International Research Journal of Musicology and Drama (IRJMD) Vol. 2(1) pp. 11-20, April, 2013
Available online http://www.interesjournals.org/IRJMD
Copyright © 2013 International Research Journals
Full Length Research Paper
Nudity in Nigerian home movies and the social life of
actresses: a study on Tonto Dikeh and Mercy Johnson
1
Doris Nwosu, *2Chima Onwukwe and 3Uzoma C. Okugo (Ph.D)
1,3
Department of Mass Communication, Abia State University, Uturu, Nigeria
Department of Linguistics and Communication Studies, Abia State University, Uturu, Nigeria
2
Accepted January 24, 2013
The study was on Aba inhabitants’ perception of the nude displays of two veteran actresses: Tonto
Dikeh and Mercy Johnson in Nigerian home movies. Using the survey research design, cluster
sampling method and a sample size of 339 and questionnaire as instrument of data collection, findings
showed that respondents said they see the two actresses appear nude and majority of sample were
unable to distinguish “on –the stage character of actresses from the off-the –stage character”. This, the
study reveals accounts for the poor perception of the respondents about the personalities of the two
actresses. Again, the Nigerian cultural prohibition of nudity especially of a woman was found to
influence respondent’s poor perception of the nude display of the actresses and the public
condemnation. The study recommends among other things that movie directors and producers should
take cognizance of the cultural stance on any issue in creating story lines, plots, casting and most
especially costumes of any art work.
Keywords: Nudity, Social Life, Actors/Actresses, Media and Culture, Nigerian Home Movies.
Background to the Study
The home movies or video is a narrowcast medium
(unlike broadcasting or open air television and radio),
which sets its own contents through audio-visual
means and is commonly available to a specific target
audience or anyone with means to access it. The first
home movie to hit the film industry in Nigeria and
which was nationally accepted as: “Living in Bondage”. It
was a production with dialogue in Igbo but subtitled in the English language for the understanding of
non-Igbo speakers, making it a reference point for a
standard in home-video production. Other home
movies that followed in quick succession were: circle of
Doom, Nemesis, violated, Battle of Musanya, Glamour
Girls, Onome, Domitilla. The position of the characters is
such that they represent opposing ideological and
social
beliefs
whose
tenets
are
diametrically
separate.
Okoli (2001, P.36) states that ‘home movies in
Nigeria have the basic roles of cultural marketing,
entertainment and serve as agent or means of
social control” Nwosu (2007:11) opines in this direction
that”
*Corresponding
Author
E-mail: dream2p@yahoo.com
Home movies no doubt are very interesting especially as
they hinge on suspense, intrigue, romance, espionage,
subservion, subterfuge, comedy, etc.
Such are the contents of most Nigerian home-movies as
put together by producers with the object of keeping us
abreast of our past. The home movie industry is now a
thriving medium that has almost replaced or substituted
the world of film or celluloid. It is now called Nollywood
and has many and varied annual offerings. Ladebo
(1992:163) had this to say about the transformation of
home movies in Nigeria.
Film makers who were confronted with myriad
problems like film-stock, importation, piracy, absence of
private investors, etc were moved to seek solace in the
cheap and profitable medium of home videos.
Adesanya (1992:25) observes that Home Video has
likewise gradually overwhelmed television because of its
entrepreneurial handling and its individualized nature as
a narrowcast medium. It has been observed that home
movies are especially popular in countries that have
restricted or failed to develop diversity in entertainment
offerings in the mass media. The enabling privatization
decree 38 of broadcasting in 1992 further fuelled the
growth of the home video industry and its entertainment
offerings in Nigeria.
Nudity has become part of virtually all Nigerian home
12 Int. Res. J. Musicol. Drama
movies. In fact, claims are made that Nigerian home
movies are washed with screens of nakedness, halfnaked exhibitions and other acts of nudity that appeal to
sexual desire of viewers. This issue however has elicited
a lot of controversies and comments among Nigerians
and seems to be more with female artists.
The oxford advanced learner’s Dictionary (P.801)
describes nudity as “the state of being naked”. Udeagha
(2004:26) claims that nudity in Nigerian home movies is a
shift from the basic and original offerings of the medium.
As a medium of social responsibility, Udeaghah (2004: 24
– 25) asserts that the medium should be responsible to
the society. Social responsibility demands principally that
the medium should act responsibly by realizing that they
have certain obligations to the public.
