Nigeria's Federal Government has set its sights on creating a massive two million jobs in the creative industry by the year 2030. This ambitious target is part of a wider strategy to transform the nation's abundant cultural assets and talented individuals into profitable ventures.
Minister of Art, Culture, Tourism and Creative Economy, Hannatu Musawa, announced the goal on Friday during the closing ceremony of the 2026 Kano Creative Summit. The event, organised by the National Theatre, aimed to bolster Nigeria's creative economy and equip practitioners with the skills needed to build sustainable businesses.
Musawa specifically challenged creative professionals in Northern Nigeria to take charge of their work, build stronger business foundations, and effectively use intellectual property rights to secure consistent income streams. She stressed that Kano, with its centuries-old creative traditions, has effectively operated a vibrant creative economy long before the term became mainstream economic jargon.
Kano's deep-rooted creative assets, including its famous dyeing pits, intricate leatherwork, weaving, embroidery, blacksmithing, traditional performances, and the bustling Kannywood film industry, were highlighted by the minister. These elements hold significant economic potential if they're properly organised and commercialised.
"Kano had a creative economy long before anyone gave the name creative economy to the industry," Musawa stated, underscoring the city's historical significance. She also pointed out the international reach of Kannywood, noting its substantial audience among Hausa-speaking communities across West Africa and beyond. She argued for its recognition alongside Nollywood in Nigeria's global film landscape.
The minister acknowledged Kano's contributions to literature, mentioning that women in the city were actively writing, printing, and selling novels in local markets as early as 1958. She also drew attention to the artists associated with the Zaria Art Society, whose work significantly influenced the development of modern Nigerian art.
To underscore the government's commitment to integrating creative professionals into leadership roles, Musawa highlighted the appointment of Ali Nuhu, a prominent Kannywood actor and filmmaker, to head the Nigerian Film Corporation. This move signals an effort to bring industry practitioners into key institutional positions.
However, Musawa didn't shy away from identifying the major hurdles preventing creatives from fully reaping the rewards of their labour. She pointed to weak commercial structures, insufficient ownership systems, and limited market access as significant constraints. "Talent has never been a problem here," she remarked, emphasizing that the real challenge lies in ensuring that creative work generates enough income to make it a viable career choice, especially for younger generations.
Many traditional craftspeople are reportedly abandoning their trades because they can no longer earn a living wage from them. The minister reiterated, "What is missing is rarely talent. It's ownership, business structure, and a way into the market and directly into the money."
The Federal Government's creative economy programmes, including an eight-point plan and the 'Destination 2030' initiative, are the proposed solutions to these challenges. The National Theatre's decision to host its creative summit in Kano signifies a deliberate effort to ensure that opportunities within Nigeria's creative economy aren't solely concentrated in Lagos and Abuja; they will be distributed more equitably across the country.
Musawa concluded by urging young creatives in Kano and across Northern Nigeria to build robust businesses around their skills. This will ensure that the region's rich cultural and creative industries can offer sustainable livelihoods for future generations.