Broadcasting
Nigeria’s DSO: Fresh Missteps Loom

By Dominic Omuedi
Heartwarming, it was for me, to read reports of the press conference addressed on Tuesday by Alhaji Lai Mohammed, Minister of Information and Culture, on the country’s Digital Switchover (DSO) process, which seemed to have been interred under the rubble of poor conception, mismanagement and corruption.

The cheer brought by the government’s announced intention to reboot the process, positive as appears, has shown nothing beyond the fact that the DSO process is not completely forgotten. No more. No less.
At the press conference, Mohammed unveiled a 13-member Ministerial Task Force to take charge of the DSO process which, for years, has proceeded in staccato fashion and left the country trailing many others, including in Africa.
Members of the task force, to be chaired by Mohammed, include Armstrong Idachaba, Joe Mutah of the Federal Ministry of Information and Culture (Secretary), Dr Armstrong Idachaba, acting Director-General of the National Broadcasting Commission (NBC); Olusegun Yakubu of Pinnacle Communications and Toyin Zubair, promoter of the defunct HiTV and now of In view.
At the press conference, Mohammed announced that the Federal Executive Council (FEC) has approved outstanding payments to key DSO stakeholders, a development he said will remove all the hindrances to the entire process in the past three years. The funding source for the DSO, broadcast industry experts reckon, is from the N34billion paid by MTN for broadcast frequency.
“With the payment approval by FEC, and with 31 states to cover, we have our work cut out for us. We have no more excuses for not rapidly rolling out the DSO across the country, hence my decision to set up a 13-member Ministerial Task Force, which I will personally chair, to take charge of the rollout,” the minister said excitedly.
He added that the government took a decision last year, on account of the financial difficulties induced by Covid-19, that the DSO process will be private sector-driven, effectively cancelling the plan to provide subsidies for Set-Top-Boxes (STBs) or signal carriage.
What followed, typical of pronouncements on the DSO, was a raft of big-sounding and dreamy projections. The DSO, said the minister, will deliver over one million jobs in the next three years, with 50,000 of such coming via local production of 24 million STBs and Smart TVs.
“Not even 20 Set-Top-Box manufacturers can comfortably produce the initial requirements to feed the market. Furthermore, our position in West Africa, coupled with our size, makes us the definite source of these products for the whole sub-region,” he said.
Television production, he said, will create 200,000 jobs, as digitization will lead to “180 state channels, 30 regional channels and at least 10 national channels”. Digitization, he added, will boost local content propagation and draw many more Nigerians into the business. This, he said will create 400,000 jobs in film production and nudge Nollywood towards subscription Video-On-Demand on STBs and online, thereby providing cheaper distribution means, helping producers to make more money.
The envisaged boom in production, added the minister, will create an additional 200,000 jobs via increase in foreign demand for fully indigenous content and fetch the country in excess of $100 million.
“I have no doubt in my mind that a successful DSO is not just a job spinner, creating over one million jobs in three years, but also a money spinner,” said the minister.
Anyone familiar with the country’s DSO journey will not just doubt the minister’s projections, but dismiss them as drunkenly optimistic, especially given how squalidly it has been managed.
Undoubtedly, poor funding has inhibited the process. But more than that, squalid leadership and ill-conceived strategy are greater inhibitors. For instance, despite the pilot project, with the last roll-out three years ago in Osogbo, Osun State, there is no sustainable Digital Terrestrial Television (DTT) coverage even in Plateau, Enugu, Osun, Kwara, and Kaduna states as well as the Federal Capital Territory, which were pilot states. Free Tv signals limited to state capitals.
This implies inhabitants outside state capitals are excluded and shows that the broadcast signal carriers selected for the DSO have inadequate technical and financial capacity for effective DTT coverage, the first step in the DSO.
The minister’s near-orgasmic projections on STBs, which convert analogue signals to digital, ignore the fact that the country, for strange reasons, chose a process that builds conditional access (CA) on top of the STBs instead of a standard affordable STB process. This means that the STBs process adopted for Nigeria’s for DSO will be out of the financial reach of most Nigerians. The standard STBs for DSO are supposed to receive free-to-air signal and affordable. Those with conditional access built onto them are similar to pay television STBs and are much pricier. Inview, the company providing the TV system/ conditional access, has already been paid N1billion for running the TV system only in Abuja and Jos.
