CHAPTER ONE

1.0 INTRODUCTION
1.1 Background of the Study
Tourism is a major contributor to the World’s economy, accounting for greater than nine percent

of the global GDP and almost nine percent of employment globally, thereby making it one of the

largest categories of international trade (WTTC, 2022). It is a promising source of income for

developing countries because it provides an effective transfer of income from wealthy to poor

nations.

Tourism is an industry where there is a growing positive balance of trade flowing from

developed countries to developing countries (UNEP, 2022). Recently, the industry has become

an extremely popular ‘’global activity’’ (Cooper, 2015). It is has been acknowledged as a

possible tool to spur economic development while at the same time benefitting the environment

and local social condition without harming the environment (Reynold and Braithwaite, 2021).

Ecotourism is a sustainable tourism that connotes environmentally responsible travel to nature

based site in order to admire, study, enjoy and appreciate cultural and natural features in such a

way not to alter the environment, while contributing to socioeconomic well-being of the host

communities (Oladeji and Kayode, 2013). Although ecotourism is comparatively new concept,

however it is the largest growing segment of the tourism-industry-growing worldwide by 30%

each year (Varty, 2016). Today, the industry is regarded as one of the fastest growing forms of

tourism (The International Ecotourism Society 1990-2010). It is acclaimed to be a niche tourism

market, considered to be one of the fastest growing segments of the tourism industry (United

Nation World Tourism Organization, 2012). It ensures a balanced economy through transfer of

wealth from rich and developed nations to poor and developing countries (Honey and Gilpin,

2019). Ecotourism benefits developing countries by supporting their local sustainable projects

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thereby generating employment, improving the economy and building cross-cultural awareness

(Adeyemo and Oladeji, 2023). The opportunity to learn from a traditional culture is increasingly

valued by travelers, and community participation adds considerable value to an ecotourism

program (Drumm and Moore, 2015).

There is a relationship between economy and culture, and in the contributions that the cultural

sector can generate in increasing revenue and generating employment in a country (UNESCO,

2009). Tourists demand can provide the basis for the growth and diversification of artisanal

production, the creation of markets in major tourist areas and increasing tourist influx (Ruoss and

Alfarè, 2013). In most cases, culture is seen as a major assets for tourism development by

National Tourism Organizations (NTOs) or regional marketing organizations and a major factor

in the attractiveness of high spending visitors and inwards investment (Richard, 2021).

The concept of ‘creative tourism’ is continuing to develop. In 2006, the “Creative Cities

Network” endorsed by UNESCO, agreed on the following working definition of creative

tourism: “Creative Tourism is travel directed towards an engaged and authentic experience, with

participative learning in the arts, heritage, or special character of a place. It provides a connection

with those who reside in this place and create this living culture.”

Culture and creative industries are increasingly used to promote destinations and enhance their

competitiveness and attractiveness (OECD, 2019), emphasized that many locations are now

actively developing their tangible and intangible cultural assets as a means of developing

comparative advantages in an increasingly competitive tourism marketplace, and to create local

distinctiveness in the face of globalization. Richards and Wilson (2016), observed that cultural

tourism strategies have been supplemented by creative tourism products in many destinations

emphasizing intangible and symbolic elements of regional culture of particular destinations such

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as the local arts and crafts, ethnic quarters and local gastronomy. Culture has been studied as a

necessary element for the full development of people and communities (UNDP, 2014)

1.2 Statement of Problem

It is the desire of this research work to understand the contribution of creative industry to

Tourism development in Nigeria. The creative industry sector ought to be given adequate

attention. There is poor relationship existing between creative industry sector with the tourism

industry; poor encouragement of the creative industry sectors; lack of private investment in

creative industry sectors and negligence of the creative industry sector is posing a serious

problem to its contribution towards tourism development.

1.3 Justification of Study

In Nigeria the standpoint of promoting economic development, creating jobs and alleviating

poverty as a feasible policy option should be to use the creative economy to diversify the

Nigerian economy and improve trade and development gains within the process of globalization

(Agoralumiere 2019). The local communities possessed wealth of invaluable resources in term of

art and craft. Oladeji and Akintola (2020) observed that directing tourism growth toward local

needs, interests and limits can greatly enhance tourism value to the community and help create

sustainable industry in and around heritage Sites. Creating a successful and sustainable tourism

industry in a community is like creating any successful and sustainable economic activity (Glean,

2001).

