The new executive council is headed by Danlami Nmodu as President.

Other officers Mr. Olumide Iyanda, Deputy President; Mr. Sufuyan Ojeifo, General Secretary; Mr. Akeem Oyetunji, Deputy General Secretary; Ms. Ngozi Onyeakusi, Treasurer; Mr. Moses Ebosele, Financial Secretary; and Ms. Kemi Yesufu as Publicity Secretary,

With the inauguration, Nmodu took over from immediate past president of GOCOP and publisher of RealNews, Dr. Maureen Chigbo.

In his acceptance speech after inauguration, the new president, Danlami Nmodu, expressed gratitude to members of GOCOP for finding him worthy of the office of President.

He promised to abide by the ideals, rules and regulations of the guild in order to take the body to a higher level of growth within the online publishing community in Nigeria.

“I take the responsibility of the office seriously. Our members shall come first. I promise to work harmoniously with other exco officers and members to take GOCOP to a higher level of growth,” he declared.

Nmodu also promised to create more human capital and business opportunities for all members of GOCOP.

The presidency was the only contested position during the election between Mr. Danlami Nmodu and Mr. Segun Adeleye.

The other officers were returned unopposed.

Declaring the result of the election, Mr. Yusuf Ozi-Usman, Chairman, Electoral Committee, GOCOP 2025, stated that out of a total of 120 registered members as at October 8, 114 were qualified, by the provision of GOCOP constitution to vote and be voted for.

He also disclosed that out of the 114, 80 members attended the Annual General Congress in person, while 71 voted physically, some nine members did e-voting.

Nmodu scored a total of 56 votes to emerge.

READ ALSO: Bode George to GOCOP: Lead war against fake news, unethical conduct

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Speaking at the inaugural Creative Powerhouse Summit (QED-NG) held at the Radisson Blu, Ikeja GRA, Lagos, Senior Special Assistant to the President on Media and Publicity, Temitope Ajayi, lauded the sector’s “remarkable” achievements over the past decade in promoting Nigeria’s cultural heritage and positioning the country as a global creative hub.

The summit, themed “Financing as a Catalyst for a Thriving Creative Economy,” brought together stakeholders from film, music, fashion, arts, and technology to explore sustainable funding models and strengthen industry-investor linkages.

“President Tinubu has demonstrated his commitment to the creative sector by dedicating a full ministry to its development,” Ajayi said. “The government will continue to support the industry with policies to ensure it grows in leaps and bounds.”

Ajayi urged creatives to embrace partnerships and actively engage with investors capable of scaling ideas into commercially viable ventures.

READ ALSO: NCC welcomes newly appointed board members

“The graveyard is full of ideas that died with their creators, never seeing the light of day,” he cautioned. “Without testing market viability and scalability, you cannot be sure your idea will change the world. It’s better to own 10% of something than 100% of nothing.”

Convener of the summit, Olumide Iyanda, said the event was designed to connect creative entrepreneurs with financiers and policymakers to unlock the sector’s full potential.

“The creative industry is one of Nigeria’s strongest export assets,” Iyanda noted.

“Our goal is to bridge the funding gap and create the right environment for local talent to compete globally,” he added.

Ajayi praised the organisers for fostering dialogue between industry leaders and investors, adding that with the right blend of government policy, private capital, and collaborative innovation, the creative industry would continue to generate jobs, strengthen Nigeria’s soft power, and consolidate the nation’s place as Africa’s cultural capital.

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The creative industry stakeholders reached this consensus in Lagos on Tuesday at the maiden edition of QEDNG Creative Powerhouse Summit organised by Mighty Media Plus Network Limited.

Themed “Financing as Catalyst for a Thriving Creative Economy,” the summit brought together filmmakers, musicians, fashion designers, journalists, business and thought leaders, bankers and government officials, among others, to brainstorm on how to make creatives in Nigeria thrive and not just survive.

In his welcome address, Founder and Chief Executive Officer of Mighty Media, Olumide Iyanda, called for “honest conversations,” noting that it is time for creatives to think and act smart for the industry to bloom.

“Nigeria’s creative economy contributes approximately $5.6 billion to our GDP and it is the second highest employer in the country. The federal government has set a bold goal of raising the sector’s contribution to $100 billion by 2030. The plan seeks to position Nigeria as a leading creative and entertainment hub on the global stage,” he said.

According to him, talents and ideas abound, but the real challenge is turning them into “something people can see, hear, touch and actually pay for.”

“We need honest conversations. We need new partnerships. We need to think big and act smart,” Mr Iyanda, who doubles as Publisher of QEDNG and Convener of the QEDNG Creative Powerhouse Summit, added.

Group Managing Director of SO&U, Udeme Ufot, in his capacity as chairman of the summit, hailed QEDNG as a platform which has “steadily grown into a reputable voice in Nigeria’s media and digital journalism space through its commitment to telling authentic stories, amplifying emerging voices, and shaping conversations that reflect our evolving national identity. Its journey mirrors the core theme of this summit: unlocking potential through vision and purpose.”

He agreed that capital is required to unlock the potential of Nigeria’s creative economy and that capital must be sustainable and accessible.

