The years of 1989 and 1990 were pivotal in Nigerian history for a myriad of reasons. In 1989, Nigeria hosted the African Championship in Athletics, winning 37 medals. Celebrated novelists Ben Okri and Buchi Emecheta released new books, and during a Super Eagles World Cup qualifying match against Angola, midfielder Samuel Sochukwuma Okwaraji tragically died of a heart attack. That same year, legendary musician Majek Fashek released ‘Send Down the Rain.’ In 1990, there was an attempted coup on General Ibrahim Babaginda amidst the oil boom in Nigeria, prompting many to study petroleum engineering and other engineering-related courses.
Amidst all of this, some young and passionate Nigerians had their eyes set not on the natural resource under the ground but on the one buried inside talented individuals. They set themselves apart by establishing a record label with a vision for the future of Nigerian music.
The label they set up is known as Storm Productions, which birthed award-winning musicians such as Naeto C, Ikechukwu, Sasha P, Young6ix, and Jazzman Olofin. One of these radical and forward-thinking youths is today, after over 30 years of achievement in the industry, continuing on this pioneering path as the Director General and CEO of the National Council for Arts & Culture, Nigeria (NCAC).
He is none other than Obi Asika, one of the legends of the Nigerian music business. We sat with him to discuss his journey to where he is now and his goals and plans with the NCAC.
Before his appointment on January 12, 2024, by President Bola Ahmed Tinubu, Asika made significant contributions to the Nigerian entertainment industry. He is known for his involvement in the growth of Nigeria’s music industry, not only as the founder and CEO of Storm Productions, which he described as likely the biggest risk of his life as there was no roadmap for what he was projecting in 1990 about Nigerian music’s global opportunity; but also for his many other stellar contributions. Here’s what he had to say about that:
“We have been building bridges for our talent locally and globally for decades now and I have been blessed to be there from the shops in Alaba and Idumota to the big stage at the O2. Big Moments include the Channel O awards in Jozi in 2006 when we did a clean sweep for Nigeria, the MTV Mama’s in Abuja in 2008, and the first full solo Wizkid show at the O2 in 2018. These three moments are major markers in the global expansion of the movement and I was present at all three, I will always celebrate all the promoters, independent DJs, bouncers, artist managers and others who have all been part of this global movement built from nothing that is now known as Afrobeats.”
In today’s fast-paced world, many young creatives are unaware of the rich history of Nigerian art and culture. We enjoy the success of Afrobeats, groundbreaking films, and stunning art pieces but often remain disconnected from the journey and struggles of the pioneers who paved the way. This knowledge gap is not only a loss of our rich history but also a missed opportunity to draw inspiration and lessons from those who came before us.
Obi Asika, however, is on a mission to bridge this gap. Born into a family immersed in art and culture, Asika’s passion for Nigerian heritage was ignited early. His parents, Ajie (Dr.) Ukpabi Asika and Chief Mrs Chinyere Asika, both anthropologists, filled their home with literature, music, and an unwavering pride in their identity. This upbringing instilled in Asika a deep respect for intellectuals and true artists, shaping his lifelong commitment to celebrating and promoting Nigerian culture. His cultural heroes are legion and include Nigerian and global figures such as Fela Kuti, Nelson Mandela, Kofi Annan, and Chinua Achebe, whose critique of colonial literature he admires. These figures have also shaped his perspective.
Alongside his appreciation for original culture and antiquity, Asika is a fan of pop culture, hip-hop, and DJing. His vision has been greatly influenced by exposure to confident, intelligent Black individuals who embrace their identity and resist being diminished.
Asika’s vision extends beyond merely celebrating the present. He is dedicated to storifying the rich tapestry of Nigerian history, ensuring that future generations appreciate and learn from their cultural heritage. “My vision for the NCAC is to help us unlock the true value of our arts and culture and to help push forward the ecosystem for economic growth and expansion…We need to storify our history and culture,” he emphasizes. “This means more than just preserving artifacts; it’s about telling the stories that define us.” He finished off.
Let’s take a trip back memory lane, to the days of cassettes and VHS tapes, when icons like Oliver De Coque and the early pioneers of Nigerian cinema like Moses Olaiya and Amaka Igwe laid the foundation for the vibrant entertainment industry we see today, and that I am proud to be a part of.
Those were times of immense creativity and resilience, where artists and filmmakers worked with limited resources yet managed to produce timeless works that still resonate with many. Decades from now, the music, film, and art industries as we know them will be different. And if we don’t properly document these things now, we may lose them forever. Obi sees the future clearly, just as he did over 30 years ago when he founded Storm 360 Records.
“Today most of what I imagined has happened but we will still produce global box office movies, sell out more stadia, have global best-seller novels and most importantly develop our domestic ecosystem to enable more growth and opportunity here.” He pointed out.
As a trailblazer in the music industry, prioritizing emerging artists and talent comes naturally to Obi Asika. He emphasizes that it’s not just about prioritization but about understanding, providing creative and business direction, and recognizing talent. However, he acknowledges the difficulty in transitioning from a recognized talent to a megastar.