1.4 Objectives of the Study are to;

i. identify the creative Industries in the Local Government Area

ii. identify the contribution of these creative industries to the Local Government Area

iii. identify the challenges confronting the development of the creative industries in the Local

Government Area

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 CHAPTER TWO

2.0 LITERATURE REVIEW

2.1 Conceptual Review

2.1.1 Creative Industry

According to DCMS (Creative Digital Industries National Mapping Project ARC Center of

Excellent for Creative Industries and Innovation, 2017), creative industry is an industry derived

from the utilization of creativity, skills and individual talents to create welfare and employment

through the creation and utilization of creativity and creativity Such individuals (NAF / WRT /

0011I12009 January edition). The creative industry is an industry that has authenticity in

individual creativity, skills and talents that have the potential to generate income and job creation

through the exploitation of intellectual property. While UNCTAD (2008), defines creative

industries into several form as follow:

a. The cycle of creation, production, and distribution of goods and services using creative and

intellectual capital as the main input;

b. Part of a series of knowledge-based activities, focusing on the arts, potentially bringing

in income from trade and intellectual property rights;

c. Consists of touchable and intellectually untouchable products or artistic services with

creative content, economic value, and market objectives;

d. Cross-cutting between art, service and industry; and

e. Part of a dynamic sector of bam in the world of commerce.

Based on the opinions above, the creative industry is an industry based on innovation, new ideas

from creative human resources.

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2.2 Classification of Creative Industries

According to the Ministry of Trade Development Toward Creative Economy Vision 2025,

creative industries can be grouped into 14 sub sectors, which consist of Advertising,

Architecture, Art Markets, Craft, Design, Fashion, Video, Film and Photography, Interactive

Games, Music, Performing Arts (showbiz), Publishing and Printing, Computer Services and

Software, Television & Radio (broadcasting), Research and Development (R & D), (Betti

Alisjahbana (2019).

2.2.1 The Movie Industry

The Nigerian movie industry emerged many decades ago and is made up of Nollywood that

caters for the English speaking movies, the Yoruba movie industry, Kannywood that produces

films in Hausa and others that produce movies in Igbo and other indigenous Nigerian languages.

The boom experienced within the industry was triggered in 1992 by the direct to video system

which was driven by VHS, VCD, and the DVD technology. The first successful video to be shot

using this technology was ‘Living in Bondage’, and its success became the harbinger of a new

era in movie production in Nigeria. The growth of the industry can be attributed to the rich

cultural diversity which offers a wealth of information and materials from which the movie

makers can easily draw from. The content usually appeals to the masses within the country and

even to foreigners that share same or similar culture. The strong themes visible are religion,

magic, and societal issues like rape and domestic abuse. In 2009, UNESCO described

Nollywood as the largest film industry in terms of output – second only to Bollywood, the Indian

film industry. Globally, Nigerian movies are in high demand owing mainly to the vast number of

Nigerians residing in different parts of the world. The industry was rated as the third most

valuable film industry in the world after generating a total of 1.7 trillion Naira. According to Oh

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(2014), revenues from this sector trail those of Bollywood and Hollywood at the global box

office ($1.6 billion and $9.8 billion in 2012, respectively). Officially, Nollywood contributes an

average of $600 millions yearly to the economy of Nigeria, with most of these receipts coming

from the Africans living abroad (Oh, 2014). In recognition of the enormous potential inherent in

the Nigerian movie industry, the federal government has partnered with diverse international

groups and has gone further to set aside funds to support the industry.

There is a growing international recognition of Nigerian movie stars at the global stage with the

sector attracting foreign artists to act side by side with local stars in local movies as exemplified

by the film Bello in 2013. Aside from the government, there has been a marked increase in

investment from private organisations and multilateral agencies (Moudio, 2013).