“Because without access to sustainable and strategic funding, creativity struggles to scale. Ideas remain trapped in notebooks. Studios shut down. Talent goes untrained. And potential remains just that – potential!” he said.

“The issue is not just about throwing money at the industry. It is about smart financing. It is about investors who understand the long tail of content development, banks willing to develop products tailored for creative entrepreneurs, governments designing policy environments that reward innovation and risk-taking, and private sector leaders championing scalable, locally relevant business models,” Mr Ufot noted.

The advertising expert urged Nigerian creative entrepreneurs to demonstrate sound financial management and assure investors that funds entrusted to them will be used responsibly.

Founder of The Africa Soft Power Group, Dr Nkiru Balonwu, kicked off discussions with her engaging keynote speech.

“The challenge, I think, is not the absence of capital but the lack of scalable, structured investment frameworks that the industry needs to thrive,” she said.

Balonwu referenced the recent announcement of Afreximbank’s billion-dollar Africa film fund under its Mechanics Programme as a welcome step forward but cautioned that its impact depends on effective implementation and alignment with industry needs.

She noted that at the national level, capital exists in theory, but the real gaps lie in design, accessibility and alignment with the practical needs of entrepreneurs.

According to her, these funds serve large-scale projects while most creatives in Nigeria are operating at the micro or early growth level.

“Part of what we need is tier-targeted financing (early stage grants), seed capital, patient equity, all tailored to the creative life cycle. We need financing designed for the messy middle, not just the glamorous headline projects or the polished final product,” she said.

Balonwu, former chief executive of Spinlet, the first music streaming and digital distribution platform in Sub-Saharan Africa, called for long-term financing solutions that support not just content production but also the often overlooked infrastructure critical for a thriving creative economy, including intellectual property banks, data centres, legal support, domestic distribution networks, rights management platforms, efficient payment systems and affordable production facilities.

“This requires a mindset shift. Creatives must see themselves not just as artists but as businesspeople, institution builders and financially literate architects of enterprise. Financing must be smart, responsive, and tailored to the entire creative process, not just consumption,” she said.

Balonwu also noted the impact of Artificial Intelligence, AI, in the industry, urging creatives to see it as an enabler, not as a threat.

President Bola Tinubu’s senior special assistant on media and publicity, Mr. Temitope Ajayi, in his goodwill message, assured that the government would continue to support the creative sector.

READ ALSO: UBA fined N30m, ordered to refund $163, 592 over unlawful account restriction

“In terms of promoting the cultural export of Nigeria, the creative sector in the past decade has really done well. So, we must commend the operators of this sector for the good job they are doing,” he said.

Ajayi added that creators must grow beyond “subsistence thinking” for the industry to thrive.

On the panel to dissect the keynote speech were filmmaker and Founder of KAP Group, Kunle Afolayan; President and Founder of All-Africa Music Awards, AFRIMA, Mike Dada; Founder of Africa Film Finance Forum, AFFF, Mary Ephraim-Egbas, and Founder of Duke of Shomolu Productions, Joseph Edgar.

The panellists, during the session moderated by broadcaster, Anike-Ade Funke Treasure, agreed that funding is key to unlocking the industry’s potential but cited difficulties in accessing the funds both from banks, investors and the government.

Former Lagos State Commissioner for Tourism, Arts and Culture, Steve Ayorinde, moderated the second panel, which had the Executive Director of the National Film and Video Censors Board (NFVCB), Dr Shaibu Husseini; Head of SME Banking at First Bank of Nigeria, Dr Abiodun Famuyiwa; Head of Legal and Business Development at The Temple Company, Yemisi Falaye and Group Head of Large Corporates and Structured Finance at Providus Bank, Dr Biodun Ariyo.

While Husseini restated the Nigerian government’s provision of funds for the creative industry, the bankers assured of an open mind to understand the complexities of the industry, which would translate into funding.

Plaques were presented on behalf of QEDNG to some of the notable participants by the Publisher of Realnews Magazine and President of the Guild of Corporate Online Publishers, GOCOP, Maureen Chigbo; Editor of Vanguard Newspaper and President of the Nigerian Guild of Editors, NGE, Eze Anaba, and veteran actress and film director, Joke Silva.

Among the participants at the summit were the Special Adviser to Lagos State Governor on Media and Publicity, Gboyega Akosile; Group Head, Brand Management and Corporate Communication of Polaris Bank, Rasheed Bolarinwa, and former Osun State Commissioner for Information and Orientation, Funke Egbemode.

The event was anchored by actress and voice artiste, EyiyemiOlivia Rogbinyin.

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They join First Bank of Nigeria, Nigeria LNG (NLNG) and Shell in supporting the landmark event.

Mighty Media Plus Network Limited, publishers of the online newspaper QEDNG, confirmed the development in a statement on Friday.

The company described the sponsorship as a strong show of belief in Nigeria’s creative sector.

Speaking on the addition of the two banks, Olumide Iyanda, chief executive officer of Mighty Media Plus Network Limited and convener of the summit, said Providus Bank had consistently demonstrated its commitment to creativity.

