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Nigeria, UK Launch Creative Industries Technical Working Group

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UK Nigeria

By Adedapo Adesanya

The United Kingdom and Nigeria have officially launched the Creative Industries Technical Working Group to deepen bilateral ties and create a robust framework for growth within the creative sectors of both nations.

According to a statement on Tuesday, the launch of this Working Group and a match-making event for UK-Nigeria creatives industries leaders in London represents a milestone in the UK-Nigeria relationship, designed to boost innovation, cross-border creative collaborations, and drive sustainable economic growth and development.

The events provided a dynamic platform to explore new opportunities and form commercial alliances within key creative subsectors such as film and TV, music, fashion and design, architecture, advertising, and gaming.

By prioritising collaboration and cultural exchange, the initiative is poised to foster long-term growth, enhance job creation, and unlock new pathways for creativity and innovation in both countries.

The statement added that a terms of Reference and joint work plan for 2025 were also agreed upon to guide the Group’s focus and efforts.

Speaking on the significance of the launch, Ms Florence Eshalomi MP, the UK’s Trade Envoy to Nigeria and Co-Chair of the UK-NG Creatives Technical Working Group, remarked that, “Our nations share a rich cultural bond and a deep belief in the transformative power of creativity, through music, film, fashion, and arts.

“This initiative, rooted in our landmark Enhanced Trade & Investment Partnerships (ETIP), will drive stronger trade ties, foster deeper collaboration, and unlock the full potential of our creative industries,” adding that, “By enhancing market access and investing in skills, we are opening doors to new opportunities that will create jobs and boost economic growth in the UK and in Nigeria.”

Emphasising the need for deeper creative and cultural ties, Mr Obi Asika, Director General of the National Council for Arts and Culture and Co-Chair of the UK-NG Creatives Technical Working Group in Nigeria, added “Nigeria’s creative economy is a global force, driven by our storytellers, musicians, designers, and digital innovators.

“From Nollywood to Afrobeats, fashion to gaming, our industries are reshaping global culture and commerce. However, to unlock the full potential of this sector, we need strategic investment and support not just in talent, but in the institutions and infrastructure that will sustain long-term growth.”

Representing Mr Asika from the Nigerian side, Prince Baba Agba, Special Assistant to the President of Nigeria on Creativity, underscored the importance of leveraging UK expertise for impactful collaborations.

“The UK’s creative industries stand as a global benchmark for institutional excellence, market distribution, and innovation. We are eager to tap into your expertise for meaningful partnerships. This Working Group isn’t just about discussions – it’s about taking concrete actions that will yield tangible outcomes for creators, businesses, and industry stakeholders on both sides,” he noted.

Also speaking on behalf of the music industry, Mr Adedayo Ayoade, Product Lead at Gbedu Labs, said, “The future of Nigeria’s music industry lies in live experiences, innovation, and global collaborations. The launch of the Creative Industries Technical Working Group, under the ETIP framework, represents a significant first step towards bridging cultures and amplifying the voices of the next generation.”

Adedapo Adesanya is a journalist, polymath, and connoisseur of everything art. When he is not writing, he has his nose buried in one of the many books or articles he has bookmarked or simply listening to good music with a bottle of beer or wine. He supports the greatest club in the world, Manchester United F.C.

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Lights, Camera, Talent! Nigerian Idol Season 10 Starts with a Bang

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Nigerian Idol

The wait is over – Nigerian Idol Season 10 is finally here, and the premiere delivered all the excitement and talent fans of the show hoped for.

Back on the judges’ panel are Omawumi and Ric Hassani. Last season, we saw them strike a balance between fun and honest feedback, and this year, they’re stepping it up.

Ric shared that he’s watching out for contestants with soul, skill, and voices that are just genuinely enjoyable to hear. Omawumi is looking for something more instinctive, a spark of originality, showmanship, and a voice that immediately makes people sit up.

Then there is Iyanya, the newest judge at the table. As a product of a reality music show himself, he knows the pressure these contestants are under. For him, it’s all about raw talent, star quality, and people who are ready to command the stage.

From the first auditions, you could tell the competition this season is going to be tough. There were strong voices, bold performances, and yes, a few funny and unexpected moments that reminded everyone why the audition stage is a fan favourite.

One standout moment was the return of Mikky, the very first contestant to ever receive a Platinum Ticket in the history of Nigerian Idol. He came back this season stronger and more confident and delivered a performance that had the judges impressed again. It earned him another Platinum Ticket, proving that when talent meets growth, it’s a winning combo.

So far, the scorecard reads: 17 yeses, 9 no’s, and 1 Platinum Ticket gone, with two still up for grabs.

Season 10 is shaping up to be one worth watching. If this first episode is anything to go by, we’re in for a season full of standout moments and new stars in the making.

Catch all-new episodes every Sunday at 7 p.m. on Africa Magic Showcase (DStv ch. 151, GOtv ch. 12) and Africa Magic Family (DStv ch. 154, GOtv ch. 2). For non-stop Idol content from auditions to backstage moments, tune in to the 24/7 Idol Extra channel on DStv channel. 198 and GOtv channel. 49.

