Every culture has myths that have been passed from one generation to another. Often stories of gods and legends with supernatural powers, the narratives explore themes like heroism, love, betrayal, and the eternal struggle between good and evil. These deities can be heroes like Babalú Ayé who is known to the Yorubas and Benin (West African country) people as the Healer god. They could also take the form of a villain. A perfect example is Sakpata, the Plague god. He is said to be the cousin of Babalú Ayé and is responsible for causing diseases. In the past, myths, (under which folklore and legends fall), were used to make meaning of the world we live in. They were also employed to guide human interactions with each other, much like moral police. However, the domineering function of mythology is the preservation of history.
As civilization advanced, this method of preserving history has waned. But in 1913, Indian cinema found a way to preserve history and cash in. It produced what many assume to be the first mythology-based silent film titled Raja Harishcahndra which was based on Hindu mythology. It was co-written and produced by Dhundiraj Phalke. This paved the way for on-screen mythology and slowly moved its passage from oral tradition to film.
Today, filmmakers are pulling numbers at the box office for producing films wrapped around mythology. Wonder Woman, based on Greek mythology – like most of the popular mythological films – racked up $823 million at the box office. Another comic book adaptation Aquaman, which draws from the Greek god called Poseidon (widely known as the god of water) pulled a whopping $1.1 billion. Like other genres, the mythological genre (as adapted from their comic materials) can be profitable. “Mythological subjects work because the audiences are already familiar with the stories,” argued film historian Dr K. Puttaswamy, hinting at reasons the stories work today.
Furthermore, mythological films serve as vehicles into the past of a society. They give insight into the cultural heritage of a people. The vivid depiction of mythical realms, legendary creatures and epic battles not only entertains but also educates, sparking curiosity about different belief systems and fostering cross-cultural appreciation.
In the Nigerian cinema, there have been few brushes with mythology. Nollywood has had different phases dominated by certain themes. One of these themes is the popular “good vs evil”. It is in this particular theme that there appears to be a slight graze with mythology. These types of films are usually set in the village and there is a mention of Amadioha, the Igbo god of thunder and lightning. Or the utterance of Ogun, the Yoruba god of war and iron. Hardly ever have these deities been the main subject of the film.
With about 250 ethnic groups and over 500 languages, Nigeria is not lacking in the mythology department. From the Urhobo god, Aziza, the king of the forest and earth; to the Ijaw god of war, Egbesu— there is more than material to spin into scripts. These mythologies can even be refined to fit into the contemporary world. Jean Cocteau adopted this method in 1950 when he wrote Orpheus, set in contemporary Paris, which is modeled after the Greek god with the same name. The mythologies can also be rewritten while retaining some of its qualities. British-Nigerian author Bolu Babalola excelled well in this fit with her 2020 book, “Love In Colour,” a collection of short stories written for the romance genre. One of the stories features Osun and Sango in a complicated love story. In this story, Sango is the typical Yoruba demon who is smitten by Osun but is not ready to settle down whilst Osun believes she is the one for him. It mirrors some of the challenges one encounters, dating in the 21st century.
It is indeed worth noting that modern Nigerian cinema is beginning to acknowledge its rich creative pool. Mami Wata, a well-known West African folktale that revolves around mermaids is a step forward in the right direction. Even Jay Franklyn Jituboh’s adaptation of the feared Madam Koi Koi that haunts schools is a plus for the industry. Netflix’s African Folktales Reimagined Anthology and Surreal 16 Collective’s Juju Stories which capture various African mythologies are also wonderful additions.
There are a few reasons for the delayed entry of Nollywood into the genre. For instance, the adaptation of these mythologies would cost a lot of money as mythological films call for research, costumes, lavish sets, makeup and special effects. And to be honest, Nollywood still has some catching up to do as regards special effects. This is important because the use of special effects can enhance the believability of a mythological film. Though these things can be roadblocks they can be solved, not only with money but with some fantastical imagination that lies within the filmmaker. To cushion the financial side, the industry can utilize its growing international recognition for collaborations to fund such stories. These collaborations can even broaden the appeal of Nollywood beyond our current offerings.
As earlier stated, the industry can play with genres and blend tradition with modernity when retelling these mythologies. Experimenting with different story styles can attract a diverse audience and keep the narrative fresh. For example, a mythological film does not have to be horror or darkly toned to exist. Writers can bend these mythologies to fit into other genres; romance, comedy and so on. Also, the urge to rely on one ethnic group when sourcing for mythologies must be resisted. Our cultural diversity should be celebrated. Nigeria’s cultural diversity comes with a wealth of mythical stories waiting to be told. Filmmakers can work with local storytellers, historians and cultural experts to ensure the authenticity of these mythological narratives where necessary.
By incorporating these suggestions, Nollywood can embark on a captivating journey into mythological storytelling, offering audiences within and outside Nigeria a fresh experience. The audience anticipation ahead of the release of The Origin: Madam Koi Koi in October 2023 shows that the Nigerian audience is ready for more mythological stories. With Nemsia Films (makers of Breath of Life) set to make a Madam Koi Koi project this year and the makers of Juju Stories occupied with plans to make an anthology series on the subject that would explore more myths, one could say Nollywood is indeed open to telling more mythological stories.
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