Nigeria’s Cultural Future in Focus with Baba Agba And The Ministry’s Destination 2030

The Special Adviser to the Ministry on Film and Music, Baba Agba speaks extensively in this interview about the ongoing efforts to execute a functional framework to boost the creative sector.

Recently, the Federal Ministry Of Arts, Culture And Creative Economy under the leadership of Barrister Hannatu Musa Musawa, released a report of its journey so far. This report contains notes of the ministry’s activities since inception in  August 2023, following the takeover of the current President Bola Ahmed Tinubu-led government.

Last week, the president scrapped the Ministry of Tourism, merging it with the Ministry of Arts and Creative Economy to form the Ministry of Arts, Culture, Tourism and Creative Economy.

The administration’s decision aside, Nigeria’s creative landscape has been growing and gaining increasing global recognition. With the wildfire-like spread of love for afrobeats, to the increased exportation of Nigerian stories and narratives through films across a global scale, Nigerian culture appears to be the new cool. 

According to the ministry, some of its notable achievements in the last year stand out, first of which is the transformation of the National theater at Iganmu Lagos. There is also the upward rise of Nigeria’s Global Recognition which grew and moved from 93 to 79, brand perception and cultural influence improved also from 111 to 94 with an increase in cultural rank from 73 to 50. 

These achievements and more contained in the report appear to be an attempt at scratching the surface when compared to the ambitious plans and projects which are upcoming under the auspices of the ministry. 

The Special Adviser to the Ministry of Arts, Culture And Creative Economy on Film and Music, Baba Agba who also talks extensively in this interview about the Nigerian creative landscape and the ongoing efforts to execute a functional and sustainable framework to boost the creative economy that is now considered Nigeria’s new oil.

What has this past year taught you about the reality of Nigeria's cultural and creative landscape?

I already knew it was vast, but it’s even bigger than one might imagine. We know there are many subsectors, with people doing incredible things at various levels. Some aspects may seem minor, but they’re really integral to the sector. It’s a powerful force, one that impacts lives across all walks of life. I always believed it was a major sector powering both society and the economy, but working in it has shown me just how interconnected everything really is.

Are there plans to better inform the public about the ministry’s ongoing initiatives?

Thank you for that question. Whenever we share information, we carefully consider how best to communicate it. It’s a constant question of how to reach more diverse audiences. While our work has been covered in the media, on TV, in newspapers, and on social media, there are challenges. Algorithms often mean that you have to spend heavily to keep content visible. We’re always balancing the resources for "making noise" against doing the actual work, and we continuously think about this and interrogate each other on it.

The ministry plans to create a Cannes Film Festival pavilion. Why choose Cannes, and how does the ministry plan to execute this, especially as France has been a challenging market for Nigerian cinema?

Actually, the Nigerian pavilion is intended to be featured at any major festival, not just Cannes. Whether it’s London, Toronto, Berlin, Venice, or Sundance, the pavilion will serve as a platform to promote Nigerian filmmaking and the audiovisual industry. 

We have an initiative called Destination 2030 Nigeria Everywhere, aimed at promoting Nigerian excellence. This pavilion concept is part of that larger cultural promotion effort. Think of it as a film embassy—a home base for Nigerian creatives to connect with others. While Cannes is a highlight, this initiative will extend to other festivals and cultural events, including art, food, and music festivals.

Are there plans to strengthen the local film festival scene?

We’re doing a deep dive into various sectors. Initially, it was about understanding what’s already in place and assessing the foundation. Once you understand what exists, you can envision what should be, then ask how to get there. Right now, support for local festivals is inconsistent. You might see state or federal support one year and not the next. We’re working on a framework to ensure steady, predictable support for the creative ecosystem. Our aim is to build something sustainable, so these initiatives outlive administrations and individual leaders. The goal is a stable support system accessible to everyone in the industry.

The plans for the Centre of African Arts and Culture appear extensive, especially with an emphasis on art preservation. Are there initiatives to preserve historical elements that may not fit in galleries or museums?

Anything tied to culture and heritage is important to us. The National Commission for Museums and Monuments (NCMM) handles much of the preservation and protection work. They oversee our museums and heritage sites, including those designated by UNESCO. However, practical challenges remain—many museums lack adequate facilities for preservation work. While new heritage sites are continuously designated, resources are limited. The government plays a role, but private initiatives like those by the Legacy Group also contribute significantly to preservation efforts. High-level priorities include fostering an awareness of heritage’s importance and creating frameworks to support its preservation.

What are your thoughts on preserving Nigerian literature and other forms of cultural archives?

Technically, libraries aren’t under our purview, but they’re certainly part of our focus. Nigerian literary archives are scattered—some are held at the National Archives in Ibadan, while others are privately held collections. We’re exploring ways to engage with other government arms to establish a more cohesive archival framework. It’s about incremental improvement and development, and that’s something people may not be accustomed to in government work.

The report highlights Nigeria’s improved global recognition, moving up in rank. What specific activities contributed to this shift, and how were these metrics measured?

Our media PR team can speak in detail, but the metrics are tracked by agencies that specialize in this work. Activity drives recognition. Often, Nigerian achievements, like Burna Boy’s success, are recognized globally, even if not everyone realizes he’s Nigerian. With the Destination30 initiative, we’re trying to make a “Made in Nigeria” tag visible, similar to how products from other countries are branded. This will help people make immediate associations with Nigeria when they encounter our work.

What specific measures are in place to create an enabling environment for Nigerian creatives?

I’ll break it down. First, you have policy, legislation, and regulation, which shape the government’s approach to various sectors. Next, you have fiscal and financial incentives, which include taxes, funding, and other support mechanisms. Then there’s infrastructure, both physical and digital, which is critical for industry growth. Finally, you have human capital development, which involves honing talent into skilled practitioners who can make Nigeria a desirable destination for creative production.

With these areas aligned, you create a loop that sustains growth: skilled talent, strong infrastructure, financial incentives, and supportive policies all working together. For instance, South Africa has become a hub for international film production. Nigeria has similar potential, and we’re working on policies and frameworks to make it happen.

The report mentions stakeholder engagement sessions. Who are these stakeholders, and how inclusive is the engagement?

Everyone in the industry is a stakeholder, and everyone’s voice is valid. Success doesn’t make one person’s voice more important than another’s. Stakeholder engagement is a continuous process. It can take many forms—a large town hall broadcast on TV, a one-on-one meeting, or a small group discussion with a community of creators. Our ministry includes many industry veterans like Obi Asika and Ali Nuhu, who are trusted by the community. Engagement might be a big event or a smaller conversation around policy. This inclusiveness is key because, for the first time, we have people in leadership who understand and are part of the industry. It’s a unique opportunity to shape the industry ourselves.