The Nation Newspaper

Tag: CULTURE

  • Celebrating culture through dance, acting and drumming

    Celebrating culture through dance, acting and drumming

    Babatunde Abiden, fondly called “Ogede” by many. He is a cultural performer who has dedicated his life to music, dance, and drumming. In this interview with Boluwatife Owolabi,  he speaks about his journey, passion, and the cultural productions he has been part of over for 40 years.

    Can you please introduce yourself?

    My name is Babatunde Abiden, but everybody calls me Ogede. I am a dancer, singer, drummer, actor and cultural performer.

    How many productions have you been part of so far?

    Many. I have been involved in several productions both locally and internationally. I have also coordinated groups and performances to make sure everything comes together successfully.

    What role do you play in coordinating productions?

    I work closely with my partners and team members. Together, we make sure rehearsals are well organized, and the performance comes out great in the end. Teamwork is very important in cultural productions.

    How long have you been involved in cultural performances?

    I have been doing this for a very long time, and my passion has only grown stronger and stronger.

    Why did you decide to focus on culture?

    Because I love it. From school, I had a passion for culture and performance, and I decided to continue with it.

    Have your performances taken you outside Nigeria?

    Yes, I have traveled to London, Cairo, and other places. Through culture, I have also been able to make money, gain experiences, and share our heritage with the world.

    How do you train and recruit artists for your group?

    He said people like his troop, and he has trained many people in cultural dance and performance. And because he has trained many people, anyone who is interested in dancing and some others, they are sent to my place and there we welcome them, train them, and guide them to perform at a professional level. He said he

    Do you work with your family members in your productions?

    Yes, my wife and brother are also part of my work. They support me, and together with some other partners, we keep the group going.

    What kind of dance do you love the most?

    I love cultural dance, especially Badagry dance because it is the very first dance I did. That is where I started my journey and I also enjoy other traditional dances that reflect our heritage.

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    What instruments do you like to play?

    I love playing all kinds of drums, from talking drums to traditional festival drums. Drumming is part of me.

    Do you also create masquerade performances?

    No, I don’t create masquerades. Masquerades come from the palace and are tied to traditional rites. If you perform them outside their rightful place, it is considered a serious offense. I only perform the cultural dances connected to them.

    Do you collaborate with others?

    Yes, I have collaborated with many groups and artists. Right now, I am planning a festival in November where we will showcase cultural performances. I also work with other cultural icons to keep traditions alive.

    What keeps you going in this work?

    My love for culture. Culture is life. It is who we are, and I am proud to represent it through dance, acting, drumming, and performance.

  • Criminality in the name of culture

    Criminality in the name of culture

    • By Ike Willie-Nwobu

    Sir: In a disturbing incident in Enugu State, some masquerades supposedly celebrating the Oriokpa masquerade inflicted bodily harm on some members of the public. Also, a couple of weeks ago, some masquerade traditionalists invaded the home of an Imam  and a mosque in Oke Agbe, Akoko North Local Government Area of Edo State. They beat up his wives and children.

    The government must move in to stop a repeat, as such unsightly incidents cannot be allowed to reoccur in the name of adherence to culture. Those who hide under dirty masks and costumes to perpetrate terror are not representative of any culture. They are criminals. It is as simple as that. Those who hide behind dirty disguises to terrorize other citizens do not stand for what culture and tradition mean. They are criminals and must be stopped. It is people like them who give culture and tradition a bad name , hastening in the process the loss of what is otherwise invaluable to society.

    The government must step In and firm up the regulations. There should be control and most importantly, there should be accountability from those who wear the regalia of culture.

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    It is unfortunate that these days, culture, and tradition have become synonymous with criminality, no, thanks to the activities of some unscrupulous individuals. Ritual killers now hang on to the coattails of culture to take life in incredibly cruel ways; those who mint and print blood money somehow draw their paint from culture. Kidnappers and bandits also appear to have found some justification and fortification in culture and tradition, forcing the government in a state like Anambra to take charge and clamp down, further giving culture a bad name. The move has not been very popular, but many consider it necessary, even inevitable.

    Culture is not bad in itself. There is nothing shameful or abhorrent in upholding culture. A people’s way of life is often among their most prized assets because in it is ingrained their identity and the very sense of history and prosperity.  It is worth preserving. But not at the expense of peace, tolerance, law, and order which foreground every civilized society.

    It is important that Nigerians cling to their culture. But it is even more important that the rights of others are respected while doing so. Respect for culture and tradition must exist alongside the overwhelming realization  and recognition that culture can only thrive in a society where there is law and order

    Nigerians must also endeavor to do away with those cultures of death that diminish life, oppress women and leave behind the ugly marks of marginalization and brutalization.

