Project – Nollywood Narratives and Changing Perceptions of Traditional Marriage Practices among Nigerian Youths: A Study of Selected Youths in Awka, Anambra State

CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

Marriage is one of the most important social institutions through which societies regulate family formation, kinship relations, reproduction, social responsibilities and the transmission of cultural values from one generation to another. In Nigeria, marriage is not merely a private relationship between two individuals but is often understood as a union involving families, kinship groups and, in many communities, wider social networks. Traditional marriage practices therefore contain cultural expectations concerning partner selection, parental involvement, bride price, family negotiations, gender responsibilities, ceremonies and the obligations of married couples. Although these practices differ across Nigeria’s ethnic groups, they remain significant components of cultural identity and social organisation. Research on young Nigerians has shown that perceptions of a good husband and good wife are influenced by relationships, kinship expectations and gender roles, demonstrating that ideas about marriage are embedded within broader cultural contexts (Pfeffer, 1997). Similarly, Nwoko (2020) found that traditional marriage practices among the Owerre-Igbo have undergone considerable changes as a result of contact with other ethnic groups, Christianity, Western education and occupational changes. These developments indicate that traditional marriage is not static but is continuously negotiated as society changes.

The Igbo traditional marriage system represents an important expression of the cultural heritage of southeastern Nigeria. Among Igbo communities, marriage traditionally involves a process of family introduction, investigation, negotiation, payment of bride price and other culturally prescribed activities before the marriage is socially recognised. The process also gives families and community members important roles in establishing social relationships between the bride’s and groom’s families. In contemporary times, however, these practices have increasingly interacted with Christianity, formal education, urbanisation, economic change, migration and Western cultural influences. Nwoko (2020), in his historical study of Owerre-Igbo marriage, observed that contemporary Igbo traditional marriages have become characterised by cultural borrowing and adaptations, demonstrating the changing nature of marriage practices in southeastern Nigeria. Similarly, Makinde, Ezeonye, and Eme (2024), in their sociolinguistic study of traditional marriage terminology in Awgbu, Anambra State, demonstrated that traditional marriage practices remain embedded in local language, social relationships and cultural knowledge. The implication is that changes in marriage practices may represent not only changes in ceremonies but also changes in the meanings attached to marriage, family authority and cultural expectations.

The mass media has become an important institution through which Nigerians encounter representations of family life, gender relations, romance and marriage. Among the various forms of mass media, film possesses a particularly strong capacity to present social behaviour through characters, dialogue, visual images, conflicts and narratives. Nollywood, Nigeria’s indigenous film industry, has become an influential platform through which Nigerian social realities and cultural practices are represented, interpreted and sometimes reconstructed. Nigerian films frequently address issues such as courtship, parental approval, bride price, inter-ethnic marriage, gender expectations, marital conflict, family authority and changing ideas of love. Vitalis, Amadi, and White (2024) argue that Nollywood plays an important role in constructing and negotiating cultural identity and cultural representation in Southern Nigerian cinema. This means that films can do more than entertain audiences: they can provide viewers with particular interpretations of what is considered normal, desirable, traditional or modern within Nigerian society. Through repeated exposure to such narratives, audiences may develop, reinforce or question their perceptions of cultural practices.

Nollywood’s representation of traditional marriage is particularly important because films may present cultural practices in ways that combine realism, entertainment, exaggeration and contemporary social values. Ndu-Udeji and Adama (2019), in their examination of the representation of Igbo traditional marriage in selected Nollywood films, found that although films can function as routes through which cultural heritage is preserved and propagated, the representation of Igbo traditional marriage in the selected films was largely characterised by fantasy rather than complete cultural realism. This observation raises an important concern about how young viewers interpret traditional practices after encountering them through film. If a traditional marriage ceremony is presented in an exaggerated, romanticised or distorted manner, viewers who have limited direct experience of the traditional process may form perceptions based partly on cinematic representations. The issue becomes particularly important among young people who increasingly consume films through television, smartphones, streaming platforms and social media. Thus, Nollywood can simultaneously contribute to cultural preservation and create alternative interpretations of traditional marriage practices.

