Somtoo Obiefuna Arinze-Umobi - Cultural flux in selected Nollywood film

215

CULTURAL FLUX IN SELECTED NOLLYWOOD FILMS 
 

Somtoo Obiefuna Arinze-Umobi 
Department of Theatre and Film Studies, 

Nnamdi Azikiwe University, Awka, Nigeria. 
Email: umobisomtoo@yahoo.com 

Phone Number: 07033569974 

Abstract 

The culture of a people communicates who they are. Unfortunately, 
cultural errosion ocassioned by cultural flux threaten traditional 
identity of many cultural enclaves; especially, the Igbo of eastern 
Nigeria. The study therfore aims at evaluating impact of constant 
cultural flux due to interaction with other cultures, and also due to 
the influences of modernity and globalization. Objective includes, 
using film as the most expressive medium of cultural exchange to 
checkmate impact of cultural flux and to ascertain how the changing 
nature of culture affects the history and memory of a people as a 
result of the loss of salient aspects of the people’s cultures.
Furthermore, objectives examine the affective dynamics of culture in 
films set in the Eastern part of Nigeria using the case study approach 
of the qualitative method. Simple random sampling approach is ued 
in the selection of the films; while, the content analyses approach is 
used for interpreting the content of the films. Findings from the study 
reveal that cultural flux interplays with the presentation of indigenous 
cultures of the Igbo people. Therefore, the study suggests that film 
productions should be tailored towards effective projection of the 
peoples' indigenous culture than focusing on the external cultural 
influences on the society. 

Introduction 

The position of culture in the lives of a people since the evolution of man 
cannot be overstated. The quest for man to be identified within a group 
informs his culture. Hence, culture has been generally accepted to be the 
way of a people in totality. However, it transcends this ordinary 
conception because it is a phenomenon that constructs and deconstructs a 
people. Therefore, culture is identity, history, agency and practice that 
cannot be taken as fixed entities but part of a system of representation 
which is permanently in a process (Oluyemi 35). Culture is never a static 
phenomenon; it is a process that is in constant transformation over time 



AMA: Journal of Theatre and Cultural Studies

216

and in space. Its amorphous nature is attributed to the people’s attitude
towards it. According to Mohammad Zaman: 

Culture, like matter also tends to creep towards uniformity although not 
quite to the degree of homogeneity as in the case of inert matter. To be 
precise, culture is more like a flowing amoeba with sprouting arms and 
legs and mouths as dictated by its immediate environs, evolving constantly 
in an amorous flux of “scapes” (1). 

The changes in culture could also be attributed to the intercultural mix or 
interaction among different ethnic, racial and national divide. Hence, the 
commingling of different cultures produces new hybrids that either is in 
line with the contemporary changes and realties of the people. 

Therefore, the evolving nature of culture accounts for its mutability and 
transmutation within a geographical enclave. More often than not, the idea 
may be to expunge negative cultures and replace it with positive ones. For 
example; the abolishment of Osu caste system in most communities in the 
South East Nigeria, female circumcision, widowhood practices, just to 
mention a few. Other reason for cultural mutability could be directly or 
indirectly as a result of globalization, modernization and the fact that 
humans are by nature in flux. Therefore, people have the power to accept 
or reject certain norms and values which threatens their existence. 

Unfortunately, the changes in culture most times adversely affect the 
history and memory of the people because some of these cultures are lost 
to western and globalization tendencies. The implication is that salient 
ways of the people are consciously or unconsciously jettisoned. Tracie 
Utoh-Ezeajugh et al observe that, "as the world moves closer together 
through increased globalization, migration and technological 
advancement, the possibility of transformation, transmutation or even total 
extinction of indigenous cultures and cultural values becomes imminent'' 
(228). Hence, Danbello Ahmadu affirms that "...culture has suffered 
untold damage over the past years due to cultural imperialism which has 
crept into the society via communication facilities like radio, films etc" 
(532). His position raises pointer to the danger state of people’s culture by
the propellants of globalization which is media technology. 