    •Ike Willie-Nwobu,

    Ikewilly9@gmail.com

  • Varsities and vanishing academic culture

    Varsities and vanishing academic culture

    • By Sunday Olagunju

    Sir: Universities are citadels of learning and staunch builders of character. Erudition, awesomeness in learning and benign character are the defining attributes of universities as centres of learning and research.

    When people advocate maturity as basis for admission of students in the universities, they seem to want to obviate two evils that are rampant among students of higher institutions of learning, namely: the tendency towards sincere ignorance and conscientious stupidity.

    Given the heterogeneity of university students and their background, there is always a culture which acts as a unifier and as a leveller to which all the students must subscribe to and adhere to as both given and basic.

    Sadly, the rapid implosion in the establishment of universities and the inability to provide accommodations for the vast majority of intakes seems to be fast eroding this systemic culture to which the university as a system is noteworthy.

    There is a copious difference and dissimilarity between the town and the gown and students coming into the university must be ready to imbibe the philosophical ethos of ideas, learning and civility, including the benign character, to which the university system is uniquely known.

    With the abrogation of hostel accommodation, whereby most students have become virtually day students, there is a gradual creeping of open lawlessness and gross indiscipline into most university campuses.

    In the sixties, even down the eighties when university students were fully accommodated, universities took on the toga of unique villages which cultural ethos all students freely subscribe to and be part of.

    It was a taboo in those days not to recognize your lecturer, even though they were seldom seen around. In those days, you could hardly look a lecturer in the face, let alone have a roughshod encounter with him or her.

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    Students feared misconducts that are exposable or could lead to expulsion because universities were fewer and possibility of securing alternative admission was either remote or non-existent.

    Today, the preponderance of universities, both public and private means that an expelled student can always secure admission to other available universities, without even time lag. This has further eroded discipline and decorum of behaviour by most students.

    Apart from the few crisis in the universities like those of the 60s during the Professor Saburi Biobaku Vs Eni Njoku  over the vice chancellorship of the University of Lagos, when a student Kayode Adams stabbed Biobaku and Ali Must Go episode at the University of Ibadan which led to the death of Kunle Adepeju, a part four student, universities were generally peaceful and accommodating.

    While most private universities have accommodation for their students, most public universities are partly with the majority of the students living off the campuses. Given the growing moral decadence in the society, there is no vice chancellor that can vouchsafe for the characters of off campus students in the act of maintaining law and discipline within the campuses.

    Most universities produce half-baked graduates in both learning and character and this also reflect in their attitudinal disposition to work and ethical life on graduation. To achieve a wholesome recovery of the universities from the group of lawless and undisciplined students, universities should advocate for private partnership for hostels development so that most students can live within the four walls of the universities to imbibe both the culture of learning, harmonious living, bond of friendship, mutual consideration and respect for lives, culture and worth of human being as life’s greatest asset.

    •Sunday Olagunju

    Ibadan, Oyo State.

  • 2024: Culture sector influenced by Creative Economy

    2024: Culture sector influenced by Creative Economy

    With the creation of a new nomenclature in the Culture Ministry namely Creative Economy, the zeal to key into it by artists and stakeholders and be more creative was the hallmark of the sector in 2024. Edozie Udeze stresses that through some of the laudable events during the year that the Art, Culture, Tourism and Creative Economy Ministry prospered and attracted more inputs and awareness.

    With the creation of Federal Ministry of Art, Culture and Creative Economy, a nomenclature that has come to stimulate artists, stakeholders and art and culture administrators, the sector quickly capitalized on it to generate more new ideas and creativity with renewed impetus. With the Minister in-charge, in the person of Hannatu Musa Musawa, artists have come to realize that this new creation is not a fluke after all. At every event in the sector, Hannatu made it clear that this is an opportunity for artists to key in to make the desired difference. With her visits to the National Theatre a couple of times to supervise and oversee the renovations going on there, she explained to all concerned that the Theatre will continue to serve as apex culture house for the nation.

    And it is clear that the surroundings of the Theatre are wearing a new look. The place has been fenced round with only a few gates here and there for exit and entrance. The once dilapidated air conditioners have been restored. The interiors, from the cinema halls to the offices have been remodeled to fit into the trend of the moment. It can be said therefore that the Theatre has returned to its former self, even though the Bankers Committee in-charge of the renovations have not handed it over for use yet.

