The growing dominance of female filmmakers in Nollywood shows a significant rise in women’s participation in the Nigerian film industry. Over the years, women have increasingly taken on roles as directors, screenwriters, and producers, driven by masterclasses and workshops aimed at empowering women in film. Despite this growth, a glaring gap remains: the need for more women in technical roles.
This disparity in women’s representation in largely male-dominated technical departments emphasizes the importance of more female gaffers, cinematographers, sound designers, and editors. As the industry expands, we must examine women’s experiences and the industry’s response to their challenges in technical roles. While workshops and masterclasses are common in the film industry, they often focus on directing, screenwriting, and producing. Consequently, women not interested in acting or directing may gravitate towards roles perceived as more feminine, such as art, hair, makeup, or wardrobe. While these roles are important, this trend reinforces the belief that women are not suited for technical roles, thus limiting opportunities for those interested in technical positions.
To further illustrate this disparity, an analysis of EbonyLife Creative Academy’s 11 intakes reveals significant gender gaps in technical departments. This data highlights the gender gap in technical departments such as sound design, cinematography, and post-production (mainly video editing), compared to art direction, which women tend to pursue if they are not interested in directing, screenwriting, or producing.
In sound design, there were only 21 female intakes compared to 125 male intakes. Cinematography had 75 female intakes versus 96 males, while art direction had the highest female representation, with 95 women out of 160 total intakes. Post-production also exhibited a gap, with 58 female intakes and 95 males. These disparities show the critical need for targeted technical workshops to support and encourage more women in these fields.
Luckily, several organizations and individuals have launched initiatives to address this gap by offering support. One example is Ebonylife Creative Academy, led by Mo Abudu. Anwuli Roseline, a sound designer and TINFF Intl Best Musical Score nominee credits the academy for helping her gain valuable experience. “I got to intern on Blood Sisters thanks to the EbonyLife Academy,” she shared. “It may not seem like much, but productions like these give your career a boost and train you well.”
Filmmakers like Isioma Osaje are also creating more space for women in film. Anwuli highlighted how Isioma actively works to increase female participation: “She’s probably the only producer I know that had more than 70 percent women crew on one of her projects.”
Beyond increasing female participation, personal support and encouragement are crucial. Personal experiences from Nkwocha Precious-Flora, popularly known as The Nigerian Gaffer, founder/CEO of En-Touche Lighting House, highlight their real-world challenges, “In the early days of my career, I faced significant challenges, primarily due to a lack of support from those around me. Family, friends, and even mentors often felt I was doing too much. Some of my lecturers were particularly vocal, warning me that I was on a path to self-destruction. Those who knew me well thought my passion was just a fleeting excitement and kept praying for me, hoping I would abandon my pursuit.”
This lack of support can be discouraging; only a few women can forge on without a proper backbone. With gender stereotypes as another challenge, Precious-Flora recounts a memorable incident: “I vividly remember an incident where I slipped and fell while rigging lights on a catwalk, about seven feet above the ground, in preparation for a show. Instead of sympathy, I was met with ridicule from some young women present, who remarked, ‘She should have chosen departments like costume or makeup instead of climbing.’ Ironically, it was a male lecturer who rushed to my aid.”
Sadly, this judgment also comes from other women. Despite these challenges, perseverance becomes a necessity. “Such incidents have been common throughout my career, teaching me to develop a thick skin”, she says. “As a woman in this physically demanding field, I faced unique health challenges at some point. The heavy lifting took a toll on my body, causing serious issues with my eyes, mobility, and overall well-being. Learning to work smart became essential to managing these health risks.”
Aside from lack of support, gender stereotypes, and personal health issues, economic instability seems to be another challenge limiting women from applying. Financial instability is a major challenge for many Nigerians, regardless of gender. With some courses costing between $1500 and $3000, it’s no surprise that many people struggle to pay. Solomon Essang, director, cinematographer, and instructor at Del-York Academy, explains, “Some people want to learn but can’t afford it. I’m teaching directing and cinematography at Del-York, and the fees are not a joke. I posted a picture recently, and people asked, ‘Where are you teaching?’ When I told them, they started calling, but many couldn’t pay the fees. If affordable, we would have doubled the class size in a day.”
While affordability is a general issue, it tends to affect women more in Nigeria. Many women, especially those chasing non-traditional roles like technical ones, may not get the same financial support as men from sponsors like parents, siblings, or partners. Hence, financial limitations significantly prevent women from fully stepping into technical roles.
According to Anwuli, breaking into technical fields like sound design often requires a hefty initial investment. She explains, “The entrance into a field, like sound, is not cheap. At some point, you have to buy your equipment, even if you work with a team, and such equipment is crazily expensive.”
Equipment costs are only part of the challenge for women trying to break even. Anwuli adds that the inconsistency of freelance work makes it harder for women to stay in the field. She says, “In one minute, you are going from job to job, and suddenly, you might be idle for months.” This makes it tough for women to sustain their careers in technical roles, especially when jobs aren’t consistent enough to cover their expenses.
These financial challenges aren’t the only limitations women face. Apprenticeship opportunities, another key stepping stone for growth in Nollywood, can be just as difficult to access. Anwuli explains persistence and making the right connections are essential. She shares her experience securing mentorship under Gray Jones, describing him as “one of the best persons anyone can work with.” However, she recalls hostile environments that can make these opportunities tough for women: “You’d meet people who want to undermine your abilities and make it look like you’re stupid.”
Despite these obstacles, platforms like the EbonyLife Academy, which allowed her to intern on Blood Sisters, and filmmakers like Isioma Osaje, who advocate for women’s participation, create new opportunities. Anwuli is optimistic, noting, “Thankfully, there are people and productions that really go out of their way to get women on board, which is encouraging.”
While apprenticeship opportunities exist and can be helpful, these opportunities are not always easy to access. To truly bridge the gap, the industry should take proactive steps to encourage and support women in pursuing technical roles. This could involve creating scholarships, targeted workshops, and mentorship programs where experienced professionals guide and support aspiring women in technical fields. By investing in these initiatives, Nollywood can foster a more inclusive and diverse industry, empowering women to thrive in technical roles and become well-rounded filmmakers.
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