Broadcasting
CFC’s Nollywood Conference on Best Practices Garners Support
Sandra Obiago, ED, Communicating for Change (CFC) has disclosed that the Nollywood Conference hosted by CFC, the UN and the World Intellectual Property Organization (Wipo); witnessed wide support from various quarters of the economy.
This revelation was made last week at a media briefing to communicate the outcomes of the conference which had both local and international stakeholders in the entertainment industry in attendance.
According to Obiago, “The conference focused on how the private and public sectors could boost Nigeria’s economy through copyright protection and structured investment in the entertainment industry. The sessions also focused on content development and how Nigeria’s internationally celebrated musicians, writers, performing artists, photographers, designers and other creative industry practitioners could contribute to making Nigerian film the best in the world.”
In her opening address to the conference, she called for the government to recognize Nigeria’s creative industries and Nollywood in particular, as the engine to power Nigeria’s economy; even as she stated at the post-conference media briefing, that there is the need to collect the economic data of the creative industry’s contribution to the national GDP.
“If we want to meet the Millennium Development Goals by eradicating poverty, getting girls into schools, cutting down our horrifically high maternal mortality rates and create lasting wealth, then we must build a strong legal and financial framework within which our creativity can be expressed, protected, and used to create jobs, sustain livelihoods, and showcase our rich culture,” she tasked stakeholders at the conference. “We need to put Nigeria on the front burner of international cultural and artistic excellence by using film to showcase the impressive spectrum of our awesome Nigerian art and creativity.”
Obiago also emphasized the need for government to help in boosting the Nigerian creative industry through subsidies, tax incentives, and signing of co-production treaties with countries with well developed film industries; noting that the South African film industry witnessed a boost within a short time, due to co-production treaties with the U.S, Canada, the U.K.
In the same vein, Donna Ghelfi, senior programme officer with the Creative Industries Division of Wipo, had confirmed the UN agency’s commitment to working with Nigerians to collect and track data showing the huge but presently invisible injection of capital from Nigeria’s creative industries in to the country’s economy.
She shared data from other economies, such as the US, where the creative industry provides more than 11% of GDP, and almost 9% of employment, as compared to the Philippines and Mexico, where the creative industry make up over 11% of employment. On average in developed, developing and transition countries, the creative industry makes up over 5% of employment and 5.4% of GDP. Of that 5.4%, press and literature contribute an average 44% to the creative industry, while radio & television come second with 12%, software comes third with 10%, followed by advertising with 9%.
Efere Ozako, managing partner of Efere Ozako & Associates, speaking on the issue of piracy and infringement on intellectual property rights at the post conference briefing, harped on the need for intellectual property rights owners to stand up to the menace; acknowledge the importance of their works and report cases of infringement to the appropriate authorities for proper prosecution.
He called on producers of music and film contents to make their productions have a lasting quality, adding that proper budgeting be made for them in order to turn out works that are world-class.
The Nollywood Conference closed with such recommendations for developing the Nigerian creative industry which includes that the finance, legal sector and insurance sectors need to agree and come up with a mechanism for the valuation of creative property assets, so that they can then be used as collateral; there needs to be a proper valuation of creative products and proper pricing of creative products; creators need to be clear about diverse types of ownership within productions, take time and set aside resources to properly document and complete the legal paperwork in order to ensure that the products can be internationally exhibited and sold.
Other recommendations are that the role of the film industry associations be strengthened – guilds, associations of directors, producers, screenwriters, performers, etc. should do more in defending the rights of their stakeholders in the industry; to tackle piracy, film makers must better understand their rights; consumers must be educated through a strong awareness raising campaign about the importance and benefits of buying genuine products, how to identify genuine creative products and how to help protect the creators of these works; the government should support the creative industries through subsidies, tax incentives, co-production treaties with other countries, law enforcement, and through legislation; Nollywood filmmakers should work closely with visual and performing artists, as well as with Nigeria’s top musicians, writers, designers, architects, and creators of creative content, to improve the quality of our films; among others.
Broadcasting
DG NCC Tasks University Dons on Research Commercialization, IP Management to Build Global Competitive Ecosystems
Dr. John Asein, director-general, Nigerian Copyright Commission (NCC), has charged universities to leverage Intellectual Property (IP), innovation management and research commercialisation to build vibrant, sustainable and globally competitive ecosystems.
The DG stated this while delivering a paper on: ‘’Research Commercialisation, IP Policy and Innovation Management’’ at the Committee of Vice-Chancellors of Nigerian Universities (CVCNU) organised Business Clinic themed: Unlocking University-Driven Business Ecosystems: Innovation, Partnerships and Sustainable Enterprise Models in Abuja.
The programme was targeted at engaging Vice-Chancellors, principal officers and other key officers in Nigerian Universities in a practical dialogue on how to transit their institutions into thriving business ecosystems through innovation, enterprise development and strategic partnerships.
In his presentation, Dr. Asein, disclosed that Universities are now recognised as engines of national development and innovation hubs that must connect scholarship to business.
