The Evo­lu­tion of the En­ter­tain­ment In­dus­try

Boundless Magazine - - CONTENTS - By Oye Atilade BSc, MSc, MBA, PMP

En­ter­tain­ment is any ac­tiv­ity that cre­ates a pleas­ing di­ver­sion or al­lows peo­ple to be en­gaged, usu­ally for fun, en­joy­ment, and laugh­ter. At its core, en­ter­tain­ment is sto­ry­telling and sto­ry­telling is the so­cial and cul­tural act of shar­ing ex­pe­ri­ences, some­times with im­pro­vi­sa­tion, the­atrics, or em­bel­lish­ment.

Ev­ery cul­ture has its own sto­ries or nar­ra­tives, based on its his­tory, so­ci­ety and cul­tural val­ues. These sto­ries are then shared as a means of en­ter­tain­ment, ed­u­ca­tion, cul­tural preser­va­tion or in­still­ing of moral val­ues. But if a peo­ple have lost its his­tory and a sense of its own cul­ture, what sto­ries will it tell, what im­pact will those sto­ries have and will they be au­then­tic?

His­tor­i­cally, Nige­ria ex­isted as sev­eral sep­a­rate King­doms, em­pires and peo­ples, with gov­ern­men­tal struc­tures, so­ci­etal cul­tures and val­ues of their own. By 1960, these di­verse cul­tures and oth­ers from out­side Nige­ria were lumped to­gether into one na­tion but the in­her­ent di­ver­sity of the peo­ple still needed nur­tur­ing and de­vel­op­ing into a united na­tion. It is in­dis­putable that col­o­niza­tion threat­ened to de­stroy the rich cul­tural her­itage of Nige­rian so­ci­eties. It cer­tainly did not en­cour­age the es­tab­lish­ment of Nige­ria as a united coun­try but rather it dif­fer­en­ti­ated, dis­crim­i­nated, and marginal­ized the peo­ple among them­selves with its di­vide and rule poli­cies, lead­ing to so­cial apartheid with di­vi­sion, ha­tred, un­healthy ri­valry and pro­nounced dis­par­ity in de­vel­op­ment among the peo­ple. Pro­fes­sor Yosi Apol­los Ma­ton, of the Univer­sity of Jos, es­ti­mates that there are over four hun­dred (400) eth­nic groups in Nige­ria.

While the three dom­i­nant tribes are Hausa, Yoruba and Ibo, there are many more mi­nor tribes as well. Though the mi­nor­ity tribes out­num­ber the ma­jor tribes cu­mu­la­tively, the ma­jor tribes have dom­i­nated the coun­try po­lit­i­cally, so­cially and eco­nom­i­cally since in­de­pen­dence.

The En­ter­tain­ment in­dus­try is part of the ter­tiary sec­tor of the econ­omy and it spans a num­ber of sub-in­dus­tries. It in­cludes Ex­hi­bi­tion En­ter­tain­ment with Amuse­ment parks, Art ex­hibits, Fes­ti­vals, Mu­se­ums,

Trade shows, Fun fares; Live En­ter­tain­ment with Clubs, Con­certs, Com­edy, Dance, Drama, Jazz shows, Mu­si­cal the­atre, Parties, Per­form­ing Arts, Plays, Sports, En­ter­tain­ment, The­atre; Film with Film Stu­dios, Movie The­aters/Cin­e­mas, Film Score, Film Pro­duc­tion, Act­ing; Broad­cast­ing with Television and Ra­dio; An­i­ma­tion; Music with Com­posers and Song­writ­ers, Singers and mu­si­cians, Choirs, Bands; New me­dia with Web television; Fash­ion with De­sign­ers, Stylists and Mod­els; and Elec­tronic En­ter­tain­ment with Video games and SMS con­tent and mar­ket­ing.