The company and others involved in the process are understood to have filed invoices for additional sums.
The cancellation of subsidy for STBs, forced on the government by the inclement economic climate, is certain to ensure that the prices of the boxes will stretch users to breaking point. Prior to the devaluation of the naira, for instance, the recommended price STB ranged between N20,000 and N30,000. The boxes used in the roll-out at pilot locations were all imported, with the Federal Government giving the alleged STB manufacturers guarantees to fund the importation to the tune of N5billion.
The inordinately ambitious projection that Nigeria will, within three years, be heaving with locally manufactured STBs is something akin to a boxer’s boast-full of sound and fury.
According to experts, there are only three companies claiming to have STB assembly lines in the country and not a single one is manufacturing.
How the few companies, even operating at full capacity, can assemble 24 million STBs over five years has something that has eluded experts, who reckon that it will take a minimum of five years to meet the demand of 24million users- if all the companies function at full capacity. Importantly, not one of those claiming to have assembly/manufacturing capacities are in operation, meaning that they are engaged in no economic activities and employ nobody, thereby bilking the country through government contracts.
But they are not alone and are actually encouraged by the disposition of government officials, who view funding for the DSO process as “serve yourself,” the local parlance for buffet.
In a 21 March 2019 report published by The Guardian, experts interviewed identified corruption as the main obstacle to the country’s transition from analogue to digital broadcasting. A Director-General of the National Broadcasting Commission (NBC) is on suspension from office and facing prosecution by the Independent and Corrupt Practices Commission (ICPC) over allegedly fraudulent release of N2.5billion to a private company. The matter, which is before the Federal High Court, Abuja, relates to the 2016 release of N10 billion to the Ministry of Information and Culture for the DSO.
The ICPC is accusing the suspended D-G of using his position to confer a corrupt advantage on his associates in two private companies.
The suspended D-G is alleged to have asked the Information Minister to approve payment of N2.5 billion to Pinnacle Communications Limited, a private signal distribution operator, as “seed grant” for the DSO for which it was ineligible. Mohammed, who was listed as a witness in the trial, claimed he approved the payment based on expert advice given by the suspended D-G. The DSO guidelines, provided by a Federal Government Whitepaper, directed that the process be exclusively managed by companies affiliated to the Federal Government. Based on the guidelines, two companies were nominated for the purpose. One of these was ITS, an affiliate to the Nigerian Television Authority (NTA), which has no infrastructure of its own and is relying on the one owned by another private operator. It got also go N1.7billion as seed grant.
The assumption that our wonky DSO system will boost local content production because it will serve as distribution platform is also one without basis, as International Telecommunications Union (ITU) DSO policy is simply transiting free-to-air analogue signals to digital signal. Thus, Nigeria’s system, with its in-built conditional access system, will rob Nigerians of the constitutionally-guaranteed right to receive information in view of the fact that most free-to-air broadcaster are government-owned. In effect, 90 million Nigerians already living in poverty will be required to buy STBs, movies online and unlimited internet service to access such.
The claim that Nollywood output will benefit from better distribution is also a ruse. Nigerians are already using smart devices through which they access Nigerian creative content online.
Many have also blamed ministerial interference for the corrugated DSO process, arguing that worldwide, the DSO process is driven by the regulator and the industry.
What I have observed since 2015 is a lot of ministerial interference which, in addition to other factors, will leave the country panting to achieve DTT coverage by the time the rest of the world would have moved on a more modern platform, the OTT
-Omuedi, a retired broadcast engineer, writes from Ughelli
Broadcasting
SERAP, NGE Sue NBC over Threat to Sanction Broadcasters

