Social media platforms erupted in debate this week after footage of Dieko Afolayan, son of celebrated Nigerian filmmaker Kunle Afolayan, began circulating widely online. The video, which shows the young man sporting an elaborate braided hairstyle while dancing enthusiastically, has sparked conversations about personal expression, parental expectations, and evolving social norms in Nigerian society.
Dieko, who has largely remained out of the public spotlight despite his father’s prominence in Nollywood, became an overnight talking point when the clip went viral on X (formerly Twitter). The brief video features him confidently showing off his dance moves and distinctive hairstyle, seemingly unconcerned with potential public reaction.
The elder Afolayan, known for critically acclaimed films like “October 1,” “Citation,” and “Anikulapo,” has built a reputation as one of Nigeria’s most respected auteurs. His traditional storytelling often celebrates Nigerian cultural heritage and history, making the contrast with his son’s modern aesthetic particularly striking to some viewers.
Public response to the video has been sharply divided. Many commenters expressed shock and disappointment, with some directly questioning how Kunle Afolayan might feel about his son’s appearance and behavior. User @ChuchoMaine wrote, “Somebody’s next of kin…God abeg. When you’re praying for a child, make sure you’re very specific about what you want. Dear God, I want a MALE SON and a FEMALE DAUGHTER.”
Others were more pointed in their criticism. A lion don finally born Goat,” commented @ItsmeUTDLegacy, while @refinedtip stated, “I pity Kunle because what in the name of uselessness is this? I go don disown am by now.” These reactions reflect conservative attitudes still prevalent in parts of Nigerian society regarding gender expression and appearances.
However, the video also attracted defenders who questioned why Dieko’s personal choices should be subject to public scrutiny or judgment. Cultural commentator Funmi Iyanda weighed in on the controversy, noting, “The obsession with policing young people’s self-expression reveals more about societal insecurities than it does about the youth themselves. Each generation finds its own way to push boundaries.”
Social media influencer Tife Fabunmi defended Dieko’s right to individuality: “I don’t understand why people are so invested in how someone else’s child chooses to express themselves. Braids have been worn by men across African cultures for centuries. The dance moves are just current trends. Where exactly is the problem?”
The controversy highlights ongoing tensions between traditional values and evolving youth culture in Nigeria. Dr. Oluwaseun Adebayo, a sociologist at the University of Lagos, explains: “We’re witnessing a generational clash playing out in public. Younger Nigerians are increasingly influenced by global trends and prioritize individual expression, while many from older generations view adherence to certain cultural norms as fundamental to identity and respect.
For Nigerian parents raising children in an increasingly connected world, these tensions can be particularly complex to navigate. Family counselor Yewande Omotoso suggests that the public reaction reflects broader anxieties: “Many parents worry about losing cultural connection with their children. When they see a prominent family facing similar challenges, it becomes a proxy for their own concerns about generational drift.”
Neither Dieko nor Kunle Afolayan has publicly addressed the viral video or subsequent reactions. Sources close to the family indicate that the younger Afolayan has artistic ambitions of his own but has chosen paths different from his father’s traditional filmmaking approach.
This isn’t the first time children of Nigerian celebrities have faced public scrutiny. In recent years, social media has amplified conversations about how these young people navigate the complex territory between public expectations and personal identity. The children of figures like musician 2Face Idibia and actress Omotola Jalade-Ekeinde have similarly found their personal choices becoming matters of public debate.
Media analyst Chidi Okonkwo sees these discussions as inevitable in the digital age: “Celebrity children never asked for the spotlight, but social media has democratized access to their lives. Every choice becomes fodder for public discourse, especially when those choices seem to challenge established norms.”
Fashion historian Tola Akerele notes that the reaction to Dieko’s braided style reflects selective historical memory: “Braided hairstyles have deep roots in various Nigerian cultures for both men and women. What’s perceived as ‘foreign influence’ today often has indigenous origins that have been forgotten or recontextualized through colonial and post-colonial filters.”
As conversations around gender expression and personal autonomy continue to evolve globally, incidents like this highlight how Nigerian society is negotiating these changes within its own cultural context. Youth advocate Damilola Odufuwa observes: “Young Nigerians are redefining what it means to honor their heritage while embracing contemporary global citizenship. This sometimes creates friction, but it’s ultimately part of cultural evolution.”
While the debate continues online, the incident raises important questions about privacy, judgment, and the burden of public expectations placed on children of public figures. It also underscores how social media platforms have become powerful arenas where cultural values are contested and negotiated in real-time.
Whether the conversation surrounding Dieko Afolayan’s viral moment represents growing pains for a society in transition or simply the latest fleeting social media controversy remains to be seen. What’s clear is that as Nigeria’s younger generation continues to assert its own identity, such moments of cultural friction are likely to increase rather than diminish in the years ahead.