The influence of Nollywood on perceptions of marriage is also evident in the way films portray gender roles, family authority, marital conflict and expectations concerning husbands and wives. Aifuwa Edosomwan (2024), in a study of audience perceptions of marriage representations in Nigerian films, found that themes such as male dominance, mother-in-law conflict, marital disputes and financial stability were common in both older and newer Nollywood productions. The study also observed that newer Nigerian films increasingly presented more balanced representations of gender roles and reflected changes occurring in Nigerian society. Such representations are important because young viewers may encounter competing messages about marriage: some films may reinforce patriarchal expectations and traditional authority, while others may promote negotiation, gender equality, romantic choice and individual autonomy. Consequently, Nollywood narratives may contribute to the transformation of young people’s understanding of what marriage should involve, including their perceptions of parental involvement, bride price, gender responsibilities and the relative importance of tradition and personal choice.

The relationship between film narratives and changing perceptions is especially significant among Nigerian youths because young people are active consumers and interpreters of popular culture. Contemporary youth audiences do not necessarily receive cultural messages passively; rather, they may accept, negotiate, reinterpret or reject messages presented through media. Recent scholarship on Nigerian films indicates that Nollywood productions can become cultural spaces where young audiences encounter ideas about family responsibility, morality, gender, masculinity, social class and aspirations. Osaghae, Ayomide, and Osasere (2026), in their analysis of indigenous Nigerian films, found that cinematic narratives surrounding marriage and sexuality frequently reproduce cultural expectations concerning marital duties, gender roles and social morality, although some narratives also contain emerging patterns of negotiation and communication between partners. Similarly, Oji (2024) demonstrated that selected Nigerian movies use inter-ethnic marriages to construct narratives concerning cultural identity, resistance, family authority and the acceptance or rejection of marriages across ethnic boundaries. These representations can be particularly influential when they provide young viewers with models against which they compare their own cultural expectations and future marital choices.

The changing nature of traditional marriage practices in Anambra State makes the study of Nollywood narratives and youth perceptions especially relevant. Anambra is predominantly Igbo and has a rich cultural heritage in which marriage traditionally involves families, kinship networks, negotiations and culturally meaningful ceremonies. However, increasing urbanisation, formal education, Christianity, economic pressures, social media and exposure to global popular culture have created new conditions under which traditional practices are interpreted and modified. Research conducted in Anambra communities demonstrates that traditional marriage remains connected to indigenous language, symbols, cultural knowledge and community identity (Makinde et al., 2024). At the same time, research on the representation of Igbo culture in Nollywood has raised concerns about cultural misrepresentation, arguing that some films portray Igbo customs and values inaccurately and may consequently influence public perceptions of the culture (Obi-Ani, Ezeugwu, & Anikwenze, 2024). This is significant for youths in Awka, the capital of Anambra State, because they are situated at the intersection of indigenous cultural practices and modern urban media culture.

Awka therefore provides an appropriate setting for examining how Nollywood narratives may relate to young people’s perceptions of traditional marriage practices. As an urban centre with educational institutions, commercial activities, religious organisations, modern entertainment and extensive exposure to digital media, Awka provides young people with opportunities to encounter both traditional and contemporary interpretations of marriage. The central issue is not whether Nollywood alone causes changes in young people’s perceptions, since attitudes toward marriage are shaped by many factors, including family upbringing, religion, education, peer influence, economic conditions and personal experience. Rather, the concern is whether the narratives and representations encountered in Nollywood contribute to the ways youths understand, evaluate and negotiate traditional marriage practices. Existing studies have examined the changing nature of Igbo marriage, the representation of Igbo culture in Nollywood and audience perceptions of marriage in Nigerian films, but there remains a need for a focused study connecting these issues specifically to youths in Awka, Anambra State. This study therefore investigates Nollywood narratives and changing perceptions of traditional marriage practices among Nigerian youths, with particular reference to selected youths in Awka, Anambra State.

