…Says filmmakers are powerful nation-builders; condemns glorification of ritual killings, internet fraud, moral decadence
Veteran broadcaster, diplomat and cultural advocate, Ambassador Dr. Yemi Farounbi, OON, has challenged Nigerian theatre and film practitioners to take greater responsibility for shaping the country’s cultural identity, moral consciousness and national development through authentic storytelling.
Farounbi, a Trustee of the Association of Nigerian Theatre Arts Practitioners (ANTP), made the call while delivering the keynote address at the association’s Annual Conference, themed “Our Story, Our Values, Our Future – The Imperative of Films Based on and Promoting Authentic Nigerian Values.”
He described filmmakers and theatre practitioners as some of the most influential nation-builders, arguing that their ability to shape public perception, influence behavioural patterns and transmit cultural values places an enormous responsibility on them.
According to him, film transcends entertainment, serving as an instrument of education, moral orientation, cultural preservation and national consciousness.
Drawing comparisons with Hollywood, Bollywood and the British film industry, Farounbi observed that countries had successfully deployed their creative industries to project national identities, preserve cultural heritage and influence global perceptions.
“We are not mere entertainers. We are the most powerful nation-builders in Nigeria today. More powerful than the politician, more powerful than the pastor, more powerful than the teacher. Why? Because you control the story,” he declared.
He maintained that the influence of films on children and young people was particularly significant, noting that visual storytelling could leave lasting impressions capable of shaping attitudes and values beyond the classroom.
Farounbi, however, expressed concern that sections of the Nigerian film industry were increasingly promoting narratives that undermine the country’s cultural heritage and traditional moral foundations.
Identifying five fundamental values that should define Nigerian storytelling, he highlighted communal responsibility, respect for elders and institutions, dignity of labour, integrity, spirituality, family values, resilience and the spirit of collective celebration.
On communal responsibility, he cited the Yoruba proverb, “Eni kan lo n bimo, igba eniyan lo n wo,” meaning that while one person gives birth to a child, an entire community participates in raising the child.
He also referenced the Igbo expression, “Igwe bu ike,” which emphasises the strength of unity and collective responsibility.
He lamented that some contemporary film productions appeared to glorify betrayal, criminality and selfish accumulation of wealth rather than promote communal solidarity and mutual responsibility.
On respect for traditional institutions and family values, the ANTP trustee criticised the tendency to portray traditional rulers, fathers and mothers in degrading or ridiculous roles merely to generate comic effects.
He argued that creative freedom should not become an excuse for the systematic ridicule of cultural institutions and the erosion of values that historically sustained Nigerian communities.
Farounbi equally condemned the growing portrayal of internet fraud, popularly known as Yahoo-Yahoo, ritual killings and other criminal activities as pathways to prosperity.
Quoting the Yoruba aphorisms, “Ise ni ogun ise” (hard work is the antidote to poverty) and “Oruko rere san ju wura ati fadaka lo” (a good name is worth more than gold and silver), he stressed the importance of restoring integrity, diligence and responsible conduct to Nigerian storytelling.
He also called for balanced representations of religion and spirituality, warning against narratives that either demonise traditional religious practices or portray religious faith as an instrument of deception and exploitation.
According to him, Nigeria’s extended family system, resilience, ability to find joy amid adversity and strong communal bonds constitute important elements of its cultural identity that deserve greater representation in films.
Explaining why the industry was increasingly departing from authentic Nigerian values, Farounbi identified three major factors: excessive dependence on market preferences, declining cultural research and the growing tendency to imitate foreign creative industries.
He described what he called the “dictatorship of the market” as a situation in which filmmakers had surrendered their creative conscience to commercial considerations, social media algorithms, online engagement metrics and foreign streaming platforms.
He cautioned practitioners against allowing the pursuit of YouTube views, Instagram likes and international streaming approval to determine the direction of Nigerian storytelling at the expense of cultural authenticity.
