One could wonder aloud why it seems like there’s an iron ceiling fixed above the Benue entertainment industry—a ceiling that prevents many of our creatives from breaking into Nigeria’s mainstream entertainment space.
That piece drew the anger of many, especially those in the industry who felt it was an attempt to reduce their efforts to dust.
But far from it. I was just merely worried. Despite having a wealth of talent here, these artists don’t seem to rise enough to claim their rightful place in the larger Nigerian entertainment ecosystem.
I revisited the same topic last evening during a conversation that opened up a floodgate of perspectives on why our musicians, skit makers, actors, dancers, and other creatives fail to break past this “iron ceiling.”
We identified a number of factors that may be thwarting the efforts of these creators.
One such factor is the quick arrival syndrome—a disease that’s all too common among our people. They skip the process, which ends up costing them everything.
Many of our creatives “arrive” before they even reach the bus stop. The moment they hit 10k followers on social media or drop two or three songs/skits that catch half the attention of “Wurukum,” they assume the full regalia of celebrity status. At that point, they mount a borrowed high horse and begin to see ‘us’ as their ‘subjects’
They walk into a place expecting everyone to rise in greeting. With the ability to occasionally pick up a beer bill and a ten-thousand-naira grilled fish, they begin to wear the dangerous toga of “Mze Or hi ya ga” (I don’t go to people’s houses), “myân hi ya u Or ga myavenga” (I don’t eat in people’s houses before I sleep), “mtse Or sha palor ga” (I don’t sleep in people’s parlors).
With that kind of mindset, they are not ready to humble themselves at anyone’s feet. They feel they’ve risen above even the ‘gods’ of the industry. Apprenticeship? Submission? Never. They believe they’re already made.
Then there’s the “I Can Do It All” syndrome.
The creative industry thrives on teamwork. But here, most of our creators refuse to outsource. They want to do it all. They write the scripts themselves (even when they aren’t great writers), act in them (even when acting isn’t their strength), and promote the content themselves (assuming that posting on social media is the full definition of promotion).
So in one person, you find the ideator, scriptwriter, actor, editor, brand manager, director, and promoter.
And then there’s the fear of taking risks.
They hardly want to leave Benue for Lagos or any other more competitive hub to begin the street hustle from scratch. Why would they, when their modest success here gets them a self-contained room with running water in High Level and the attention of curvy campus girls?
To go to Lagos, where the entertainment pool runs deep, means risking all of that. They fear losing their little relevance, fear drowning in the cut-throat competitive pool. So, they hold on tightly to the comfort of the “Motherland” and refuse to venture into “No Man’s Land.” where no man knows or cares to know who they are.
Then there’s lack of structure, there’s no real industry infrastructure, no management agencies, no proper studios, no talent grooming institutions. Everyone’s winging it and attempting flight.
Absence of mentorship is another factor. Most of the older creatives didn’t grow through mentorship, so they don’t see the need to offer it. It becomes a cycle.
Poor Branding and consistency, many don’t understand personal branding or the need for consistency in image and delivery. One day they’re Afrobeat, the next they’re gospel, the next they’re comedians. You can hardly tell what the represent.
Then there’s limited exposure to national platforms factor. Many creatives don’t even bother to pitch themselves to national shows, auditions, talent hunts, or digital platforms that can amplify their reach.
These among other factors often stifle the growth of talent in Benue’s entertainment industry.
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