The Nation Newspaper

Tag: creative industry

  • Lagos eyes global creative industry position

    Lagos eyes global creative industry position

    Lagos State government has restated its commitment to position the state as the global centre for creative industry.

    Commissioner for Tourism, Art and Culture, Lagos State, Toke Benson-Awoyinka, who spoke with reporters to announce the kick-off this year’s Design Week Lagos (DWL), Africa’s festival of design, innovation, and culture, said the state will use the platform of the six-day programme to strengthen its push to become a global destination for the creative industry.

    According to her, the DWL event aligned with the state government’s resolve to position the state as a global destination for the creative industry.

    “Design week is one of the things Nigeria should look at as a nation because it is the celebration of the hard work of young Nigerians doing great things,” she said.

    Also speaking on the occasion, the Founder, DWL, Titi Ogufere, said the programme is which began yesterday will end on October 28, 2025.

    READ ALSO: Quick steps to apply for NELFUND 2025/2026 student loan

    She said DWL will transform Lagos into a city-wide celebration of creativity under the theme “Made in Africa: Shaping Industries, Shaping Futures.”

    Ogufere stated that DWL, now in its seventh year, has evolved into a global platform that spotlights African design excellence and connects creativity with commerce.

    Since its debut in 2019, DWL has hosted hundreds of designers, brands, and thinkers from across Africa and the diaspora.

    Its signature initiatives, including the Made by Design documentary on Netflix, The Made by Design Showcase, and the Design Innovation Exhibition, have reshaped global perceptions of African creativity.

    Ogufere said DWL continues to position Lagos as Africa’s creative capital where design drives industry, tourism, and transformation.

    According to her, the festival has evolved into a platform where innovation meets opportunity, spotlighting design as both a creative and economic force.

    “Design Week Lagos exists to champion the ingenuity and ambition of Africa’s creative community.

    “Each edition reaffirms our belief that design is a powerful language, one that tells our stories, shapes our economies, and connects Lagos to the global conversation on creativity and innovation,” Ogufere said.

    She said over six days, Lagos will pulse with exhibitions, installations, talks, and creative activations spread across its design districts.

    The DWL Founder added that from the Made by Design Show and Design Innovation Exhibition to student showcases, and partner programmes, the festival will engage professionals, students, and the general public.

    She further said the programme anchored by the Lagos State government and supported by the Federal Ministry of Tourism underscores the growing momentum of design tourism in West Africa where creative excellence fuels new industries, education, and global visibility.

    Giving more details, Ogufere said this year’s programme features over 100 activations, 20,000 visitors, and more than 250 million media impressions, spanning exhibitions, talks, installations, studio tours, and partner events across all 20 local government areas of Lagos State.

    It will also feature more than 100 showrooms and partner activations across Victoria Island, Ikoyi, Lekki, and Yaba, including Roots & Resilience (Federal Palace Hotel), Design Intersect 2025 (Soto Gallery), and the launch of the Institute of Professional Interior Designers & Product Inventors (IPIDPI) at Alliance Française.

    Among the activities lined up for the week-long programme are Design Innovation Exhibition; Made by Design Show, Nigeria’s largest interiors trade exhibition returns with over 100 premium brands including Woodstyles, Esorae Homes, ACTIU, Mimz Interiors, and IO Furniture, reaffirming Lagos as the continent’s hub for interior innovation.

    Others are DWL Talks & Dialogue in Design and Development, a two event of panels and keynotes bringing together architects, developers, manufacturers, and policymakers.

    Featured speakers include Bibi Seck, Victoria Adesanmi, Myles Igwebuike, Yew Kee Cheong (President, AIA), and Astrid Hébert (3C Awards).

    There is also Student Design Competition, which is organised in partnership with Caverton Marine. This year’s competition challenges young designers to rethink maritime mobility, with renowned designer Kurt Merki Jnr as lead judge.

    Also speaking, the General Manager/CEO of Wole Soyinka Centre (formerly National Theatre), Tola Akerele, said DWL gets better each year because it keeps showing Nigerian designers pushing boundaries in terms of the materials they are using.

    She commended the organiser for sustaining the platform that showcases Nigerian architects, interior designers and product designers and their products.

  • Creative industry can generate 2.7 million jobs by end of 2025

    Creative industry can generate 2.7 million jobs by end of 2025

    Speaker of the House of Representatives, Abbas Tajudeen, said on Wednesday that a well-developed creative industry in the country has the potential to create an additional 2.7 million jobs by the end of 2025.

    Speaking at a public hearing on a bill to establish a national institute for film and media technology, the speaker said the sector has created multiple business opportunities for young Nigerians, with many content creators reporting income over $1m per annum from online sources.

    He also said that available reports project that by 2025, the Nigerian entertainment industry could generate approximately $14.82 billion in revenue, an impressive increase from the $4 billion recorded in 2013.

    This, he said, indicates that the creative economy worldwide contributes over 6.1 per cent to global gross domestic product (GDP, averaging between 2% and 7% of national GDPs.