The concept of home movies in Nigeria was originally
to exalt our culture and norms and also expose some evil
that needed to be seriously treated. The early Home
video makers strived to pave way for other African
countries which were deeply engrossed by the activities
of the colonial masters. In spite of the fact that the early
home movies producers had the mind of exalting our
culture and glaringly exposing the evils of our days,
thereby sidelining the foreign movies and their alien
culture, it is obvious that there is a derailment from the
initial concept which has made it a caricature. One of
such derailments is the shift in focus by current movie
makers in Nigeria leading to more of home movies that
seem to capture the attention of youths. Movies that
centre on love, romance, relationship, etc. This shift in
focus necessitates characters that will dress as to
depict the roles they have been assigned and
eventually leading to nudity as seen in our home movies
today.
When in 1996, the home movie “Domitilla” was
released, it immediately became a box office hit, grossing
over N70 million to the producers and pirates alike. The
mad rush for the flick had little to do with fantastic acting
and certainly nothing of technical wizardry of the directoreven as these were not lacking. Being a tale of
prostitution and city girls, DOMITILLA’s main magnetism
was a whiff of sex. Poor movie watchers had gone for it in
the conclusion that the movie would parade some flesh,
raunchy scenes and possibly frontal nudity. Right from
the moment the seductive posters hit the streets and
titillating radio jingles the airwaves, the rush of hormone
translated into a manic rush for the videotapes.
Though Domittilla was such a commercial success,
The movie title crept into the Nigerian lexicon. Whatever
the promises and failings of Domitilla, the movie proved
that in show business as elsewhere, nothing sells live
sex. Already a huge appetite had been provoked which
Kenneth Anebue cashed in on with his production of
GLAMOUR GIRLS. The latter was more successful if
only because it was more daring. Smart in the ways it
maneuvered within iron cage of censorhip by the National
films and censorship board, Glamour Girls was able to
show some flesh; that of an unknown Eucharia Anunobi
in a bath tub scene with Zach Orji. A star was just born as
Eucharia emerged Nigeria’s first sex symbol. Movie
viewers went on to dub her “Nigeria’s Sharon Stone”.
Ever since then, home movies in Nigeria have been
presenting stars like Genevive Nnanji, Tonto Dikeh,
Mercy Johnson, Motola Jalade, Uche Jumbo, among
others. Nudity in home movies can be as a result of the
role, a character is required to play like prostitutes,
wayward, etc. It can also be as a result of the character’s
choice of appearance. Which ever way it appears, the
society seems to shun at it.
Again, Nudity in home movies in Nigeria would be
incomplete in contemporary history without researches to
find out whether these appearances (of nudity) affect the
social like of the characters. It covers characters who
appear nude as a result of the role assigned to them in a
movie or as personal disposition. Viewers seem to have
varied impressions or perceptions about these characters
in Nigerian home movies and these impressions may to a
large extent affect their social life.
This study has selected two veteran actresses namely
TONTO DIKEH and MERCY JOHNSON, who are seen
as house-hold names in Nigerian movie industry. They
are familiar faces in most recent or contemporary
Nigerian movies especially those ones on love,
relationship and romance. Tonto Dikeh has made a
reputable name for herself in Nollywood industry and is
still aiming higher. The beautiful Ikwere, Rivers Stateborn actress who got into the industry after emerging as
the first runner-up in a realty TV show, “THE NEXT
MOVIE STAR” and who starred as the lead actress in
RUSH HOUR, studied petrochemical Engineering at the
Rivers state University of Technology.
On the other hand, MERCY JOHNSON is from Okene
in Kogi State, said to have been born into the family of an
ex-naval officer in the early 1980’s, she cut her teeth in
the movie industry with her role in Kenneth Nebue’s
movie: THE MAID. This curvy star actress, who occupied
the fourth position in a family of seven, has no doubt
made her mark with over 60 films to her credit since her
foray into the film industry in 2002.
It is therefore the aim of this work to study viewer’s
perception or impression of nudity about these two
selected veteran actresses vis-à-vis their social life. It
shall focus on viewers in Aba Area/Metropolis of Abia
State.
Statement of problem
Home movies in Nigeria have experienced outrageous
derailments in several aspects of a movie show. These
derailments cut across scenes, plots, storylines as well
as costumes of characters. Scenes and plots of nudity
are now common storylines major more on love, fantasy,
and relationship. Costumes are such that reveal every
sensitive and private parts of a woman (in most cases).
The result is the cry for nudity in home movies in Nigeria.
Nudity in a movie can result from the role assigned a
character in a movie or as a personal disposition of the
character. In whichever, way it appears, it often attracts
society’s condemnation not just because it might run
contrary to the culture of a society but also capable of
inciting youths, impressionable minds and young adoles-
Onwukwe et al. 13
cents into immorality and social ills.
