Veteran Nollywood actor Jide Kosoko acknowledged the growing use of unconventional promotional strategies in Nigeria’s film industry, noting that methods such as dancing to market movies have proven effective, despite not aligning with global standards.
He made this known while speaking on the TVC Breakfast Show on Friday. During the program, the respected actor shared his thoughts on the evolving nature of film promotion in Nollywood and the factors driving these changes.
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Kosoko stated that although such promotional tactics may not represent the most professional approach, they have delivered visible results.
He pointed to the success of actress and filmmaker Funke Akindele as a clear example of how unconventional methods can generate attention and boost audience engagement.
“There is nothing bad about that style for her,” he said. “But I’m telling you, it is not the best. There should be a more organised way of promoting our movies.”
Furthermore, he explained that the primary goal of any promotional effort in the entertainment industry is to achieve financial returns.
In that context, he admitted that strategies that attract attention, regardless of form, remain valid within the Nigerian market.
According to him, Funke Akindele adopted a method that resonated with the local audience, and the outcome has justified her approach. He noted that her strategy has not only worked for her but has also influenced others in the industry.
“Funke thought it was wise to do something that could bring attention, and she did it,” he said. “And it’s working for her and a lot of us, too. At the end of the day, what you are looking for is returns.”
In addition, Kosoko highlighted the differences between Nigeria’s entertainment environment and global practices.
Drawing from his international experience, he explained that actors in other parts of the world rarely engage in such promotional displays.
“I’ve travelled a lot,” he said. “And I know that people elsewhere, even actors, don’t dance about their movies. That is not the standard.”
However, he stressed that the Nigerian context presents unique challenges and realities. These differences, he noted, often shape how films are marketed and consumed locally.
As a result, strategies that may appear unconventional by global standards can still thrive within the country.
“But unfortunately, our environment is different,” he added.
His remarks reflected the broader conversation about professionalism and innovation in Nollywood. While some industry stakeholders continue to advocate for more structured and globally aligned marketing approaches, others embrace creative methods that connect more directly with local audiences.
Moreover, the rise of social media has played a major role in shaping these trends. Platforms such as Instagram and TikTok have encouraged more interactive and entertaining forms of promotion, including dance challenges and viral content. These tools have helped filmmakers reach wider audiences quickly and at relatively low cost.
Despite acknowledging the effectiveness of such methods, Kosoko maintained that the industry would benefit from more organised and strategic promotional frameworks.
He suggested that a balance between creativity and professionalism could help Nollywood compete more strongly on the global stage.
Overall, his comments underscored the need for continuous growth and adaptation within the Nigerian film industry.
While unconventional strategies may deliver results in the short term, he implied that a more structured approach could ensure long-term sustainability and global relevance.
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