    The Speaker said the establishment of the National Institute for Film and Media Technology has become imperative, given the increasing need for access to quality technical and vocational education in Nigeria.

    According to him, this need is further supported by the rising interest of young Nigerians in the creative sector through various platforms such as Nollywood, music, and the use of artificial intelligence for skit making, content creation, comedy, and storytelling, among others.

    He said it is a field that has also created multiple business opportunities for young Nigerians, with many content creators reporting income over $1m per annum from online sources, adding that these developments call attention to the need to strengthen and build the capacity of our people to do more and become self-reliant.

    He said, “Data from the Nigerian Entertainment Conference (NECLive) underscores the economic potential of our creative industry. The report projects that by 2025, the Nigerian entertainment industry could generate approximately $14.82 billion in revenue. This is an impressive increase from the $4 billion recorded in 2013. This growth trajectory indicates an expanding market and a burgeoning demand for skilled professionals who can contribute to this evolving field.

    Read Also: ’Creative industry targets $100b earning by 2030’

    “The Nollywood, which is globally recognised as the second largest film producer in the world (releasing over 2500 films a year), contributes up to 2.3% (NGN239 billion) to Nigeria’s Gross Domestic Product (GDP) according to an International Monetary Fund (IMF) report.

    “This employs over 1 million people. It is one of the priority sectors identified in the Economic Recovery and Growth plan of the Federal Government of Nigeria, with a planned $ 1 billion in export revenue.

    “The Nigerian music industry has been estimated to grow at a Compound Annual Growth Rate (CAGR) of 13.4 per cent by 2021, with an estimated worth of about $73 million. Harnessing the talents of young Nigerians in the art and creative industry to build up a more resilient economy capable of creating wealth and generating jobs for our ever-growing population cannot, therefore, be a misplaced priority.”

    He said further that there is a need for strategic investments and provisions for skills development in the creative industry through which the world has connected with Nigeria’s culture, people, and lifestyle.

    He said, “Available statistics verified from Nollywood sources indicate that it takes between 200 and 1000 people, or more, to produce one big-budget movie in Hollywood, while medium-budget films take between 50 and 200 people.

    “These include directors, producers, screenwriters, cinematographers, choreographers, editors, production designers, sound and visual effect teams, alongside support staff like production assistants, location managers, set designers, costumers, makeup and hair artists, special effects technicians, hype men, stuntmen, among many others.

    “The emergence of artificial Intelligence has brought increasing innovations in the creative sector, and the deployment of artificial intelligence tools will boost the impact of the sector in a world already governed by technology.

    “I understand that the creative sector is the second-largest employer of labour in the country, and has the potential to create an additional 2.7 million jobs by 2025. This indicates that the creative economy worldwide contributes over 6.1 per cent to global gross domestic product (GDP, averaging between 2% and 7% of national GDPs.”

    He said the House is committed to ensuring the integration of entrepreneurship modules in technical and vocational education curricula to enable students to go into private ventures and become self-employed just as the House pledged to ensure that emerging technologies such as artificial intelligence, robotics and renewable energy is mainstreamed into the curriculum of technical and vocational education in Nigeria to equip our youths for the job market.

    He said, “This bill seeks to expand the choices available to Nigerians. With a growing population of over 250 million, just one film institute is inadequate to answer the yearning need for opportunities for scholarship in film, media technology, and artificial intelligence.

    “The proposal before the House is about a federal institute that incorporates media technology and artificial intelligence, the first to incorporate the novel area of artificial intelligence and media technology.  We cannot deny the growing population of young people and those with great potential the opportunity to develop their potential. This is what this institute has come to offer.

    “We must not be found wanting in the fulfilment of our commitments. We would have failed if we did not provide our children with the opportunities that they need to achieve their purposes and become fulfilled as human beings. The world is already running away with Artificial Intelligence.

    “We cannot be left behind. Education is the bedrock of development, and the need for educational institutions that will develop the skills of our people ought to have been addressed yesterday. I invite you to robustly explore this bill, make relevant contributions that will enable the House to make progress with the bill.”

  • ’Creative industry targets $100b earning by 2030’

    ’Creative industry targets $100b earning by 2030’

    The creative industry has set a target of $100 billion contribution to Nigeria’s  Gross Domestic Product (GDP) by 2030, Art, Culture, Tourism and Creative Economy Minister  Hannatu Musawa said yesterday.

    Musawa disclosed this during the signing of a Memorandum of Understanding between the ministry and Chocolate City.

    Chocolate City is a Nigerian record label founded in 2005 by lawyers Audu Maikori, Paul Okeugo, and Yahaya Maikori.

    Read Also: Fasoranti applauds Tinubu, backs President’s leadership

    She said, “We, as a ministry, have committed to growing the GDP by $100 billion by 2030. Even though some may think it’s an ambitious number, we don’t think so.