“Providus Bank’s support is a demonstration of its strong commitment to promoting the creative industry,” Iyanda said, adding that “Through its partnership with the Federal Government of Nigeria on the N5 billion Creative Fund, the bank has supported filmmakers and other creatives.”

Iyanda explained that the Creative Fund was created to address the challenges of traditional bank financing by offering a more flexible and accessible model.

The goal, he said, was to make funding easier for creators while ensuring accountability and long-term impact.

“By joining us as a sponsor, Providus Bank is reaffirming that creativity is not just an art; it is a serious business that can grow jobs, drive innovation and shape our economy,” he added.

Providus Bank is also known for promoting creativity, culture and community through events such as the World Poetry Day celebration and The Hive.

On Polaris Bank, Iyanda commended its N1.5 billion Creative Sector Fund launched in partnership with Woodhall Capital, the Lagos State Government and the United Kingdom.

The initiative is designed to give entrepreneurs in fashion, film, music, and digital content better access to structured financing.

“Polaris Bank’s work in this space is a perfect fit for what we are doing,” Iyanda said.

“They are investing in people who have the ideas, the talent and the drive to tell authentic stories, build strong brands and export Nigerian culture to the world,” he added.

He also praised the bank’s Creative Currency Podcast.

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“The podcast is a smart move. It connects creatives with those who can fund, guide, and open doors for them. That is exactly the kind of bridge we want this summit to build,” he said.

FirstBank, NLNG and Shell are also backing the summit.

Iyanda said FirstBank’s support builds on its long-running First@arts initiative, which has financed, advised, and promoted Nigerian creatives and cultural events.

NLNG, he noted, was celebrated for its prestigious prizes in literature, science and literary criticism, each rewarding excellence and innovation.

Shell’s contribution, he added, reflected its commitment to education and community-focused development.

The QEDNG Creative Powerhouse Summit will hold on Tuesday, August 12, 2025, at the Radisson Blu Hotel, Isaac John Street, Ikeja GRA, Lagos.

The event will start at 10:00 a.m.

With the theme “Financing as Catalyst for a Thriving Creative Economy”, the summit will gather creatives, investors, policymakers and business leaders.

Discussions will focus on practical solutions to the funding challenges facing Nigeria’s creative industries.

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The announcement was made on Thursday by Mighty Media Plus Network Limited, publishers of the online newspaper QEDNG.

With a career spanning over three decades, EyiyemiOlivia is celebrated for her dynamic presence across theatre, film, and radio.

She is widely recognised for her captivating performances as Iya Onidiri in Itura (M-Net Africa Magic) and Hajia Malaika Doherty in Dust.

Beyond her acting talent, she has won the hearts of many for her strong advocacy for professionalism, humility, and courtesy on set, particularly in how cast and crew members are treated.

She has delivered stellar performances in theatre and film productions directed and produced by a long list of accomplished creatives, including Bunmi Davies, Richard Mofe-Damijo, Daniel Oriahi, Dipo Abdul, Ego Boyo, James Omokwe, Biodun Stephen, Hadizat Ibrahim, Momo Spaine, Tosin Igho, Steve Gukas, Dotun Olakunrin, Wande Thomas, Rogba Arimoro, Wumi Fosudo, Mide Glover, Omoni Oboli, Chris Odeh, and many others.

READ ALSO: A response to Sam Amadi: The high cost of cheap ethnic rhetoric

“EyiyemiOlivia is more than a host. She is a storyteller who connects deeply with her audience,” said Olumide Iyanda, publisher of QEDNG and convener of the summit.

“Her presence brings warmth, elegance, and a unique energy that perfectly aligns with the spirit of this summit,” he added.

Known for her smooth voice and engaging personality, EyiyemiOlivia has built a reputation as a charismatic compere and voice artiste.

She co-anchored radio shows such as Weekend Nigeria on Spirit of Nigeria Radio and The Praise O’Clock Show on Praiseworld Radio.

Her ability to host with wits, grace, and empathy makes her a natural fit for the Creative Powerhouse Summit.

Iyanda added: “Her collaborative spirit and respect for behind-the-scenes contributors make her compassionate and relatable to event attendees. From radio to stage to screen, EyiyemiOlivia has left a lasting impression everywhere she’s performed.”

The QEDNG Creative Powerhouse Summit will bring together industry stakeholders, policymakers, and financiers to discuss how to strengthen Nigeria’s creative economy.

Two panel discussions will take place, moderated by veteran journalist Steve Ayorinde and broadcast professional Anike-ade Funke Treasure.

Earlier announcements confirmed Udeme Ufot, group managing director of SO&U, as chairman, and Dr. Nkiru Balonwu, founder of The Africa Soft Power Group, as keynote speaker.

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Also supporting the event are Nigeria LNG (NLNG) and Shell Nigeria, two major players in the country’s energy and development sectors.

Chief Executive Officer of Mighty Media Plus Network Limited, Olumide Iyanda, announced the partnerships in a statement on Monday.

Mr Iyanda described FirstBank’s involvement as a strong statement of the bank’s belief in the power of Nigeria’s creative sector.

