A Snapshot of the Backlash
According to reports, The Herd — a Nollywood thriller directed by Daniel Etim Effiong — portrays a wedding party that is suddenly taken hostage by armed gunmen posing as cattle herders. The Netflix teaser shows herders crossing the road with cattle and then, without warning, gunfire erupts, and travelers are kidnapped. For critics, that moment is more than a plot device — it’s a dangerous oversimplification.
Social media has lit up with calls for boycott, accusations of ethnic profiling, and warnings that such depictions could have more than just symbolic consequences. In some quarters, voices are growing louder: people are worried that the film perpetuates a stereotype that equates Fulani pastoralists with criminality — and that furthers a narrative that already exists in news coverage and public discourse.
The Core Concern: Stereotyping vs. Storytelling
At the heart of the criticism is the notion that The Herd reduces Fulani herders to “armed kidnappers.” Yes, there are documented cases of banditry linked to some Fulani individuals — a reality no one is denying. But critics argue that the film fails to acknowledge that the vast majority of Fulani herders are peaceful, law-abiding people who are themselves victims of insecurity. Many have lost their cattle, their livelihoods, or even loved ones.
As one Arewa voice put it: “Tell the story. Condemn the criminals. Call out the terrorists. But do not cast a shadow of suspicion over millions of innocent herders.”
This concern is not new. For years, Fulani community leaders have cautioned against labeling all herders as “Fulani militias” or “killer herdsmen,” arguing for more nuanced language in media and public discourse. Meanwhile, experts say that sensationalist coverage in the media has contributed to a stereotype that fuels resentment and even violence.
Why This Matters — Beyond the Big Screen
Film and media are not neutral. They shape how viewers perceive real-world issues, especially for audiences who may know little about the actual socio-economic dynamics of pastoralism, land use, and insecurity in Nigeria. When a global platform like Netflix drops a film with such a portrayal, millions may interpret it as a broader truth: that every Fulani herder is a threat. That’s not just a storytelling risk. It’s a reputational one — with potentially dangerous implications.
Some of the specific risks include:
1. Ethnic Profiling and Discrimination: Wrongful association of criminal acts with an entire ethnic group can inflame prejudices, leading to harassment, marginalization, or worse.
2. Violence and Targeting: Media narratives that paint Fulani herders broadly as violent or criminal may fuel real-world hostility, discrimination, or even attacks against innocent herders.
3. Silencing Real Voices: When only the violent fringe is shown, the voices of peaceful herders — their struggles, their losses, their perspectives — are drowned out.
4. Policy Impacts: Stereotypes in popular media may influence public opinion and, by extension, policymaking. Instead of addressing root causes (e.g., environmental degradation, land access, poverty), the focus shifts to identity-based blame.
What Should Good Storytelling Look Like?
Critics argue that responsible filmmakers should have taken greater care — especially given the sensitivity and complexity of the subject. Some key suggestions include:
Engage Stakeholders: Before production, the movie team could have consulted with herder associations, pastoralist leaders, security experts, and researchers. This would help present a more balanced view of pastoralist life, including the pressures, challenges, and diversity within herding communities.
Fact-Based Representation: Rather than using dramatic license to portray every herder as a criminal, the filmmakers could have shown the nuances: the vulnerable herders who are also victims, the socio-economic drivers of insecurity, and the distinction between criminal elements and legitimate pastoralists.
Avoid Blanket Labels: In interviews and dialogue, it's important not to conflate “herders” with “bandits.” Using nuanced language helps prevent reinforcing dangerous stereotypes.
Promote Empathy, Not Fear: Rather than relying solely on fear-based tropes, films dealing with real social issues can humanize all sides, inspire critical thinking, and call for actionable solutions.
Broader Context: How Media Framing Drives Conflict
The The Herd controversy is part of a larger conversation about media framing in Nigeria’s herder-farmer and banditry conflicts. According to research, recurring media tropes describe Fulani herders as “gunmen” or “militias,” which reinforces deeply rooted stereotypes. Scholars have warned that such framing primes audiences to see herders as inherently violent and nomadic aggressors.
This issue spills beyond entertainment. In the real world, misleading or inflammatory media reports have played a role in escalating tensions. A study by the Digital Tech, AI & Information Disorder Analysis Centre found that social media misinformation about herder-farmer conflict often exploits religious and ethnic fault lines — driving polarization.
Also troubling is the use of misleading imagery. Fact-checkers have exposed how some media outlets use photos of armed herders from other countries — misrepresenting them as Fulani herders in Nigeria. Experts argue this violates journalistic ethics and undermines accuracy and fairness.
Voices from the Ground
Even those inside the Fulani community have spoken out. A pastoralist leader from Kaduna, for instance, lamented that “we are profiled before we are heard.” According to this view, herders face attacks that often go unreported or under-emphasized — but as soon as violence involving herders appears in the media, it is amplified with sweeping ethnic generalizations.
Security analysts argue that this imbalance in media coverage undermines justice: while herders are quickly accused and criminalized, they rarely receive the same public empathy or legal support when they are victims.
The Role of Policy and Public Institutions
There are broader policy implications as well. Nigeria has grappled with proposals like the Ruga policy — which sought to establish grazing reserves — but this too has been controversial, deeply entangled with narratives of “Fulanization” and identity politics. Some of the debate around The Herd echoes the past: when policy is perceived through the lens of ethnicity, trust breaks down, and so does social cohesion.
What Should the Nigerian Film Corporation Do?
Many critics believe Ali Nuhu Mohammed and the Nigerian Film Corporation should take a stronger stand. Given the power of film to shape national and international perceptions, some argue the regulatory body should:
Provide guidance on responsible storytelling for films dealing with sensitive issues.
Encourage impact assessments before producing content that touches on ethnic, religious, or socio-political fault lines.
Promote dialogue-driven projects — perhaps filmmakers should fund or partner with civil society groups to ensure narratives are comprehensive and well-researched.
Offer support for counter-narratives — films, documentaries, and media projects that tell the stories of peaceful herders, highlight root causes, and propose solutions.
Conclusion: A Plea for Balanced Storytelling
At its core, the backlash to The Herd is not a denial of reality. Many Northern Nigerians, especially Fulani pastoralists, are among the first to condemn violence. What they resist is being lumped into a monolithic stereotype that erases their diversity, their struggles, and their humanity.
Good storytelling should not shy away from difficult issues. But when it tackles narratives about a people's security, identity, and dignity, filmmakers have a responsibility to do so with care, nuance, and empathy.
To the producers of The Herd, the message is simple: tell the story, but do not cast a shadow over millions of innocent lives. Because in a country already fractured by mistrust, the last thing we need is media that deepens divides rather than healing them.
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