To that effect, the NCAC is set to make major announcements about partnering to develop and discover talent with one of the largest talent discovery platforms in the world. Stay tuned for all the exciting initiatives NCAC has in store for Nigerian creatives—you heard it here first, and I can’t wait to see the impact on our vibrant creative community.
For a man who at first, was reluctant to take on a political appointment and work with the NCAC, Obi sure has achieved a lot and is positioned to do even more.
“In terms of taking on the role, I was initially reticent. As I normally do, I recommended all sorts of colleagues for roles. I must thank the Hon Minister Hannatu Musawa who kept insisting I come in and support her to try and implement our ideas and change the space. We are here now. It’s definitely an interesting journey.”
At the NCAC, Asika is spearheading initiatives to document and digitize Nigerian culture, making it accessible and interactive for the global audience. This effort is part of a broader strategy to use technology to preserve and promote Nigerian art. “Technology is key because the platforms are enormous and enable mass disruption. Tech has changed everything, and AI looks like it’s a real game changer,” The Director General notes.
The importance of preserving this history and safekeeping these stories cannot be overstated. Cultural heritage provides a sense of identity and continuity in a fast-changing world. It connects us to our past, roots us in the present, and guides us into the future. By documenting and sharing these stories, we honor those who have come before us, encourage those who are presently doing the work, and inspire those who are yet to come.
Obi Asika’s efforts are tailored towards building a dynamic and thriving future for Nigerian art and culture. His vision for the NCAC includes repositioning the council to make it relevant for various sectors and re-imagining the National Festival of Arts and Culture (NAFEST) to connect with the youth and mainstream audiences.
“We are launching new platforms and re-imagining our flagship event, NAFEST. This event brings together all the states of Nigeria and runs for a week. I am hoping to have the FCT host the 36th edition this year. We want to make it massive, connect it to the youth and make it a mainstream festival,” Asika shares enthusiastically.
As a fan of documenting, Obi Asika understands the power of storytelling. His work with NCAC is proof that understanding our past is essential for shaping our future. By aggregating and digitizing Nigerian culture, Asika aims to make the rich history of Nigerian art accessible to everyone, ensuring that the stories of our cultural heroes and milestones are never forgotten.
Obi Asika’s vision for the future of Nigerian art and culture is one where young people own and drive the industry. He sees a connected and empowered Nigeria, making the right investments in infrastructure, to unlock the full potential of our soft power. “In this future ideal Nigeria, we will have had at least a decade of intentional storytelling, built production lots, venues, and academic institutions to back the sector,” he says.
Obi believes in the importance of creating an environment that allows talents to thrive, emphasizing, “There are no shortcuts. Those who work as singers and actors take enormous risks and work impossible hours to become overnight successes, but there is rarely a free ride.” He envisions a future where Nigeria has a developed touring ecosystem, merchandise, and products for the sector, and connected marketplaces. “If we have security, infrastructure, and an educated workforce, we will be unstoppable,” he concludes, highlighting the abundant talent in Nigeria and the need for intentional efforts to harness it.
As a young creative hustling and busting in this space every day, I was eager to seek advise from Obi Asika, an O.G in the game, who has worked in the creative industry for over three decades and is now at the helms of affairs in a critical government agency, NCAC, that is positioned to rewrite history, promote Nigeria’s creative economy and chart a new course for our creative industry. Because, as the popular Nigerian proverb goes: “What an elder can see sitting down, a child cannot see even if he climbs the tallest palm tree.”
He advises me and other young creatives to understand that talent alone is rarely enough to succeed; it must be coupled with hard work and relentless effort to maximize its value. “Talent without hard work is almost pointless; nobody makes it without hard work,” he says. The DG emphasizes the importance of authenticity, noting that genuine success and public recognition come from honing one’s skills and allowing time for full potential to develop. He agrees that social media is a massive game changer and that digital natives can harness platforms such as TikTok and Instagram, build their audience and turn their music into hits.
“It is entirely possible that artists can be built into huge touring acts just from Social Media, but they still need professional management to make the right strategic decisions.” The Director General adds as he highlights the importance of finding a mentor for guidance and inspiration while maintaining authenticity as the cornerstone of a sustainable and fulfilling career.
Over the coming weeks, watch out for major announcements about NAFEST. The NCAC hopes to bring it alive in a new and more exciting way.
Supporting Obi Asika and the National Council of Arts & Culture, Nigeria (NCAC), is crucial for preserving and promoting Nigerian culture. Attending upcoming events like NAFEST and spreading the word about the ministry’s work are simple yet impactful ways to contribute.
We are living in interesting times, and all around us, stories are unfolding. Whether we like it or not, sometime in 2070 or 2090, our children or their children will recount the events of the 2020s as history, just as I recounted 1989 and 1990 earlier. Remember that we have a responsibility to the future generation yet to come.
So, let us join hands with Obi Asika and the ministry to storify our cultural history, ensuring that it remains for generations to come.