PriceWater­house Con­sult­ing projects that Nige­ria will have the high­est En­ter­tain­ment & Me­dia growth rate by 2021 with 12.1%. The Nige­rian En­ter­tain­ment In­dus­try com­prises Nol­ly­wood, the Nige­rian Film In­dus­try, Cin­ema, Music, Television, Ra­dio, and Video game. Nol­ly­wood is by far the largest in terms of rev­enue gen­er­ated and it is the sec­ond largest film in­dus­try in the world. It pro­duces 2500 films a year, about 50 ev­ery week, em­ploys over 1 mil­lion peo­ple, gen­er­ates more than $7B an­nu­ally, and con­trib­utes 1.4% to the na­tional GDP. With new the­aters open­ing and pro­duc­tion qual­ity in­creas­ing, Nige­rian cin­ema is in as­cen­dancy. To­tal cin­ema rev­enue is set to reach $22M in 2021, with 8.6% growth rate as Nige­rian films gain in­ter­na­tional recog­ni­tion.

But real chal­lenges plague the in­dus­try: in­ad­e­quate skills and hu­man cap­i­tal, poor tech­nol­ogy and movie mak­ing re­sources; copy­right in­fringe­ments & piracy which dis­cour­ages in­vest­ment; lack of ac­cess to funds and weak For­eign Di­rect in­vest­ments (FDI); and short­age of plat­forms to show

con­tent. The In­dus­try is not well struc­tured and suf­fers from in­ad­e­quate project de­vel­op­ment & busi­ness plan­ning. But new cin­e­mas are open­ing, and busi­ness plans are be­ing de­vel­oped to in­crease ac­cess to funds and FDI. Tech­no­log­i­cal plat­forms such as the in­ter­net and apps are en­hanc­ing dis­tri­bu­tion through the likes of Irokotv, and Net­flix. In ad­di­tion, train­ing and ca­pac­ity build­ing for cin­e­matog­ra­phers, scriptwrit­ers, di­rec­tors etc. and op­por­tu­ni­ties for equip­ment leas­ing are in­creas­ing.

Nige­rian Music is also de­vel­op­ing with new music and new artists con­stantly emerg­ing. Some lo­cal artists have man­aged to ink deals with global la­bels achiev­ing in­ter­na­tional promi­nence. Pub­lic­ity is also com­ing from the music scores of in­ter­na­tion­ally ac­claimed and com­mer­cially suc­cess­ful films. To­tal music rev­enue in Nige­ria is set to rise to $73M in 2021. But this sub-in­dus­try also has its chal­lenges such as piracy, im­proper dis­tri­bu­tion of con­tent, in­abil­ity of artists to earn from their work, in­ad­e­quate le­gal struc­ture around con­tracts and record deals, medi­ocre play­ers in the in­dus­try, short­age of skills and lack of pro­duc­tion stu­dios.

The good news is that the evo­lu­tion of mon­e­tized plat­forms for music dis­tri­bu­tion, im­prove­ment in pro­duc­tion skills and qual­ity, es­tab­lish­ment of state of the

art stu­dios, and host­ing of mu­si­cal tal­ent shows etc., are on the rise.

Television was in­tro­duced to Nige­ria in 1959 by Chief Obafemi Awolowo with the first television sta­tion in Nige­ria and Africa, and so he was able to tell his side of the con­flict be­tween him and the colo­nial ad­min­is­tra­tors who barred him from us­ing the Nige­rian Broad­cast­ing Cor­po­ra­tion. Since then the Nige­rian TV mar­ket has grown and is set to pass the $1B mark in 2021 with pay-TV rev­enues dom­i­nant at 64% and TV ad­ver­tis­ing ac­count­ing for 31% of the mar­ket. Nige­rian ra­dio rev­enue is ex­pected to reach $76M in 2021en­tirely from ad­ver­tis­ing. The Nige­rian video games mar­ket was worth an es­ti­mated $41M in 2016 but has been ex­pand­ing and that trend is ex­pected to con­tinue. But broad­band pen­e­tra­tion is ex­tremely low in Nige­ria lim­it­ing the de­vel­op­ment of the In­ter­net video mar­ket. There is a lack of high qual­ity and lo­cally rel­e­vant con­tent, and the dig­i­tal switchover is in­com­plete. How­ever, new en­trants such as DSTV

Nol­ly­wood is by far the largest in terms of rev­enue gen­er­ated and it is the sec­ond largest film in­dus­try in the world. It pro­duces 2500 films a year, about 50 ev­ery week, em­ploys over 1 mil­lion peo­ple, gen­er­ates more than $7B an­nu­ally, and con­trib­utes 1.4% to the na­tional GDP.

and in­ter­na­tional giants like Net­flix and Ama­zon will help the in­dus­try de­velop fur­ther.