“FirstBank’s support is a reaffirmation of its long-standing commitment to promoting the creative economy,” he said. “Through First@arts, the bank has become a reliable partner to talents, institutions, and organisations working to grow Nigeria’s cultural assets.”

First@arts is FirstBank’s platform for supporting the arts.

It provides financing, advisory services, and exposure for creatives across the value chain.

The bank has backed major cultural events and partnered with institutions such as British Council, Duke of Shomolu Productions, Live Theatre Lagos, Freedom Park and Terra Kulture.

Among the projects FirstBank has supported are The Headies Awards, Lagos International Theatre Festival, The Oxymoron of Kenny Blaq, Kurunmi, Eni Ogun, and Oke Langbodo.

READ ALSO: Awujale’s departure leaves a void in our hearts -Amb Sarafa Isola

Iyanda also praised NLNG for its role in promoting excellence in literature and science through The Nigeria Prize for Literature, The Nigeria Prize for Science, and The Nigeria Prize for Literary Criticism.

“NLNG has shown leadership by rewarding creativity and innovation in ways that impact both the literary and scientific communities,” he said.

The prizes, worth up to USD100,000, are among the most prestigious on the continent.

They celebrate Nigerian authors, critics, and scientists whose work makes a real difference.

Shell’s support for the summit reflects its ongoing commitment to education and social development.

The company focuses on sustainable, community-driven educational projects, ranging from scholarships to infrastructure development and ICT donations.

“Shell’s belief in education as a foundation for long-term progress aligns with our vision for the summit,” Iyanda added.

He further noted that more sponsors would be unveiled in the coming weeks.

The QEDNG Creative Powerhouse Summit, themed “Financing as Catalyst for a Thriving Creative Economy,” will take place on Tuesday, August 12, 2025, at 10:00 a.m.

The venue is the prestigious Radisson Blu Hotel, Isaac John Street, Ikeja GRA, Lagos.

The summit will bring together creatives, investors, policymakers, and business leaders to explore solutions to the funding challenges facing Nigeria’s creative industries.

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The event will take place at the Radisson Blu Hotel in Ikeja, Lagos.

The announcement was made in a statement on Wednesday by Mighty Media Plus Network Limited, publishers of the online newspaper QEDNG.

The summit is themed “Financing as Catalyst for a Thriving Creative Economy.”

It will bring together leaders from across sectors to share ideas on how to grow and support Nigeria’s creative industries.

Participants will include policymakers, investors, industry professionals, and emerging talents.

Speaking on why Dr Balonwu was chosen, Olumide Iyanda, CEO of Mighty Media Plus Network Limited and Convener of the summit, said her experience made her a perfect fit.

“Dr Balonwu’s work in advocating African voices in global discourse and her expertise across law, technology, finance, show business, and international development continue to inspire transformation across the continent,” he said.

“As a visionary championing Africa’s creative potential, her insights will resonate deeply with the audience of policymakers, entrepreneurs, and industry leaders. Her keynote address will set the stage for robust dialogue, highlighting the unique opportunities within Africa’s creative economy and inspiring actionable steps to unlock its full potential.”

Iyanda added that the summit would explore funding solutions, build partnerships between creatives and investors, and offer tools for financial management. It will also create space for collaboration to drive long-term progress in the sector.

READ ALSO: Where is the Fighting ground of Fintech Firms?

Dr Balonwu leads The Africa Soft Power Group, the umbrella company for three organisations with mutual objectives: The Africa Soft Power Project, ASP Global and African Women on Board.

The organisations focus on using culture, media, and technology to reshape Africa’s global influence.

She was formerly the CEO of Spinlet, Sub-Saharan Africa’s first major music streaming platform, which grew to over two million subscribers under her leadership.

Balonwu holds a Doctorate from the University of California, Berkeley, a Master’s from University College London, and a Law degree from the University of Manchester.

She has been called to the bar in England, Nigeria, and New York.

In 2022, she was listed among New African magazine’s Top 100 Most Influential Africans.

In 2019, she received the Powerlist UK Black Excellence International Award for her work with African Women on Board.

She also served as a Senior Fellow at Harvard Kennedy School’s Mossavar-Rahmani Center for Business and Government from 2022 to 2023, focusing on the role of the private sector in shaping gender policy in Africa.

The QEDNG Creative Powerhouse Summit is expected to be a landmark gathering for professionals in Nigeria’s creative space.

More speakers and panellists will be announced in the coming weeks.

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Ufot is the Group Managing Director of SO&U, one of Africa’s foremost marketing communications groups.

The announcement was made in a statement on Friday. It follows the recent confirmation that the summit will take place on Tuesday, August 12, 2025, at Radisson Blu Hotel, Isaac John Street, Ikeja, Lagos.

Themed “Financing as Catalysts for a Thriving Creative Economy,” the summit will bring together key figures in the creative space—including industry leaders, investors, policymakers, and emerging talents—to discuss ways to boost the sector’s growth and sustainability.

Olumide Iyanda, Chief Executive Officer of Mighty Media Plus Network Limited and Convener of the summit, said Ufot’s career achievements and support for the creative economy make him an ideal choice.