Film is one of the essential media for projecting people’s culture and
arguably the most powerful because of its audio-visual aesthetics, and the 
reliance by most developed nations like America, Britain, China, etc in 
projecting their culture and inadvertently acculturate smaller and 



Somtoo Obiefuna Arinze-Umobi - Cultural flux in selected Nollywood film

217

developing nations. Ahmadu supports this idea by stating that "film is a 
documentary of the consciousness of culture, galvanizing or fusing all 
forces into a concrete charger that reconstruct the mind of the people" 
(537). Hence, film as a medium has gained much ascendancy globally and 
appeals to all ages and races (Nwaozuzu 1), through the reflection of 
human society that encompasses the language, ritual and beliefs of a given 
society (Amaefula 147). Therefore, film is a cultural product and thus the 
business of marketing people’s culture for audience appreciation. 

Nigerian film industry popularly referred to as Nollywood is at the center 
of transmitting the culture of Nigerian to the globe. From its evolution till 
date, it has saddled the responsibility of reflecting the cultures and the 
changes in culture over time within the diverse cultures in Nigeria. A 
cursory assessment of Nollywood films will reveal either through thematic 
preoccupation or the aesthetic elements (costume, language, makeup, 
setting) among other things, the infiltration of cultures within a narrative, 
and thus highlighting the dynamic nature of culture and the its 
irresistibility to change over a given time, and the ability of film to capture 
such changes. The complexity of Nollywood Industry is anchored on the 
diverse cultural background of Nigeria. The richness of Nigerian culture 
which is evident in the ethnic diversity accounts for the success and appeal 
Nollywood films have on the global audience. Within the complexity of 
Nollywood, the major ethnic groups-Igbo, Yoruba and Hausa strive to 
ensure that their peculiar cultures are projected.  Furthermore, through the 
appreciation of films, some of the negative aspects of the people’s culture
are exposed and condemned while the positive ones advocated for. 
Therefore, this study examines some cultural flux in two movies set in 
South Eastern Nigeria in order to examine cultural interactions and their 
affective impact in the interpretation and understanding the films. The 
select films are Ilochi Olisaemeka's King Uremma and Okonkwo 
Chikelue's Evil Culture. 

Conceptual Clarification 

Cultural flux refers to an ongoing process of change in the way of life of 
a given people. Culture is reasoned to be the creation of human interaction. 
Hence, Fayomi Oluyemi observes that, "the changes in human society 
reflect the dynamism of culture. This dynamism is responsible for constant 
change in patterns associated with given culture... (40). It is imperative to 
note that cultural flux cannot only be reasoned from the point of western 
imperialism or influence. Rather, it connotes also the changes that have 



AMA: Journal of Theatre and Cultural Studies

218

occurred due to ethnic or tribal interactions within a given territory like 
Nigeria. The reason is because "greater part of what makes culture is 
acquired or learned, and not inborn or innate". Hence, "the implication is 
that culture could be learned, acquired, experienced or transferred from 
one place to another through various ways" (Ahmadu 532). However, one 
of the fundamental reasons for using the film medium to project cultural 
changes is remotely for commercial interest. According to Olav Velthius, 
“as in other markets for cultural goods, commercialization is the dominant
force driving change in the contemporary art market." (1). Consequently, 
most of the changes exhibited in films may not be a true reflection of the 
society which may be as a result of filmmakers quest for quick profit. 

One importance of cultural flux is its ambivalence in allowing cultural 
interactions that may benefit or mar a people's identity. These interactions 
according to Shambat Ilya in Cultural Flux and Dynamic Integrity "creates 
all kinds of creation, some that embody the best of the component cultures; 
some that embody the worst of component cultures, and some that contain 
both benign and malignant features of all the above". Hence Kayode 
Animasaun as quoted in Uwaoma Nwazue, avers that: 

The problem of cultural mis-presentation and confusion is either the 
juxtaposition or sudden transition from one culture to the other or 
interweaving of traditional and western cultures as done in most Nigerian 
movies. The result is that the Nigerian cultures is often time downplayed 
which often leave the viewers to inquire about what good the traditional 
cultures can offer. (141) 

Though this position presents the negative aspect of cultural flux, it does 
not preclude the inherent positive changes because it gives people a better 
chance at much better integrity which comes as a result of "integrating 
multiple influences and coming up with higher synthesis that enriches 
every culture that comes into the picture, as well as increasing the wisdom 
and knowledge of individuals involved in the flux" (Ilya). 

