Nollywood and tourism are a powerful combination waiting to be explored, as demonstrated in other industries. Before the release of the Oscar-winning film ‘Lord of the Rings’, New Zealand was mostly known for its sheep and rugby team. Today, about 650, 000 tourists visit the fictional town of Hobbiton, set on a farmland, every year. And this is only a small section of the tourism package the country offers. The movie revolutionised the country’s tourism and is one of the many examples that highlights the power of film tourism.
Simply put, film tourism is a form of tourism where tourists visit places and destinations that have gained popularity through their appearances in films and television shows. This aligns with the theory of induced demand. As media exposure calls attention to areas that were not previously considered tourist hotspots, the number of visitors to these places increases, even though many of these tourists might not have chosen to visit them otherwise.
Countries have begun taking advantage of this form of tourism by encouraging location shoots and boosting partnerships between local film industries and tourism boards. Tunmise Olarewaju, the founder of Energy Concept, a tour agency dedicated to showcasing Nigeria, believes Nollywood can also tap into this conjugal bliss. The embrace of film tourism could come with a range of opportunities for the industry. His brash belief stems from the fact that the cultural sector is the only one that has grown on autopilot despite zero policy from the government. He has also witnessed the rise in trips to the Kuti House in Abeokuta after the release of the biopic ‘Funmilayo Ransome Kuti.’
The foremost benefit of film tourism for Nollywood is the creation of new revenue streams. When films become popular and attract tourists to filming locations, there are financial benefits for local businesses, the hospitality industry, and the film industry itself. Merchandise, guided tours, and ticket sales to iconic Nollywood locations can all contribute to additional income for filmmakers, production houses, and local economies.
By engaging in film tourism, Nollywood can help boost local economies. Featuring scenic locations of rural areas promotes sustainable tourism and economic development, bringing more business to local craftsmen, hoteliers, and tour guides. The positive economic impact can also lead to improved infrastructure in these areas as demand for better roads, transportation, and facilities grows.
Energy Concept recently embarked on a trip to Okomu National Park located in Benin; on getting there, they were faced with an eyesore. This park houses the tallest tree and tree house in Nigeria but was run by incompetent staff who extorted them and left the place unkept. A thriving film tourism industry can fund training programs contributing to the development of the country’s human capital.
The sector can support thousands of jobs. From tour guides to hotel staff, local artisans, and event planners, this economic spike will likely be felt across Nigeria, particularly in areas where Nollywood productions are set. It also gives the industry the opportunity to shape perceptions of the country. By promoting tourism through Nollywood films, Nigeria can combat stereotypes and offer authentic representation of us.
Understanding the benefits of film tourism for Nollywood is only a step forward in pivoting the industry’s lens to the concept. The next question that needs to be answered is how Nollywood can tap into film tourism.
The foremost and direct way Nollywood can tap into this industry is by showcasing beautiful, lesser-known locations in films. From the crystal-clear waters of Agbokim waterfalls to the extinct volcanoes of Biu Plateau, movies filmed in these places could pique audience curiosity.
The AFRIFF-screened film ‘The Artifact’ took the audience on a journey through Nigeria, introducing us to Ngwo caves in Enugu, Assop Falls in Plateau and many other sites. International tourists are often drawn to places they see on film/television. A study by the Travelsat Competitive Index illustrates this, showing that in 2017, around 80 million tourists decided to visit a destination primarily because it was featured in a TV show or film.
Incorporating festivals in movies could also drive tourism. The Tope Oshin-directed film ‘Up North’ is an excellent example as it showcased the North by focusing on Bauchi. It gave viewers a glimpse of the Durbar festival and allowed them to experience the richness of Hausa culture. This type of storytelling can be a powerful motivator for cultural tourism, encouraging international visitors to explore the roots of these festivals. It can create interest in attending these festivals in person or visiting historical cities like Benin or Ife.
Film festivals like the African International Film Festival (AFRIFF) can be a catalyst for tourism. Growing these festivals would bring exposure, inviting critics, filmmakers, and actors from all over the world. These festivals would not only give them the opportunity to immerse themselves in Nigerian cinema but they could also tour the country.
For Nollywood to truly be a forerunner of tourism, it needs to collaborate with the Nigerian Tourism Development Authority (NTDA). By working together, Nollywood filmmakers and the tourism board can create films and campaigns that intentionally highlight Nigeria’s attractions. Joint marketing efforts, with films promoted as a window into Nigeria’s tourism potential, can further bridge the gap between entertainment and travel.
Olarewaju also thinks another route the industry can take to bring film tourism to fruition is the privatisation of the tourism sector and its deregulation. The government has done little to keep the sector running but if filmmakers can enter the space and become active players, they could strategically place sites in movies for interest.
Film tourism is an underutilised yet powerful medium for Nollywood to expand its influence and generate additional income. Ultimately, the fusion of cinema and tourism could redefine how the world engages with Nigeria.