Fanaka&Co’s Post

Factors affecting creativity and creatives in Nigeria and Africa at large. Firstly, the Creative Industry comprises of several players across diverse sectors like film, theatre, music, dance, literature, fashion, television, radio, arts, sports, information technology, media, advertising and gaming. One of the biggest obstacles to creativity is the fear of failure. Many people avoid taking risks, trying new things, or expressing their opinions because they are afraid of making mistakes, being rejected, or facing criticism. This leads to a lack of confidence, motivation, and originality by creatives. This without a doubt is fact and true but on a second thought, after considering the "biggest obstacles," let's ponder over these: Where are the motivational measures set aside to support creatives who really want to excel in the creative industry? WHERE ARE : 1 - Collaborative Support from other successful creators? 2 - Financial Support? 3 - Constructive Criticism? 4 - Access to internet for resources and stable power supply? 5 - Monetization of creatives works, pitching and bidding for GIGS? 6 - Copyright Policies that works? Ask yourself as creatives in Nigeria and Africa, do you have access to all these listed above; and if YES how easy was it for you ? What practical solution can be adopted in combating this? Creatives, let's talk ! #Nigeria #creatives #creativity #Africa

This 2021 prediction has proven prophetic! Today, Zimbabwe's content creation ecosystem is thriving, with homegrown streaming services, vibrant music industry, and internationally acclaimed filmmakers. The sector's growth has not only created jobs but also promoted cultural export and tourism. As we continue to nurture this creative economy, the future looks brighter for Zimbabwe's socio-economic development.

'When the music changes, so does the dance' - African Proverb Technology has shifted how we approach research; we must adapt. The future of research is digital, and the time to dance to that rhythm is now! Nigeria is in a unique position to lead Africa's digital research revolution. But are we fully leveraging technology for academic research? Bridging the digital divide can propel our nation forward in education. How do you see tech shaping the future of research in Nigeria? #DigitalAcademia #FutureOfLearning

Africa is a continent bursting with raw talent, creativity, and cultural richness, yet so much of its brilliance remains hidden, waiting for a moment of exposure. From the buzzing beats of Afrobeat in Nigeria to the soul-stirring rhythms of South Africa’s Amapiano, Africa has given the world sounds that redefine global music trends. But here’s the question: Why do so many of our artists struggle to get the recognition they deserve? For every Burna Boy or Wizkid headlining international stages, there are thousands of undiscovered talents performing in small communities, making waves that barely ripple outside their borders. The talent is undeniable, but the infrastructure to nurture and showcase it? That’s where the problem lies. In many parts of Africa, artists lack access to the tools and platforms they need to thrive—recording studios, promotional resources, and the ever-important financial backing. The result? Brilliant voices fade into the background, and potential global hits never leave the local scene. But imagine an Africa where talent isn’t limited by exposure. Platforms that connect artists directly with fans and investors are the future. What if your next favorite artist wasn’t signed to a global label but grew from the support of everyday people in their community? The world is already vibing to our beats—so what’s stopping Africa from being the center of the music universe? The answer is simple: support. It’s time to invest, amplify, and bring these hidden gems to light. Africa doesn’t lack talent; it lacks the spotlight. Who’s ready to turn it on? Let’s talk.

Title: Harnessing Nigeria's Audiovisual Sector: Promoting Cultural Heritage for Economic Development Introduction: Nigeria's rich cultural heritage is a source of pride and identity, spanning diverse ethnicities, traditions, and artistic expressions. The country's audiovisual sector presents a unique opportunity to celebrate, promote, and preserve this cultural wealth while driving economic development. In this article, we explore the pivotal role of Nigeria's audiovisual industry in both preserving cultural heritage and fostering economic growth, highlighting strategies to strengthen this symbiotic relationship. Strategies for Strengthening the Sector: 1. Policy Support 2. Infrastructure Development 3. Capacity Building Let’s explore the topic? #OlutayoAdesina WIPO Nigeria Office #FederalMinistryofCommunicationsinnovationDigitalEconomy #FederalMinistryofcommunicationsTechnology

This report/research is an important step in the right direction to save our creative economy. It provides initial insights in what needs to be focused on in Uganda. What stands out for me after reading this report is the need to develop our own markets and the development of business value for the industry. BAYIMBA's mixed funding model, the need for more capacity development players and the integration of traditional sounds by contemporary producers in music to get a Ugandan sound are also insightful findings. The report is available at britishcouncil.org

In a recent stakeholder meeting at the Uganda Registration Services Bureau, discussions focused on amending the Copyright and Neighbouring Rights Act, 2006 to address new technology and practices. The proposed changes aim to improve remuneration, protection, and regulation to adapt to global technological advancements. Uganda is taking proactive steps to meet these challenges and opportunities. Click here to read more: https://buff.ly/3T5THN6 #africaupdate #adamsadamslaw #africanlawfirm

