Veteran Nollywood actress Omotola Jalade-Ekeinde has stirred fresh conversation in Nigeria’s film industry after stating that she will not dance to promote her movies, describing such promotional tactics as unprofessional. Her comments, made during a recent television interview, have quickly become a flashpoint in an ongoing debate about how Nollywood films should be marketed in an era driven by social media engagement.

According to Omotola, actors should focus primarily on their craft while marketing professionals handle promotional strategies. She explained that her upcoming directorial debut, scheduled to hit cinemas on March 6, will be promoted without her participating in dance videos or skits designed to trend online. Her position reflects a more traditional view of film promotion, where publicity is separated from performance.

Omotola’s remarks have drawn comparisons to filmmaker Kunle Afolayan, who has also publicly criticized what he sees as excessive reliance on dance-driven promotions in Nollywood. However, her stance contrasts sharply with the approach of Funke Akindele, whose recent box office successes have relied heavily on energetic social media campaigns and audience engagement.

Funke Akindele’s films have dominated Nigerian cinemas in recent years, with projects like A Tribe Called Judah reportedly crossing the ₦1 billion mark at the box office, while Behind the Scenes achieved strong earnings within days of release. Supporters of her strategy argue that dancing and interactive promotion have become effective tools for connecting with modern audiences, especially younger viewers who consume content primarily online.

Following Omotola’s comments, fans and industry observers have taken to social media to share divided opinions. Some praised the actress for what they described as professionalism and a focus on artistic integrity. Others questioned whether dismissing popular promotional methods overlooks the realities of today’s entertainment market.

One fan reaction that gained traction online framed the debate as unfair criticism of Funke Akindele’s achievements. The commenter argued that labeling Funke primarily as a dancer undermines her accomplishments as a producer and marketing strategist, adding that her box office results speak for themselves.

The discussion has expanded beyond the two actresses to a broader examination of Nollywood’s evolving promotional landscape. With cinemas competing against streaming platforms and short-form content, filmmakers are increasingly experimenting with marketing styles that blur the line between entertainment and advertising.

While Omotola has not directly mentioned Funke Akindele by name, the timing of her comments and the wider industry conversation have fueled speculation and comparisons. For many observers, the debate is less about who is right or wrong and more about whether Nollywood can accommodate multiple approaches to promotion.