    Within the year also one of Nigeria’s greatest contemporary colourist artists, Biodun Olaku had one of the most celebrated solo exhibitions in the history of Nigeria. Themed Odyssey, the exhibition saw Olaku, a master artist who had been a studio artist for more than fifty years showcasing some of the oldest, newest and contemporary art pieces that stunned the sector. With the National Museum and Monuments, Onikan, Lagos, as the venue, the turnout was massive. Olaku used the opportunity to attract artists who had not converged together for years. The venue attracted many Nigeria’s most celebrated and notable masters who used the occasion to jolly and exchange pleasantries. And it offered collectors, patrons and gallery owners the opportunity to meet and discuss business ideas as they concerned the sector.

    Also for the first time in the history of Society of Nigerian Artists (SNA) Lagos State chapter, the annual October Rain exhibition was held at two different venues simultaneously. For the first time also, the venue displayed the largest number of art pieces in one single exhibition and which included all the displays of sculptures, ceramics, charcoal, pencil, water colours, paintings, wood works, name it. Apart from dedicating the annual show to Professor Bruce Onobrakpeya, Nigeria’s oldest living legend of the visual art, SNA gave him the highest award reserved for the utmost master of the visuals.

    The show also attracted high calibre personalities, art lovers, patrons, gallery owners from far and near. United States consulate in Nigeria was also represented. Some other foreign missions and diplomats used the occasion to view Nigeria’s art pieces both at the Ikoyi and Ikeja centres. Onobrakpeya who was impressed with the show and award offered him is also a UNESCO living legend. He has been honoured in several places in Europe and America. He said, “I am impressed but we need the government to update the National Gallery of Art with more new works on national issues and images and personalities”.

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    The year witnessed the resuscitation of the dance troupe of the National Troupe of Nigeria. With the Artistic Director, Kaltume Bulama Gana in-charge the Troupe had a four day workshop and seminar where new recruits were made. And the old ones were retrained to fit into the ambiance of new techniques in dancing, singing, drumming, acting, choreography and costuming. In the main, Professor Arnold Udoka, a former director of dance with the Troupe was called in from the University of Calabar to handle one of the sessions. It was truly a good time for Gana to reassemble her team and refocus attention on the mandate to remind artists that they are the culture ambassadors of Nigeria and indeed Africa.

    The Troupe also went digital. As part of the last programme for the year, Gana and her team put in place what she described as re-imagining the National Troupe of Nigeria through innovation. It is just a way to ensure that cultural properties and elements are shown as virtual reality and in digital games. With the collaboration of Open Innovation Access, henceforth, most events of the Troupe past and present will be documented in modern technology for the whole world to see, appreciate and patronize. Gana, a visual artist herself is excited about this model programme aimed at raising the profile of artists and the Troupe itself. Gana said, “My mandate is to upgrade and take the Troupe to the highest level of visibility, performance and training”. If fact, she has made the Troupe a cynosure of all eyes once again.

    The National Gallery of Art (NGA), another parastatal of the Art and Culture Ministry for the first time in years revived its usual children cultural and creative art and drawing programme. On May 27 being children’s day, this event took place in their Lagos office. With many sponsors and partners, NGA was at its best. Children artists and their teachers and parents were in attendance. The quality of works produced by secondary and primary school students, were to say the least, awesome, totally amazing. In different categories, awards and prizes were given to the best artists. It is clear that some of the children really want to learn how to paint or draw or sculpt. The enthusiasm surfaced in all spheres. Even when it was time to sing and dance, the fluidity of their feet and body movements pointed to the fact that they were willing to be artists in the future.

    The Association of Nigerian Authors (ANA) brought life and illumination to Mpape, Abuja, for five days. They were days of the annual convention. This year’s edition was appropriately tagged the Creative Economy and Nigerian Writer. The theme was handled by Professor Joseph Ushie of the University of Uyo who had advised authors to write to make money and address modern issues and also leverage on the sentiments on social media. The convention was loud. It was big. It brought together big boys and girls in the association who met to participate in the opening of writers residency named after Ken Saro Wiwa. For the first time in history, authors, writers, visitors and all lodged within the writer’s village complex. Writers were proud of ANA and ANA leadership did well to cement love and togetherness.

    In the National Films and Videos Censors Board where Shaibu Husseini is in charge he has been able to make a lot of changes. He has had several meetings and workshops and interactions with stakeholders in the film and video sector on how to sanitize the industry for the good of all. He has made it consistently clear that smoking and killing and ritual scenes must be controlled. Ha has warned scriptwriters, producers, and directors about how to avoid some extreme scenes that are injurious to the psyche of the public. Husseini’s mission as the CEO of the Censors Board is yielding results.

    Also the National Museums and Monuments, Onikan, Lagos, the centerpiece of Nigerian artefacts has been playing host to so many exhibitions. Because the environment is cozy and roomy, many artists have been attracted to the place. With the presence of artists and other visitors there, they usually tour the galleries to see and appreciate Nigeria’s cultural and traditional elements in forms of artefacts and historical monuments.

