perceive the portrayal of indigenous culture in home videos.

1.4     Research Questions

1. How indigenous culture is portrayed in home videos especially in Basorun Gaa?
2. Who are the viewers of Basorun Gaa home video?
3. What is the rationale behind viewership of Basorun Gaa home videos?
4. How well does the public perceive the portrayal of indigenous culture in Basorun Gaa home videos?

1.5     Significance of the Study

This study hopes to show the effectiveness of Yoruba home video in the promotion of digamous languages and culture. This study will also correct certain perception about Yoruba language, and its people particularly amongst languages.

The corpus of literature generated will become a reservoir of research material for both students and other researchers who are interested in indigenous culture and home videos.

Lastly the study represents an empirical attempt in the research about the impact of home video in the promotion of indigenous culture.

1.6     Scope of the Study.

The scope of this study is to examine the impact of home video as a vehicle for promoting indigenous language. The scope of the study is further limited to Basorun Gaa a Yoruba home video.

1.7     Definition of Terms

The following terms are defined in the context used in the study for ease of understanding.

Homevideos: It is a pre-recorded media that is either sold or rented or streamed for home cinema entertainment, Okoh (1994, p. 39)

Culture: Culture is a word for people’s ‘way of life, meaning the way groups do things. Different groups of people may have different cultures. A culture is passed on to the next generation through learning,

Film: A film is a series of motionless images projected onto a screen so fast as to create an impression of continuous motion on the mind of the person watching the screen, Okoh (1994 p.4). In this context, film will be used synonymous with home videos.

Audience: Sambe, (2003 p. 45) Defines audience as “The receivers of the Communication message who by their receiving the message allow the message to have some kind of effect and to which they respond. In this regard, it refers to viewers of the Yoruba home videos.

Media: Channels of Communication used in disseminating information to particular audience, Igbinedion (1986, P. 26).

Indigenouslanguage: An indigenous language refers to a language that belongs to a people by right of birth, Wilson (1997, p. 127)

References

Akpabio E. Attitude of audience members to Nollywood films.Journal of African Studies. 200 7;]6(1) :90-100.

Barrot P. Nollywood: The video phenomenon in Nigeria. Indiana University Press, Bloomington, 2008.

Benibo T. F. The Nigerian film industry (Nollywood).Nigerian Film Corporation; 2 008.

Chowdhury M Landesz T, Santini M Tejada L, Visconti G. Nollywood: The Nigerian film industry. Harvard School of Business; 2008.

Ebewo P. The emerging video film industry in Nigeria: Challenges and prospects. Los Angeles, Caflfrnia: Journal of Video and Film. 2011(Fall); 59(3) :46-57.

Fafiolu G. O. Nollywood: A viable vehicle of public diplomacy in Nigeria. New media and mass communication.2013;] 1:21-25. Available:

www. iiste. org (Accessed on 28 July, 2014).

Ibie N. How video films developed in Nigeria; 2004. Available:

http”//www.nollywood.net (Accessed on 28 July, 2013)

Kiousis 5, Popescu C, Mitrook MA. Understanding influence on corporate reputation: An examination of public relations efforts, media coverage, public opinion and financial performance from an agenda-building and agenda-setting perspective. Journal of Public Relations Research. 2007; 19(2):] 47—165.

March E. The Nollywood phenomenon.Wipo Magazine. 2007; 10(3).

McCombs M, Reynolds A. How the news shapes our civic agenda. In Bryant J, Oliver MB, editors. Media effects: Advances in theory and research, 3rd ed., Routledge, New York. 2009, 1-16.

Noy F. Hausa video & sharia law. In: Barrot P. editor. Nollywood: The video phenomenon in Nigeria. 2008; 78-84.Asogwa et al.; JSRR, 7(2): 97- 107, 2015; Article no.JSRR.2015.]9] 107

Udomisor I, Sonuga A. Content analysis of programs produced by Nollywood particularly on Africa Magic: DSTV. Research on Humanities and Social Science. 20] 2;2(] 1) :27-34. Available: www.iiste.Org

View Post

REQUEST FOR PROJECT MATERIAL

For the complete research material visit our CHECKOUT PAGE or fill the request form below:

Thanks for your interest in the research topic we will reach out to you as soon as possible.