At its core, en­ter­tain­ment is story-telling and good en­ter­tain­ment will tell a good story that im­pacts the con­sumer pos­i­tively. So, for in­dus­try play­ers their fo­cus must be on en­hanc­ing the user ex­pe­ri­ence. Users want ac­ces­si­bil­ity, af­ford­abil­ity, au­then­tic­ity, con­ve­nience, in­ter­ac­tiv­ity, en­ter­tain­ment, fun, par­tic­i­pa­tion, pri­vacy, and spon­tane­ity. A last­ing user ex­pe­ri­ence depends on rich and au­then­tic con­tent with a pos­i­tive mes­sage. To pro­vide such con­tent re­quires re­search into the his­tory and the cul­ture of the peo­ple to un­der­stand how and why the peo­ple do what they do and are the way they are. We need to know our story to tell our story and with over 400 cul­tural groups, we have a rich store. His­tor­i­cal and cul­tural au­then­tic­ity will en­sure that the sto­ries told — whether in film, cin­ema, television, music, ra­dio, or via the in­ter­net — will be real and will move peo­ple and cre­ate those mem­o­rable ex­pe­ri­ences we all hunger for. We can tell our sto­ries and com­mu­ni­cate rel­e­vant and up­lift­ing hu­man val­ues like self­less­ness and ser­vice, over­com­ing evil with good, love, rec­on­cil­i­a­tion, trans­parency and ac­count­abil­ity, in­tegrity, tol­er­ance, unity and peace.

At its core, en­ter­tain­ment is story-telling and good en­ter­tain­ment will tell a good story that im­pacts the con­sumer pos­i­tively.

The Nige­rian En­ter­tain­ment In­dus­try oc­cu­pies a very im­por­tant role in cul­tural and na­tional de­vel­op­ment and co­he­sion. It is very crit­i­cal in the mak­ing and unit­ing of Nige­rian so­ci­eties and cul­tures. En­ter­tain­ment is a sub­tle and pow­er­ful tool in dis­sem­i­nat­ing in­for­ma­tion and brand­ing both do­mes­ti­cally and in­ter­na­tion­ally. Govern­ments around the world use en­ter­tain­ment to com­mu­ni­cate with their peo­ple and world­wide. Movies can be used as change agents to pro­mote cul­tural val­ues, de­vel­op­ment ini­tia­tives and as­pi­ra­tions. Music can be used to con­nect the di­verse so­cio-cul­tural groups.

En­ter­tain­ment can pro­tect our rich cul­tural her­itage and norms, help­ing to preserve them from erod­ing. Stars in the Nige­rian En­ter­tain­ment In­dus­try ul­ti­mately be­come role mod­els for the rest of us. We ob­serve the way they dress, their at­ti­tudes, and life­styles, the way they speak, walk, dance, and we em­u­late them.

The younger and more im­pres­sion­able we are, the more in­flu­ence they have on us. This is why stars must ap­pre­ci­ate and take re­spon­si­bil­ity for their role as in­flu­encers and am­bas­sadors in shap­ing and de­vel­op­ing pos­i­tive val­ues and im­pres­sions lo­cally and in­ter­na­tion­ally. Ul­ti­mately, if Nige­ri­ans know their sto­ries, and tell their sto­ries in a way that ap­peals and achieves last­ing im­pact, they will in­deed be able to con­trol the nar­ra­tive and the Nige­rian En­ter­tain­ment In­dus­try will be­come one of the largest and most com­pelling in the world.

Photo Credit: Im­pact News­pa­per

Oye Atilade is a To­tal Value Con­sul­tant. She has over 20 years xpe­ri­ence in Tech­nol­ogy, Health, Fi­nance and Re­tail, across Nige­ria, the UK and the US. She holds a BSc from Obafemi Awolowo Univer­sity, Nige­ria; an MSc from the Lon­don School of Eco­nomics, UK; and an MBA from Kel­logg School of Man­age­ment, North­west­ern Univer­sity, USA. Email: oat­[email protected] gmail.com; Twit­ter: @oyeatilade, @ ara­bale­lim­ited; Mo­bile: +234 (0) 816 082 0196.

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