“The summit will explore innovative funding solutions, fostering partnerships between creatives and investors, and provide tools for effective financial management. It will also serve as a space for collaboration between creatives, industry leaders, and policymakers to drive sustainable growth,” Iyanda said.

He recalled Ufot’s long-standing relationship with QEDNG, dating back to the platform’s launch in 2014. According to him, Ufot’s guidance and encouragement helped shape QEDNG’s direction and identity.

“Mr Ufot’s position as chairman will underscore his role as a thought leader and champion of Nigeria’s creative industry. His leadership and insights will inspire participants to pursue innovation and excellence, reinforcing the importance of strategic collaboration. It will also highlight his pivotal contributions to the advancement of the creative sector in Nigeria,” Iyanda added.

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Ufot began his career in 1984 at Insight Communications, where he rose to the position of Deputy Creative Director (Art).

In 1989, he joined CASERS as Creative Director.

Just six months later, he co-founded SO&U, which has since become one of Nigeria’s most respected advertising agencies.

He holds a Bachelor’s degree in Industrial Design from Ahmadu Bello University, Zaria, and has also completed programmes at the Swedish Institute of Management and the Lagos Business School.

Over the years, Ufot has held several leadership roles in the industry.

He served as President of the Association of Advertising Agencies of Nigeria, AAAN, and Chairman of the Advertising Practitioners Council of Nigeria, APCON.

He also chairs the Board of the Policy Innovation Centre, sits on the board of the Nigeria Economic Summit Group, NESG, and co-chairs its Policy Commission on Tourism, Hospitality, Entertainment, Creative Industries and Sports, THECS.

Ufot is committed to developing future industry leaders.

He mentors young professionals and lectures at the School of Media and Communication, Pan-Atlantic University, where he chairs the advisory board.

He is a past President of the Lagos Business School Alumni Association and former Board Chair of LEAP Africa, a non-profit organisation focused on youth leadership and entrepreneurship.

He also serves on the board of Special Olympics Nigeria.

In 2014, the Federal Government of Nigeria honoured him with the Member of the Order of the Federal Republic (MFR) for his contributions to the corporate sector.

Udeme Ufot is married to Dorothy Udeme Ufot, SAN, and they are blessed with two children.

The QEDNG Creative Powerhouse Summit is open to a broad audience, including artists, filmmakers, musicians, designers, advertisers, academics, and financial institutions.

It is expected to be a landmark event for collaboration, innovation, and investment in Nigeria’s creative economy.

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This groundbreaking event will be held on Tuesday, August 12, 2025, at 10:00 a.m., at the prestigious Radisson Blu Hotel, Isaac John Street, Ikeja GRA, Lagos.

With the theme “Financing as Catalysts for a Thriving Creative Economy,” the summit will bring together a diverse group of stakeholders, including industry leaders, investors, policymakers, and emerging talents, to discuss strategies for accelerating growth in Nigeria’s creative sector.

Olumide Iyanda, founder and chief executive officer of Mighty Media Plus Network Limited, highlighted the vision behind the summit.

His words: “At QEDNG, we are committed to fostering creativity, credible journalism, and human capital development. This summit serves as a platform to address critical challenges and unlock the vast potential of Nigeria’s creative economy.

“Nigeria’s creative sector, comprising film, music, art, fashion, advertising and digital media, contributes significantly to the country’s GDP and cultural identity.

“However, it faces barriers such as limited funding, technological deficits, and sustainability issues.

“The summit will tackle these challenges by exploring innovative funding solutions, fostering partnerships between creatives and investors, and providing tools for effective financial management. It will also serve as a space for collaboration between creatives, industry leaders, and policymakers to drive sustainable growth.

“The event is open to a wide range of participants, including artists, filmmakers, musicians, designers, academics, and financial institutions. It promises to provide attendees with valuable insights and opportunities to build meaningful connections within the industry.”

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“This summit is a strategic initiative to advance the creative economy,” Mr Iyanda said, adding that “It is designed to bridge gaps, provide resources, and empower stakeholders to drive transformative change. This aligns with QEDNG’s mission to support Nigeria’s cultural and economic development.”

He stated further: “QEDNG continues to be a leading voice in promoting Nigerian culture, creativity, and public affairs.

“Through the QEDNG Creative Powerhouse Summit, it aims to contribute meaningfully to shaping a vibrant and sustainable creative economy for Nigeria.

“Further details about the summit, including the lineup of speakers and panellists, will be announced in the coming weeks.”

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Author: Guild of Corporate Online Publishers (GOCOP)

Publisher: Guild of Corporate Online Publishers (GOCOP)

Year of Publication: 2025

Place of Publication: Lagos, Nigeria

Number of Pages:  250 pages

Reviewer: Dr. Ike Neliaku

I am delighted to inform that we just returned from Mombasa, Kenya, where the Hon. Minister of Information and National Orientation, led the Nigerian delegation to win the hosting right for the 37th Conference of African Public Relations (APRA). This is the first time, a country will be hosting the World Public Relations Forum and African Public Relations Conference. We thank God for the great achievement, and we thank Minister Mohammed Idris, fnipr, for his leadership.

