Veteran Nollywood actor, Francis Duru, has explained why he believes people of Yoruba extraction currently dominate the Nigerian movie industry, despite what he described as significant contributions from the Igbo community during the early development of Nollywood.
Duru observed while reflecting on the evolution of the Nigerian film industry, the emergence of Nollywood and the role different ethnic groups have played in shaping the country’s entertainment sector.
According to the veteran actor, the current visibility of Yoruba actors, filmmakers and producers in Nollywood is largely connected to what he described as their ability to support, organise and promote people from their community.
He argued that other groups, including the Igbo community, need to learn from this approach by creating stronger networks and deliberately supporting their own people in the entertainment industry.
Duru said, “The Yorubas epitomise the saying, ‘Charity begins at home.’ We need to learn from them. If you don’t protect and project your own, who will do it?”
The actor also shared his perspective on the history of Nollywood and the role played by different groups in the development of Nigeria’s movie industry.
He acknowledged the contributions of Yoruba pioneers to Nigerian theatre and film, with figures such as Herbert Ogunde widely recognised for their pioneering work in Nigerian drama and performance.
However, Duru maintained that what became widely known as modern Nollywood gained significant momentum during the home-video era of the 1990s and early 2000s.
He attributed a major part of that development to filmmakers and entrepreneurs of Igbo extraction, who he said played important roles in introducing and popularising home-video productions in the Nigerian market.
His comments have consequently reopened conversations about the history of Nollywood, ethnic representation and the contributions of different communities to the growth of the Nigerian entertainment industry.
According to Duru, the dominance he currently observes is not necessarily about talent but about organisation and community support.
He suggested that Yoruba entertainers have developed a culture of supporting one another, creating opportunities and promoting people from their community.
The actor believes this kind of collective support can significantly influence visibility and success in an industry as competitive as Nollywood.
For Duru, talent alone may not always be enough to succeed in the entertainment business. He argued that people also need networks, collaboration and an environment where members of the same community are willing to promote one another.
His statement, therefore, appears to be a call for greater collaboration and support among other ethnic groups in Nigeria’s entertainment industry.
The Igbo contribution to Nollywood has long been part of discussions about the development of Nigeria’s home-video industry.
The growth of direct-to-video movies in the 1990s created opportunities for producers, actors, marketers and distributors across Nigeria.
Several filmmakers and businesspeople became involved in the production and distribution of Nigerian movies, helping to transform filmmaking into a major commercial industry.
Duru’s argument focuses particularly on the need for communities to recognise and build on the contributions of their members rather than waiting for external recognition.
The veteran actor’s comments have also sparked discussions about ethnic representation in Nollywood and whether Nigerian entertainers should do more to support people from their communities.
His message goes beyond Nollywood, as the principle of supporting one’s own can also apply to business, politics, education, technology and other sectors.
Duru’s position is that collective effort can help talented individuals gain opportunities and remain competitive.
He urged Nigerians to recognise the importance of protecting and promoting their own while still maintaining room for collaboration across ethnic and cultural lines.
Duru’s comments are likely to generate mixed reactions, particularly among Nigerians who have different views about the history and ethnic composition of Nollywood.
While some may agree that community support has contributed to the visibility of Yoruba entertainers, others may argue that the success of individuals in Nollywood should primarily be assessed through talent, professionalism, investment and audience appeal.
Nevertheless, his remarks have renewed attention on the history of Nollywood, the home-video revolution and the role played by different ethnic communities in building Nigeria’s globally recognised film industry.
As Nollywood continues to expand internationally, the debate over representation, collaboration and community support is likely to remain an important part of conversations about the future of the Nigerian entertainment industry.
