Ufuoma Okonoko unveils digital strategy to unlock billions for Nigeria’s creative sector

By Ayo Onikoyi

Barrister Ufuoma Okonoko, a digital monetisation expert and Chief Operating Officer of Atlantic World Digital Communications, has unveiled a digital strategy aimed at unlocking billions of dollars in international revenue for Nigeria’s creative sector through strategic distribution, marketing and commercialisation of locally produced content and products.

Okonoko, who is also a Nollywood actress and producer known professionally as Angel Ufuoma, said Nigeria’s creative industry holds enormous potential to generate foreign exchange, identifying filmmaking, Afrobeats, fashion, culinary arts, publishing, pharmaceuticals, arts and crafts, and tourism as sectors that could benefit from improved access to international markets.

She explained that the strategy informed the development of Blaze Channel, a United States-based digital monetisation platform designed to distribute and generate revenue from Nigerian films while creating international markets for other products and services within the country’s creative economy.

According to her, the initiative is intended to address the persistent difficulties filmmakers encounter in generating adequate revenue from their productions, while leveraging the international appeal of Nollywood and Afrobeats to introduce other Nigerian products to global consumers.

“Nollywood filmmakers produce great films, but they find it very difficult to monetise them. We created Blaze Channel as a digital monetisation platform in the USA, not only to stream and monetise the movies, but more importantly to monetise Nigerian Creative Industry products,” she said.

Okonoko explained that the strategy would use films and music to attract international audiences before introducing them to other Nigerian products, including fashion items, culinary offerings, publishing materials, pharmaceutical products, artificial intelligence solutions, and arts and crafts available for purchase by consumers overseas.

She said the approach was designed to go beyond conventional film distribution by creating a broader commercial ecosystem in which Nigerian entertainment content could serve as a gateway for other homegrown businesses seeking access to international markets.

According to her, the model could also stimulate interest in Nigeria as a tourism destination and encourage foreign direct investment by exposing international audiences to the country’s cultural assets, creative talent and business opportunities.

The company disclosed that Okonoko spent 10 years working with software engineers in the United States to develop the platform before its official launch in 2018. Since then, Blaze Channel has attracted more than 2,000 subscribers worldwide.

The company is now seeking additional capital to acquire distribution rights to more Nollywood films and strengthen its marketing budget, steps it considers necessary to expand the platform’s reach and improve its ability to generate revenue from Nigerian creative products in international markets.

The Chairman and Chief Executive Officer of Atlantic World Digital Communications, Nigerian-American filmmaker Tony Abulu, expressed confidence in Okonoko’s work and the commercial prospects of the initiative.

Abulu said he planned to introduce the platform’s concept to American filmmakers and businesses through various American chambers of commerce, a move that could help build partnerships and create further opportunities for the distribution and monetisation of Nigerian content and products.

Beyond her digital media venture, Okonoko has established a presence in Nollywood, featuring in more than 40 films. Her acting credits include *Spellbound*, alongside Daniel K. Daniel, Enyinna Nwigwe and Mercy Aigbe; *Superstar*, featuring Tekno Miles, AY, Nyanya and Jide Kosoko; and *Doctor Bello*, written, directed and produced by Abulu.

She also featured in *American Japa*, which stars Toyin Abraham, Odunlade Adekola, Kanayo O. Kanayo and veteran actress Tina Amuziam.

Her involvement in film production and distribution complements her digital monetisation initiative, which seeks to connect Nigerian entertainment content with audiences beyond the country while exploring additional commercial opportunities for the wider creative industry.

The company further indicated that a film titled *Reincarnation – Dance of the Masquerade*, featuring leading Hollywood and Nollywood actors, was in development for 2027. However, details about the production, including its cast and other aspects of the project, were not provided.

In another step towards expanding its operations, Blaze Channel has applied to the Creative Economy Development Fund (CEDF). The company hopes that access to funding will support its expansion plans and strengthen its efforts to connect Nigerian creative businesses with international markets.

Okonoko identified the African-American consumer market as a significant opportunity for Nigerian businesses, citing the community’s substantial purchasing power and the potential for Nigerian products to attract a share of its spending.

“Wait until we truly unleash our monetisation potential of billions of dollars in the African-American community in the USA, where our ‘cousins’ already spend two trillion dollars annually as consumers in America,” she said.

She expressed optimism that a well-structured digital monetisation strategy could help Nigeria and other African countries expand the international reach of their creative industries, diversify sources of foreign exchange and attract greater revenue from overseas consumers.

The initiative reflects an approach that combines entertainment distribution with broader product marketing, using the global appeal of Nigerian films and music to create commercial opportunities for businesses across several sectors of the economy.

However, the projected economic gains will depend on Blaze Channel’s ability to secure distribution rights, attract and retain international audiences, convert viewership into purchases, and establish effective commercial partnerships. Its long-term impact will also depend on the platform’s capacity to scale its subscriber base, sustain marketing efforts and demonstrate that the model can generate consistent revenue for filmmakers and other Nigerian creative businesses.

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