2.2.2 The Music Industry

The music industry in Nigeria has witnessed phenomenal growth in the last ten years with its

popularity extending far beyond Nigeria to the international music space. The success of the

industry can be seen from the recognition of works by Femi Kuti, who won the 1999 KORA

Music Award and was nominated on three different occasions for the Grammy Award. The feat

at KORA was repeated by the duo of P-Square in 2010 while 2 Face Idibia won the best-selling

African artist award at the World Music Awards in 2008 and BET African artist of the year

2011. Other artists like Tiwa Savage, D’Banj and Davido, have, at different fora, won accolades

for the Nigerian music industry. Also instructive is the increase in number of international

collaborations within the last couple of years. Such collaborations include ventures with notable

western artists like Joe, R. Kelly, Beyoncé, 50 Cent, Jay-Z, Wyclef Jean, Kirk Franklin, and Rick

Ross. Despite the success, concerns exist as regards to standardisation from the viewpoint of

stakeholders in the industry (Adedeji, 2016). According to data obtained from Price water house

6
Coopers, Nigeria’s music industry accounted for total revenue of US$44 millions in 2017. This is

an increase from a total of US$32 millions in 2012. Growth forecast is at 0.9%, and revenue is

estimated to reach US$73 millions by the year 2021 (Pricewaterhouse-Coopers, 2017). Although

Nigeria is the most populous country and the biggest economy in Africa, spending on music is

meagre. Legitimate music retailers struggle side by side for the market with highly sophisticated

but illegal dealers who engage in pirated CDs. This has led to artists complaining of low or non-

existent returns on the release of their albums and has further compelled them to depend on live

performances as their primary source of income. The advent of subscription services is a

welcome development in this regards. Today, we have Deezer, iROKING and Spinlet

representing subscription services currently operating within the Nigerian environment.

2.2.3 The Arts and Crafts

Like many other creative industry subsectors, arts and crafts enjoy a rich cultural heritage that

leverages the multiculturalist nature of Nigeria. However, the sector has suffered so much

neglect owing to the governments’ focus on oil and gas exploration and exploitation. Objects of

arts possess intrinsic artistic values that endear them to the beholder. Predominant works or arts

and crafts incorporate activities in pottery, weaving, blacksmith (including goldsmith and

silversmith), jewellery, leather works and others. A unique feature of arts and crafts is that it

offers the craftsmen the fulfilment of being involved in the total production process (Irivweiri,

2019). The arts industry is highly fragmented and consists of mainly sole proprietors and artisans

who engage in the business for income. Most of the operators in this industry operate small scale,

and this creates a vacuum readily filled by the influx of foreign alternative to such products. A

considerable challenge militating against he growth of the industry is the difficulty in enforcing

the rights to specific creative works (Nwogu, 2014).

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2.2.4 The Fashion Industry

There has been an unprecedented level of exposure to the Nigerian fashion industry in recent

times which has translated into unique business opportunities for the operators in the industry.

Today, Nigerian designers are regularly featured in international fashion shows and have gained

footholds among global celebrities. This growth is a result of the institution of fashion weeks

coupled with the explosion of new and social media. The emergence of a promising number of

marketing and sales platforms has helped Nigerian designers to project their products to a mass

market. This is in addition to the developments in fashion retailing that has increased the number

of local and international brand shops seeking to carry Nigerian designers’ products. Thus,

fashion is now less imported to Nigeria from the western world as part of the cultural

imperialism. Nigeria fashion is now a result of a symbiosis between non Nigerian (primarily

western) and Nigerian influences. Intricate designs are now being created using local “Ankara”

(100% cotton African wax print with vibrant patterns), and “Batik” (fabric produced through a

technique of wax-resist dyeing) presented in multicoloured and bright hues for maximum

attraction. Some of these designs are now being printed on different fabric – cotton, silk and

many others simply to create a unique product. All these efforts have succeeded in attracting

famous players in the international fashion industry as Nigerian fashion is now being patronised

by foreign musicians. Renowned international brands that have participated in the Lagos Fashion

and Designer Week include MyTheresa. com, Selfridges, and Browns UK. According to Mrs.