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You Are Too Poor for Pay-Per-View

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Pay-Per-View

It is 8:30 pm on a Saturday. You have fought your way through Lagos traffic, spent too much on suya that burns more than it pleases, and finally settled in to watch the Champions League final. But nothing comes easy. Your options are limited, and none of them make sense.

First, there is PHCN. Whether you are Band A or B, you are gambling that the light stays long enough to catch the final whistle. It rarely does. Next, your rusty generator. With fuel costing between N900 and N1,000 per litre, keeping the lights on through the match will cost at least N10,000.

Then there is online streaming. Between expensive data and Nigeria’s unpredictable internet, you might spend N5,000 or more only for the stream to freeze just as Lamine Yamal winds up for a shot. Now add the cost of the actual pay-per-view fee. All these troubles and expense for three hours of content that might be disrupted anyway.

Here is the part many people still do not understand. Pay-per-view is not just another subscription model. It is a separate service where viewers pay an additional one-time fee to watch exclusive live events. These are not your average football matches or soap operas. PPV is for blockbuster fights, high-stakes UFC showdowns, or exclusive concerts. You pay once, you watch once, and that is it. It is not Netflix, it is not YouTube, and it certainly is not DStv Catch-Up.

In fact, Pay-TV like DSTV does not even offer PPV. Let that sink in. If you are watching a Champions League final or a UFC main event, you are not paying extra. You are watching it as part of your existing subscription. No hidden or additional charges. No tricks. Just the monthly bouquet, a stable signal, and whatever power source you can afford that evening.

So, when people scream, “Why can’t we have PPV like abroad?”, they miss the plot. Abroad, PPV can cost $80. Here, that’s half your salary. Meanwhile, DStv bundles the same content into your monthly plan. That’s a steal, not a scam.

Let’s do the math. A N100,000 PPV ticket, which is less than the average of $80 (N130,000), is more than two to three months of DStv subscription or a whole year of GOtv. For a country where the minimum wage is N77,000 and salaries barely cross N200,000, that’s not premium access. That’s financial suicide.

Please forget comparisons to the US or UK. Over there, $80 is lunch money. Over here, it’s food, transport, and school fees. Systems differ. Wallets do too.

The truth? Hardly anyone in Nigeria is paying for PPV, because they don’t have to. TV is already made accessible with our Pay-TV. So, before you attack broadcasters, remember where the real problem lies. The Naira is in free-fall, inflation is wild, and income is stuck. Access isn’t the issue. Affordability is.

So, the next time you are tempted to go online and shout about how Nigeria deserves real PPV, take a step back. Ask yourself if you can genuinely afford it without going hungry for two weeks. If the answer is no, then it is time to renew your regular subscription, plug in your rechargeable fan, and pray for NEPA. Because in Nigeria, PPV is not a right. It is a reckless indulgence.

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Celebrating African Cinema: AMVCA’s Growing Influence in Global Entertainment

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AMVCA Celebrating African Cinema

The Africa Magic Viewers’ Choice Awards (AMVCA), often compared to the Oscars, has evolved beyond a simple awards ceremony into an influential platform boosting African cinema’s global visibility. As the 11th edition approaches, the AMVCA continues to highlight African filmmakers’ work, helping to position Africa’s cinematic output as a significant force in international entertainment.

Initially established to showcase Africa’s diverse storytelling traditions, the AMVCA has grown from a regional event into one of the most anticipated events on the global film calendar. This increased prominence reflects the growing recognition of Africa’s cinematic quality and originality. The AMVCA brings together a wide range of African filmmaking talents, enhancing the event’s global recognition. As African content expands on streaming platforms like Showmax, the awards provide filmmakers with access to broader international audiences.

While the comparison to the Oscars speaks to its prestige, the AMVCA’s true value lies in showcasing authentic African stories and talent. Celebrating both established and emerging creative voices, it creates a space where African filmmakers receive recognition for their contributions to global cinema. This is particularly important as African stories gain  traction on the international stage.

Recognition from the AMVCA extends beyond trophies, opening doors to new opportunities and global collaborations. Past winners have seen their careers blossom through international film festival invitations, co-productions, and global distribution deals. The award serves as a validation that elevates African filmmakers’ work to the international stage.

A key strength of the AMVCA is its recognition of the full spectrum of industry talent. The awards highlight not only actors and directors but also the technical experts- cinematographers, editors, sound engineers, costume designers, and music composers- emphasising African cinema’s diverse talent pool. The addition of the best music score category further acknowledges how original compositions enhance storytelling and emotional impact in African films.

As African films increasingly appear on global platforms and receive critical acclaim, the AMVCA has become an industry cornerstone. With its 11th edition approaching, the awards’ role in recognising and celebrating African cinema remains vital. By recognizing excellence across all filmmaking aspects, from visual storytelling to musical composition, the AMVCA provides a comprehensive platform for honouring the complete artistic vision behind each production.

The global entertainment industry is paying attention, and the AMVCA ensures that African cinema is not just part of the conversation but actively shapes it. This evolution from a regional awards show to a globally recognized institution demonstrates the growing influence of African cinema and the diverse talent emerging from the continent. Through categories like Best Music Score, the AMVCA continues to elevate all components that make African storytelling unique and compelling on the world stage.

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