Prominent Nigerian filmmaker, Prince Daniel Aboki, has set the record straight on claims that he was rejected in Kannywood due to his religion and in Nollywood because of his northern background.

In a public statement, the Mai Martaba director dismissed the reports, clarifying that his words had been misinterpreted from comments he made at a Nollywood in Hollywood event in Los Angeles.

“I Was Never Rejected” – Aboki Clears the Air

Aboki explained that his remarks were intended to highlight the segmentation within Nigeria’s film industry and the challenges of navigating both Kannywood and Nollywood. According to him, while his film was sometimes labeled Nollywood by Kannywood and vice versa, this was never a result of discrimination.

"For clarity, Kannywood has never rejected me on the basis of ethnicity or religion. In fact, it has been my greatest pillar of support as a filmmaker," he emphasized.

The filmmaker went on to appreciate Kannywood practitioners and audiences for their unwavering support during Mai Martaba’s cinema run.

A Vision for Growth: Elevating Kannywood on a Global Stage

Beyond addressing the controversy, Aboki reaffirmed his dedication to improving the Kannywood industry. He emphasized his desire to work alongside industry veterans and tell northern stories that resonate globally.

"I remain committed to working with my colleagues and the founding fathers of Kannywood to elevate the standard of our industry—telling our stories to the world and creating employment opportunities for our youth," he stated.

Opinion: Breaking Barriers in a Segmented Industry

Aboki’s clarification sheds light on a deeper conversation about the division between Kannywood and Nollywood. While both industries contribute significantly to Nigerian cinema, the segmentation has often led to challenges for filmmakers trying to bridge the gap.

His experience raises important questions:

Should there be more collaboration between Kannywood and Nollywood to create a unified film industry?
How can Nigerian cinema overcome cultural and language barriers to reach a broader audience?

Aboki’s commitment to challenging stereotypes about Northern Nigeria through storytelling is commendable. It’s a reminder that film is a powerful tool not just for entertainment but for shaping perceptions and fostering unity.

With filmmakers like him pushing boundaries, there is hope for a more inclusive and globally recognized Nigerian film industry. What are your thoughts on the Kannywood-Nollywood divide? Should there be more efforts to unify both industries? Let’s discuss!