Funmi Ladipo Ajila, the President of Fashion Designers Association of Nigeria (FADAN), the

Nigerian fashion industry is worth over N2 trillion (Ajila, 2015). She adds that the garment,

textile and the footwear subsection of the creative industry contributed 0.47% to the Nigeria’s

GDP. She attributed this success to the activities of foreign investors in addition to patronage

8
from the teeming Nigeria population who have grown to trust and demand the unique and

beautiful products from local designers.

2.3 Tourism and Creative Industries

The travel industry is an assortment of the tourism industry exercises and is upheld by an

assortment of offices and administrations given by the network, specialists, government, and

provincial governments. While the travel industry is all exercises identified with

multidimensional and multi-disciplinary the travel industry that develop as an appearance of the

necessities of each individual and nation just as communications among visitors and

neighborhood networks, individual vacationers, government, nearby government and business

people. Tourism is a variety of tourism activities and is supported by a variety of facilities and

services provided by the community, businessmen, government, and regional governments.

Whereas tourism is all activities related to multidimensional and multi-disciplinary tourism that

emerge as a manifestation of the needs of every person and country as well as interactions

between tourists and local communities, fellow tourists, government, local government and

entrepreneurs. With the Asean Economic Community and creative industries helping the

Indonesian economy in various ways, such as: opening new jobs, reducing unemployment,

creating creative societies, competing in a healthier business world, increasing innovation in

various sectors. Tourism is an industry that is vulnerable to various disaster events. It can be

"affected" from the emergence of a disaster or trigger the emergence of the disaster itself. In

addition to the multi-sectoral influences that cover important areas of life, the tourism industry

needs to pay attention to disaster risk management (and crises) because it involves extensive

developments and connections globally, particularly identified with people as sightseers, nearby

networks and goal chiefs - both government or the private division movements and links

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internationally, especially related to humans as tourists, local communities and destination

managers - both government or the private sector (Dalidjo, 2014).

Tourists are experiencing a shift in motives of mass tourism and organized into a bustling tourist

spot, so this time the tourists turn into like the tourism products that are unique and high quality

(Damanik, 2023). Tourism is the overall activities identified with the travel industry that is both

multidisciplinary and multidimensional that shows up as an appearance of the necessities of

every individual and the State just as the collaboration between the explorers with the

neighborhood network, individual visitors, the Government, nearby specialists and business

visionaries. Visitors are individuals who travel from the spot of his living arrangement without

settling related to tourism that is both multidisciplinary and multidimensional that appears as a

manifestation of the needs of each person and the State as well as the interaction between the

travelers with the local community, fellow tourists, the Government, local authorities and

entrepreneurs. Tourists are people who travel from the place of his residence without settling on

a place that is accessible, or just for a while living in a close (Soekadijo, 2021). While (Sukarsa,

2019) says tourists are the ones who do the pleasure, for health reasons and the like: the people

who travel to meetings or in his capacity as representative (science, administrative, diplomatic,

religious, athletes and business reasons). The longer the tourists stay in a tourist destination, the

more money spent in tourist destination (Austriana, 2015). With the activities of the consumerist

either from foreign tourists and domestic, it will enlarge the income from the tourism sector an

area. Therefore, the increasing flow of tourists visit, then the income of tourism sector in a region

will also be increasing. Tourism to meet consumption needs and desires and expectations of the

tourists in the form of goods and services can be a package of travel, accommodation, food and

beverage, transportation, cultural and recreational sports, shopping and more.

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The process of globalization and connectivity has changed the way humans exchange

information, trade, consume, and various other things. Changes in the world that are very

dynamic with all their complexity require individuals to be increasingly imaginative and

inventive in doing financial exercises. Howkins first presented the term the inventive economy as

the fourth wave in the advancement of the structure of its generation after the main wave which

was the farming economy, the second wave which was the business economy, and the third wave

which was data economy (Howkins, 2001). Howkins understood the introduction of another

monetary wave-based inventiveness subsequent to finding in the year 1997, the United States

creates the results of licensed innovation people to be more creative and innovative in carrying

out economic activities. Howkins first introduced the term the creative economy as the 4th wave

in the evolution of the structure of its production after the first wave which was the agricultural

economy, the second wave which was the industry economy, and the third wave which was

information economy (Howkins, 2001). Howkins realized the birth of a new economic wave-

based creativity after seeing in the year 1997, the United States produces the products of

intellectual property rights worth 414 billion dollars which makes Intellectual Property as the

number-one export goods in United States. Creative economy has several elements such as;

creativity, expertise, and talents that have selling value through offering intellectual creations.