    ‘’Once we put all the modalities in place that will allow the industry, which is really 49 sub-sectors beyond music, art, fashion, and film, to really grow, I think you will see a huge growth, economic expansion, cultural expansion.”

    She explained that the government would use the industry to create unity, a sense of identity for Nigerians.

  • ‘Credible data, IT critical to creative industry growth’

    ‘Credible data, IT critical to creative industry growth’

    Each year, thespians from across the globe roll out the big drums to commemorate the World Theatre Day (WTD), while celebrating the theatre, artistes and society, in which they act as story tellers for sustainable development.

    Last Wednesday, the National Association of Nigerian Theatre Arts Practitioners (NANTAP), converged on City Mall, Onikan, Lagos to reflect on this year’s theme; Unbundling Nigeria’s creative economy for a sustainable future.

    The theme could not have been more apt and relevant to the nation’s current economic survival strategies.

    Setting the tone for the Leadway Assurance-sponsored conference, NANTAP President Israel Eboh tasked the thespians to be prepared to play active roles in the drive to turn the nation’s economy around.   

    “We must recognise that in our ‘playing’ we have the power not only to generate and create wealth for ourselves and nation, but to heal us of the many ills that hold us down as a people.

    “As we celebrate, we must recognise and appreciate the enormity of our task in bringing back our collective humanity. We must also recognise that the big elephant, called the creative economy has fallen in our midst. As the scramble for the benefits of the creative economy begins, we must know not all those who come on scene mean us well,” he said.

    Eboh urged thespians to not only step onto the field of creative business, but also reinvent themselves and be willing to embrace collaboration. According to him, thespians must understand the business of risk sharing and mitigation, and be engaged in constant capacity building and understanding the workings of the many components that make the creative economy one of the largest growing global economies.

    Lead paper presenter Vice President, Nigerian-American Chamber of Commerce, Dr. Ikenna Nwosu, observed that the creative sector had exponentially developed over the years despite the absence of government’s supports, absence of an updated national cultural policy, absence of an incentives policy for the creative and cultural sector.

    He noted that nothing in the sector could be achieved without the collaboration of stakeholders,adding that there was an urgent need for the improvement of industry-self regulation.

    In her paper, which focused on funding and grant in creative economy, Mrs. Ngozi Obigwe-Kunuji described the absence of data as a huge concern for access to fund. She urged thespians to examine how their respective productions affect the community they serve. This, she added, forms the kernel of what funders are looking for in the proposal seeking fund. She stated that giving the competitive nature of funding and grants, it is imperative for thespians to be more innovative while seeking entrepreneurial opportunities that will enhance their productions.

    “Tailor what you have to meet the needs of the funders,” she added.

    To her, the creative sector does not lack policies, but the implementation of such policies. She also identified how to measure impact, and resource constraint/abundance as critical elements in funding and grant. She listed British Council, Fort Foundation and Mastercard Foundation among many organisations practitioners can approach for funds.

    Read Also: Creative industry leaders reject minister’s African Grammy plan

    Providing insurance angle to the discussions, Mr Abodunrin Roberts, who spoke on Insurance and sustainable creative economy, pledged the readiness of insurance industry to partner creative industry stakeholders for sustainability and growth of the sector.  He disclosed that there are lots of covers in insurance that can serve the health benefits of thespians especially the aged ones who sometimes beg for financial supports when confronted with health challenges.

    In reactions to the presentations, one of the panelists, veteran Nollywood actress, Joke Silva has called on the Lagos State Government to put the state’s community theatres built by ex-Governor Akinwunmi Ambode to good use to impact the society and engage the youth meaningfully.

    She decried the non-functioning of the theater located in the five divisions of the state, describing it as a sad development.

    According to her, to fully unbundle the Nigerian creative economy for a sustainable future, formidable structures must be in place.

    “The creative industry needs a lot of structures-intellectual and physical, for the industry to thrive better. We should have physical structures of theatres across each local government in the federation.

    “I can remember Lagos state did well by building five theatres and all have not been put to effective use in recent times, this is a sad development. This is so because government is thinking it is not making money from it.

    “Structures like the community theatre and the Freedom Park are cultural institutions and assets government needs to fund because these structures are impacting on the society and take the young people off the streets.

    “These theatres and some other cultural places need take-off grants for a long time from government because they impact the society. So the Lagos state government needs to make these theatres work again,” she said.

    Silver noted that government did not need to create more cultural centres but rather revamp, renovate and refurbish the existing ones across the nation.

    “One of such cultural centres to be revamped is the Cyprian Ekwensi Centre for Arts and Culture in Abuja. “Training is also another important thing needed, this relates with the intellectual structure needed in the creative space.

    “I can observe series of micro-wave training the younger ones are engaged with, which makes our people sub-standard to the global standard. This is because they are not well trained. As we train to meet the funder’s, we also need to train to meet Nigerians needs. We need to get it right,” she said.