However, it appears that the effect of nudity in home
movies is rather looked at from the point of view of
society’s welfare and ‘safety’ without considering a
seemingly hidden negative effect of it on the person,
name and of course social life of the characters who are
either made to display these acts of nudity or who by
choice take to them. When people watch movies they
socialize with the producers, characters etc (Nwosu
2007p11) and also form some impressions about the
roles as well as appearances of characters. The
impression or perception may positively or negatively
affect their (character’s) social life. A lot of characters
have been dubbed “Sex freaks’, Nigerian Sharon stone’
and other Scandalous names just because of their roles
in movies. It must be noted however that while some
viewers tend to see some characters’ display on movies
as their behaviour others see the displays as ‘staged’
acts that have nothing to do with such character’s
personality. Viewers even go as far as being
either favourably disposed or unfavorable disposed to
actors/actresses based on the roles they play in movies.
Nudity seem to capture basically the female folk
perhaps because of the culturally assigned ‘prestige’ or
‘dignity’ of womanhood such that their sensitive and of
course private parts are seen as odd when brazenly
exposed unlike the male folk.
However, some actresses in home movies in Nigeria
are seen to display sensitive parts of their body. Viewers
also have their perceptions about them. This work
focuses on two veteran and contemporary actresses.
Tonto Dikeh and Mercy Johnson and it survey the
impressions or opinions or perceptions of viewers in Aba
Area/metropolis of Abia State of Nigeria. The problems
are interrogatively discussed as follows: Do viewers in
Aba metropolis/Area of Abia stat see the nude displays of
the two actresses as their natural behaviour? Do viewers
in Aba Metropolis/ area of Abia State see the nude
displays of the two actresses as a staged or artificial
action? Are viewers in Aba Area/ Metropolis favourably or
unfavourably disposed to the two actresses? have their
nude display gained them public admiration or
condemnation? These are the problems this study
attempts to provide solutions.
Research questions
1. Do viewers in Aba Area/metropolis see the nude
display of the two actresses as their natural
behaviour?
2. Do viewers in Aba Area/metropolis see the nude
displays of the two actresses as staged or artificial
actions?
3. Are viewers in Aba Area/Metropolis favourably or
unfavourably disposed to the two actresses in view of
the nude displays?
4. To what significant extent have the nude displays
gained public admiration or condemnation for the two
actresses by viewers in Aba Area/Metropolis of Abia
State.
Review of concepts
The national Films and Videos Censor Board (2004:4), in
supporting the concept of home Video in Nigeria stressed
that “the film industry is an important medium of
communication; which cults across national and cultural
boundaries, a tool for national, economic, social, cultural
and political development and a powerful medium for the
promotion of national ethics as well as
national
mobilization. It requires careful planning to ensure that it
is not dominated by foreign cultural influences and their
product of violence drug addition and indiscipline, which
are alien to our traditional value system”. The above
assertion buttresses the view that the concept of Home
Video in Nigerian is geared toward elevating out cultural
and national development. That is, the original concept,
to promote our core values and ethical beliefs.
Afolabi (1997:13), stressing the above point stated
thus, “it is pertinent to refresh our memories about the
evolution of features film production in Nigeria, the
genesis of which was similar to that in any African
country. While newsreel and documentary production
was a carryover from the colonial heritage, the imperative
need to produce feature films gave rise to an intellectual
movement initiated by a handful of writers and private
films and performing Arts graduates not only in reaction
to and rejection of alien cultural domination but also to
reinstate our own cultural heritage and reorientation of
our own people suffering from colonial mentality”.
Having our own original concept of movie making
which was aimed at reorienting our people back to our
belief and culture and portray our core and intent cultural
norms; the domination of the colonial master gave us little
free hand to face our culture, a lot of strange culture were
learnt and exhibited which affected our development and
growth. Then came the need to uplift our culture on
screen and reduce the promotion of some vices like
violence, horror and so on, by pioneer film makers.
Review opinions
Traore, in Afolabi (1997:13), a Senegalese film maker,
stating his opinion about the concept of Home video in
Nigeria said “those films are vehicles of violence, sex
and alien culture, a culture into which we are not
integrated and into which we, infect, refuse to be
integrated because we want to remain ourselves”. He
then urged, “we must put into images the African struggle
against the underdevelopment created by colonialism”.
During 1990’s, when the Home video was launched,
lots of movies produced then were didactic, and treated
in-depth our core cultural and social actions that left
moral lessons to the viewers which was healthy to the
growth of the society; but today it can be said that the
initial concept have been neglected.