Products produced (goods and services) have short life cycles, high margins, diverse, high

competition, and can be replicated. Consisting of providing creative products directly to

customers and supporting creative value creation in other sectors that are indirectly related to

customers. Creative economy as a system has one of subsystems namely creative industry.

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Imaginative industry does make practical exchange, yet additionally social and social exchange.

It tends to be derived that what is implied by worth included this case is the social worth, social

worth, and monetary worth (Masunah, 2017).

The inventive economy as the production of significant worth because of the thought Creative

industry does not only create economical transaction, but also social and cultural transaction. It

can be inferred that what is meant by value-added in this case is the social value, cultural value,

and economic value (Masunah, 2017). The creative economy as the creation of value as a result

of the idea (Howkins, 2021). In an interview with Donna Ghelfi of the World Intellectual

Property Organization (WIPO), explaining the creative economy as Howkins "economic

activities in the community who spent most of his time to generate ideas, not only do things that

are routine and repetitive. Due to this society, generating the idea is the thing to do to progress. "

The United Nations Conference on Trade and Development to define the creative economy "An

evolving concept based on the creative assets potentially generating economic growth and

development." The Department of Culture, Media and Sport (DCMS) creative economy as

Creative Industries the US those enterprises which have their inception in individual

inventiveness, aptitude and ability, and which have a potential for riches and occupation creation

through the age and abuse of licensed innovation and substance. Those industries which have

their origin in individual creativity, skill and talent, & which have a potential for wealth and job

creation through the generation and exploitation of intellectual property and content. The

imagination, ideas and knowledge which are produced by people generate the creative economy.

Inside the inventive economy industry, the design segment of Indonesia is the second-biggest

supporter of the nation's total national output (GDP), the style contributes IDR 200 trillion (USD

$15.6 billion) to the nation's GDP Within the creative economy industry.

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2.4 Contribution of Creative Industries to Tourism development.

Over times, Creative industries such as film industry, arts and craft industries, fashion industries

etc. Have contributed greatly to the culture of a destination and the development of travel

experience. A tourist expects to see fashionable things in his travel that will always brighten his

mind about the activities of the country he visited. No wonder it was said that “craft is a sine

quanon to tourism”.

1. Enhances Tourist Attraction:

Creative industry make tourism worthwhile. During cultural beaks, Halloween, festive periods

and other national and international holidays, tourists travel to places to see things for

themselves. The beauty of tourism is Creative industry. Hence Creative industry in a particular

place or region lures people to that place for recreational and educational purposes.

2. Revenue Generation:

Creative industry generate money for the tourism industry. The procurement of art and craft sales

to tourist in hotels, motels and lodges realizes profits that increase the revenue of the industry

and by doing so, the tourism industry grows. Some art are also exported by tourism industry.

3. Facilitates Investments:

Nigeria is a developing nation that needs the efforts of desired vision. These investors usually

have individual “push-factor’’ but it has been ascertained statistically that very many investors

have that push-factor as Arts and Crafts. The arts and crafts of Nigeria depicts the culture of the

Nigeria people especially that of the region where the craft is made. Hence Arts and Crafts

partake in the development process of tourism through the exhibition of its productions.

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4. The Souvenir Role:

Every tourist expects to return back from his tour with usually an art work or craft as a souvenir.

In Nigeria today, there are portable art works or craft carved out of the artist using their hands

and mind to do it well. This craft work are purchased by hotels and restaurants for their

customers who are usually tourists.

5. Tourism Sustainability:

The sustainable development of tourism is possible with the inclusion of Creative industry. The

works of the artistic men and crafts men whose creative works makes way for viability of the

tourism industry.

