Though the government has unveiled its plans for the creative industry, the main task is to support artists in reaching greater heights and working towards realising the grand objective of contributing 10 per cent to the nation’s gross domestic product by 2030.
LAST year, before becoming the Minister of Art, Culture and the Creative Economy, Hannatu Musawa had unveiled her plans for the creative sector. As President Bola Tinubu’s then Special Adviser on culture and the entertainment economy, she revealed a plan dubbed ‘Destination 2030’ to unify all the sectors in the creative space under a single vision.
She said the initiative will cover different aspects of culture and entertainment to promote Nigeria’s cultural identity globally, noting that “Nigeria sits at an inflexion point where our global cultural impact is at an all-time high, combined with a new progressive administration, the time is now to support the talent and institutions that power the cultural, entertainment and creative economy.”
She further noted that the creative sector can catalyse growth and that implementing the plan would “substantially contribute to the country’s economic growth, meaningfully to national GDP and creating much-needed jobs for talented youth in the sector.”
Musawa disclosed, “Our objective is to contribute 10 per cent to the nation’s Gross Domestic Product (GDP), expanding sectorial GDP to a remarkable $100 billion by 2030.”
Granted that she was sworn in August and could only deviate a little from the programmes of the preceding President Muhammadu Buhari administration, 2024 offers the Minister the opportunity to start implementing her plans for the sector, which has grown mainly by the blood and sweat of private players.
Contributing 10 per cent to the nation’s GDP won’t come by mouthing it alone but by framing policies that will empower private players. Artists and other creative entrepreneurs need more support from federal and state ministries responsible for culture and tourism. But they don’t expect it because they see government agencies and parastatals inadequately funded. They thrive based on their enterprise and ingenuity but could use a hand from the government. Musawa will realise her lofty goals only by supporting the private players driving the sector. Otherwise, the government will fail.
Notably, the Federal Ministry of Arts, Culture and Creative Economy’s 2024 budget contains some capital projects that will aid in realising the 2030 goals. These include the construction of traditional theatre and epicentres in the six geo-political zones, the establishment of a National Film Academy (though one wonders the reason for this when the Nigerian Film Corporation and National Film Institute already exist) and the establishment of six Nigerian creative hubs in each in the six-geo political zones.
If the government can do this and open up the hubs to private players (not establish/construct and lock them up), adequately fund its agencies and parastatals, especially those like the National Gallery of Arts and National Commission for Museums and Monuments, impactful on visual art; the National Council for Arts and Culture, National Theatre and Film Corporation among others, there will be a boon in the sector.
Hardy, Resilient Creatives
But while the government is still getting its acts together, the private sector players, as usual, are not sitting on their haunches. While some significant stage and screen producers –Uche Nwokedi, Bolanle Austen-Peters, Joke Jacobs and Funke Akindele– ended 2023 on a high with great productions, others are already unveiling their plans for the New Year.
Organisers of the iRepresent International Documentary Film Festival (iREP) have already announced that this year’s edition will be in March. They have requested entries from documentary filmmakers for the event with ‘Righting the Future’ as its theme.
This edition features the 90th birthday of Nobel Laureate Professor Wole Soyinka, a filmmaker. The Festival’s theme suggests some wrongs in the past that need to be corrected with appropriate factual, entertaining and didactic content.
The Wole Soyinka International Cultural Exchange (WSICE) Program, organised annually since 2010 to mark the Nobel Laureate’s birthdays, will continue the Kongi celebration in July. Though their main plans are still under wraps, a source hinted that it would be a befitting event marking Professor Soyinka’s milestone.
In the same vein, an investment banker turned producer, Joseph Edgar has been up and about putting the finishing touches to the staging of his ‘Awo the Musical’ and Economic Summit in London, United Kingdom, in May. That will be an outing to look forward to, given the calibre of artists and professionals the producer is involved in the project. It will also be an opportunity to showcase Nigeria’s creativity to the world further and, who knows, secure more investments in the culture sector.
Lagos State, ever supportive of entertainment and the arts, announced a five-day street art festival in the first quarter of 2024.
The Festival’s executive creative director, Osadolor Okunkpolor, explained that the event is not just about celebrating ar but also a platform for boosting tourism, creating opportunities for artists, fostering education, capacity building, and engaging the youths.
He said the experiential Festival will merge street art with pop culture, showcasing the talents of local and international artists through large-scale murals, installations, and interactive exhibits, transforming the city into an open-air art gallery. Renowned artists and industry experts will also conduct masterclasses, providing aspiring talents with invaluable insights and skills to further elevate their craft.
The Special Adviser to the Lagos State Governor on Tourism, Arts and Culture, Idris Aregbe, added: “The Festival aligns seamlessly with the Governor’s vision for contributing to Nigeria’s creative economy and positioning Lagos as a cultural hub. I am thrilled to witness this synergy of art, tourism, and youth empowerment at this groundbreaking event, creating an opportunity to put Lagos on the global street festivals map.”
Even as the economic pinch bites harder, with most creatives digging deep to survive and continue creating exciting works, there’s no denying the fact that they need better support from the Ministry, government agencies, and corporate Nigeria to reach greater heights. The goal of contributing $100 billion to the country’s GDP by 2030 won’t happen magically. The government must intentionally and strategically boost the private sector, which has been outstanding even without its support.