To the film director and founder of Anthill Studios, Niyi Akinmolayan, the backseat to which children’s programming has been relegated by the Nigerian filmmaking industry does not represent a strategic stance, especially considering the enormous potential that the segment holds.
Besides being a veritable platform for creative expression for a new generation of filmmakers and storytellers, children’s programming is also endowed with considerable soft power and economic influence that the country would tremendously benefit from.
“It’s disheartening to find that the local film industry in Nigeria has often overlooked the creation of movies for children,” Akinmolayan stated, noting that a reversal of this unsound trend is inevitable.
The average Nigerian child, particularly those aged 1-15, is primarily drawn to animated content, which is often foreign-made and lacks any form of positive African representation. Remarkably, youth constitute the majority of Nigeria’s over 200 million people.
African-themed narratives are therefore essential in shaping young minds with values of empathy, family, responsibility, and culture that embody African heritage. Additionally, they serve to popularize the continent’s geographical and historical richness. In essence, the mass production of animated content powered by African-oriented themes would positively influence future generations and provide a fair representation of the continent.
As film content has a significant influence on the character development of children—including both positive and negative behaviors—there is a strong case for producing well-crafted educational films that contribute to the positive development of the Nigerian child.
Just like adults, children are attracted to drama, enlightenment, education, and information that films provide. These elements, in turn, stimulate inspiration, excitement, ingenuity, and creativity, which are critical to life and career development in younger generations. Films can enhance cognitive and emotional development while reinforcing moral values and leadership skills.
This shift in perspective underpins a new initiative by Anthill Studios to create a platform dedicated to children’s programming called Anthill Family, which is currently in development.
In Akinmolayan’s words, “It’s essential to find films that not only entertain but also inspire, empower, and ignite curiosity in our children. As parents, we yearn to provide our kids with wholesome and exciting content that enriches their young minds.”
The acceptance of this shift is gaining traction in Nollywood, fueled by the understanding that no film reflecting real society can be complete without the presence of children or content targeted at them. Families, schools, religious gatherings, playgrounds, and festivals are integral aspects of storytelling that require the participation of child actors.
Currently, however, there are very few, if any, popular local movies specifically targeted at children. This has led to an overreliance on foreign movies and their superheroes, reinforcing the lack of homegrown child role models in the industry. Even actors like Aki and Pawpaw, who once played childlike roles, have since transitioned to adult roles, leaving a gap in representation.
Furthermore, brands targeting children’s products often use adult musicians and actors as ambassadors instead of child influencers. The void is further exacerbated by the absence of structured systems and organizations dedicated to training, mentoring, and empowering child actors in Nigeria. This lack of support continues to widen the gap in children’s programming.
For the long-term sustainability of the industry, particularly in building a critical mass of talent and workforce, there is a pressing need to produce dedicated children’s educational content with global appeal. After all, children have a natural inclination for outdoor games, zoo visits, excursions, picnics, arts and crafts, music, dance, storytelling, and book reading. These activities provide a foundation for fun, relaxation, and learning, which can be reflected in engaging and memorable films. As leaders of tomorrow, ensuring that children receive quality entertainment and education should be a top priority.
Nollywood has rightly earned its reputation as Africa’s largest movie market and one of the biggest in the world, ranking alongside India’s Bollywood. The industry reportedly produces an average of 2,500 films yearly, many of which are created in Nigeria’s major indigenous languages: Yoruba, Hausa, and Igbo.
As a key socio-economic enabler, Nollywood contributes significantly to revenue generation, employment creation, and the development of supplementary industries along the value chain, including film equipment rentals, marketing, distribution, costumes, and catering.
A major strength of the industry lies in its vast creative talent pool and the authentic portrayal of African narratives, which have captivated global audiences with their cultural richness and entertainment value.
Until recently, African audiences primarily consumed Western movies that often depicted negative stereotypes of the black race. However, that has changed. The growing acceptance of Nollywood on global streaming platforms like Netflix, iROKOtv, and Amazon Prime has propelled the industry to new heights, fostering international collaborations and cross-cultural storytelling. The success of films like Mikolo, now streaming on Prime Video, further showcases the global appeal of Nollywood’s children-focused content.
This increased global recognition has raised the industry’s standards in terms of quality, innovation, and production techniques. Nigerian films have earned prestigious awards at international film festivals, further cementing Nollywood’s reputation for original and compelling storytelling.
President Bola Tinubu recently underscored the industry’s socio-economic significance, stating, “The creative industry is one of the high-employment sectors, providing jobs for our able and talented youths. It is an industry that is crucial to my administration. We will provide the conducive environment for the industry to thrive further.”
Despite this progress, Nollywood continues to face challenges such as inadequate funding, piracy, copyright violations, weak infrastructure, poor distribution networks, inconsistent policies, limited education and training opportunities, and security concerns.
Nonetheless, children’s programming presents immense opportunities for both the industry and the country. Unlocking this potential will require collaboration among stakeholders, including government agencies, investors, parents, and film industry operators. Time will tell if this shift can be fully realized.