6. Art Promotes our Cultural Heritage:

Nigeria is known for her traditional art cultures of Nok, Ife, Benin, Igbo-Ukwu, Owo, Esie, etc.

though art works history in Nigeria is documented, Nigeria traditional arts has survived the test

of time with recorded history of the oldest art discoveries south of the Saharan Africa. Uzoagba

(1982) confirms the skills, creativity, and dexterity of Nigeria artist, certain periods in the

cultural transition of Nigeria have a world-wide reputation of works of arts created by Nigerians

of centuries past. These are also described in every encyclopedia of world art.

7. Overcome the Challenges of Under-Development:

Creative industry helps to overcome the challenges of under-development in the country. The

sector under-tourism has target of being “a major foreign exchange earner, a major employer of

labour and income distributor, a catalyst for sustainable rural development and poverty

alleviation” (national Planning Commission, 2007).

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8. Potential for Export Trade and Promotion:

According to Aniakor (2021), modern works of arts are relevant to the potential of arts and

culture for export trade and promotion primarily because they have begun to enjoy international

recognition and patronage. Art products come in various colours, shapes, forms and textures.

They are exhibited in customers, apparels, masquerades and dances in a variety of styles, body

markings, clothing’s decorations, ornaments, etc. The benefit of arts and craft are numerous and

can be seen in all aspects of life, i.e. politics, religion, social and economy.

9. Means of Identification:

The beautiful designs of strategic locations or area is made possible through the creative impart

of Art. The artists reflects a message mixed with the areas culture to come up with their final

work. Every State has a unique structural design that is master minded artistically and built on

strategic location. Example is the design of roundabout of towns or cities, entry and exit of major

road/boundaries, areas, location etc. these works of art are distinctive means of identification.

10. Societal Status:

The societal status is the position or rank of a person or group, within the society. One can earn

their social status by their own establishments, which is known as achieved status. Alternatively,

one can be placed in stratifications system by their inherited position which is called ascribed

status. These status are often associated with clothing and possessions. These clothings and

possessions like jewellery (rings, bracelets, necklaces, etc) are creative works of Arts and Crafts.

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 CHAPTER THREE

3.0 METHODOLOGY
3.1 Research Design

3.2 Study Area

The study was undertaken at New Bussa. New Bussa is a town in Niger State, Nigeria. It is the

new site of Bussa after the Kainji Lake dam set the previous location underwater. As of 2007

New Bussa had an estimated population of 24,449 (World Gazetteer, 2007). New Bussa is the h

eadquarters of the Borgu Emirate and the Borgu Local Government Area. New Bussa sits at

9°53′N 4°31′E, and the original town of Bussa was located about 40 km North of New Bussa at

10°13′51″N 4°28′31″E (altitude 561 ft or 170 meters).

Figure 1: Map of the study area

Source: New Bussa (Nigeria map) 2016

3.2 Study Population and Sample Size

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The target population of the study consists of management and staff of the creative industries.

The sample size for the study was put to 60 respondents.

3.3 Sampling Techniques

 The sampling techniques was used for this study are purposive, simple random and

convenience/accidental sampling techniques.

 Purposive sampling was used to identify various creative industries.

 Simple random sampling was used to identify management and staff of creative industries

within the study area

3.4 Research Instrument

The research instrument used in this study include: Questionnaire and personal interview

3.5 Method of Data Collection

Both primary and secondary data were employed in order to obtain the needed data for this

research work. The primary data was collected through the use of questionnaire. And the

secondary data were sourced from books, magazines, journals, research papers from international

journals and the internet.

3.6 Method of Data Analysis

The data for this research was collected, analyzed using descriptive statistical measure such as

frequency distribution, table and charts.