I will start this review from the very title of the book – Nigeria Media Renaissance: GOCOP Perspectives on Online Publishing. The title arrests attention and almost stirs a controversy at the first impression. How could a 10 years old child claim fatherhood! Not until you look further that you spot the two distinctions to the ‘Renaissance’ – GOCOP Perspective and Online Publishing Perspective.

Next are the list of 6 Editors and 16 and 1/2 Committee Members. A combination of the two shows that at least 22 and 1/2 persons midwifed the birth of this publication (although some played dual roles in editorial and operational capacities).

As the reader proceeds to acknowledgements, we see that more hands were involved, covering and factoring the diverse social and cultural miens of the country to give the book a broader, wider, and deeper perspectives. That’s not all. The reader discovers the shades of contributors, led by living online ‘archivals’ like Tom Chiahemen, the ‘funky malams’ like Danlami Nmodu, the ‘resilients’  like Ken Ugbechie, the ‘vibrants’ like Jessica Uwadaze, and the other lineup of stars that contributed to the book.

Who could have been more suitable to write the Forward than the choice of an online ancestor, Dapo Olurunyomi, OON, who presented the historiography of Online publishing, from Post Express in Lagos in 1996, to the diaspora component led by Elendureports.com in 2004, TimesofNigeria.com in 2005, and Saharareporters.com in 2006. His depth of knowledge and skill of rendition give very exciting and acclimatising insights.

This brings me to the concepts of perception and perspective, which the GOCOP President, Maureen Chigbo alluded in her introduction to the book. From the assertions of Canadian Communication theorist, Marshal McLuhan, that ‘the world is a global village’ and his dictum of the ‘medium is the message’, to Yves Decat’s quote that “… in communication, the perception is even more important than the message itself. That is why you have to put some effort into your message, so that perception won’t undermine your message…” This is very important today! As we face the increasing challenge of misinformation and disinformation, we must carefully consider and chew our words carefully before releasing them. Decat’s quote captures the motivation of GOCOP’s to document the illustrious individuals and corporate bodies that have shaped online journalism in Nigeria, in remarkable ways that is worth writing on.

I cannot but agree with the president when she notes that the essence of this book, Nigeria Media Renaissance: GOCOP Perspectives on Online Publishing, is to provide pertinent backgrounds on the evolution and frontiers of online journalism in Nigeria. There is no doubt that GOCOP has done remarkable things that deserve the monuments that are being preserved in the book we are presenting in its honour today.

From my perspective, the book brings out seven core elements:

It is an evidence-based hagiography of online publishing in Nigeria;

It underscores the pioneering efforts of online journalists who have made indelible mark on the sand of time;

It chronicles the development of online journalism from the perspectives of the industry players and stakeholders;

It provides a ringside account of high-wired politicking that characterises public institutions and tends to undermine their independence and autonomy;

It highlights the far-reaching implication of such political interference on the activities of Nigeria public institutions;

It provides a clear understanding of what online publishing is, and enables readers to understand its distinction with social media platforms; and

It underscores the quality of publishers involved in Online news publishing, most of whom are known to have served excellently and retired from top positions in journalism.

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Henry Rollins noted, “I think it’s important to have some documentation of the past;” and Wietse Venema concurred that, “Lack of documentation is becoming a problem for acceptance”. We must therefore thank GOCOP, for giving us this veritable source of undiluted information about the evolution of online journalism in the country. In the same token, this book, I believe, is one of the effective ways by which GOCOP can demonstrate its commitment not only to online journalism scholarship but also to national development, while acknowledging the remarkable contributions of individuals and corporate entities that shape its emergence, birth, re-birth, growth, and development.

From another perspective, I perceive this book as an inspiring and deserving praise to veteran journalists turned mediapreneurs who had toiled for the promotion of press freedom and the rights of the citizens; and it is, indeed, an encouragement for motivating virtue and strong determination against adversity. The book is, certainly, a good account of the online publishers’ commitment to uphold professionalism and ethical values, and a deserving legacy of great example of having strong conviction in achieving a common objective deemed beneficial to journalism. Undoubtedly, the book is a celebration of the ‘aspirations of the pioneer engineers of this veritable platform’ for their sacrifices, discipline, and resilience, as well as GOCOP’s support for the present and aspiring online publishers.

It was Aristotle that asserted that truth is to say ‘what is that it is and what is not that it is not’, and false is to say ‘what is that is not, or what is not that it is’. This book is what GOCOP is! Like a mirror, individual displays their image through behaviour. This book, therefore, is a reflection of true image of GOCOP and its members.

As Dapo Olorunyomi asserts in the foreword of the book, the mission of the GOCOP since its establishment in 2013 was to ‘to uphold journalistic standards and sanitise online publishing in Nigeria.’ The extent to which the mission is being upheld is clearly manifested as observed by one of the contributors in Chapter 2, Page 34, ‘It is with pride that we say from the [Disciplinary] Committee that we have had only a few cases to treat because the foundation of and for GOCOP was firmly laid as an association of professionals.’ As Max Amuchie asserts in Chapter 11, all the contributors in this book, by their accounts, note salient impact of GOCOP in upholding ethical standards while fostering mediatised conversations on national issues

Now to the body! Nigeria Media Renaissance GOCOP Perspectives on Online Publishing, contains 11 chapters and an epilogue that report, explain, criticise and suggest formation, the early struggles and the role different stakeholders as online publishing evolves in the country. The triumphant existence of GOCOP, as chronicled in this book, would better be appreciated only if I share with you a summary of salient points raised therein. So, permit me to quickly present a summary of how the contributors present evolution of online publishing through GOCOP perspectives.