He also lamented the declining culture of research among screenwriters and filmmakers, questioning how many practitioners still visited rural communities, engaged traditional historians, consulted Ifa custodians, interacted with market leaders and learned directly from custodians of indigenous knowledge.
According to him, the practice of developing cultural narratives from superficial knowledge and urban assumptions has contributed to the misrepresentation of Nigerian traditions and identities.
Farounbi further criticised the increasing imitation of American, Indian and Korean productions, insisting that Nollywood’s original strength was its uniqueness and ability to tell indigenous stories.
He warned that excessive imitation could undermine the originality that distinguished Nigeria’s film industry and gave it international recognition.
To address these challenges, the veteran broadcaster proposed five strategic interventions that ANTP should pursue to reposition the industry as an instrument of cultural preservation and national development.
First, he called for the establishment of a Nigerian Values Charter for Filmmaking, which would provide ethical and cultural guidance for practitioners without necessarily imposing censorship or restricting artistic freedom.
He urged the conference to constitute a committee to develop the proposed framework as a moral and professional compass for the industry.
Second, he advocated the creation of a dedicated funding mechanism for films that promote Nigerian history, indigenous languages, cultural heritage and authentic national values.
He specifically called on ANTP to engage the Federal Government, Bank of Industry, Bank of Agriculture and private-sector investors to establish an intervention fund that would encourage the production of culturally relevant films.
He argued that deliberate financial support for quality, value-driven productions would help create a more competitive environment for responsible storytelling.
Third, Farounbi recommended the introduction of cultural immersion programmes into theatre and film education through the ANTP Institute and partnerships with universities.
Under the proposal, aspiring practitioners would be exposed to traditional communities, indigenous languages, festivals and cultural institutions to deepen their understanding of the society they seek to represent.
Fourth, he advocated stronger institutional collaboration between ANTP and organisations responsible for cultural preservation and national orientation.
He specifically proposed formal partnerships and memoranda of understanding with the National Institute for Cultural Orientation (NICO), National Council for Arts and Culture, university departments of Nigerian languages and councils of traditional rulers.
Such partnerships, he explained, would enable filmmakers to access credible cultural knowledge, historical resources and traditional expertise, thereby improving the authenticity of their productions.
His fifth proposal centred on strengthening indigenous distribution networks capable of rewarding films that promote positive Nigerian values.
He suggested that television stations, cinemas and a proposed ANTP cooperative streaming platform should deliberately create opportunities and prime-time visibility for productions that contribute to national development and cultural preservation.
In his concluding remarks, Farounbi warned that the future perception of Nigeria and Africa would increasingly be influenced by the stories emerging from their creative industries.
He observed that as Africa’s population expands over the coming years, films and other forms of visual storytelling would play an increasingly significant role in shaping how younger generations understand their cultural identity and national heritage.
He challenged Nigerian filmmakers to consider the image of the country they were projecting to future generations and international audiences.
He asked whether their productions would continue to associate Nigerian identity with criminality, ritual killings and disrespect for societal values or project the country as a society of hardworking, resilient, respectful, community-oriented and morally responsible people.
“The choice is ours,” he declared.
Farounbi urged practitioners to move beyond producing films merely for temporary popularity and commercial success, stressing the need to create works that would stand the test of time and contribute meaningfully to national development.
“Let us not just make films that trend. Let us make films that endure. Let us not just make films that sell. Let us make films that build. Let us give Nigeria back to Nigerians through our lenses,” he charged.
He reiterated that the survival of Nigeria’s cultural identity depended, to a significant extent, on the willingness of its creative practitioners to embrace their responsibility as custodians and promoters of the nation’s stories, values and collective heritage.
He concluded with the conference theme: “Our Story. Our Values. Our Future.”
Farounbi Tasks Nollywood on Cultural Rebirth, Calls for Nigerian Values Charter to Guide Filmmaking