LUGARIT is Now on SoundCloud! 🎧 LUGARIT is producing audio versions of our commentary articles! You can now listen to our content on both our website and SoundCloud. Whether you prefer reading or listening, we’ve got you covered. 🌐 Follow us on SoundCloud to stay updated and explore our Audio Articles: https://lnkd.in/dtuc7trb 📄 Options: a. Download the PDF article (English + Arabic) b. Listen to the audio article (English) 🎙️ 15 of our past articles are now available in audio format, including: 1.    Souks of the Arab World: From Cultural Heritage to Economic Viability 2.    Bridging Divides: Citizenship and Group Rights in Post-Conflict Syria 3.    Leveraging Living Heritage for Peace-Building 4.    Identity, Citizenship, and the Quest for National Unity in Syria 5.    Exploring the Shift: Centralized to Decentralized Governance 6.    Caught Between Politics and Desperation: Syrian Refugees in Limbo 7.    Beyond Angels and Devils: Syria and the Paradigm of Reconciliation Vs. Partition 8.    The Paradigm of Early Recovery and Peacebuilding 9.    Monitoring the Monitors: Optimizing M&E in War-Torn Regions 10. Economic Fault Lines: Urban-Rural Dynamics and Post-Conflict Recovery 11. Decentralization After the Arab Spring: Prospects for the MENA Region 12. Beyond Intentions: The Humanitarian Fallout of Sanction Overcompliance 13. Reframing Territories of War Through a Gender Lens 14. Rethinking Aid for Early Recovery in Conflict Zones 15. Reimagining Heritage Preservation for Modern Sustainability Going forward, we aim to create audio articles for most of our commentary pieces. #LUGARIT #AudioArticles #SoundCloud #InternationalDevelopment #MENA

If Investing in African youth is investing in the future of Africa, then in Kenya, the government’s policy to allocate 30% of all government procurement to youth and women-owned enterprises was a groundbreaking step towards empowerment. However, we must ask ourselves: Is the creative industry organized enough to claim its rightful share of these procurement billions? How much is the youth owned and led entertainment industry cashing in from this procurement policy? Can we document how many creative enterprises have benefited from this initiative? Can the government creative economy team answer this question? Can governments across Africa share details for their investment in young copyright-based businesses and professions? Apart from government, doesn’t the private sector also have a duty to organize around such initiatives? While this policy opens doors, we also need stronger support in ensuring copyright protections and effective commercial transactions. Without these safeguards, our creatives risk losing out on what they rightfully deserve. The copyright wars between stakeholders don’t benefit the creative lives seeking to earn decent fair incomes from copyright business transactions. Let’s unite to create a structured approach that enables our talented youth to thrive in the digital economy. Together, we can harness innovation, creativity, and entrepreneurship to drive sustainable growth for creators in Africa.  Existing artist and creator groups led by CMOs must reengineer themselves as catalysts of claiming a share of royalties payable by government programs such as the youth procurement initiatives. Every year thousands of government events attract copyright license fees which go unpaid because of lack of organization. #EmpowerCreativeEconomyYouth #KenyaCreativeEconomy #AfricaCreativeEconomy #DigitalOpportunities #YouthInBusiness #WomenInBusiness #CopyrightMatters #InvestInCreativity #FutureOfKenyaEntertainmentIndustry #GovernmentinEntertainmentBusiness #TheMusicAdvocateAfrica #BusinessCopyrightAuditPolicyComplianceProgram #CopyrightBusinessLeadershipProgram

If Investing in African youth is investing in the future of Africa, then in Kenya, the government’s policy to allocate 30% of all government procurement to youth and women-owned enterprises was a groundbreaking step towards empowerment. However, we must ask ourselves: Is the creative industry organized enough to claim its rightful share of these procurement billions? How much is the youth owned and led entertainment industry cashing in from this procurement policy? Can we document how many creative enterprises have benefited from this initiative? Can the government creative economy team answer this question? Can governments across Africa share details for their investment in young copyright-based businesses and professions? Apart from government, doesn’t the private sector also have a duty to organize around such initiatives? While this policy opens doors, we also need stronger support in ensuring copyright protections and effective commercial transactions. Without these safeguards, our creatives risk losing out on what they rightfully deserve. The copyright wars between stakeholders don’t benefit the creative lives seeking to earn decent fair incomes from copyright business transactions. Let’s unite to create a structured approach that enables our talented youth to thrive in the digital economy. Together, we can harness innovation, creativity, and entrepreneurship to drive sustainable growth for creators in Africa.  Existing artist and creator groups led by CMOs must reengineer themselves as catalysts of claiming a share of royalties payable by government programs such as the youth procurement initiatives. Every year thousands of government events attract copyright license fees which go unpaid because of lack of organization. #EmpowerCreativeEconomyYouth #KenyaCreativeEconomy #AfricaCreativeEconomy #DigitalOpportunities #YouthInBusiness #WomenInBusiness #CopyrightMatters #InvestInCreativity #FutureOfKenyaEntertainmentIndustry #GovernmentinEntertainmentBusiness #TheMusicAdvocateAfrica #BusinessCopyrightAuditPolicyComplianceProgram #CopyrightBusinessLeadershipProgram