Considering the action in the first Home video, “Living
in Bondage”, Andy Okeke wanted material success at all
cost. An old schoolmate recruits him into a cult. To be as
wealthy as all other members, he is to offer as a sacrifice
the person dearest to him, he sacrificed his wife, and also
14 Int. Res. J. Musicol. Drama
became extremely wealthy. But her ghost gave him no
peace, and all attempts by the cult to exorcise it fall. On
the day he is being conferred with a chieftaincy title, the
ghost drived him mad. Help I sought from a Pentecostal
Church. here he confessed his blood guilt. As the film
ends he is on the long road to recovery. Ekwuazi
(1997:72) contended that the story established and
exemplified the characteristic handling of the urban
scene: a compound of money, violence, occult rituals,
women, fraudsters and strange occurrence in the lives of
the upwardly Mobil in the dark belly of the city. it was a
story that reflected the evil that was eating deep into our
society and which helped to subside the undue practices
and involvements.
Haynes and Okorie (1997:37) said that “the success
and importance of the film (Living in Bondage) have a
little to do with its aesthetic qualities, but rather with its
powerful crystallization of common ideas of the urban
masses”.
It is a known fact that art without a cultural base is
meaningless, and video or film represents and project our
cultural elements, which are language, religion, style and
so on.
Johns in (1997:99), opined “without a doubt, film is the
most effective medium for the promotion, propagation
and even preservation of culture. Many cultures of the
world have used its potentials to their advantage. The
Indian, Chinese, Britain and American cultures have all
influenced Nigeria in this was. This fact is not lost on the
Nigerian film maker”.
Although, what differentiates Nollywood Industry from
other movie industries is its ability to keep the culture at
the forefront, each industry projects the culture it
represents, the Indians (Nollywood Industry). Albert,
Nigeria with its diverse ethnic groups have each ethnic
group projecting its culture. The Yoruba, Hausa, Igbo,
Urhobo, and a lot of other groups all use movies to
promote their cultural beliefs, and all that gear towards
propagating the nation’s development and growth. The
Yoruba film bases its theme on village idylls, traditional
religious dramas, juju contests, and farcical comedy; it
dominated the Yoruba traveling theatre films (Okome
1991:55). The Igbo Video, which could represent the
English Video, placed its theme on love, rituals, money
making, and land struggle and so on. While the Hausa
film pervasively presents the culture of Islam. Hatness
and Okome (1997:21) said that “the videos are produced
on several district bases, and have a variety of forms,
styles, and themes as well as language of expression.
Taken together, they gave us something like an image of
the Nigerian nation- not necessary in the sense of
delivering a full, accurate and analytical description of
social reality, but in the sense of reflecting the productive
forces of the nation, both economic and cultural”.
Films are not only used in exalting the culture and
values, but it also used to reveal and communicate some
vices, drug abuse and other social disintegration. It is the
weapon of communication that buttresses the view on
Solanas and Getino (1978:58), “that film is a kind of
weaponry, but it is certainly a communication medium that has played a prominent revolutionary role in a
number of third world nations film, the most valuable tool
of communication of our times’.
Bill Nicholas (1976:24), revealed that “the film is
ideology presenting itself to itself, talking to itself, learning
about itself…” The above statement supports the view
that film communicating the cultural ethics and values to
the society, it has lots of responsibilities to play.
National Film and Video Censor board (2004:6), in
addressing the above view stated thus on their part, “Film
and Video producers, while demanding from the public
and public leaders a sympathetic understanding of their
purpose and problems and a spirit of cooperation that will
allow them the freedom of opportunity necessary to bring
the motion picture to a still higher level of wholesome
entertainment for all the people, are obliged to be
conscious always of the necessity to be committed to the
principle of social responsibility and the need to preserve
common national ethos”.
Also, in stressing this point, the film and video
directory in Nigeria (2004:4) resolved, “that film makers
should endeavour to preserve our cultural values”.
Having considered all these points above, it is quite
obvious that the original concept of Home video has not
been maintained. Home video have lost its original value
and taste, they are no longer weapons of communication,
education, caution and information but are now weapons
of corruption and the abandoned allen culture have been
brought back to base.
Theoretical framework
So far, we have been able to conceptualize an examine
the home video in Nigeria with its influence on the
audience especially youths as the case of concentration,
but having this stuffy based on communication, it is
pertinent to cite this study to relative theory in mass
communication.
With so many theories of mass communication in
view, the researcher would have to examine the one
most related to the study. The social responsibility theory
is found most appropriate to the study.