    On the importance of data gathering to unbundling Nigeria’s creative economy for a sustainable future, renowned filmmaker, Femi Odugbemi observed that there is a new shift in the creative sector as some players are making good money using the information technology platforms much more than thespians using the traditional platforms. He said the shift also witnessed the accompanied expansion of the creative space, but however noted that every statistic ever provided in the sector is a guess work. He therefore advised practitioners to engage the right kind of technology for data gathering.

     “Every number I have heard is a guess and this is usually used to make ridiculous plans. There must be a shift from the normal,” he said. Absence of data has been a huge setback. We need to also map out how to interface with governance structures. The industry is built on individual efforts and our talents are only what we are offering. We need to produce platforms and structures to grow the sector,” he added.  

    Continuing, he said: “The trust about the data being gathered is where we have the real issue. The shift in how we do business is impacted by technology. But what’s the reality of creative industry in the next five years? TikTok or YouTube users make more money than those professionals. We need to take advantage of the new spaces and we must shift from the traditional mode to others where contents can be accessed or enjoyed.” 

    For Gboyega Lesi, opportunities in the creative sectors are huge which can contribute the projected 6.2 percent revenues to nation’s GDP. He said insurance is a critical way for the show to go on in the industry adding that there is strong need for creation of affordable insurance products that thespians can pay for. He noted that data must be provided by the practitioners while insurance firms identify the values and potentials. “There should be knowledge sharing, telling the real stories to generate interest,” Lesi said.   

  • ‘How to make creative industry nation’s cash cow’

    A seasoned artist, Prof. Victor Ecoma, teaches at the Department of Fine and Applied Arts, University of Calabar (UNICAL). In this interview with Assistant Editor (Arts) OZOLUA UHAKHEME, he speaks on issues affecting the creative industry and the way forward, among others.

    As a scholar, how relevant do you think the art curriculum is to our needs?

    The curriculum design for universities is good enough as it is tailored to the existential needs of our society by merging Fine Art and Applied Arts into one department, which is a better way of coping with limited funding and studio facilities in a developing country.

    The curriculum equips students with visual literacy competencies, emphasising designing, making of objects and processing different kinds of information, both textual and visual, as catalyst for capacity building, which equips students to fully participate in public and economic life of our society. This is more so that knowledge in the 21st Century is visually driven through digital literacy of computers, smart phones and the internet.

    The art curriculum is designed to provide a holistic education of Bloom’s Educational Taxonomy objectives governing the three domains of learning, the cognitive, affective and psychomotor domains, which equip students with intellectual skills, heightened sensibilities and motor skills necessary for productive, entrepreneurial and self-reliant education.

    Why is there low students enrolment for art courses and what are the remedies?

    The reason is government policies and positions, which emphasise science subjects at the expense of other equally important subjects for the reason of the use and application of science subjects for technological development, which drives the economy.

    In government-owned secondary schools, emphasis on employment is mainly on science teachers and very little on other art subject teachers.When teachers are employed in other subject areas, they are far less than the proportionate requirements of students’ population in schools.This also creates the problem of low awareness on other equally important art subjects and generally affects students’ interests in the pursuit of art related courses.

    The problem, therefore, is that most students, who come to study art courses are ill prepared. Most times, they have science backgrounds, which are insufficient in the rigorous reading and writing required for art courses.

    The remedy is to give every subject area equal value, employ teachers across board and motivate students, who have excelled in their chosen area of endeavour, so that they can realise their full potential in areas of their interest without feeling inadequate and be useful to themselves and contribute to society. Multiple intelligences theory shows that people are differently and variously endowed, and the aim of any good education is to develop the latent potential.

    A doctorate (PhD) in art for art teachers, is it a blessing or distraction to the profession?

    PhD degree in art for art teachers is a blessing to the profession, not a distraction. An art teacher is one who teaches the discourse areas of art history, art appreciation, art criticism, art education, art administration, etc or one who teachers the practice-led studio courses of painting, sculpture, ceramics, graphics, drawing, textile and fashion design, etc. In  either of the above areas of learning, a Ph.D degree will be quite useful to drive the process of learning through the cognitive, affective and psychomotor domains, which will provide the necessary knowledge development skills.

    The Masters degree (MFA) is usually enough for those who want to practise the studio arts.The PhD remains the highest qualification in education for top professionals with highly specialised knowledge and full command of skills in teaching and research, which enhances the profession and educational system as a body.

    A PhD is one of the most respected and well-recognised credentials in education. It is a terminal degree and the highest any art teacher can attain in learning, which offers opportunities for educational leadership, expertise and credentials needed to publish in professional journals, present academic findings at conferences, write books and apply research-based methods in solving problems.

    The Ph.D develops art teachers’ writing and critical-thinking skills and keeps them abreast of newest developments in their area of knowledge. Through research findings, a Ph.D holder can effect changes in the studios, classrooms, the institution or communities around. This can as well drive the development of new tools, techniques, materials and improve teaching methods. It also equips art teachers to be eligible for leadership roles that can cause lasting impact in the field of art.