Segun Adeleye, in the first chapter on ‘The Birth Of GOCOP’, provides details of GOCOP formation, the promoters, foundation members, and challenges encountered in name registration with the Corporate Affairs Commission in which more than five names were rejected as a substitute for Nigeria Online Publishers Association (NOPA), following the Commission’s claim ‘that NOPA was registered in error’ (p. 5), and the demand for indemnity payment of 65,000 Pounds by a supposedly sister organisation for identical name registration infringement. It is delightful to note that the promoters demonstrated resilience to sit through the painful pangs of rebirth that resulted from NOPA to GOCOP.

Chapter Two rolls out with a captivating declaration entitled, ‘GOCOP, A Pact With Ethics’, which x-rays the role of the Guild’s ‘Disciplinary Committee/OMBUDSMAN in upholding professional ethics and integrity of the group. As stated earlier that the Committee had only treated a few cases, the nature of cases, lessons learnt from those cases as well as reasons for this remarkable achievement are well espoused in the chapter. This underscores the essence of the group in advocating and upholding members to the highest professional and moral standards.

Chapter Three entitled ‘Social Media Is Not Online Publishing’ reignites the debate on the amorphous relationship between social media and online journalism; further raising critical questions on the complexity of ‘sanitising the social media space’ from all forms of abuses. The chapter is very succinct in showing that monkey is not baby chimpanzee!

Online media as platforms used for strategic and corporate communication, publishers are expected to leverage on their partnership with advertisers for revenue as a business concern. Hence, Chapter Four entitled ‘GOCOP In The Eye Of Partners’ showcases testimonials of a number of top rated corporate entities that are partners of the group, attesting to the ingenuity of GOCOP as a front-row player in strategic communication while upholding publishing standards, professionalism and journalistic ethics.

Through in-depth interviews, online publishing and its impact on public communication in selected states, GOCOP highlights some case studies of its impact, including Delta, Kwara, Osun, Lagos and Kogi states. This is contained in chapters Five, Six, Seven, Eight and Nine, respectively. Specifically, Ken Ugbechie examines in Chapter Five how the management of Delta State’s owned newspaper, The Pointer, embraced and transformed into online Journalism to deliver reports on government activities while also fostering audience engagement.

In Chapter Six, Olumide Iyanda provides exposition on how the Kwara State Government adopted online media to ensure that its ‘messages resonate with both traditional audiences and the digitally native population’. Entitled, Kwara State: Harnesing Online Publishing For Strategic Communication, the chapter emphasises the critical role of the platform in promoting digital literacy and economy in the state.

In the same way, Akeem Oyetunji, in Chapter Seven entitled ‘Osun State: Promoting Digital Economy Through Online Publishing’ outlines how the state explored digital media to promote governance, digital economy, and literacy.

To reflect the critical role of sustaining audience engagement on governance in a populous and cosmopolitan state like Lagos, Gabriel Akinadewo in Chapter Eight entitled ‘Lagos State: Impact Of Online Publishing On Governance’ presents analyses of various ways by which the state explored digital media for breaking ‘developmental stories’, ‘digitised learning in schools and improved digital learning’ as well as promoting ‘the state government’s activities to the international community’.

Written by Kingsley Femi Fanwo, Chapter Nine focuses on ‘Kogi State: Promoting Strategic, Ethical Storytelling In Digital Media Space’, to underscore the importance of media-government engagement through digital media, as well as the ‘growing relevance’ of the state in the national media conversation, emphasising the support of GOCOP for the launching and success of the ‘Invest in Kogi Campaign’.

As common to every emergent industry such as online publishing, there is an avalanche of skepticisms and ‘growth prospects’ which are well articulated in Chapter Ten of the book, entitled ‘The Future Of Online Publishing In Nigeria’. The Chapter, written by another veteran, Tom Chiahemen, highlights 13 challenges facing GOCOP, 3 expectations of GOCOP in the next 10 years, 3 expectations in the next 20 years, and 7 ways government can help in strengthening online publishing.

To further preserve the treasure trove of information contained in ‘Guests’ Speeches Through The Years’, at GOCOP annual conferences, put together by Max Amuchie, Chapter Eleven highlights salient issues raised by prominent Nigerians on ‘economic diversification’, ‘security’, ‘elections’, ‘the COVID-19 pandemic’, ‘the digital economy’, and ‘socio-economic recovery’ at the GOCOP conferences between 2017 and 2024.