Socio-Economic Rights and Accountability Project (SERAP) and the Nigerian Guild of Editors (NGE) have jointly sued the National Broadcasting Commission (NBC) over what they described as an “arbitrary, unconstitutional, and unlawful” threat to sanction broadcast stations and presenters.

The development was disclosed in a Sunday statement signed by Kolawole Oluwadare, deputy director, and Onuoha Ukeh, general secretary of the Nigerian Guild of Editors.
According to the statement, SERAP and NGE challenged a recent directive by NBC, warning presenters and journalists against “expressing personal opinions as facts,” “bullying or intimidating guests,” and failing to maintain neutrality.
The statement reads, “SERAP and the Nigerian Guild of Editors (NGE) have filed a lawsuit against the National Broadcasting Commission (NBC) over the arbitrary, unconstitutional, and unlawful ‘Formal Notice’, which threatens to sanction broadcast stations and presenters for allegedly ‘expressing personal opinions as facts, bullying or intimidating guests, or failing to maintain neutrality.’
“The NBC had recently threatened to sanction broadcast stations and presenters who ‘express personal opinions as facts’ or ‘bully and intimidate guests,’ claiming it had ‘identified a sustained increase in breaches of the 6th Edition of the Nigeria Broadcasting Code across news, current affairs, and political programmes.’”
In the suit marked FHC/L/CS/854/2026 filed last Friday at the Federal High Court in Lagos State, SERAP and NGE asked the court to determine whether the various provisions of the Nigeria Broadcasting Code relied upon by the NBC in the directive are inconsistent with the Nigerian Constitution 1999 (as amended) and the country’s international human rights obligations.
According to the statement, the groups disclosed that Femi Falana (SAN), human rights lawyer, would lead a team of senior lawyers to represent SERAP and NGE in the lawsuit.
SERAP and NGE asked the court to declare that the provisions of the 6th Edition of the Broadcasting Code used by the NBC are vague and constitute a fundamental breach of press freedom guaranteed by the Nigerian Constitution and international human rights standards.
The statement added, “SERAP and NGE are asking the court for a declaration that the provisions of the 6th Edition of the Broadcasting Code used by the NBC are vague and overly broad and constitute a fundamental breach of freedom of expression and media freedom guaranteed by the Nigerian Constitution and international human rights standards.”
The groups also sought an interim injunction to restrain the NBC, its agents and other authorities from imposing sanctions on broadcast stations and presenters based on what they described as “unlawful provisions of the 6th Edition of the Broadcasting Code”, pending the hearing and determination of the motion.
“SERAP and NGE are also seeking an order of interim injunction restraining the NBC, its agents or privies, whether jointly or severally or any other authority, from imposing sanctions on broadcast stations and presenters based on the patently unlawful provisions of the 6th Edition of the Broadcasting Code, pending the hearing and determination of the motion on notice filed simultaneously in this suit,” the statement concluded.
Broadcasting
Glo-sponsored African Voices Spotlights Ejatu Shaw

Globacom continues to celebrate African creativity as its sponsored programme African Voices on CNN International features London based photographer and multidisciplinary artist Ejatu Shaw this week. The episode highlights her journey, her art, and the stories behind her work.

Ejatu Shaw’s journey into photography began in 2013 during a family trip to Sierra Leone, a moment that sparked a passion which has since shaped her creative path. Born in 1996, the British Sierra Leonean artist later went on to earn a master’s degree in photography arts from the University of Westminster in 2020.
Her work explores identity in a personal and expressive way, drawing from her Islamic faith and African heritage. She is inspired by classic African studio photographers such as Malick Sidibé, Sory Sanlé, and Omar Yahia Barram. Through self-portraits and visual storytelling, she brings her memories and experiences to life.
Shaw’s talent continues to gain global recognition. In 2025, the British Fashion Council named her a New Wave Creative.
She has also photographed top names including Angela Bassett, Cynthia Erivo, and Usain Bolt, and worked on projects for major platforms like EBONY, The Guardian, The Sunday Times, and Vogue. She also designed the album cover for Craig David.
The programme will air on Saturday at 7:30 a.m. and 11:00 a.m. On Sunday, it will show at 3:30 a.m. and 6:00 p.m., with repeats on Monday at 3:00 a.m. and 5:45 p.m.
Broadcasting
QEDNG Summit 2026 set for August 11 in Lagos

QEDNG Creative Powerhouse Summit will hold its second edition on August 11 in Lagos, bringing together leaders across the creative, business and policy spaces.

Convened by Mighty Media Plus, publishers of online newspaper QEDNG, the summit brings together conversations at the intersection of creativity, enterprise and influence, with a focus on strengthening Nigeria’s creative economy.
Reflecting on the inaugural edition, Iyanda said the summit drew participation from respected figures across sectors, including group managing director of SO&U Udeme Ufot as chairman and founder of The Africa Soft Power Group Dr Nkiru Balonwu as keynote speaker, alongside panellists such as filmmaker Kunle Afolayan, All Africa Music Awards (AFRIMA) founder Mike Dada and executive director of the National Film and Video Censors Board (NFVCB) Dr Shaibu Husseini who contributed to discussions on the direction of the creative economy.
“The first edition showed that there is a strong interest in serious engagement around the creative economy. We had contributions from experienced voices who helped set the tone for the kind of platform we are building,” Iyanda said.
Building on the success of its inaugural edition, the summit continues to expand its scope, attracting a diverse mix of industry leaders, entrepreneurs, policymakers and emerging talents.
“This summit is designed as a meeting point for ideas, influence and execution. It is not just about conversations, but about outcomes that strengthen the creative economy,” Iyanda added.
He noted that the timing of the summit is significant as the country’s creative sector continues to evolve.
“Nigeria’s creative sector has grown in visibility, but the structures that support it are still evolving. The QEDNG Creative Powerhouse Summit is part of the effort to bring clarity, direction and serious engagement to that growth,” he said.
The 2026 edition will feature keynote addresses, panel discussions and curated sessions addressing themes around innovation, growth, funding and the global positioning of Nigerian creative talent.
According to Iyanda, the long-term goal is to build a platform that remains relevant across generations.
“Our goal is to build a platform that remains useful over time, one that documents progress, connects stakeholders and contributes meaningfully to policy and practice,” he said.
Further details on speakers, partners and the full programme will be announced in the coming weeks.
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