Veteran Nollywood actor Yemi Solade has stirred conversation within Nigeria’s film industry by declaring himself a senior to legendary actor Pete Edochie not in age, but in acting experience.
Speaking on the show Father’s Path with Tope, Solade reflected on his early years in the industry and used the platform to push back against claims that the Yoruba arm of Nollywood played a secondary role in shaping Nigeria’s home video era.
"I’m Older in the Industry, Not in Age" – Solade
While acknowledging that Pete Edochie is older in age, Solade firmly stated that he began acting professionally before the revered thespian. He traced his acting debut to 1977, at the age of 17, when he represented Nigeria as its youngest actor at the time.
“I started acting before Pete Edochie, even though he is older than me. I’ve been in the industry for 48 years now, and I’m still standing strong,” Solade declared.
He noted that his involvement in stage performances and early film work predates what is commonly accepted as the beginning of Nollywood.
The Forgotten Foundations of Yoruba Nollywood
In a passionate defense of the Yoruba film industry's contribution to the evolution of Nollywood, Solade expressed frustration that its early efforts have gone largely undocumented leading many to mistakenly credit others with founding the industry.
“My people in the Yoruba setting didn’t document anything. That’s why others are now claiming they started Nollywood. But when people like us are still here, we’ll set the record straight,” he insisted.
He explained that long before Nollywood became a recognized brand, Yoruba filmmakers and performers had already built a strong theatrical and cinematic tradition—complete with stage drama, celluloid films, and later, camcorder experiments that eventually birthed the home video movement.
On the Evolution of Home Video
Solade highlighted the pioneering role of the Yoruba creative community in developing the home video format. He credited Muyideen Alade Aromire and Ade Ajiboye ‘Big Abass’ as instrumental figures in initiating the home video culture in Nigeria.
“When home video started, it wasn’t structured. Aromire and others just brought camcorders to record what we were already doing in drama. The tapes were then sold through shopkeepers. It all started like that,” he said.
He also cited the contributions of iconic figures like Hubert Ogunde, Baba Sala, Ade Afolayan (father of Kunle Afolayan), and Dr. Ola Balogun, many of whom, he noted, laid the foundation of Nigerian cinema through celluloid film before digital video emerged.
The Media and Narrative Ownership
Solade expressed discontent over how some sections of Nollywood particularly the English-language sector have leveraged media visibility to shape the public narrative, often excluding the pioneering contributions of Yoruba filmmakers.
“They romanced the media, and that’s why they could tell a different story. Meanwhile, many in the Yoruba industry weren’t media-savvy or educated enough to promote themselves. They were focused on acting,” he explained.
He added that veterans like Adebayo Salami (Oga Bello) and Jide Kosoko, both of whom are still active today, can further confirm the long-standing legacy and sacrifices of the Yoruba filmmaking community.
Yemi Solade’s remarks reignite an ongoing debate about the origins of Nollywood and the recognition (or lack thereof) of the various regional film industries that make up its foundation. While Solade’s tone may be provocative, his message underscores a deeper call for proper documentation, media engagement, and historical accuracy within Nigeria’s vibrant but often fragmented film industry.
As Nigeria’s cinematic history continues to be written, voices like Solade’s are pushing for a more inclusive and truthful account of how Nollywood came to be.
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