    How can the creative industry be the nation’s alternative income earner outside oil?

    In the United States, the creative industry comprises the visual arts and crafts, which contribute to economic growth by generating about $250billion annually and provides about 29.5 million jobs. In Nigeria, unfortunately, the creative industry has remained an internal sector with little government focus and at best, has been interpreted to mean the Nollywood actors and actresses and their film production as well as performing musicians.

    The creative industry is a gamut of other kinds of productions that can create jobs and generate economic activities with instrumental values measured in monetary terms.They also create other spin-offs, which may not have direct market value, but are equally very important. The creative industry constitutes the cultural capital of a nation, a country’s wealth or stock of art, heritage and other kinds of cultural expressions, which include crafts.

    Within this group are artists, who may be painters, sculptors, metal workers, ceramists, photographers, graphic designers, print-makers, illustrators, gallery managers, curators, art therapists, multimedia programmers, fashion designers, etc. Like other forms of capital, it requires investment by government and the private sectors in order to derive its maximum benefits. The range of economic activities generated in this sector ramifies into other sectors like sciences, engineering, technology, film making, publishing, tourism, medicine, etc.

    The government cannot reap where it does not sow. For the creative industry to maximise its full potential as an alternative to oil, the government must invest heavily in this area. The National Endowment Fund for the arts must be fully implemented and funded, more public art galleries and museums for art should be built. The contemporary art/artists have to be promoted internationally to earn revenue. We often hear or read about how much the government earns from a barrel of crude oil, which determines the economic health of the nation, but no one bothers to know how much is invested in the production per barrel and its marketing.

    In 2018, the US government made a yearly budget of $152.8million to support funding for projects exhibiting artistic excellence. A Japanese media firm is funding the movement of 60 paintings from National Gallery, London to be exhibited in two museums in Tokyo and Osaka, to celebrate the 2020 Olympic games, about one million visitors will be expected in the museums with yet  undisclosed entry fee expected to rake in millions of pounds. This is how to invest and grow the creative industry with respect to the arts as an alternative income earner.

    What can we do to repackage the Abuja carnival?

    Abuja carnival can be repackaged by having a formidable Department of Fine and Applied Arts at the University of Abuja to provide the artistic manpower for designing of costumes, float constructions, installations, casting of models and other forms of visual displays which are the life-wire of a carnival.

    The choreography must command the presence of young beautiful girls and athletic young men and boys highly decorated to entertain without being seen to offend religious sensibilities. The Brazilian troupe is a standard example in showcasing the antenna role of arts, music, dance and costumes in a carnival.

    The carnival has to be structured into highly competitive bands, each striving to beat the other in its visual, choreographic and content driven displays. A carnival museum will also complement the tourism value of the Abuja carnival.

    Which of the cultural agencies and the laws establishing them do you find necessary for review for optimal performance and why?

    None. But what is lacking is the appropriate consciousness on what the cultural agencies can achieve for the country as well as lack of investments in this area. Again, non-appointment of cultural experts to man such agencies as the cultural sector is seen as all comers’affairs.

    What are your dreams for  the creative industry?

    The Federal Government should see the visual art in all its ramifications as a vital component of our creative industry. The National Endowment Fund for Arts should be instituted and funded. Nigeria’s contemporary art is not well known internationally. It has to be promoted for its market and intrinsic value. Diversification also means investment in non-oil sector such as the creative industry.

    It is taking the government too long to build a National Gallery of Art and National Museum in the Federal Capital Territory due to lack of awareness of what this sector can contribute to the gross domestic product of the nation. Also, there is an absence of financial statistics on how much is realisable from this sector because the focus is only on oil.

    But the government also sunk about N60 billion to build the National Stadium in Abuja because of the perception on sports. However, without a commensurate developed calendar for sports. The National Museum Lagos is like a University College Museum it does not match the image of Nigeria as the most populous black nation in the world.

    It deserves an architectural edifice of world class that can be second to none in Africa and the pride of Africa where one can see all about Africa, including the origins of man from East Africa, Egyptians civilisation and the Bantu movement.

    The Federal Government should build world-class public galleries and museums that will house all areas of arts, traditional and contemporary, such as Design and Applied Arts Museums, Art and Crafts Museums, Decorative Arts Museum and cultural light houses that will promote domestic and international tourism, grow the hospitality industry and contribute to economic development.

     

  • Filmmaker calls for govt support in creative industry

    Ace filmmaker and actor, Kehinde Adeyemi has called on the Nigerian government to support the movie industry as it is regarded as the most promising money bag after crude oil.

    The filmmaker who has been in the industry for over 20years lamented the need for government to weigh in support for the movie industry in terms of making funds available to the creative industry so as to facilitate the production of good movies to the viewers noting that filmmakers are more like mirrors of the society; just like India and America where their government give adequate support; Nigeria should also look imbibe such culture.

