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The Minister for Art, Culture, Tourism, and Creative Economy, Hannatu Musawa, announced earlier this year that the review of Nigeria's National Policy on Culture is close to completion, a notable update after 37 years since the last revision.
This in-depth review has been carried out in collaboration with key organizations, such as the Nigerian Economic Summit Group (NESG) and the United Nations Educational, Scientific, and Cultural Organisation (UNESCO).
To aid this vital initiative, a Cultural Policy Drafting Committee was formed in July 2024.
This committee consists of over 100 members from various backgrounds, organized into sub-groups, each responsible for researching, developing, and refining particular elements of the policy framework.
The collaborative intention is to ensure that the new policy is robust and representative of Nigeria's cultural diversity.
Musawa discussed the concluding phases of the review, highlighting that the upcoming steps involve preparing the policy for an essential stakeholder engagement and validation process.
This will allow for input from various stakeholders before the draft is presented to the Federal Executive Council (FEC) for official approval.
The minister noted that this review is especially timely as it seeks to align the cultural policy with modern trends, notably the critical shift from viewing the creative sector merely as an industry to recognizing it as an integral part of the creative economy.
While this development is a welcome advancement, it is accompanied by criticism that such an important policy should have been prioritized much sooner, considering Nigeria's rich cultural heritage has greatly contributed to the nation's economy.
The cultural sector is not only vital to national identity, but also a major employer that boosts the country’s GDP, making this policy reassessment not just timely but critical for sustainable economic growth.
A culture researcher and senior lecturer at the University of Nigeria’s Department of Theatre and Film, Dr. Ikechukwu Erojikwe, emphasized the necessity of establishing guiding principles and a cultural policy, moving away from a mere strategy document.
According to him, this cultural policy should be creative, dynamic, and aggressive in alignment with international standards to foster new opportunities that will redefine the narrative.
Ikechukwu pointed out the need to invigorate cultural industries with creativity, citing the indifference of many state governors toward culture, evidenced by numerous dilapidated cultural structures in their states.
He highlighted that many nations have embraced cultural policies and acknowledged their significant contributions to theatre, dance, film, and how these elements support the goals of the Sustainable Development Goals.
“A complete restructuring is crucial. This effort will dismantle the remnants of colonial mindset and usher in a new era of indigenous knowledge while engaging griots and traditional keepers of history in preserving cultural heritage.
The new stance will alter the perception of cultural value. Nigerians will begin to understand that we were deceived by colonial forces separating us from our cultures,” he elaborated.
Addressing the severe lack of funding in the cultural sector, Ikechukwu mentioned that securing the substantial financial resources needed to revitalize the cultural industry might be challenging.
“Despite Nigeria being a signatory to many agreements promoting vibrant cultural enterprises and competitiveness, the unfortunate reality is that these policies often lack effectiveness due to the absence of a proper legal framework. Unless the government musters the courage to transform these policies into legislation, cultural administrators will struggle to make appropriate demands, become more innovative, and maintain independence in developing the industry,” he concluded.
The Director General of the National Council for Arts and Culture, Obi Asika, revealed that the process of finalizing the cultural policy and policy for the creative economy is ongoing, with the focus shifting to implementation once completed, which is crucial for the effective application of these policies.
He indicated that efforts are underway to evaluate the original cultural policy from 1988 to launch an updated version this year, in collaboration with UNESCO and all relevant stakeholders, including government and private sector partners.
Asika emphasized that securing adequate funding is a critical aspect of this initiative, warning that insufficient financial resources could seriously impede the timely and effective implementation of the policy.
In his own words, “Recognizing the importance of a robust cultural policy is essential, as it can expand the cultural sector and generate considerable wealth for the nation. It’s crucial to involve diverse groups to ensure a comprehensive approach to cultural development. The new policy aims to create a clear and cohesive roadmap that will be collectively embraced by leaders across sectors.”
“Notably, the decision to allocate funds and support the cultural ecosystem goes beyond the minister’s powers. While she may not directly control the budget, her efforts have been crucial in raising awareness and enhancing visibility regarding the need for cultural funding.
This increased visibility is expected to encourage greater investment in the sector, ultimately bolstering its growth and sustainability.”
The Director General of the National Gallery of Arts, Ahmed Sodangi, expressed firm support for the minister's initiative to reform the cultural policy, highlighting the necessity of aligning it with advancements in digital technology.
He underlined that a well-implemented cultural policy could significantly help preserve Nigeria’s rich traditional heritage, such as the Atilogwu dance of the Igbo, the Sharo Festival of the Fulani, as well as cultural landmarks like Osun-Osogbo and unique tourist sites including the sacred mangroves of the Niger Delta and the Sukur Cultural Landscape. These cultural assets hold potential for attracting substantial international investment.
Sodangi also suggested exploring sustainable funding strategies such as public-private partnerships or creating a cultural endowment fund to improve the sustainability of cultural initiatives, rather than solely depending on oil revenues or government budgets.
He remarked, “This policy could turn cultural assets into economic engines, promoting growth in sectors such as Nollywood, music, arts, and crafts. If managed with inclusivity, innovation, and accountability, the cultural policy could revitalize Nigeria’s cultural landscape, preserve its heritage, stimulate economic progress, and foster unity among its people. Nigerians must remain engaged and ensure that this initiative brings tangible benefits across all regions of the country.”
On September 22, 2024, the United Nations General Assembly adopted the "Pact for the Future," recognizing the vital role of culture in achieving sustainable development goals.