1.2 Statement of the Problem

Traditional marriage practices constitute an important component of Igbo cultural identity, but their meanings and forms have continued to change in response to social, economic, religious and cultural transformations. Practices involving parental participation, bride price, family negotiations, gender roles and ceremonial obligations may no longer be understood by young people in exactly the same way as they were by previous generations. Nwoko (2020) found that changes in Igbo traditional marriage practices have been associated with extensive cultural contact, Christianity, Western education and occupational transformation. While cultural adaptation is a normal feature of social development, rapid changes may create tension between traditional expectations and contemporary values. Young people may increasingly emphasise individual choice, romantic compatibility, economic independence and personal autonomy, while older generations may continue to attach greater importance to family authority and established cultural procedures. The resulting differences in perception create the need to understand the factors contributing to changing youth attitudes toward traditional marriage.

A major concern is the increasing role of Nollywood in representing marriage, family relationships and cultural practices. Nigerian films frequently portray traditional marriage ceremonies and related issues, but such portrayals may combine cultural reality with dramatic exaggeration, fantasy and contemporary social values. Ndu-Udeji and Adama (2019) found that selected Nollywood films depicting Igbo traditional marriage were largely characterised by fantasy rather than complete realism. Similarly, Obi-Ani et al. (2024) argued that some Nollywood films misrepresent Igbo cultural values and traditional practices, noting that inaccurate representations may influence perceptions of indigenous customs. If young viewers repeatedly encounter distorted or selective representations of traditional marriage, they may develop expectations about marriage that differ from the practices observed within their families and communities. The problem is therefore not simply that Nollywood portrays traditional marriage, but that the manner in which it is portrayed may contribute to how young people understand and evaluate the legitimacy, relevance or desirability of traditional practices.

Another problem concerns the competing images of marriage presented to Nigerian youths through contemporary Nollywood. On one hand, some films reinforce traditional ideas concerning family authority, male leadership, parental approval and gender responsibilities. On the other hand, newer productions increasingly present individual choice, romantic love, gender negotiation, female agency and more flexible marital relationships. Aifuwa Edosomwan (2024) found that Nigerian films commonly depict issues such as male dominance, mother-in-law conflict, marital disputes and financial considerations, while newer films have also shown more balanced gender roles. Osaghae et al. (2026) similarly found that indigenous Nigerian films continue to reproduce several traditional expectations surrounding marriage, even though some emerging narratives promote negotiation and communication. These competing representations may leave young viewers negotiating between inherited cultural expectations and modern interpretations of marriage. It is therefore necessary to establish the extent to which Nollywood narratives are associated with changing perceptions among youths rather than assuming that media exposure automatically produces a particular attitude.

The specific problem addressed by this study is the limited empirical understanding of how selected youths in Awka perceive traditional marriage practices in relation to the Nollywood narratives they consume. Existing scholarship has examined changes in Igbo marriage practices, representations of marriage in Nigerian films and misrepresentations of Igbo cultural values, but fewer studies have directly connected Nollywood narratives with the perceptions of youths within Awka, Anambra State. This gap is important because Awka youths are exposed simultaneously to indigenous family traditions, Christianity, formal education, peer culture, social media and Nollywood productions. Their perceptions may therefore reflect a complex interaction between traditional cultural socialisation and contemporary media narratives. Without empirical evidence from the local population, it remains difficult to determine whether Nollywood reinforces traditional marriage values, challenges them, or contributes to a hybrid understanding of marriage among young people. This study consequently seeks to examine the relationship between Nollywood narratives and changing perceptions of traditional marriage practices among selected youths in Awka, Anambra State.

1.3 Purpose of the Study

The main purpose of this study is to examine the influence of Nollywood narratives on changing perceptions of traditional marriage practices among selected youths in Awka, Anambra State.

Specifically, the study seeks to:

1. examine the extent to which youths in Awka are exposed to Nollywood narratives concerning marriage;
2. identify the major themes concerning traditional marriage practices presented in selected Nollywood films;
3. examine youths’ perceptions of traditional marriage practices in Awka;
4. determine the influence of Nollywood narratives on youths’ perceptions of traditional marriage practices

1.4 Research Questions

The following research questions will guide the study:

1. To what extent are youths in Awka exposed to Nollywood narratives concerning marriage?
2. What major themes concerning traditional marriage practices are presented in selected Nollywood films?
3. What are the perceptions of youths in Awka regarding traditional marriage practices?
4. To what extent do Nollywood narratives influence youths’ perceptions of traditional marriage practices?