    A deyemi who Yinka Quadri and Taiwo Hassan’s led Odunfa caucus has since flourish in his career as an actor, film producer and production manager .

    Having made appearances in countless movies, Kehinde shot into limelight after featuring in Jide Kosoko’s movie ‘Afomo’ also gave his taught on sex for role which is now rampant in the industry citing that only those who does not have passion for acting will be involved in that but as for him, he is married and doing well.

    Giving comparison of the movie industry before what it is now, Kehinde noted that so many things have changed in the industry compared to when he joined about 20years ago where when you produce a film then, you can relax that the income can be used for something meaningful like getting a parcel of land and all that but reverse is the case now.

    A vivid example is when I produced one of my film titled’ Oloko’ marketed by corporate pictures then, after my royalty on it, the marketer called me back and paid extra because they sold more than their expectations.

  • COSON to resist politicians without plans for creative industry

    Copyright Society of Nigeria (COSON) has warned that as the general elections approach, it will mobilize its thousands of members across Nigeria and the millions of music fans who support COSON members to campaign against politicians who have no well thought out plans to deploy Nigeria’s creative talents for the development of the Nigerian nation.

    Delivering the annual ‘State of the Music Industry’ address to musicians, investors in the music industry, intellectual property lawyers and the media at COSON House, Ikeja, Lagos on ‘No Music Day’ on September 1, 2018, COSON Chairman, Chief Tony Okoroji said: “It is our firm belief that creative people in Nigeria cannot afford to keep quiet any longer as Nigeria goes through another electioneering campaign season in which politicians hop from one end of the country to the other but no one offers any direction for the development and optimal deployment of the millions of Nigeria’s creative talents for national development.

    “Today, we wish to tell Nigerian politicians that we will not be taken for granted anymore and we will not help people canvass for votes who after getting into office will abandon the creative industry to suffer in an environment that completely discourages creativity.

    “We are making it abundantly clear that it is only politicians who have developed a well thought out long-term plan for the progress of our industry and have shown clear interest in the development of the nation’s creative environment that can count on our significant support, the mobilization of our fans and their votes as elections approach. In the same manner, we will mobilize massively against those who have no plans to properly deploy the creative energy of young Nigerian people.”

  • Heritage Bank restates commitment to creative industry

    Heritage Bank Plc has restated its commitment to the growth and development of the creative industry, its Managing Director/CEO Ifie Sekibo, has said.

    In a statement at the weekend, the bank said Heritage Bank was committed to the industry because one of the easiest ways to solve unemployment is to get many people involved in entertainment, ading that manufacturing, banking and other sectors cannot do it alone.

    Sekibo said the music industry had done so much for the country in terms of employment and foreign exchange earnings and if more resources could be put into it, the country would be better for it.

    Besides supporting individual artistes, the bank has also partnered  some organisers to produce shows. They include Yibo Koko and Bolanle Peters, who  will produce Seki, a dance drama.

    The event, which held at the Terra Kulture Arena, was graced by members of the diplomatic corps, bank officials and lovers of arts.

    It featured notable celebrities, such as Hilda Dokubo, Monalisa Chinda Coker, Ibinabo Fiberisima, Julius Agwu, Ovunda  Ihunwo, Peace Christian, Deborah Job, Opereke Jamabo Foh and Mercy Albert.

    The bank is also partnering Multi-Choice Nigeria Limited, owners of the DSTV and GOTV brands, to bring the third season of the Big Brother Naija to viewers across Africa and beyond.

    The Big Brother Naija 2018 was recently unveiled with Ebuka Obi-Uchendu as the host with 20 house- mates battling for the winning prize of N45 million, which include a gift of N25 million and SUV Jeep.The theme of this year’s edition is “Double Wahala.”

    Also, Heritage Bank is partnering  Seagull Band, one of the five bands that participated in last year’s edition of the Calabar Festival.

    The statement said the theme of the carnival is: ‘’Migration and climate change and heritage’’, adding that it has to do with green, greenhouse effect and sustainability, protection and human development.

    “As far as this is concerned, the bank will continue to support initiatives that have to do with sustainability,” adding that migration is a depletion of human resources, depletion of values and depletion of human capital.

    “We are there as an institution to help to facilitate and to create awareness that the grass is not greener on the other side, we can develop ourselves, we can build our nation, we can build our continent and sustain it if we do the right things like planting trees, keeping our environment clean, disposing our wastes properly, we will live a very good life,” the bank said in the statement.

    Besides, Heritage Bank is partnering  the organisers of the International Festival of Contemporary Dance (IFCOD) to host the second edition of One Language, a musical production of intrigue, dance and drama by Mrs. EloInyeinengi-Etomi.

    The Federal Government has commended the bank for its sustained commitment to the growth and development of the creative industry.

     

  • ‘Pirates, pulling down the creative industry’

    Just one year in office, Director General, National Films and Video Censors Board NFVCB, Adedayo Thomas speaks to Lara Akintoye on some of the changes he is bringing on board, challenges and achievements, as well as the battle to checkmate piracy.

