Keyword : Bollywood, Yoruba Language, cultural adaptation, media, localization, audience perception, Nigeria
Author(s) : Adeyemo Saheed O.A. & Adeyemi A. Ridwan, PhD.
Abstract :
This study examines the reception of Bollywood movies dubbed and subtitled in Yoruba among Nigerian audiences, focusing on their popularity, audience perceptions, and impact on viewing preferences. Before the emergence of Nollywood in the 1970s and 1980s, Bollywood was a dominant force in Nigeria's film culture. Its resurgence, driven by modern cinematic techniques and cable television platforms such as "Zee World," "Star Gold," and "Zee Cinema," includes the adaptation of films into indigenous languages like Yoruba. The research employed a survey of 2,131 respondents drawn from Ikeja, Mainland, and Lagos Island. Data were analyzed to determine demographic distribution, viewing frequency, attitudes toward legality, humor, contextual quality, and support for promotion or bans. The results show Bollywood-Yoruba films enjoy notable popularity. Demographically, females (58.9%) outnumbered males (41.1%), while the 18–20 age group constituted the largest segment (38.7%). Geographically, respondents from Ikeja represented 38.05%, Mainland 28.3%, and Lagos Island 33.5%. Viewing frequency was high, as 56.3% reported watching Bollywood-Yoruba films to a large extent, compared with 32.8% who did not watch them at all. Similarly, 56.3% expressed love for such films, while 28.2% did not, and 15.5% were undecided. Perceptions revealed nuanced positions. A majority (61.0%) viewed the movie as legal, yet 50% opposed its continued prevalence. Comic relief was widely recognized, with 39.9% strongly agreeing and 9.4% agreeing, though 28.2% disagreed. Concerns about quality were evident, as 37.5% agree and 28.2% strongly agree that the films were poor in context. On banning, 34.3% disagree and 11.3% strongly disagree, yet nearly half (49.6%) supported restrictions. Regarding promotion, 44.6% were undecided, 28.2% agreed, while 23.5% opposed. Finally, popularity within Nigeria’s film industry was affirmed by 39.9% who strongly agree and 25.8% who agree. The findings highlight the dual role of localization in expanding Bollywood’s Nigerian reach while raising critical issues of translation fidelity, contextual alignment, and cultural competition with Nollywood. Yoruba dubbing and subtitling remove linguistic barriers, enhance humor, and foster accessibility, thereby facilitating transnational cultural exchange. However, skepticism over quality and fears of Bollywood overshadowing local productions point to tensions between global media flows and indigenous content protection. This study contributes to debates on globalization, cultural adaptation, and identity negotiation in Nigeria’s media landscape, underscoring how cinema functions simultaneously as entertainment and a vehicle of cultural dialogue.
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