1.5 Research Hypothesis

The following null hypothesis will be tested at the 0.05 level of significance:

H₀: There is no significant relationship between exposure to Nollywood narratives and youths’ perceptions of traditional marriage practices in Awka, Anambra State.

1.6 Significance of the Study

This study will be significant to Nigerian youths, parents and families, cultural practitioners, Nollywood filmmakers, communication scholars, researchers, religious organisations and policymakers.

Nigerian Youths: The study will help youths understand how media representations may influence their understanding of marriage and cultural practices. It may encourage critical evaluation of cinematic representations rather than accepting every portrayal as an accurate reflection of Nigerian culture.

Parents and Families: The findings may help parents and older family members understand the changing attitudes of young people toward traditional marriage. This may promote better intergenerational communication concerning marriage expectations and cultural values.

Cultural Practitioners: The study may provide useful information concerning how traditional marriage practices are perceived by younger generations and how popular culture contributes to the preservation, modification or reinterpretation of those practices.

Nollywood Filmmakers: The findings may encourage filmmakers to pay greater attention to the accuracy and cultural sensitivity of representations of traditional marriage. This is important because films can contribute to the preservation or distortion of cultural knowledge.

Communication and Media Scholars: The study will contribute to scholarship on media effects, audience interpretation, cultural representation and the relationship between popular culture and social change.

Researchers: The study will provide a basis for further research on Nollywood, youth culture, marriage, Igbo cultural practices and changing social values.

Policymakers and Cultural Institutions: The findings may assist institutions concerned with cultural preservation in understanding how contemporary media influence young people’s attitudes toward traditional cultural practices.

1.7 Scope of the Study

The study will focus on Nollywood narratives and changing perceptions of traditional marriage practices among selected youths in Awka, Anambra State.

The geographical scope will be limited to Awka, Anambra State. The study will involve selected youths within the study area who have exposure to Nollywood films.

The content scope will focus on Nollywood representations of traditional marriage, including parental involvement, bride price, family negotiations, gender roles, partner selection, marital expectations, traditional ceremonies and the relationship between individual choice and family expectations.

The study will also examine youths’ exposure to Nollywood, their perceptions of traditional marriage practices and the extent to which they believe Nollywood narratives influence those perceptions.

The study will not attempt to examine all Nollywood films or all traditional marriage systems in Nigeria. Its focus will be on selected Nollywood narratives and their perceived influence on traditional marriage perceptions among selected youths in Awka.

1.8 Operational Definition of Terms

Nollywood: The Nigerian film industry and the body of Nigerian-produced films through which Nigerian social, cultural, political and interpersonal experiences are represented.

Nollywood Narratives: The stories, themes, characters, dialogue, conflicts, cultural representations and messages concerning marriage and family life presented through Nigerian films.

Traditional Marriage: A culturally recognised marital union conducted according to the customs, values and procedures of a particular Nigerian community.

Traditional Igbo Marriage: Marriage conducted according to relevant Igbo cultural practices, which may include family introduction, investigation, negotiation, bride-price payment, traditional ceremonies and the involvement of families and kinship groups.

Perception: The way individuals understand, interpret, evaluate or form opinions about a particular social practice.

Youth: Young people within the age range adopted for this study and residing, studying or working within Awka, Anambra State.

Cultural Values: Shared beliefs, principles, norms and expectations that guide the behaviour and social relationships of members of a particular cultural community.

Media Influence: The extent to which exposure to media messages is associated with changes in individuals’ knowledge, attitudes, perceptions or behaviour.

Bride Price: Money, goods or other culturally recognised items provided by the groom or his family to the bride’s family as part of the traditional marriage process.

Marriage Practices: The procedures, customs, expectations and ceremonies associated with entering into and maintaining marriage within a particular cultural setting.

Project – Nollywood Narratives and Changing Perceptions of Traditional Marriage Practices among Nigerian Youths: A Study of Selected Youths in Awka, Anambra State