    HAT are the functions of the National Films and Video Censors Board?

    It is the regulatory agency for films and video works: both the films we watch on DVD and cinemas; even musical video are supposed to be censored or better put, classified. Our major function is to give ratings/classifications to films, whether it is meant for adults, general viewing or for 18 years and below. We have rating for 12a, 12 and we have documentary ratings as well, which in most cases applies to most embassies that are showing films to the public. Our further job is to look into cinemas; cinema owners are equally our partners; we look at the premises, there are standard requirements that cinemas must have; we look into it around and within, the sitting capacity as well as the arrangement. The board also looks into importation and exportation of films. If you are importing films, you must obtain license from the board. Also if you are importing films into cinemas; you are aware that we bring in films from America, India, China, etc that are watched in cinemas, they pass through the board. We look at the normal verification from the owners of the films because we have to conform with the intellectual property rights. So you don’t just bring in any film without the copyright owner authorisation from the owner outside the country. Equally, when you are exporting, you should understand that the owners of the film have given the permission to export his/her films.

    The board also monitors markets in terms of unclassified, uncensored works of films and video industry; all these lies within the 6 cardinal points of Video and Censorship Board. The board has about 22 offices around the country and six zonal structures based on the 6 geo-political zones of the country.

    What are the laws guiding production of films and videos?

    Some of the things we guard against include hate speeches, nudity, the content, as well as the production level, sound effect, etc.

    At what point do you ban films and videos?

    We actually don’t do banning effects, because we look at the market itself. A film or video is classified as uncensored and unlicensed, when it has not passed through our office. In a situation whereby such film and video has passed through our office, and we have done the necessary corrections, if the owner of the film/video goes back to add more, then the film becomes unclassified and uncensored. But if a good film/video producer takes to the rules and corrections done by the board, then it is a perfect job. So at any point in time where we see any film/video released into the market without passing through the board, it becomes unclassified and uncensored and wherever it is found, the place becomes unlicensed premises and at that point, we take action.

    What steps do you take when you discover that uncensored films/videos have been released online?

    Before we strike, we ensure that we give a lot of information to people which we are doing on a daily basis. Though it is difficult for the board to go on the cyberspace, it is a national issue which is being looked into by the National Broadcasting Commission (NBC) and the Ministry of Information. We’re partnering with ‘Google’ to curb this because in most cases, those things come down from ‘YouTube’. You also discover that most of the things that you see on ‘You Tube’, are not registered with the Corporate Affairs Commission (CAC). So it becomes difficult for us to trace. It is when you have your site and your face on a particular thing that we can be able to trace you. We also try as much as possible to enlighten the public; I think it is lack of information and education that makes you release your work free on the internet, because it becomes unprofitable for you. You can only gain popularity and the popularity you gain is not synonymous to you smiling to the bank.

    For those the board couldn’t trace, what do you do?

    The effort we are making is like building up on the media literacy programme. For instance, last week we commemorated the 2018 ‘World Safer Internet Day’ across the 36 states. What we did was to encourage them to be careful about the kind of musicals and videos and films they watch or listen to, and what they should do with their mobile phones. We equally try as much as possible to educate parents, majority of whom have neglected their roles in terms of training up the child morally and culturally. Most of these children are at the mercy of the teachers and caregivers. Yes government has a lot to do, but a whole lot more is expected of parents to bring up their children on the right path. So, education to parents as well is included in our media literacy programme.

    How is the board tackling the issue of musicals and movies that are a deviation to the norm and that are impacting negatively on the under-aged?

    There is a huge lot to be done in the creative industry. Presently, we are dealing strongly with the cinemas, films and videos, but with musicals, it comes on board regularly. We send letters to Nigerian stations regularly on the need to classify their works. So we are working with Radio Stations and the National Broadcasting Commission (NBC). Some of the things we do are done internally to caution or reduce some negative effects to minimal level, which is not known to the public. Once this is discovered, we try as much as possible to caution the producers

    Tell us of some of your achievements  since assuming office as DG this past one year

    When I came in, what I met was totally disheartening, but within one year, I’ve been able to come up with a very solid platform, so that we can have interchange with stakeholders. And so far, stakeholders’ confidence across board have been gained and the production outfit has increased. I also met a disenfranchised and disorientated staff, not because they are not being paid, but because majority of them don’t know their roles. So with the available resources, we have to start educating ourselves and thinking outside the box.

    Thirdly, the market has gone down so much when I came in because piracy has caused a lot of damage to stakeholders who are doing their own genuine business. So I have been able to do a couple of raids. The most celebrated one remains when the board entered Alaba Market, where kingpins of pirates are. Successfully, we’ve done that and about five kingpins have been arrested with their goods and charged to court. Hopefully, we are going to have judgement and this will serve as a deterrent to others.

