Nigeria’s online video skits are making millions

Short comedy videos circulating on social media have created a booming industry in Nigeria in the past few years. The country’s comedy creators put their skits out on platforms like YouTube, TikTok and Instagram to reach a massive audience.

As these online comedians gain followers they make their money from advertising, by endorsing brands as influencers, and through collaborations. In Nigeria the industry is popularly called the skit economy.

This phenomenon represents more than a major new entertainment trend. It highlights the ingenuity of young Nigerians in using technology to create livelihoods and influence culture. In the process, they contribute to national economic growth.

The skit industry has joined the likes of Nollywood film, Afrobeats music and local fashion to put the country on the entertainment map globally.

The rise of the industry is chronicled in the 2024 book Skit Economy: How Nigeria’s Comedy Skit-Makers Are Redefining Africa’s Digital Content Landscape, by entrepreneurship scholar and polling guru Bell Ihua. His work is supported by findings from the Africa Polling Institute.

As he explains:

The Nigerian entertainment industry is undoubtedly creating job opportunities and contributing to the country’s diversification from oil … The industry is rated as the second most significant employer of youths in Nigeria after agriculture, employing over one million people.

According to his book, skit-making is estimated to be Nigeria’s third largest entertainment industry sector, with a net worth of over US$31 million.

As a marketing scholar focusing on the cultural and creative industries and digital entrepreneurship who has had the privilege of interviewing Ihua, I’d like to share my thoughts about his book.

What becomes clear as you read it is that social media platforms have not only amplified the reach and impact of skits. Online platforms have allowed creators to reach global audiences while preserving the culture, language and stories unique to their communities. Skit creators prove the potential of comedy as a medium for both entertainment and cultural diplomacy.

However, as the industry grows, argues Ihua, the skit economy must navigate new challenges related to representation and ethics.

What’s in the book

The book’s eight chapters cover Africa’s digital content landscape, taking into account the continent’s youth bulge and the evolution of social media and content creation.

Ihua then explores Nigeria’s booming cultural and creative industries before homing in on comedy skit-making in chapter 4. It attempts to classify various types of digital content creation in Nigeria and outline the trends in online videos before embarking on an in-depth national study on comedy skit-making in chapter 7. He then considers implications for public policy and future research in the field.

What makes the book so compelling is that it recognises skit-making as an ecosystem on its own terms. It then defines what that ecosystem looks like in Nigeria. In the process Ihua makes it clear why books like this matter.

They are a call for taking entertainment seriously and investing future research in it. Social media and digital technology have reconfigured an unsung economic sector that’s capable of including the bulging youth population in the national conversation. This is despite limited institutional support.

What’s driving the boom

Ihua traces its boom to COVID-19 lockdowns that began in Nigeria in 2020:

They provided a source of laughter and relief to many Nigerians, as most people found it safer to stay at home and get entertained with skits.

Today, writes Ihua, two-thirds of Nigerians watch comedy skits frequently. According to his study they serve as stress relief and social commentary.

With 63% of Nigerians under 25 and high social media uptake, skit-making taps into abundant creative energy and mobile-first audiences.

Value

The Skit-Economy highlights how skit comedians create direct and indirect jobs (editors, social media managers, brand consultants). They generate income through endorsements, platform monetisation (the revenue they get from advertising on a space like YouTube), and various partnerships and collaborations.

Read more:
Detty December started as a Nigerian cultural moment. Now it’s spreading across the continent – and minting money

Their cultural value is not just measured in their global influence. Skits reflect everyday Nigerian realities with humour and satire, influencing local public opinion and reinforcing national identity.

As prominent Nigerian entrepreneur and cultural worker Obi Asika notes in the book’s foreword:

Their success … stems from a combination of talent, creativity, innovation, an entrepreneurial spirit, and a deep understanding of their audience’s preferences and cultural nuances.

Challenges

However, Ihua identifies a number of challenges facing the industry.

Financial rewards are unequal. Only top creators earn sustainably. For many skit-makers revenue is unstable.

Working from Nigeria means dealing with infrastructure deficits. Electricity supply is unreliable, the internet is expensive and there is limited access to digital production tools.

Read more:
Nigerian TikTok star Charity Ekezie uses hilarious skits to dispel ignorance about Africa

Nigerian skit-makers also operate in a climate where there are weak intellectual property protections. Piracy and unauthorised reuse undermine earnings.

The job can be an ethical minefield. Pranks can be harmful. They can perpetuate stereotypes and be insensitive to minorities.

These challenges are enhanced by a policy vacuum. There is little government recognition or support for digital creatives in Nigeria.

An African future?

For Ihua, skit-making is a good example of how new digital industries can aid in absorbing Africa’s growing youth workforce. With adequate support, skit-making can help provide dignified livelihoods.

So, for Ihua these creators are not merely entertainers. They’re also job creators, cultural ambassadors, and catalysts of digital transformation.

For Africa broadly, the rise of skit-making underscores the continent’s potential to innovate in ways that are uniquely aligned with its youthful demographics and digital future.

Nigeria’s skit economy offers a blueprint for the continent. Already, skit-making is spreading to other countries, like Ghana, Kenya and South Africa. The lines are blurring between stand-up or TV comedians and skit makers.

If nurtured with the right infrastructure, policy, and industry support, the skit economy could evolve from an informal hustle into a structured pillar of Africa’s creative economy. This could further solidify the continent’s role in the global cultural imagination.