Interrogating the cinematic mis/re/presentation of <i>Odinala in Afamefuna</i>: <i>An Nwa Boi</i> story (2024)

Odinala, referred to as the immutable customary rites and traditions of the Igbo world, is enduring and cuts across indigenous Igbo people. They are the customs, practices and traditions of the Igbo, comprising ancient practices as well as new concepts added into theIgbo culture either by cultural evolution or by outside influence. It is synonymous with culture, generally summarized as the way of life of a people, which incorporates the language, belief system, moral obligations, statutory rights and responsibility, music, dressing, feasts and festivities of a people. Lately, Nigerian filmmakers have begun to skillfully weave tales that reflect the culture and tradition of people. However, the story, as well as the creation and manipulation of characters to suit the culture(s) as portrayed may not be accurate. This may result in a mis/re/presentation of the cultures portrayed. The implication, therefore, lies in the negative images imprinted in the minds of the viewer. Using the theory of Cultural Identity that focuses on the collective understandings of a group, and how individuals use communicative processes to construct and negotiate their cultural group identities and relationships in particular contexts, this article evaluates the concept of Odinala ndi Igbo and its mis/re/presentation in the film, Afemafuna: An Nwa Boi Story. Documentary observation and content analysis were used as the data gathering and analysis tools.