Synopsis of the selected films 

King Uremma 

The film explores the theme of tyranny and its consequences on the lives 
and culture of Umungwu community. Uremma (Chioma Chukwuka 
Akpota) returns from her exile fortified with charms. She challenges 
Ajilija the king of Umungwu for his tyranny and oppression against 
women and children, and subsequently defeats Ajilija and his chiefs 



Somtoo Obiefuna Arinze-Umobi - Cultural flux in selected Nollywood film

219

(Onowu) with her superior charms. Consequently, Uremma ascends the 
throne as the king of Umungwu and promulgates a decree that all men in 
the village should assume the duties of women in their respective homes; 
in other words, men thus wear clothes traditional meant for women, cook, 
and do other domestic chores. However, Uremma's authority is threatened 
by Ezenagu who returns to the village from the city after staying away for 
some years. Ezenagu defies Uremma's decree by refusing to adorn on 
female dresses and also rains abuses on his fellow men especially the 
elders for allowing such sacrilege. Ezenagu's deviance denies him 
audience with Odibeze, one of the female chiefs, over his claim for a piece 
of land that was bequeathed to him by his mother before her demise, which 
odibeze had taken. Odibeze booths him out of her house on the ground 
that he must wear women's cloths, buy kola nut and hot drink, before they 
can discuss about the land. Ezenagu's continuous and willful disobedience 
to the rule of Uremma consequently lands him in prison. However, 
Uremma's daughter falls in love with Ezenagu and releases him from 
prison on the condition that he becomes her bride. Ezenagu rejects the 
offer but prefers to stay in the prison, but for the mercy of Uremma, he is 
released from prison on the ground that he will be loyal to her rules. 
Infuriated by the turn of events in his village, Ezenagu becomes violent 
and kills one of the allies of King Uremma and consequently flees for fear 
of what Uremma will do to him. Uremma's malicious rules continuous 
until Ezenagu returns home again, this time fortified with charms and 
consequently dethrones Uremma and her chiefs, and restores normalcy to 
the land. 

Evil Culture  

This film underlines the clash between western and traditional religion. 
Ejiofor (MacSmith Ochendu) neglects his obligation to Igolo the 
community deity due to his debauchery. For this reason, Igolo revenges 
by preventing every suitor who comes to marry Ejiofor's sister Ihuoma 
(Chioma Chukwuka Akpota) by appearing to them (suitors) in their 
dreams warning them never to marry Ihuoma or they die. Ihuoma's failure 
to get married prompts her to seek the face of God. The Parish Priest 
informs her that the reason behind her predicament is Igolo. Hence, He 
advices Ihuoma to invite Ejiofor to church who consequently gives his life 
to Christ. Meanwhile, as the Igolo festival approaches, the community is 
in apprehension over the incessant deaths caused by Igolo because of 
Ejiofor's failure to make the yearly sacrifices. Hence the elders hire the 
services of another chief priest to perform the ritual, but Igolo refuses to 



AMA: Journal of Theatre and Cultural Studies

220

be appeased. Undeterred, the community goes on with the festival and 
becomes thrilled when Ejiofor finally appears with the Igolo mask at the 
village arena. 

 

Appraising Cultural Flux in the Selected Films 

The plot of King Uremma presents a culture that is alien to the 
traditional and contemporary Igbo society. The Igbos of the eastern 
part of Nigeria is predominantly a patriarchal society where 
kingship and cabinet membership is designated to men. However, 
in Umungwu community the case is reversed after the dethronement 
of King Ajilija by Uremma on the account of gross maltreatment of
women and children. The expectation by this dethronement is that 
she uses her position to correct the negative aspects of patriarchy, 
but she presents even the worst scenario, a phenomenon that is 
symptomatic to the politics in Nigeria. She changes the cultural 
norms and values, and forcefully condemns the men folks to the 
traditional status of women, women now wear clothes meant for 
men, sexually abuse and marry as many men as possible and even 
dictate what happens in the governance of the community. 

However, the film presents the issue of polyandry- a custom that 
allows women to marry more than one man. This marital situation 
is not uncommon in Africa and indeed Nigeria as research shows 
that the Irigwe people of Jos, Northern Nigeria are known for such 
culture. Nevertheless, this cultural practice is not the norm among 
the Igbos. In King Uremma, one of the cabinet members Onowu is 
praised by her fellow women for marrying a third husband. This 
action is a deliberate attempt by the director to lampoon the 
polygamy which was practiced by traditional men in Igbo society 
before the advent of Christianity and modernization. Onowu's 
marriage to Obiadi goes through the traditional process of wine 
carrying and payment of dowry. 