  • Preserving Yoruba language, culture

    Preserving Yoruba language, culture

    By Abdulganiyu Muritala

    In today’s fast-paced, interconnected world, cultural diversity is a precious asset to be celebrated and cherished. For Yoruba parents living in the diaspora, preserving their cultural heritage, primarily through language, becomes not just a choice but a necessity. As globalisation and cultural assimilation threaten the uniqueness of traditional cultures, the Yoruba diaspora community faces a critical challenge: maintaining their cultural identity abroad.

    Significance of preserving Yoruba language and culture is numerous. Yoruba language and culture enrich the cultural diversity of host countries, promoting cross-cultural understanding. Preserving them ensures the continuation of traditions, customs, and values. Indeed, language and culture shape individual and collective identity, connecting diaspora youth to their heritage; shared language and culture foster community cohesion and social bonds among Yoruba diaspora members. Preserving them also enables the transfer of knowledge, values, and traditions to future generations.

    One of the primary reasons why preserving the Yoruba language is essential is that it serves as a bridge to one’s roots and ancestral heritage. For Yoruba parents living abroad, teaching their children the Yoruba language is a way of ensuring that they stay connected to their cultural identity.

    Language as cultural DNA: Language is not merely a means of communication; it is a vessel that carries the history, values, and traditions of a community. The Yoruba language embodies the collective experiences, myths, and legends of the Yoruba people, making it an irreplaceable link to their ancestral roots.

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    Challenges in preserving Yoruba language and culture: language shift – younger generations prefer dominant languages (e.g., English); cultural assimilation – diaspora communities often adapt to host cultures; limited resources – access to Yoruba language education and cultural materials may be scarce; generational gap*: Different values and priorities among generations hinder cultural transmission.

    Also, the following strategies for preservation language education should be explored: establishing Yoruba language schools and programmes; organising of cultural events; exploring digital platforms, language learning apps, and online forums; encouraging intergenerational dialogue, cultural exchange and collaborations with Yoruba organisations, cultural institutions and government.

    In conclusion, preserving Yoruba language and culture in the diaspora is crucial for maintaining cultural identity, community cohesion, and intergenerational transmission. By acknowledging the challenges and implementing effective strategies, the Yoruba diaspora community can ensure the continued vibrancy of their cultural heritage by maintaining cultural identity, community cohesion, and ancestral connections. By teaching children the Yoruba language, parents can ensure their roots remain strong, fostering a sense of belonging and cultural pride.

    • Muritala is the Principal Assistant Antiquity protection officer at National Museum, Ile-Ife

  • Culture ministry lists components driving 2m job targets

    Culture ministry lists components driving 2m job targets

    The Federal Ministry of Culture and Creative Economy, (FMACCE) has listed four key components driving it’s 2 million jobs delivery targets.

    The 2 million job target is being facilitated with partnerships of the private sector with several Memoranda of Understanding, MoU signed to effectively drive this job component.

    Speaking exclusively to our correspondents, the Honorable Minister of Art, Culture and the Creative Economy, Hon. Hannatu Musawa said, “These 2 million job deliverables will be delivered through strategic investments, partnerships and fiscal incentives.”

    She disclosed that the job strategy will also explore synergies with the Nigerian commitments under the African Continental Free Trade Area Agreement-(AFCTA) and broader economic expansion.

    The Minister added the 2 million job opportunities will create more investments in the creative industry value chain of Africa and expand opportunities of $3.4billion African market share.

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    According to the Minister, the job creation strategy encompasses vital pillars for development, including infrastructure enhancement, investments in human capital, formalising the informal sector, exploitation of economic pivots and effective monetization of cultural assets.

    She also disclosed that upbeat investors would be supported with data into the creative economy eco-system.

    It was further confirmed that the FMACCE has facilitated partnerships through National Council for Arts and Culture (NCAC) with the Committee of Vice Chancellors of Nigeria to expand cultural and creative academy programmes in higher institutions across the country.

    “Formalising partnership via MoU with the Department of Culture and Tourism Abu Dhabi-United Arab Emirates to promote cultural creative programme exchanges are key to driving the growth being sought in the sector.”

  • Institute promotes culture of maintenance

    Institute promotes culture of maintenance

    Institute for Promotion of Maintenance Culture is set to explore challenges hindering effective maintenance and propose solutions to foster a culture of infrastructure, machinery, and public assets.

    Speakers will delve into these issues at the institute’s inaugural lecture at Lagos Airport Hotel, Ikeja, August 28.

    The event’s theme is “Revitalising maintenance culture in Nigeria: A critical challenge and the path forward”.

