EVOLUTION OF REPRESENTATIONS OF IGBO MONARCHY IN NOLLYWOOD MOVIES (1996 – 2015)
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Background to the Study
Like most other pre-modern human societies, the traditional societies in the territories later to be amalgamated as Nigeria were largely administered by monarchies. This is with particular reference to societies in the Northern, Western and Niger Delta parts of the country (Adebayo, 2011). The traditional societies of the West were ruled by Obas and there was the famous Oyo Empire ruled by the very powerful Alaafin (Adebayo, 2011; Durojaiye, 2013; Mua’azu, 2015). In the Niger Delta area, there was the Oba of Benin who controlled a famous empire and the Olu of Warri (Adebayo, 2011). The Northern part of Nigeria had traditional monarchs who were eventually replaced by the Islamic Emirs following the Fulani Jihad and the conquest of these parts in the 19th century (Adebayo, 2011; Durojaiye, 2013; Mua’azu, 2015). For the Igbo ethnic group, however, the situation was quite different as the political administration of the communities before the coming of the Europeans was a collective 3 responsibility of all heads of individual family units who passed on their decisions to the youths for implementation (Afigbo, 1981; Anyaele, 2011). Onwumechili (2000) equates Igbo traditional governance to the scientific culture, according to him, it recognizes no kings and chiefs with divine knowledge. In Igbo communities, as in science, he says, “promotion is by achievement.” And since everybody has the right to attend and express his views in a scientific seminar, in Igbo village assembly, everybody has the freedom to express his views, and decisions are arrived at by consensus. However, this is not to say that kingship was totally unknown in Igbo land as there are Igbo communities known to have had monarchies before the colonial contact. Notable among these are the Obi of Onitsha and Eze Aro of Aro communities, the latter being a powerful and territorially ambitious monarch (Afigbo, 1981; Nnadozie, 2014; Okachie, 2016). But a larger proportion of Igbo communities acquired their monarchy as a result of the colonial institution of warrant chiefs; a native governance system intended to serve the administrative convenience of the imperial British power (Nnadozie, 2014). Today, the monarchy system has come to stay in Igboland. Most, if not all Igbo communities, now have their own kings, who preside over their traditional and cultural affairs. Eke (2009, p. 14) opines that the Igbo king is the product of mere mortals, ordinary human beings. “He was not made by the gods or by spirits, and hence, does not wield absolute powers”. However, Eke’s observation should also apply to other monarchies in the country today as those of them traditionally attributed with spiritual qualities and vested with absolute powers have essentially lost such status following the imposition of the western-style constitutional governance structures that started with colonialism (Afigbo, 1981; Anyaele, 2011; Nnadozie, 2014; Okachie, 2016). This change in fortune notwithstanding, the monarchy institution in Igboland, like in other Nigerian societies, still occupies an important place as a symbol of cultural heritage and pride, a governing authority on cultural matters, an agency of political power and a driver of social development (Okachie, 2016). Hence, the monarchy institution acts as the custodian of culture when, for instance, the kings exercise their prerogative as officiating heads in the New Yam festival in Igboland. It acts as the traditional governing body when, for example, kings settle disputes, impose sanctions and regulate communal life generally. The institution of monarchy also acts as an agent of political power when, for instance, kings influence political decisions or are invited to offer advice as seen with the Advisory Committee of Chiefs and Elders in the 4 former Eastern Region. Lastly, it can also act as an agent of social development when, for instance, kings attract government projects to their community, mobilise the people for communal work or otherwise influence developmental initiatives (Okachie, 2016). In view of this crucial position of the monarchy system in the contemporary Igbo society, the media’s role in representing it becomes vital knowing that media representation is a powerful element that shapes social experience (Hall, 1997; McQuail, 2010; Fairclough, 2003). Given the glamour and sensationalism that are usually associated with monarchy, it has become an attractive subject for media producers, generating its discursive dynamics (Lawrenson, 2000; Baldin, 2012). Speaking in relation to the British monarchy, Baldin (2012) opines that the relationship between the royals and the media has always been a delicate one. Ideally it is symbiotic in that the royals need the media for continued projection of their prestige, glory and power while the media, on the other hand, require the royals as an important source of sensational content that typically attracts the audience. However, when this relationship becomes parasitic, according to Baldin (2012), the royals hit out
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