Somtoo Obiefuna Arinze-Umobi - Cultural flux in selected Nollywood film

221

 
Plate 1: Obiadi receiving wine from his mother to search for his groom 

 
Plate 2: Onowu (groom) drinks the wine presented to her by Obiadi (bride). 

Payment of dowry in African society is the prerogative of the groom’s
family. However, the presentation of the opposite in the film is a creation 
that relates to the marriage culture in India, Sir Lanka, Naples, Pakistan 



AMA: Journal of Theatre and Cultural Studies

222

and Bangladesh, where marriage rites is fulfilled by the bride's family unit. 
Ezenagu sees these events as a smack on masculinity and his cultural 
background. Hence, he laments, ''how did things turn upside down within 
a twinkle of an eye. Women now wear men's clothes, own lands and 
dictate what happens. Now this is an abomination and I will not be a part 
of it". This presentation highlights the importance of film in experimenting 
and fusing cultures which may or may not fit into the cultural sensibility 
of the people it narrates its story. 

Similarly, king Uremma's daughter who arrogates herself the role of a 
prince in Umungwu exhibits the same tyranny her mother wields in the 
community. Her refusal to see herself as a bride that should be married, 
but the groom that ought to marry any man of her choice relates to the 
Ogwashi-uku Idegbe cultural belief that bestows women a masculine 
gender role of a son in the absence of a male child in her family (Nwosu 
62), for the continuation of her father's linage. Ezenagu's refusal to accept 
this offer and preference to stay in prison exposes him to the wrath of 
Uremma's daughter. Ezenagu's rejection underscores the utter rejection of 
such culture among the Igbos where women are married outside their 
families. 

Furthermore, the culture of transvertism or cross dressing is well projected 
in the film. One of the core decrees of king Uremma is that men put on 
women's clothes vice versa. The culture of transvertism is rampant in 
contemporary society and is a product of transgender which has more 
prominence in the western world. Though transvertism is not new to the 
world today, it is culture that is frowned at in traditional Igbo society and 
its explication in King Uremma underpins its infiltration to the Igbo dress 
culture. Ezenagu ridicules this situation by greeting the male elders who 
had been condemned by Uremma's terror, "ndi nne mama"; a popular 
greeting in celebration of motherhood in Igbo land). His sarcastic greeting 
criticizes the turn of events in the present society where men are gradually 
turning sissies. 

In Evil Culture, the issue of religion is central to the understanding of the 
plot. The film discusses the clash between the traditional religion and 
Christianity which was forced down on Africans during the colonial era. 
Though the western religion has been embraced in the eastern part of 
Nigeria, however, traditional religion is felt more during annual festivals 
in most communities in the region. As presented in the film, Ejiofor' 
inability to fulfill his role which his Father left as the priest of Igolo 



Somtoo Obiefuna Arinze-Umobi - Cultural flux in selected Nollywood film

223

arouses the wrath of the deity against his family. The deity inhibits 
Ejiofor's sister from getting married, and also turns Ejiofor into an 
unprosperous man among his peers. However, Ihuoma's decision to 
embrace Christ and thus represent western religion creates the divide and 
establishes the flux between these cultures. This is further highlighted in 
Ejiofor who boasts before the community elders that "I Ejiofor of the 
universe.... I am a new creation. Old things have passed away".  His 
public statement points out the influence of the Christian faith over the 
traditional worship. Nonetheless, his faith is does not stop him from finally 
assuming his communal responsibility of ensuring that Igolo is appeased 
and also makes an appearance during the festival. 

The film projected also the decline in cultural attire during festivals in Igbo 
communities. Festivals in the contemporary time unlike in the traditional 
era have undergone several changes that even in costumes, western attires 
tend to dominate. This is unconnected to the impact of globalization and 
modernity that have rapidly engulfed the Igbos that the purity of culture is 
hardly ever noticed. 

 
Plate 3: Ejiofors costume is a mixture of traditional Nwaguru cap with polo 
shirt. 



AMA: Journal of Theatre and Cultural Studies

224

 
Plate 4: Western costumes during Igolo traditional festival 

Therefore, in the film we see characters wearing jeans trousers and T-
shirts during the festival. Even, Ejiogu who ought to be a representative of 
tradition and culture of the people is costumed in a medley of western and 
traditional attire and thus, highlights the trend of flux that has permeated 
the culture of the Igbos in ramification.  