    In a statement, Executive Director, Moses Ali, said as Nigeria navigates its path toward sustainable development and growth, the need to cultivate a robust maintenance culture had never been more urgent’

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    The lecture will feature key industry players,  stakeholders,  decision and makers, who will provide insight into how a revitalised maintenance culture can serve as a catalyst for stability, job creation, and long-term prosperity.

    It will include panel discussions and interactive sessions to encourage dialogue on strategies and best practice.

    Key topics are ‘How to embrace a proactive maintenance culture to reduce downtime, costs and improve operational efficiency’ and ‘How to achieve great maintenance culture with a change management practice’.

  • Creativity and culture

    Creativity and culture

    At the beginning of the year when a new set of administrators and directors took over in the Federal Ministry of Culture, Arts and Creative Economy, the zeal to hit the road running was uppermost in their minds. Now, seven months on, some of the agencies and departments are yet to feel the presence and impact of some of the directors. Some of the appointees are still waiting to see what programmes to put in place to ensure that the sector is busy.

    Even though some have started organizing a few programmes, it is still a far cry from what needs to be done to ginger on a busy culture sector. The expectations and the hopes of handing over a completed National Theatre (Wole Soyinka Centre), Iganmu, Lagos, to the Theatre management to begin programmes that will attract patronage and cultural activities is still far from being realized. Even though the General Manager had hinted that by October this year, the complex would be fully renovated and handed over to the government, there seems to be more works to be done. Whether in the interior or in the exterior, the complex still needs more attention before the handover takes place.

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    It is same with the Centre for Black and African Arts and Civilization (CBAAC) where the Director General is operating from Abuja, more or less, since assumption of office. Meanwhile, CBAAC operational headquarters and head office is located in Lagos. Close watchers of development in the sector point to the fact that a few things may need to be put in place for these agencies to come fully alive. So, as it is now, with just a few agencies organizing one or two activities here and there, the sector is generally boring and quiet.

    It is time to see what must be done to wake up the Creative Economy Ministry if creativity will really thrive. The economy is almost in the doldrums and it is better to reorganize the indices of the sector that will enable artists breathe. Artists have to be encouraged to work, function and create. The atmosphere must be good and alluring. In the same way, government has the responsibility to create an atmosphere that will encourage creativity to blossom to the fullest. And the Wole Soyinka Centre has an important role to play in this regard.

  • Culture, creative economy can yield$100 billion by 2030 – Musa-Musawa

    Culture, creative economy can yield$100 billion by 2030 – Musa-Musawa

    • Speaks on President Tinubu’s vision

    Hannatu Musa-Musawa, a lawyer, is the Minister of Art, Culture, and Creative Economy. In this interview with Funsho Kareem, she explains the eight-point agenda of her ministry and how she hopes to achieve the outcomes set out by President bola Ahmed Tinubu. Excerpts:

    Since your appointment as minister of Arts, Culture and the Creative Economy, what are those things that have happened in that space? A lot!  I think one of those things that shows that President Bola Tinubu is an innovator is the fact that he really was committed to diversifying from our normal means of revenue, which is oil. In that diversification, he created this amazing ministry – art, culture, and the creative economy – the first of its kind in Nigeria. When I got this job, I decided to approach it from a ground zero point of view because I really felt that not much had been done in the space to create a fortifying sort of industry-specific structure.  The basic things that are needed to put a foundation were not there, so we approached it from a ground zero perspective. In doing that, I came up with an eight-point agenda. That eight-point agenda hammers on making Nigeria a global creativity hub and engaging in skill acquisition for members of the industry and capacity building so that they will be able to be better positioned for job creation.

    Can you break down this eight-point agenda and its operationalisation?

    Policy framework is central when you talk about building a foundation. We decided to look at all the policies that are needed. The issue of culture policy, creative economy policy, and infrastructure policy. These were some things that we felt were very important. Of course, there is the issue of stakeholder engagement. Stakeholder engagement: One of the greatest things about this industry is the fact that members and players have allowed the industry to grow organically and become successful in spite of the government. Now that the government has come into place, these are the people who operate within the space. They know what needs to be done. Then, you also look at the strategic partnerships that are necessary – the PPPs. When you look at what needs to be done in this industry, the government can not do it alone. I think for the purpose of sustainability, the government should not do it alone. The issue of strategic partnerships is very key. One of the things that we looked at in terms of the potential of the industry was its ability to create an economic expansion. We came up with a very ambitious goal of trying to contribute at least $100 billion to increase the GDP by 2030 or 2031. It’s the potential to bring in economic growth.

    Is that achievable?

    Yes, it is achievable, but I’ll get to that later.

