ANDERSON OBIAGWU is the founder of African Muzik Magazine Awards (AFRIMMA), as well as, Big A Entertainment. Over a decade, Obiagwu, who is popularly called ‘Big A’, has worked tirelessly to create a thriving diaspora entertainment brand and crossing borders through, especially with his annual award ceremony, entertainment tours and events. In this interview, the Dallas-based music entrepreneur unveils to OBINNA EMELIKE, the preparation for the 2020 AFRIMMA, which is holding virtually, efforts at promoting home-based African artistes in the US, need for a standardized industry among other issues.
How has your journey in the entertainment industry been Entertainment has always been my passion, though I started with healthcare because it is one of the easiest jobs to get in the United States of America, where I have lived for over 20 years.
In terms of building my entertainment vision, it took me more time developing the brand outside my home country because I took a new culture to a different setting. Again, your attention is on your target when building your company. The fanfare, media and public recognition will always come later.
What are the plans for AFRIMMA 2020?
AFRIMMA Festival and Awards 2020 will be a virtual event, and because of the pandemic, the dynamics of how we see the world is shifting.
The award remains a true vision of African sounds and culture. We will continue to succeed as we have done consistently over the last six years. At the moment, we are working very hard to prepare for this year’s edition. Our theme is “Bringing Africa into the World”, basically letting the world see more of our rich culture and hear our sounds.
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Are you partnering the city of Dallas, and did the huge Nigerian community there influence the decision?
AFRIMMA Awards is African and not a Nigerian community ideology. It is not aimed at an African country, but for One Africa. What we are trying to do here is to sell our culture and get our imprint here.
What we have is a special bond with the city of Dallas. We welcomed their officials to our first outing years ago and they loved it. Dallas is a city of diversity and they welcomed AFRIMMA like their own.
Do you support the notion of partnerships in the entertainment industry?
Yes, partnerships are very important. You have to climb a ladder held by someone for a better balance to get to the top. Partnerships and collaborations are always crucial for greater levels; I think it is imperative that people understand that in the industry.
You cannot do it all. We have been celebrating Burna Boy’s new album for a couple of weeks now, look at Diddy, the executive producers, his mother, and some artistes such as Chris Martin and Sauti Sol whose efforts have made the album more worthwhile. Could Burna do it alone? Yes, he could have, but see what the strength of his partnerships has brought to him.
As a record label owner, why is music royalty a big problem in Nigeria?
Music royalty is a major issue in Nigeria, and the industry is facing a structural deficit. How do musicians get royalties for music when the regulatory bodies in the industry battle among themselves? For the artistes, it is necessary to get them paid for their talent, time and efforts. When we fix these problems, things will get better.
How much do you think that the industry is contributing to the country’s GDP?
At least 70 percent of the world ‘s top African artistes are Nigerians, who get paid for tours, appearances and strong streaming figures. They fend for themselves and develop their brands without any government assistance. The Nigerian entertainment industry is estimated to worth millions of dollars. With great government support, the contribution to the nation’s GDP would do wonders for our economy, yet we are here.
Look at industry statistics from career, innovation to earnings projections. In the US, entertainment is one of the greatest contributions to the country’s economy. Let us hope that the Nigerian government will pay more attention to the industry in the coming years.
What are the challenges of Big A Entertainment in promoting African artistes in the US?
The big challenge we face is sponsorship, most companies here in the U.S. are not familiar with our culture and modus operandi, especially when I started years ago compared to those in Nigeria who understand the market better. The positive thing about time is that it changes with each passing day, now the discussions about collaborations and sponsorships are much easier to start, even though getting them still proves very difficult. I believe it will get better.
How best can the industry fight piracy, are streaming services of any help?
The law on piracy needs to be enforced because it often seems like a lawless environment. When certain regulatory bodies are not appropriate in their actions, piracy will soar. What is the result from the endless dialogue with industry stakeholders? It still comes down to structural issues, the government is still not supporting the music industry, there is sheer disrespect for legality among other issues. How many pirates have paid for the theft of these materials? When there is no accountability, we stay on level 0, and there will be limitations to growth.
What are your hopes for the music industry, especially from a business perspective?
Nigeria has a tremendous pool of talent, and that is why it is important that we create a standardized industry that celebrates and develops their own at home. Get our system right, ranging from music royalties to credible partnerships, value legitimate contracts and build industry stimulating businesses.