Nkwocha (1995:145), explains that role of the social
responsibility theory. He postulates that ‘the press in any
country should be responsive to the wishes, yearning and
feelings of the people to create a better society’. He
mentioned some basic tasks of the theory, which includes
enlightening the public, providing entertainment,
safeguarding their rights and some other things. All
these goes towards projecting and culture to the
viewers and exalting it for proper inculcation and
to encourage the press to serve the citizens well and to
also serve as watchdog to the government and the
society.
According to Dennis McQuail (1987:117-118), the
principal of the social responsibility theory includes:
That media should accept and fulfill certain obligation
to the society.
a. That through professional standards of in
formativeness, truth, accuracy, objectivity and
balance, these obligations can be met.
Onwukwe et al. 15
b. That media should regulate itself within the
framework of law and established institution to be
able to carry out its responsibilities.
c. That whatever might lead to crime, violence civil
disorder to offence to minority groups should be
avoided by the media.
d. That the media should reflect its society’s plurality,
given access to various points of views and grant all
the right to reply.
e. Based on principle (a) the society has the right to
expect high standard of performance from the media.
Intervention can also only be justified to secure public
good.
f. Accountability of media professionals should be to
the society, employers and the market.
In a nutshell, home video in Nigeria should be a
channel for cultural exaltation, for eradicating some vices
and for educating and training the viewers, in order to be
the citizen they ought to be and for the development and
growth of the nation. The last point or principles of social
responsibility theory most appropriately captures this
work.
authorities in the selected groups. Table 1
The sample size of this study shall be dependent on
the population of each of the groups selected for study,
(i.e) a high population, high sample size; low population,
low sample size. This is presented below: Group table
The sampling procedure adopted for this study is
stratified sampling procedure. Nwodu (2006:54) states
that: Stratified sampling technique involves given
population from which the samples are to be drawn into
strata.
The researcher ensured that each stratum contains all
characteristics or parameters of the entire population.
Adopting this procedure, the population is divided into
three strata or sub-sets in Aba metropolis. Namely:
1) Traders/Artisans
2) Government workers
3) Students
The actual samples were gotten using simple random
sampling without replacements, in which numbers were
assigned to the elements subjects in each group and
randomly selected without replacement.
Presentation of data and analysis
RESEARCH METHODOLOGY
The survey research design is the principal and only
method adopted and used in this study. The population of
the study consists of the elements a researcher has set
out to study. The population of the study shall consist of
viewers in Aba Area/ metropolis of Abia State of Nigeria.
Aba Metropolis is a highly populated area of the state. It
is often described as the commercial nerve centre east of
the Niger. This is because of its commercial nature with
inhabitants from virtually all parts of Nigeria. Aba
metropolis is also considered apt for the study because it
is considered among the towns in which inhabitants
patronize home movies and hence subjects are
considered relevant for this study.
The population of this study has been divided into
broad groups namely:
i) Traders/Artisans
ii) Workers (government)
iii) Students
This classification covers a large percentage of
inhabitants of Aba metropolis. The following is the
distribution of the population of this study.
i) Traders/Artisans- International Motor-Parts market,
Alaoji, Aba.
ii) Trades/Artisans– Aba- South local Government
Secretariat, Aba town hall.
iii) Students – Abia State Polytechnic, Aba.
International Motor-parks market, Alaoji is considered
because it comprises both traders and artisans. Aba
South workers are considered for its strategic location (at
the centre of the town) while Abia Polytechnic students
are considered to have come of age than their colleagues
in secondary and primary schools within the city and
hence are assumed to be relevant for this study.
Subjects are sampled in this groups based on their
population which will be gotten through the appropriate
Analyses in Table 2,3 and 4 reveal the demographics of
the respondents. From the analysis in table 2, 53% of the
respondents are female while 47% are male.
Table 3 analysis reveals the occupation of the
respondents. 30% of the respondents are artisans, 28%
traders, 21% civil/public servants while 20% are students.
These represent the physical observation of the
researcher. Table 4 shows the age distribution of
respondents. 68% of the respondents are within the age
bracket of 31-50, 21% of the respondents are
within 15-30, while 11% are within the age bracket of 5080years.
Analysis in table 5 shows respondents rate of
watching Nigerian movies. If reveals that 53% of the
respondents are OFTEN VIEWERS of Nigerian home
movies, 40% are NOT OFFTEN VIEWERS while 7% is
UNDECIDED. It could be deduced from the analysis that
majority of the respondents are OFTEN viewers of
Nigerian movies. This could have been informed by the
earlier but checked proliferation of Nigerian home
movies.