    On the issue of infrastructure, when you talk about building a foundation, it is key. There is really no infrastructure that is able to support the growth of the industry. It is a key area on which we want to concentrate. The promotion of cultural heritage. One of the mandates of the Ministry is to give a cultural expansion. In this cultural expansion, we hope to make Nigeria the cultural hub of Africa, especially given the sort of diversity that we have. We also have a great initiative called Destination 2030, which we launched earlier in the year. Destination 2030 is a sort of branding. It is something that we want to use to reposition Nigeria in the eyes of the world. We have launched Destination 2030, and it is going to create a soft power for Nigeria. That has been launched, and we hope to be able to expand it more in the next coming months, in the next years, to really make Nigeria the focal point of global interest, especially now when you have the whole world interested in the talent and content that Nigeria has to produce. Destination 2030 is an ongoing initiative that can only be fleshed out as time goes. On the skill acquisition, through our agencies, we have been able to give capacity training to a number of youths in various areas such as arts, crafts, music, and film. We hope to continue to do so and more.

    Is there a possibility that you will create hubs for talents across the country?

    Yes, we are talking about creating hubs, and already, we have started. We are partnering with one of the greatest members of this industry, a young man, Mr Bayo, who created Mad House in Lagos. We are working together with him to see how we can expand those incubators and those hubs in the different festivals apart from the ones that he has already done in Lagos, which we have already keyed into. He has already started here in Abuja, it is almost finished, and the Federal Government is going to come in to partner with him on that. We are trying to see how we can put it in the six different geo-political zones first, and then we will expand that to the different states, hopefully. By the end of the administration, we will have been able to expand those incubators to every single senatorial district so that we are able to take this ability to have the skill acquisition to the grassroots within communities. Hopefully, we will be able to do that, and it is going to be based on the successes that we will have with the first six geopolitical zones. With this skill acquisition, the ministry has launched what we call CLAP – Creatively Acceleration Programme, which is a digital platform that is a convergence point for creatives. Creatives can come onto this platform and be able to partner them with areas where they are able to gain the specific skill that they need and the specific tours that are required for them to be able to build on the capacity.

    Some time ago, you talked about job creation and you were very upbeat about it. What progress have you made in that direction?

    When it comes to job creation, which is one of the things that we have committed to as a ministry, specifically for the younger demographics with CLAP, we will be able to get them jobs whether in Nigeria or across the world.  It is a tool that we have already launched within the ministry, we are working to flesh that out as well, and hopefully, we will take it to the executive council.

    As I’ve said earlier, policy is key. It is foundational. One of the main areas that we concentrated on is in intellectual property, IP, and protection. When you talk about the creative industry, you can not even start a conversation if you don’t have intellectual property protection and copyright. Last week, the Minister of Trade and Investment and I set up a committee that is going to look into ensuring that within the span of four to six weeks, we have IP protection and securitization.  Already, we have a working document.  IP protection cuts across the span of many ministries. You have about nine or eight ministries that are involved. So we have to get inputs from all these ministries involved in terms of what they need to be captured within the kind of documents that we are already working with. Hopefully within the next six weeks, we will present that to the executive council and ensure that we have IP securitization that is needed  not only to give the protection of people in the industry, but also to ensure that people in the industry can use their IP as collateral.

    When you have IP securitization, it gives confidence to investors to come into the country. For me, IP is very key.

    We’ve not discussed culture here.  I watched you somewhere discussing the issue of cultural heritage with passion?

    Thank you.  Cultural policy is important. In my ministry, we are working with a document, I think there already exists a 2020 document on cultural policy. We are cleaning that up, and I think that within the next couple of weeks, maybe three weeks at the most, we will be able to present cultural policy to the nation. We are also working with NESG. We have already signed a memorandum of understanding with NESG to work on ensuring that we present a policy that would be able to give the kind of protection and security and support that members of the industry really require.

    What about incentives for industry operators?

    You preempted me on that.  Part of the policy framework that we want to put in place is an incentive policy.  Incentive policy is very important for people in the industry, and we have already started working on that. It is just a matter of cleaning that up and presenting it to the public. The incentive policy also looks at how we can give incentives to people and rebates, tax rebates within the industry. International people who work with them in the industry will be able to come and work in Nigeria having that friendly working environment to be able to do so. I have already started talking to the Minister of Internal Affairs, Mr Bunmi Ojo. We are introducing a visa scheme for the creatives, specifically created for the creatives. That is almost at the final stages of the presentation. That is part of the incentives that we are looking at – ways we can encourage people to come into the country, bring their equipment into the country, and have some sort of rebate in relation to that. That is what we have done in terms of incentives and policy implementation.