The foregoing enthralling perspectives on online publishing, with GOCOP as an emerging powerhouse for mediapreneurs run through all the 11 chapters in this book. I will like to reiterate the justification of Mr Olorunyomi for publishing the book, and I quote, ‘it provides a contemporary narrative of the profession, its principles, and the urgent role of online journalism. Its longitudinal and vertical depth offers both research value and a guide for the future’. He goes further, self-regulation underscores GOCOP commitment to uphold professional integrity through a peer-review process.

Certainly, GOCOP is coming of age, which explains why it now needs its own befitting facility to house the ideas and operations, with a conducive environment to raise a credible successor generation to secure the future of this thriving industry – ‘the son of man now needs a place to lay his head’.

One of the great themes that resonate loudly across all the chapters in this book is GOCOP’s successful attempt made in the book to challenge the erroneous notion that digital space was left to charlatans and non-professionals at the early stage. The available evidence as presented in this book suggests otherwise. In addition, the book underscores the importance of self-regulation as a means of combating unethical practices among media profession. Another profound richness of the book is how it explores pertinent historical contexts on selected states in relation to the development of their digital communication and economy.

The pictorial work used to conclude the book also tells its own story.

I can confirm that this book, will definitely make every reader wish they could be like pioneering GOCOP members, whose sheer determination, strength of character and resourcefulness, gave birth to a very promising child, being nurtured to greatness. I must therefore, commend members of the Committee and various contributors of this book, who, by any standard, are all literarily dexterous. The way each of them presents their relational experiences with GOCOP is highly encouraging and progressive. This is no surprise as almost all of the writers or contributors are accomplished journalists, who decided to switch constituencies and help birth an exciting new dawn.

As inspiring as it is, as lucid as it is, in its smooth, simple but correct expressions, it has a few minor errors. These errors, include ‘the message is the message’ on page xvi, which I believe is meant to be ‘the medium is the message’. There are also sweeping statements and over-generalisation as on pages 43-44, in which no scholastic evidence to support the contributor’s assertion that politicians ‘complain about the menace of social media, are even more guilty of abusing’. The use of ‘recent studies’ in Chapter Ten, Page 88 was expected to be supported by an example of such studies on ‘shift towards online news consumption’. This becomes imperative for proper referencing.

Second, the book’s presentation of state of online publishing in Osun State was not detailed enough. For instance, insights on the state’s policy on digital literacy was conspicuously missing. Third, there was an error of page layout in which appendix pages (A1-24) entitled ‘Photospeak of GOCOP Activities Over the Years’ was wrongly placed under Chapter Eleven which is meant for ‘Guests’ speeches through the Years’. A few pictures that appeared on pages A6, A18 and 20 are used without a cutline or caption.

Finally, reading a robust chapter on democracy would not have been a misplacement. As an industry, whose members, directly and indirectly, had paid the great price for democracy, it would have been wonderful to read GOCOP perspective on Nigeria’s democracy.

In this vein, online journalism has become a prominent platform of influence on national reputation. Accordingly, it would be strategic to examine and assess the impact of GOCOP in reputation management of the Federal Republic of Nigeria. This is one of the areas NIPR partners with GOCOP. It will indeed be great to read GOCOP’s perspective on this subject.

Notwithstanding, these errors and observations are very minor, and do not in any way affect the substance of the publication.

I will describe the book as a classic documentation of factual trajectory of a great destiny, whose time has come. With a powerful storytelling technique, ‘photo speak’, use of poetic devices as well as in-depth interview, readers will not want to put it down until they read the whole chapters and epilogue on behind-the-scene intrigues that played during GOCOP registration process with the CAC. The secret behind this irresistibility is the journalistic narration of events and contributions that are captivating about GOCOP transformation and its strategic influence on online journalism and digital economy.

Like I said at the outset, the book is a compendium of history and intrigues that provide a contemporary narrative on online publishing, detailing with contributions of different players on the media renaissance. As you read on, you will continue to admire the tenacity and foresights of the five ‘wise ones’ that conceived the idea of setting up a platform in which aspiring digital media owners can flourish.

Distinguished guests, the taste of the pudding is in the eating. I have tasted this pudding of the celebration and contribution of journalists-cum-mediapreneurs par excellence. It tastes well. It is far from praise-singing. I therefore recommend the book for all and sundry to provide us a theoretical and professional guide for us to have insights of front-row accounts of an emergent and flourishing online publishing ecosystem. Get copies and share with friends and loved ones.

Certainly, GOCOP is coming of age, which explains why it now needs its own befitting facility to house the ideas and operations, with a conducive environment to raise a credible successor generation to secure the future of this thriving industry – ‘the son of man now needs a place to lay his head’.

I will like to conclude by taking GOCOP members back to the caution of Dapo Olorunyomi in the beginning. In his words in the forward, he writes, “The lessons from history are clear: Freedom must never be taken for granted. To safeguard this freedom, the online journalism community must collaborate to strengthen ethical, fact-based journalism and resist the forces that seek to undermine it.”

Your excellencies, distinguished ladies and gentlemen, please accept my thanks for the opportunity and God bless us all.

Dr. Neliaku, FNIPR, President, Chairman Of Council, Nigerian Institute Of Public Relations, carried out the review at the public presentation of the book in Abuja on Tuesday, June 17, 2025.

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