Again,
the
advent
of
stations
on
television packages like MVTV and DSTV such as MUVI
TV, Africa magic, which presents Nigerian home movies
all the time has made it easier for people to be
addicted to Nigerian movies. Also, people believe
that the movies are very entertaining hence increase in
exposure.
Analysis in table 6 displays subject’s response on
whether they are or have watched Tonto Dike in Nigerian
movies. Here, 88% of the subjects said they have
watched Tonto Dikeh, 11% said No while only (1%) of the
subjects was undecided. This could have been informed
by the fact that TonTo Dikeh is a renowned actress and
features in most Nigerian movies. She acts well and
exhibits the skills to effectively perform or displaying any
role she is assigned.
16 Int. Res. J. Musicol. Drama
Table 1. Distribution of respondents.
Group
International Motors-parts Market Aba
(Registered)
Aba-South government workers
100 Level students of Business
Management Abia Polytechnic
Total
Population
245
Sample
189
87
92
74
76
424
339
Table 2. Gender of respondents
Male
159
(47%)
female
180
(53%)
Total
339
(100%)
Table 3. Occupation of respondents
Trader
94
(28%)
Artisan
103
(30%)
Student
70
(20%)
Civil
72
(21%)
Total
33
(100%)
Table 4. Age distribution of respondents
15-30yrs
70
(21%)
31-50
230
(68%)
50-80
39
(11%)
Total
339
(100%)
Table 5. Respondents’ rate of watching nigerian home movies
Often viewer
180
(53%)
Not often viewer
137
(40%)
Undecided
22
(7%)
Total
339
(100%)
Table 6. Responses of the subjects on whether they
have watch tonto dikeh in any nigerian movie?
Yes
297
(88%)
No
39
(11%)
Not sure
2
1%)
Total
339
(100%)
Table 7. Response of the subjects on whether they
have watched mercy johnson in any nigerian
movie.
Yes
300
(88%)
No
35
(10%)
Analysis in table 7 shows subjects response on
whether they have watched Mercy Johnson in Nigerian
movies. Here, 88% of the respondents said they have
watched Mercy Johnson, 10% said No while only 2% was
Not sure
4
(2%)
Total
339
(100%)
undecided. It is however, a common knowledge that
mercy Johnson is a familiar face on Nollywood. She
features in most movies and possesses a rare
dexterity to effectively act any role given for her, she is a
Onwukwe et al. 17
familiar face in the Nollywood.
Analysis in table above reveals subjects’ opinion on
the nude display of the two actresses. Here, 85% of the
subjects said they see the two actresses appear nude in
Nigerian movies, 12% said No while 3% are undecided.
The implication of it, is that majority of the sample said
they see the two actresses appear nude in Nigerian
movies. Again, this corroborates Aja (2008) observation
that “nudity is gradually taken a larger slot of Nollywood
and more noticed with the familiars faces on the
nollywood”. It is also important to state that in an
interview Mercy Johnson granted one of the Nigerian
print outfits she opined that nudity is a thing of role
assigned an actress, ordinarily no actress would want to
go nude.
X = ∑FX = 1350 = 3.98 = 400
N
339
Analysis above is a likert scale analysis of the question
put for ward to respondents; which sought the opinion of
the respondents whether the nude display of the two
actresses is their natural behaviour. It sought to reveal
whether subjects believe that the two actresses are
naturally attuned to nude display or whether subjects are
beginning to see their nude displays as their natural
behaviour. However applying the judgment form for likert
scale which is 3.00- Above is acceptable while below 3 is
not acceptable. It could be deduced from the analysis,
that subjects believe that the nude display of the two
actresses in Nigerian movies is their natural behaviour.
Again, it should be noted that the African society and
culture shun at nudity especially when a woman is
involved. Rather than add to one’s fame; it makes the
society see one as one who has no dignity.
X = ∑FX = 720 = 2.12
N
339
Applying the judgment form for the likert scale, it is
evident from the analysis that the value is not up to 3.00
hence the statement that the nude display of the two
actresses is a staged action is not acceptable. It could
therefore, be deduced that respondents do not believe
that the nude display of the two actresses is a staged
action (ie) they do not believe that the two actresses
appear nude because they are featuring in movies.
Hence, they are of the opinion that the two actresses are
prone perhaps by nature or home training have the flare
for nudity.
Credence could be given to these observations bearing in
mind the societal or cultural stigma associated with nudity
especially with woman. Again, as against the professional
believe that “on-the-screen” character is different from
“off-the-screen’ character; respondents seem not to share
this ideology and that is why perhaps they assume the
nude display of the two actresses to be their natural
behaviour.