    On governance and collaboration, one of the great things that I have mentioned is that you have people in the industry who have been able to grow the industry organically. They have succeeded in spite of the government. These people have to have a voice in terms of how to create these policies. For example, when I talk to you about the culture and IP policies, we still have to go back to people in the industry to bring their input as to what they feel is needed to continue to propel the industry and the ministry forward. This collaboration is very key, and we have already done a number of stakeholder engagements, and we will continue to do so.

    One of the things that I have said was always going to happen was that we were going to have an advisory council within the ministry. This advisory council, together with NESG, is part of the MoU that we have already signed with the NESG. This advisory council is going to be situated in the ministry. Very soon, that advisory council will be populated by members of the industry. The greats in the industry who know what needs to be done within the industry. Already, I have issued invitations to a number of people that I think are key to the industry, and their names will soon be announced by the government. That advisory council is very key.  That also relates to strategic partnerships.

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    How are you proposing to handle the issue of sustainability so that in the long run, that space would not wane?

    As a government, we can not be able to put a structure together if you are looking at the sustainability of it. So, we are looking at PPP partnerships.  We have discussed with a number of banking institutions, people who have interest and foundations where we can get grants for people within the industry. Very soon, we will be able to announce that we have been able to gain grants from these endowment funds. This is very key.  It sounds ambitious, but it really isn’t when you look at the kind of value that is created within the industry.  It is just a matter of closing the lacunas and trying to bring that value back home. The numbers are there already. It is just about creating an enabling environment that would allow us to get this value economically. One of the great things that we have started and I am taking it to the executive council is an arena. We do not have one arena in Nigeria.  Recently, we had a great Nigerian, Mr Amusan, who is building an arena in Lagos. We should have arenas all over Nigeria. Already in the ministry, we have started discussions as to how we can do one huge arena in the centre of Abuja and then we hope to have what we call the Abuja Creative City, which will be a one stop shop for everything creative. There, you will have your film studios, arena, and music studio.

    What about the infrastructure to support what you’re planning to do?

    Infrastructure is key. We need to upgrade our museums. As the capital city of Abuja, we don’t have a museum. That is a shame. So, we have to upgrade the existing museums in at least the six geo-political zones so that we will be able to bring back some of our artefacts. Infrastructure, cinemas. We are bringing back cinemas, cinemas in all the states and, hopefully, local governments if it is possible. That is already a discussion, and we are almost done with that. Heritage preservation is key. This cultural expansion we are talking about is also about the preservation of our culture, and this can be done through the cinemas, the return of our artifacts, and the loan of some of our major artefacts.

    Since you started your stakeholder engagements, what sort of challenges would you say you have faced?

    One of the main challenges that we faced and which we still face in stakeholder engagements is that the industry has really grown lethargic with the promises of governments. In the past, the government had done nothing to help them. This is the first time a president has found it fit to create a ministry to cater specifically to the industry. The fact that you look at IP policy which isn’t in place because there has not been a ministry that looked at the peculiar nature that is required, and the peculiar requirements needed to be put in place. In the beginning, what I faced was that industry players felt the government was on the other side, and members of the industry were over here. There was no trust. It is still going to take a lot for us to bring that trust and the only way we can do it is by giving them the legal regulatory framework that they need, the grants, the capacity building and endowments that they need as well as giving them the infrastructure that they need. Once you do that, you will be able to bring that trust back.  Other than that, I have found a lot of magnanimity with the main players in the industry. They have welcomed me.  Many of them don’t need us. They have succeeded on their own, but because they care about the industry, they are looking at long-term sustainability.

    You talked about $ 100 billion dollars by 2030.  How achievable is that?

    It is doable. The numbers that we have are based on the metrics out there already. The kind of numbers coming in from Spotify, YouTube, and NETFLIX. You look at the number from the great Funke Akindele’s movie, which grossed a billion plus with hardly any major cinema. Can you imagine the numbers that can be generated if we are able to expand the cinemas? If you are able to give them IP securitization, imagine the lacunas that you would be able to breach. If you do that and you are able to give them infrastructure, you are able to draw a lot of concerts coming into the country. Nigeria’s movie industry is the second biggest in the world, but they don’t have the infrastructure and the proper backing to be able to produce good productions. The productions that we are able to gross are billions that we are talking about in Bollywood and Hollywood. If you are able to give them that enabling environment, those numbers are not very difficult if you look at what South Korea and Japan are doing.  I am just looking at the movie industry, but we have the fashion industry, the music industry, and the culinary industry. Can you imagine the kind of money that we can make just by monetising our jollof or monetising our food? It is not very difficult.  It is not something that can be done overnight, but we need to put in place an enabling environment that would be able to foster a certain amount of growth from 2027 to 2030.

    To what extent are you collaborating with NASS in terms of legislation?