    In every police station now, we have Anti-piracy units. We don’t need to write any letter to the IG, now we can walk into any police station and ask for anti piracy team, whom we work with as a team. Within one year, we have raided Alaba, Wuse, Kubwa in Abuja, then Kaduna, Benin, and we were in Osun, Oshogbo last week in particular.

    From these raids, we discovered that most retailers don’t understand the norms of having to be in such business. So we applied some leniency actions and we have embarked on serious mass literacy campaign, especially making secondary school students ambassadors of good videos and musicals. We are trying to change these students’ orientation about what they should watch and listen to, thereby empowering them with the right education.

    Also, for the first time, the Board held a 3-day Consumer Forum Session in Yankari Game Reserve, Bauchi, which had over 145 Stakeholders in attendance, where we discussed issues that bother on film/video works which serves as a bedrock for peace and prosperity in the industry and the country at large. Another major success story is the Box-office; within one year with the few cinemas, we have reached N3Billion and still counting. Last December, for the first time in the history of video industry, Nigeria was rated First Ten in the U.K and all through December to January with Wedding Party 1&2.

    What about challenges encountered?

    When I was appointed DG last year, I met a debt of N710 Million, owed contractors; some for welfare of staff, among others. Another major challenge is piracy, which is perpetrated by those who made their money illegally. They engage in unclassified and uncensored video/films and works in unlicensed premises, thereby paralysing the industry. Piracy is a big challenge to the industry and we are tackling the menace vigorously. And it goes beyond looking at them like cabals in the piracy world; it is an economic crime and we are collaborating with the Independent Corrupt Practices Commission (ICPC) and Economic and Financial Crime Commission (EFCC) to curb the spread.

    The warning signs are always there in Hollywood and Bollywood films depicting vices like smoking; but this is lacking in Nigerian films, why?

    Presently, the norms have changed, because we are moving with the world horizon. We are doing a lot of internal understanding of the new scope for films censorship and classifications. Some of your discoveries were seen in films shot before year 2015 or before my assumption as the Director General of the Board. So with the new horizon, everything has changed.

    What’s your final word

    Parents should take seriously the moral upbringing and cultural development of their wards. We also appreciate the efforts of stakeholders so far for their understanding and the platform to work with them, they are no doubt the owners of the industry, because without them and their creativity, there won’t be National Film and Video Censors Board. For those who have anything to do with video, films, musicals, the ease of doing business as enacted by the president and pronounced means you don’t have to wait three weeks to get result on your work. You get your result that same week. Also, feel free to walk into any of our offices and ask questions on anything that bothers you.

  • How passion drives creative industry

    For the creative industry including advertising praxis, account execution and management, brand management and planning, passion rules the world.

    This is self-evident in the testimonies of Taiwo Agbola and Ndukwe Onuoha, who serve as Chief Operating Officer and Creative Director at 7even Interactive.

    According to the duo in a session with the media, the multi-levels award winning agency was able to move from the ninth position in 2016 to fourth position in the 2017 Lagos Advertising & Ideas Festival (LAIF) medal table all within a year all thanks to hard work and passion for the business.

    “We have a team of young and committed professionals in the agency. They are passionate about what they do. What we have done is to show what we can offer in the marketing communications industry and more important, in building brands along with our clients.”

    “Recalled that last year we were rated ninth on the table, we sat down and asked ourselves “is that the level we want to play? We said, no. We need to push ourselves harder. The result is, this better performance. However, we are not there yet. We are aiming for the top of the ladder,” explained the COO.

    According to Onuoha, the agency’s 4 Gold, 5 Silver and 7 Bronze medals won the 2017 LAIF were delivered courtesy its works for Uber, the digital campaign for MainOne among other clients. The agency’s corporate social responsibility (CSR) campaign tagged the Frixion Vodca campaign, an anti-rape campaign was also generously awarded.

    Giving the rationale for the CSR campaign, Agbola explained, “We felt there was need to sensitise the community in which we operate and the country at large on the evils of rape by advising people to seek consent first before sexual relationship.”

    To gain traction at the teaser stage, the agency created a fictional brand called Frixion Vodca and deployed images and pictures of celebrities, musicians and actors without their consent as models for the Frixion brand.

    The agency was inundated with queries and risked being sued for lack of consent and “rape”.    It apologised while explaining the idea behind the CSR campaign being “a good and worthy cause”  as an anti-rape social campaign, most of the “enraged stars” signed up to become the campaign ambassadors and were happy to be associated with the campaign.  “The campaign also won us a bronze at the 2017 Loeries in South Africa making us the only agency in West Africa last year to be awarded any medal at the Loeries,” Agbola pointed out.

    According to the Creative Director, the good news is that to be creative with regards to advertising agency work, does not depend on what one studied in school.

    He said, “We are mostly on the lookout for talents who reflect our DNA, there are ample opportunities to learn and develop on the job” adding that the agency is heavy on training aimed at expanding the staff’s horizons. “We look for people who think the way we do as a very young agency, looking at the fun side of issues and being consistently inquisitive.”