X = ∑FX = 1446 = 4.2
N
339
Appling the judgment form for the likert scale, it is
evident from the analysis above that the value (4.2) is
above 3.00 hence the statement that people are
favorablely disposed to the two actresses despite
their nude displays is acceptable. The implication of this
observation is that some people see the two actresses as
their models, others are just attracted to them despite the
nude display. It is notable however, that for this people,
on-the screen character is quite different from off-thescreen character. Again, it is assumed that the dexterity
or skills showcased by these actresses in Nollywood may
have gained them such favorable disposition by viewers.
X = ∑FX = 1356 = 3.98 = 400
N
339
Applying the judgment form for the likert scale, it is
evident from the analysis above that the value is above 3
which implies that the statement that the nude displays of
the two actresses have gained them public condemnation
is acceptable.
It is notable that nudity runs contrary to our cultural
values especially with women, hence it follows that
people do not always accept nude displays within our
society. Again, women are seen as creatures with dignity
and pride which must be guarded jealously. Despite that
majority of the respondents are favourably disposed to
the two actresses; their nude displays in most of their
movies is not acceptable to the people and has by
extension attracted public condemnation. This however
has a significant impact on their social life. They are
rather viewed with mixed feelings despite the fact that it
may not actually be a reflection of their true or real
character. Aja (2005) corroborates.
The role one takes in a movie affects viewer’s perception
about one…………………..
DISCUSSION OF FINDINGS
Research question one
Do viewers in Aba metropolis see the nude display of
the two actresses as their natural behaviour?
From the analysis in table 9 and 10 above, it is evident
that respondents tend to believe that the nude display of
the two actresses in the Nollywood is their natural
behaviour. However, in table 8 above, 85% of the
respondents said they see the two actresses appear
nude in most of their movies.
It is pertinent to state here that the professional
disparity between “on-the-screen” character and ‘off-thescreen’ character seem not to hold water with the
ordinary people who constitute the greater viewing
audience of the Nigerian movies. There is the tendency
of most viewers to carry over ‘on-the-screen’ roles of
characters in a movie to mean their “off-the-screen”
characters. This, no doubt could have influenced the
respondents believe or perception that the nude display
of the two actresses is their natural behaviour.
Aja (2005) had observed that role given a character in
a movie directly or indirectly influence people’s
(especially viewer’s) perception about such a character. It
appears this is what is playing out in the
respondent’s assessment or perception of the two
notable actresses.
18 Int. Res. J. Musicol. Drama
Table 8.
Subjects response on whether they
see the actresses appear nude in nigerian movies
yes
289
(85%)
No
40
(12%)
Not sure
10
(3%)
Total
339
(100%)
Table 9. The nude display of the two actresses is their natural behaviour.
Variables
SA
A
UND
SD
D
TOTAL
Code (X)
5
4
3
2
1
Frequency (F)
139
100
60
35
5
339
FX
5X139 =695
4X100 = 400
3X60 = 180
2X35 = 70
1X5 = 5
1350
Table 10. The nude display of the two actresses is a staged action).
Variables
SA
A
UND
SD
D
TOTAL
Code (X)
5
4
3
2
1
Frequency (F)
15
9
46
202
67
339
FX
5X15=75
4X9 = 36
3X46 = 138
2X202 =404
1X6 = 6
720
Table 11. People are favorably disposed to the two actresses despite the
nude displays.
Variables
SA
A
UND
SD
D
TOTAL
Code (X)
5
4
3
2
1
Frequency (F)
201
68
44
11
15
339
FX
5X201 =695
4X68 = 400
3X44 = 180
2X11 = 70
1X15 = 5
1446
Table 11. The nude displays have gained the two actresses public
condemnation.
Variables
SA
A
UND
SD
D
TOTAL
Code (X)
5
4
3
2
1
Research question two
Do viewers in Aba metropolis see the nude display of
the two actresses as a staged or (artificial) action?
Analysis in table 10 reveals that the respondents per-
Frequency (F)
130
109
75
20
5
339
FX
5X130 =695
4X109 = 400
3X75 = 180
2X20 = 70
1X5 = 5
1356
ceive the nude display of the two actresses as not an
artificial action or a staged action quite some factors can
account for this perception of respondents. Majority of
people in our society believe that before one can
effectively act any role he/she given, he/she must
have some natural tendencies to exhibit such roles. This,
Onwukwe et al. 19
no
doubt
could
have
influence
respondents
perception that the nude display of the two actresses as
not staged.
