Dakwom M. Longgul
Can heritage endure intact in the global age, or must it evolve to maintain its significance?
The triple heritage thesis, originally articulated by Kwame Nkrumah and most persuasively advocated by Ali Mazrui, embodies a resonance that profoundly encapsulates the postcolonial dilemmas encountered by Africa and Nigeria. The thesis asserts that the trajectory of Africa’s advancement is fundamentally intertwined with our ability to adeptly navigate the complexities inherent in our Euro-Christian, Islamic, and indigenous cultural inheritances. Largely as a result of Arab and European colonial enterprises during the 18th and 19th centuries, Africa has evolved into a volatile synthesis of non-traditional religious ideologies and sentiments, which have substantially shaped its sociocultural and continental developments. This notion is exemplified in Retji Dakum’s documentary film, Nyam. In his quest to explore his Mupun and African heritage, Retji employed the medium of film to convey to the global audience this enduring contradiction.
To underscore the aforementioned thesis, Retji Dakum, the director of the documentary film, articulates that “After living in America for most of my adulthood, I always had a longing to reconnect with my African heritage. This led to me to go on a journey back home to Nigeria to learn about my ethnic group, Mupun. Speaking to elders and historians around me, I explored my ancestry and lineage, meditating on scientific findings and oral traditions. This journey unpacks mysteries about the Nok civilization, one of West Africa’s earliest complex civilizations. Through reconnecting with my family and experiencing a glimpse into who we are and what our culture represents. I now exist with a deeper awareness of who I am and what I stand for. I am excited because this meditation is just the beginning. I hope you enjoy watching this documentary and it inspires you to continue asking questions and staying curious about not just your culture, but that of the people around you, and beyond.” (film).
In exploring his heritage, the documentary adopts an artistic blend of shots and editing techniques, taking shape by delving into the history of the Mupun (origins), the Nok Civilization, their oral migration narratives, and the contradictions within them, while also incorporating the language of upbringing into the story of Retji Dakum, who initially struggles to adapt his tongue to the American vernacular. The sociology of a community remains incomplete without examining their marriage and burial practices, yet of equal interest is the performative culture that persists as a remnant; the Vwang festival of the Mupun holds great significance for various reasons, partly due to its ties to the Mupun people’s history and partly as a testament to bravery and courage, values that foster community heroes, in stark contrast to the newer religions that aim to eradicate Mupun beliefs by labelling them as evil and primitive; nevertheless, these values endure and are now expressed in the reinterpreted version of the Mupun Vwang ritual performance.
To this end, Retji Dakums’ Nyam is a visually striking and profoundly philosophical examination of heritage, identity, and globalization. The film artfully weaves together personal stories, from his biological father, Dr. Patrick Dakum, uncles and relations to cultural traditions, and historical backgrounds to challenge the resilience of heritage in a world that is becoming increasingly interconnected. Through heartfelt interviews from renown scholars like Prof. Sati Fwatshak, Prof. Justin La-Nibetle to Jos Museum curators and through the captivating cinematography, Dakums invites viewers to contemplate the shifting significance of “roots” amidst the realities of modern life. One of the most remarkable features of Nyam is its visual style. The documentary contrasts vivid portrayals of traditional customs with stark representations of urban expansion and industrial growth, establishing a palpable tension between conservation and advancement. This visual dichotomy highlights the film’s central dilemma: Is it feasible for cultural heritage to persist unaltered in the context of globalization, or is adaptation a prerequisite for its continued relevance? The film’s narrative framework is just as engaging. Dakums showcases the voices of individuals from various backgrounds—elders preserving age-old customs, youth navigating cultural duality, and scholars analyzing the intricacies of heritage. These viewpoints provide a multifaceted understanding of what it truly means to belong, both to a culture and to a world increasingly characterized by change. However, Nyam does not shy away from intricacy. Instead of offering straightforward solutions, it leaves audiences with unresolved questions regarding the cost of progress and the influence of heritage in shaping identity. At times, this unwillingness to resolve its thematic tensions can be daunting, but it also stands as one of the film’s most significant strengths—compelling viewers to examine their own beliefs and biases. While Nyam excels in its intellectual rigor and visual narrative, it occasionally stumbles in its pacing. Some segments dwell too long on abstract ideas, which might alienate viewers who prefer more concrete stories. Nevertheless, the film’s overarching message remains potent and relevant, calling for a re-evaluation of how we navigate the crossroads of tradition and globalization.
Overall, “Nyam” is a captivating and visually striking documentary that presents a distinctive viewpoint on African identity and cultural heritage. It serves as an important addition to the expanding collection of works that delve into the African diaspora and the significance of reconnecting with one’s roots.
Longgul is a storyteller/journalist. As a performing artist, his core area of research is African ethnographic storytelling theatre and has researched on the Mupun storytelling tradition. Currently a Resident scholar at the Department of Theatre & Film Arts, Faculty of Arts, University of Jos-Nigeria with expanded interest in Nigeria’s film Culture and achieving.
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