    Legislation is going to play a key role. We have done a number of engagements as to how we can upgrade some of our laws. What I met was an industry and a ministry with very obsolete laws. With my background as a lawyer, I was shocked as to how outdated some of these laws were. It is shocking that there has been a ministry in the past, and the laws were just left there. What the President has done by creating this ministry is one that we have no choice but to put on our magnifying glass where it needs to be put. Almost all the laws that govern this particular industry have got to be upgraded. Law reform is going to play a huge part. That is why I said it is only when the government comes in to liaise with members of the industry that you can really get this upsurge. Members of the industry are not going to be able to put legislation through as fast as the government would.

    You’ve been touting job creation as a cornerstone of your engagements?

    We hope to create at least 2 million jobs by 2027. That is our hope, and I think with what we have done so far, we will be able to do that.  Part of our own mandate is to engage a younger demography in almost everything that we do. This is almost all part of job creation, and I have all my agencies pursuing that goal.  I have been very lucky because my agencies are now populated with members of the industry who know what needs to be done. The likes of Ali Nuhu, Obi Asika, Tola Akerele, Otunba Ajiboye, these are greats within the space, they know what needs to be done and are working overtime to ensure that they are able to achieve this economic expansion but also to create that enabling environment that people of their industry need. Job creation is very key to Mr. President, and he wants to cater specifically to that young demographic.

    One of the things that you would have learnt very early as minister is that there are a lot of fault lines?

    Of course, being a member of a northern extraction that has grown up more with the southern community, I do understand those fault lines. What I know is the importance of taking these fault lines into consideration. And in whatever you do, you have to localise it. We intend to work directly with the state governments to ensure that we have a cultural village or cultural renaissance in every state. At the moment, we are coming up with a template for every single state, and we are going to send that to the state governors. Once we send that to the state governors asking them to ask their own commissioners from the relevant ministries to make input as to what they want to be specifically captured within their states. I hope to do a tour of every state. It is a tour we hope to do very soon within the next two months. We will take that template to every single state, and we would invite the state governments to work with us hand in hand to put up a cultural experience, whether a cultural village where they will have their museums.  We will be working closely with the National Economic Council, NEC.

  • Culture ministry, entertainment group seal deal on Abuja International Carnival

    Culture ministry, entertainment group seal deal on Abuja International Carnival

    The Ministry of Art, Culture and the Creative Economy and Yankee Entertainment on Thursday, May 16, finalised discussions on the planned Abuja International Carnival.

    The carnival according to a statement issued by the media aide to the minister, Nnna Ikem Anibeze has been scheduled for November 2024.

    The Abuja International Carnival is a significant event in the Nigerian cultural calendar, and the Culture Ministry and Yankee Entertainment are committed to making it a success.

    Anibeze quoted minister, Hannatu Musa Musawa, to have listed the carnival as top of the ministry’s events for the year.

    She said: “The Abuja International Carnival aims to boost cultural tourism and enhance Nigeria’s international profile. The carnival will also foster national unity, boost international culture promotion, and create economic opportunities for local artists and entrepreneurs.

    “It is one of the events we really need to showcase to put the country at the forefront of cultural promotion. We knew that we needed to create something sustainable that would be able to attract not only investments but tourism into our country.

    “The former administration had started the Abuja Carnival. Today, we want to continue with it and also make sure that it is given long-term attraction and sustainability, so, I am happy to see how we can work out the modalities of putting this together to finalize collaboration details and discuss plans for the carnival”.

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    Earlier, the Managing Director and Chief Executive Officer of Yankee Entertainment, Kehinde Adegbite, aka Mallam Yankee presented the vision and objectives of the carnival, highlighting its potential to showcase Nigerian culture and creativity to a global audience.

    Mallam Yankee told the Minister that his organization had done previous carnivals including the Ochacho Carnival, Ibeju Lekki Carnival, and Ojodu Carnival among others, and assured that the Abuja International Carnival would be the biggest ever.

    “Abuja Carnival will be an International Carnival because we intend to bring different people from all over the world including those who are culture and arts-driven. We want to make it bigger than the Calabar Carnival and we assure you that we will shake the world”.

    In her closing remarks, the director of entertainment and creative economy, Ugochi Akudo-Nwosu, thanked the Minister for her enthusiasm and willingness to develop the sector.

    “We appreciate your support and passion for the sector. The last Abuja Carnival was in 2016 and funding was an issue. We are good to roll now in 2024 because time is of the essence as we have been absent for a very long time.

    “We want to showcase big artists and this is the platform that will showcase the culture and creative content of our people as well as what the ministry is doing in the Art, Culture, and the creative economy.”

    The carnival will feature a range of activities, including street shows, musical concerts, boat regatta, Durbar, children’s Fiesta, and exhibitions.