Again, no matter the angle it is looked at, the issue of
nudity especially when a woman is involved is viewed
with discontent in our local culture. The culture of
Africans bestows dignity and pride on women hood. And
so any attempt to fall short of this cultural expectation for
any reason whatsoever is rather viewed with discontent
and it is disapproving of the society.
History has it that in some parts of the Nigerian
culture, when a woman is nude, it is tantamount to the
same offense for which she could be banished from the
society or even avoided like a plaque by the society. It I
therefore pertinent to observe that there is a cultural
dimension of the perception of the respondents about the
nude display of the actresses because nudity runs
contrary to our cultural values.
characters could be role-defined. For from this, is the
widely help opinion that one cannot effectively act a role
except he/she has natural tendencies to exhibit such
character or role. It follows therefore that the
respondents’ negative perception about the nude display
of the two actresses could be attributable to the above
stated reasons.
Again, it is must be noted that people often judge by
what they see. There is no doubt that the nude displays
of the to actresses has affected negatively respondent’s
perception about them. It was also noticed that the
names of the two actresses are stereotypic of lack of
dignity and waywardness of womanhood through they
are celebrities. The inability of respondents to
differentiate on-the-screen character and off-the-screen
character of actors/actresses might have influenced the
respondents’ perception about the two actresses.
CONCLUSION
Research question three
Are viewers in Aba metropolis favourably or
unfavourably disposed to the two actresses in view
of the nude displays?
Analysis in table 11 above reveals that the respondents
are favourably disposed to the two actresses despite of
their nude displays. It is notable that there is a growing
craziness over modeling amongst Nigerian Youths and
adolescents. Majority of Youths see movies and music
artists as their modes and by so doing they get attracted
to them. This, no doubt may have influenced the
respondent’s favourable disposition towards the two
actresses. Majority of the subjects said they like or
admire the two actresses.
Again, respondents may have been so influenced
considering the dexterity or skill exhibited by the two
actresses in most of their movies. Majority of respondents
believe the two actresses are well gifted or talented in
movies-making. Their famousness in the Nollywood, all
give credence to the observation that respondents are
favourably disposed to the two actresses.
Research question four
To what significant extent has the nude display
gained public admiration or condemnation for the
two actresses?
From the analysis in table 3 above, it is clear that the
respondents per came the nude displays contributions to
the public condemnation on the two actresses. Here,
respondents (majority) agree that the nude display of the
two actresses have gained them public condemnation.
Aja (2005) corroborates that the role a character plays in
a Mauje affects the viewer’s perception of the character.
The fact however remains that the role a character plays
affects a lot about the person; all the artifact of the person
has to reflect the role. So, some nude display of some
Based on the data collected and analyzed in this study as
well as the findings made, the study concludes as
follows:
Those viewers in Aba metropolis of Abia State
perceive the nude display of the two actresses
negatively. Their impression about the lives of the two
actresses is that even outside the movie world, they have
the natural tendencies to exhibit nude displays. This
however, is a reflection of their inability to differentiate the
‘on-the-screen’ and) ’off-the-screen’ life of the actresses.
Again, viewers in Aba metropolis see the nude display
of the two actresses as their natural behaviour (i.e.) they
do not perceive the nude displays as a staged action.
This reflects the cultural condemnation of nudity
especially when a woman is involved. Womanhood is so
much attached to dignity and respect in our culture and
hence is believed not to be relegated for any reason what
so ever.
That there is a significant relationship between the
appearance of a character in a movie and viewer’s
perception about him/her. So, in line with this plays (2005
Observes that the role a character plays affects the
viewer’s perception about him/her.
The study further concludes that the negative
impression, perception of viewers about the nude
displays of the two actresses affects their representation
in the society. They seem to be stereotypic of ‘lack of
dignity’ for womanhood.
RECOMMENDATIONS
Based on these conclusions of this study, the study
hereby recommends as follows:
a) Movie producers, directors and script writers should
take cognizance of the cultural position in any issue
before creating the storyline, plot and most especially
costumes of their work of art.
b) The National film and video censorship board should
rise up to the challenge of cross-checking movies
20 Int. Res. J. Musicol. Drama
that are allowed to see the light of the day. It should
sit up to its responsibilities
c) Actors and actresses in the Nollywood need ethical
re-orientation on the roles they play, scripts they
accept knowing fully well that the society sees them
as the light-bearers. Roles and costumes should
blend with cultural values and other than run contrary
to cultural values, norms and heritages, they should
promote them.
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