The Nigerian movie industry, known as Nollywood has arguably, been a tool for transforming preserving African culture despite the forces of globalisation. For example, Nollywood uses indigenous languages to tell African stories.

Other African countries have followed in the footsteps of Nollywood by producing movies on video. This paper examines Nollywood in the context of the on-going debate surrounding the role of cultural diplomacy between Korea Africa in promoting given development, especially in disseminating establishing good development practice.

 

Social Transformation

Nollywood has brought about social transformation in Africa, especially in terms of film entertainment. The Africa Movie Academy Awards is known for recognizing professionals in Nollywood the African film industry for their excellence. Similar awards also take place in the Diaspora.

An example is the Nigerian Entertainment Awards, which is held in the United States every year to recognise Nigerian Pan-African artists professionals in Nollywood.

In addition, social media is a prominent arena where Nollywood issues are being discussed, critiqued promoted. In these ways, Nollywood has practically contributed to social change transformation in Nigeria Africa as a whole.

 

Economic Transformation

Nollywood is the second-largest sector of employment in Nigeria besides agriculture it has sales of between USD 200 million USD 300 million per year.

Nollywood produces over 2,000 films annually. This makes it the second largest film industry in the world, second to Bollywood in India ahead of Hollywood in the US.

In the Americas, Nollywood movies have grown in popularity over the past 10 years in the English-speaking Caribbean isl-nations, such as Dominica, St. Lucia, St. Kitts Nevis, Trinidad Tobago. They are also regularly available in the Latin American country of Guyana.

Furthermore, Nigeria’s film industry has helped to change stereotypes about Africa by highlighting its culture, norms, creativity hospitality.

In so doing, it has influenced the willingness for potential travellers to travel to Africa, by attracting domestic intercontinental tourists. This Nollywood-driven tourism has had an impact on other non-film sectors, such as the hospitality transportation industries.

It has been a vital visible source of job creation. The Nigerian Government therefore takes an active role in bolstering these private initiatives in entertainment as an integral part of the nation-bring initiatives. This includes funding the industry, building infrastructure providing publicity other support for the industry.

 

Cultural Collaboration Between Korea Nigeria

Over the past decade, there has been a significant increase in the number of close development cooperation collaboration projects between South-Korea Africa. Yet, South Korea has fallen far behind its giant neighbours in developing relations with Africa.

Of the 46 countries in sub-Saharan Africa, South Korea maintains diplomatic missions in only 17 nations, while China operates missions in 43 Japan in 25.

The collaboration of Korean actors Nollywood therefore presents an opportunity for Republic of Korea to position itself as a significant cultural player across the entire African continent.

Korea’s success can be modelled into actionable stories of transformation from poverty to affluence thereby spreading a mix of the Saemaul Undong doctrine as well as the concept of a “creative economy” through Nollywood.

 

Conclusion

It is generally believed that China’s amazing exploits in Africa today, was not without the pioneering revolutionary influence of its movies actor popularly called Bruce Lee who died about 40 years ago.

Korea also has its own development experience to share with African countries some, indeed, refer to Seoul’s experiences in discussions, rather than the much larger emerging great power China.

Africa Korea therefore need a blend of their movie actors. Cultural diplomacy certainly has a place in promoting development policies between Korea Africa there is the need to explore this new insight in disseminating exporting good development practice.

Moreover, it is a veritable vehicle for (re)constructing new cultural identities exping the sponsoring nation’s perceived place in the world.