He noted that with over 300 Universities in Nigeria, there is need for structured pathways to turn ideas into commercial outcomes while attention should be focused on IP assets in our universities in order to harness them in a safe, sustainable and satisfactory manner.
The DG NCC speaking further on leveraging resources from the creativity locked up within the university system, harped on the need to harness the soft power of our youth as Nigeria’s most valuable natural resources are its people.
Drawing demography from Nigeria youthful population, he observed that over 70 percent of Nigerians who are under the age of 30 are mostly in the university system studying. These youths, he noted, shape cultures, technology and innovation through creativity and digital skills.
He tasked universities to become innovation factories where young people can explore ideas, protect their IP and grow startups by integrating innovation culture, entrepreneurship training and IP awareness into its learning environment.
He equally urged Universities to look beyond the sciences to commercialize traditional knowledge-based innovations and harness the potentials in the creative arts disciplines like music, visual arts, theatre arts and others for commercial outcomes.
Dr. Asein, recommended that universities as centres of learning, should take the lead in using the IP system for promoting education and learning, wealth creation, revenue generation and institutional development.
Underscoring the need for all universities to have an IP Policy, he noted that the Model developed by the Nigerian Copyright Commission in partnership with the CVCNU is a good starting point.
The Secretary-General, CVCNU, Prof. Andrew Haruna, presented the welcome address at the event while the Director, Technology Innovation and Commercialisation, NOTAP, Mrs. Adah H.N. Mokolo-Oladunke represented the Director-General, NOTAP at the event.
The 2025 CVCNU Business Clinic witnessed attendance from representatives of Public and Private Universities across the 36 States in Nigeria.
Drone
The US Department of Homeland Security (DHS) will invest $115 million in counter-drone technology to safeguard the 2026 FIFA World Cup and events marking America’s 250th independence anniversary, creating a dedicated office for rapid drone system deployment.
Homeland Security Secretary Kristi Noem described drones as “the new frontier of American air superiority,” stressing the need to counter threats from drug cartels using unmanned aircraft for smuggling and surveillance, alongside incidents like a 2025 NFL stadium drone flight and 2024 New Jersey sightings.
The funding supports 11 World Cup host cities expecting over one million visitors, building on FEMA’s $250 million grants to those states and addressing risks heightened by cartels’ advancing tech, including a reported FBI tracking plot in Mexico.
DHS has conducted over 1,500 counter-drone missions since 2018, with the new Program Executive Office accelerating acquisitions amid President Trump’s border security push.
Broadcasting
Youth Talent Takes Center Stage as T2 Ignites High-Octane Rap Battles @ Carnival Calabar
The energy at the Carnival Calabar Music Concert reached a new high as T2 introduced a first-ever rap battle platform, giving young Nigerians an electrifying stage to showcase their talent, creativity, and self-expression while competing for exciting prizes.
Held at the U.J. Esuene Stadium, the activation blended pulsating music, vibrant culture, and youthful energy into a dynamic celebration that kept thousands of carnival-goers fully engaged from start to finish.
Eight fearless contestants stepped into the spotlight, going bar for bar in an intense lyrical showdown. Rappers fused local languages, pidgin, and sharp punchlines, creatively weaving the T2 brand into their verses.
Anchored by the energetic hosting duo MC Double I and MC Princess, the rap battles thrilled over 16,000 attendees, including the Governor of Cross River State, Senator Bassey Otu, delivering an unforgettable showcase of youth talent and cultural expression.
With prizes including fridges, gas cookers, sound systems, and airtime top-ups, the competition remained fierce throughout the night. After two high-energy rounds narrowed the field to a five-man final duel, Emmanuel Eye emerged as the overall winner, taking home the grand prize — a fridge.
“I never expected this at all,” Emmanuel said. “I came to the concert like anyone else, and hearing about the T2 rap battle was a surprise. When I got the chance to perform, I just went for it. Being named the overall winner is amazing, and I’m grateful to T2 for creating this platform to showcase our talent.”
Beyond the stage performances, T2’s presence added a digital layer to the carnival experience. As part of its role as Digital Technology Partner of Carnival Calabar, the brand introduced the MyT2 App as a lifestyle companion, while also enabling line reactivations, airtime top-ups, and instant rewards for hundreds of attendees, blending technology seamlessly into the live celebration.
Commenting on the activation, Chinelo Manefo, Specialist, Events and Sponsorship at T2, said:
“The energy from both the rappers and the crowd was incredible. This platform reflects exactly what T2 aims to create — a celebration of youth, creativity, and culture, enhanced by technology that connects people and experiences. Seeing the audience so immersed shows how music and performance can empower the next generation.”
The Carnival Calabar Music Concert, headlined by Tiwa Savage, Timaya, and top local performers, was further energized by T2’s interactive rap battle platform. By blending music, culture, youth expression, and digital innovation, T2 reinforced its commitment to championing Nigeria’s next generation, giving young creatives a stage to shine while enriching how they experience the festival.
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