Conclusion 

Cultures interact to create new concepts, ideas, norms and beliefs, and film 
as a medium of expression is mostly used to convey these concepts for 
critical evaluation and assimilation. However, from the assessment of the 
case studies, it is evident that the culture of the Igbos’ who are situated in
the Eastern part of Nigeria has greatly been affected by contemporary 
forces of modernity and globalization and also the consciousness of the 
people to adapt to changing trends in the world. Further findings from the 
films reveal a recurrent utilization of code-switching- interchanging from 
Igbo to English language, vice versa. The essence is to project the on-
going flux in language use which affects human communication pattern. 
Therefore, the films to an extent reveal the contemporary socio-cultural 
realities in the Eastern part of Nigeria and the processes of change 
affecting their cultural practices. This study concludes that the filmic 
presentation of a particular people should be tailored toward projecting the 



Somtoo Obiefuna Arinze-Umobi - Cultural flux in selected Nollywood film

225

indigenous cultural practices of the people than centering on in-
cooperating influences from other culture. 

Works Cited 

Ahmadu, Danbello Ibrahim and Joshua Dakogol Bala. "The Role of 
Indigenous Films in  Presenting Culture in Nigeria: An 
Appraisal of Nollywood Home Video". International Conference on 
Communication, Media, Technology and Design. 531-544. 
http://www.cmdconf.net/2015/pdf/51.pdf. Accessed 04/10/17 

Amaefula, Rowland .C. "Ritual and Identity Construction in Nigerian Igbo 
Films: A Call for Policy Implementation. The Creative Artist:  A 
Journal of Theatre and Media  Studies. Vol. 8 No. 3.  Awka: Fab 
Anieh, 2006. 147-161 

Daniel-Inim, Praise Chidinma. "Changing the Unchanged in Revolving 
theatre, Stagnant Culture and retrogressive Gender Issues in Select 
Nigerian Home Video". Theatre,  Culture and Change Management 
in Nigerian. Ed. Nkemakonam Aniukwu. Awka: Fab Anieh, 
2016521-529 

Ilya, Shambat. Cultural Flux and Dynamic Integrity: Solutions for New 
Millennium. www.bettermillenium.blogspot.com> 2008/09. 
Accessed 4/10/2017 

Nwaozuzu, Uche-Chinemere. "Towards a Thriller Tradition in the Nigerian 
Movie Industry: A Study of adaptation and Generic Classification". 
IMSU Theatre Journal: A Contemporary Journal of Arts and Theatre 
Practice. Owerri: Global Press, 2012. 1-12. 

Nwazue, Uwaoma Chimezie. "Filming for Change in Nollywood: An 
Experimentation with  Ifufe". Theatre, Culture and Change 
Management in Nigerian. Ed. Nkemakonam Aniukwu. Awka: Fab 
Anieh, 2016.141-151. 

Nwosu, Canice Chukwuma. "Between Loyalty and Transgression: Towards a 
Feminist Deconstruction of Cultural Taboos against Young Lovers 
in Africa". Re/Presenting Gender and Love. Ed. Dikem Yakali 
Camaglu. Oxfordshire: Interdisciplinary Press, 2015. 57-66. 

Oluyemi, Fayomi. "Transnational and Integrative Cultural Roles of 
Nollywood Entertainment Media in West Africa: The Case Study of 
Benin Republic and Ghana". International Journal of International 
Relations, Media and Mass Communication Studies. Vol. 1 .1 (2015): 
34-41. www.eajournals.org. Accessed 04/10/2017. 

Utoh-Ezeajugh, Tracie et al. "Resuscitation of Endangered Cultural Heritage: 
The Needed  Innovative Policy Approaches and Framework". 



AMA: Journal of Theatre and Cultural Studies

226

The Humanities and Nation Building. Awka: Fab Anieh, 2013. 227-
247. 

Velthuis, Olav. "The Contemporary Art Market Between Stasis and 
Flux?".http://www.bamart.be/fi;es/BKveldanalyseOlavVelthuis.pdf. 
Accessed 04/10/17. 

Wikipedia. Polyandry. Error! Hyperlink reference not valid..... Accessed 
04/10/17 

Zaman, Mohammad. Culture in Flux. http://www.achive.dhakatribune .com. 
Accessed  04/10/2017. 

Filmography  
King Uremma. Director Ilochi Olisaemeka. Okija Amaka Pictures, 2017 
Evil Culture. Director Okonkwo Chikelue. Coruma International LTD, 2017