Nigeria has taken a historic step toward redefining how its stories are told and who gets to tell them. At the 2025 Lagos International Festival of Animation (LIFANIMA), Mallam Lanre Issa-Onilu, Director General of the National Orientation Agency (NOA), unveiled the Nationalisation of Children’s Cartoon Content Policy, a landmark initiative designed to embed Nigerian values, voices, and cultural identity in the animated content children consume.

Approved by the Federal Executive Council on 23 September 2024, the policy forms part of Nigeria’s broader National Identity Project. It recognises animation as more than entertainment, it’s a strategic instrument for cultural preservation, education, and economic growth.

“For too long, our children have watched stories where their heroes did not look like them, speak like them, or embody their cultural realities,” Issa-Onilu declared in a stirring keynote. “This policy represents not just a shift in content creation, but a reclamation of the Nigerian narrative.”

Before an audience of animators, producers, and policy advocates, Issa-Onilu outlined fourteen objectives underpinning the policy. Chief among them is the establishment of dedicated national broadcasting slots for local animated productions, ensuring that Nigerian children, from Lagos to Kano to Calabar, grow up seeing themselves reflected in the stories they watch.

The NOA chief described animation as a vital engine of national development, comparable in potential to the oil industry. A robust animation sector, he said, could create thousands of jobs while boosting Nigeria’s digital economy. Already, two pilot animated series are in development under the policy, projects envisioned to double as cultural assets and tools for civic education.

The second day of LIFANIMA 2025 expanded the conversation, drawing together stakeholders for an in-depth dialogue on the implications of the policy. A distinguished panel featuring Dr. Shaibu Husseini (Nigerian Film & Video Censors Board), Hon. Aisha Adamu Augie (Centre for Black and African Arts & Civilisation), and Mrs. Damilola Solesi (SMIDS Animation) examined how nationalisation could shape the creative ecosystem.

Panelists discussed issues of content quality, funding structures, and institutional support, agreeing that effective implementation would require a delicate balance between protecting local creators and engaging with global markets.

Mrs. Solesi, Founder of Smids Animation, urged stronger institutional frameworks, noting that “policy is only as effective as its execution system.” Dr. Husseini echoed this view, calling for regulatory measures that safeguard cultural integrity without constraining artistic freedom.

In a virtual intervention, Vanessa Ann Sinden, Senior Producer at Triggerfish Animation and a LIFANIMA jury member, provided a continental perspective, emphasising that Nigeria’s move is being closely watched across Africa. “This policy represents a model for how nations can localise storytelling without isolating themselves from global opportunities,” she said.

Mallam Issa-Onilu further proposed that the NOA collaborate with studios, educators, and broadcasters to translate national narratives into relatable, engaging animation projects that align with civic education and public awareness campaigns.

As discussions unfolded, one message resounded: Nigeria’s animation sector stands at the threshold of a new era. The Nationalisation of Children’s Cartoon Content Policy, accompanied by the National Values Charter outlining seven promises for unity and moral renewal, signals a government-wide recognition that storytelling is central to identity and growth.

The day’s sessions at LIFANIMA reflected optimism and renewed purpose. With upcoming screenings, workshops, and further policy dialogues, stakeholders expressed hope that this initiative would catalyse not only creative expansion but also national cohesion.

Sources: LIFANIMA, Comic Panel