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 CHAPTER FOUR

4.0 RESULTS AND DISCUSSIONS

4.1 Result

Table 1- Socio-Demographic Characteristics

S/No Category Sub-category Frequency Percentage

1 Gender Male 42 70
Female 18 30
Total 60 100
2 Age 18-25 18 30
26-35 21 35
36-45 12 20
46 above 9 15
Total 60 100
3 Marital Status Not Married 24 40
Married 36 60
Total 60 100
4 Religion Christian 34 57
Islam 26 43
Total 60 100
5 Qualification O’level 10 17
Status ND/NCE 24 40
HND/Degree 26 43
Total 60 100
6 Occupation Student 29 36
Civil servant 14 30
Trading 17 21
Total 60 100
7 Designation Residence 22 37
Tourist 9 15
Excursionist 29 48
Total 60 100

Sources (field survey, 2024)

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 The above information revealed the socio demographic data of the sampled populations.
It shows that majority of the sampled respondents are male representing 70%, while the female
has 18 entries representing 30%. The information however, shows that male respondents have
being the dominant on all the area chosen for data collection. The results in the above table
shows the age distribution of the sampled respondents among which age bracket between 18 – 25
years has 18 entries representing 30%, majority of the respondents as constituted by 35%
indicated their ages between 26 – 35 years, while respondents between ages of 36- 45 years and
46 years above shared 20% and 15% respectively.

Marital Status of the respondents indicated in the above table shows that not married has 40%
while the respondents that choose married have 60%, religion status shows that Christian
recorded highest mean with 40% while Islam recorded the lowest mean of 60%.

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TABLE 2: The Various Creative Industries Available in the Study Area

S/N Variable Description

1 Traditional beadwork Art and craft

2 Wood carving Art and craft

3 Local mat making Art and craft

4 Festival such as Gani festival Cultural festival

5 Music studio Music and performing art

6 Fashion homes Fashion industry art

7 Metal work Art and craft

8 Basket Weaver Art and craft

9 Leatherwork Art and craft

10 Custom Clothing Art and craft

11 Jewelry Making Art and craft

Sources (field observation, 2024)

The above table shows the various creative industries available in the study area. The table
provides a list of various creative industries and their corresponding descriptions.

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 TABLE 3: Contribution of Creative Industries to the People of Borgu

Variable Strongly Agreed Neutral Strongly disagree Mean Ranking

agreed disagreed d

Cultural attraction 38(63%) 12(20%) - 10(17%) - 4.57 6th

Unique experience 37(62%) 14(23%) - 9(15%) - 4.52 7th

Job creation 60(100%) - - - - 5.00 1st

Revenue generation 47(78%) 13(23%) - - - 4.67 5th

Destination branding 51(85%) 9(15%) - - - 4.81 4th

Promote heritage and 60(100%) - - - - 5.00 1st

tradition

Cross cultural - 60(100%) - - - 4.00 8th

exchange

Community 57(95%) 3(5%) - - - 4.89 3rd

development

Sources (field observation, 2024)

The table provides information on the perception of various factors related to creative industries

to tourism development in the study area. The variables include cultural attraction, unique

experience, job creation, revenue generation, destination branding, promotion of heritage and

tradition, cross-cultural exchange, and community development.

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 TABLE 4: Challenge Confronting the Development of the Creative Industries in Borgu

Local Government Area

Variable Strongly Agreed Neutral Strongly disagreed Mean

agreed disagreed

Insufficient funding 60(100%) - - - - 5.00

Lack of investment 37(62%) 14(23%) - 9(15%) - 4.52

Limited access to grant 60(100%) - - - - 5.00

Insufficient access to 60(100%) - - - - 5.00

modern equipment
Local market limitation 51(85%) 9(15%) - - - 4.81

Lack of promotion - 60(100%) - - - 4.00

Limited training 60(100%) - - - - 5.00

opportunities
Inconsistence policies 27(45%) 33(55%) - - - 4.59

Economic downturns 10(17%) 12(20%) 9(15%) 23(38%) 6(10%) 3.99

Lack of networking 60(100%) - - - - 5.00

opportunities
Sources (field observation, 2024

The table presents result on various challenges and barriers in the creative industries in tourism sector
in the study area.

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4.2 Discussion of Major Findings
The study revealed the various creative industries in the study area which include traditional

beadwork, wood carving, local mat making, and cultural festivals such as Gani festival, music

studios, fashion homes, metal work, basket weaving, leatherwork, custom clothing and jewelry

making. These creative industries play a significant role in contributing to the overall

development of tourism by offering unique cultural experiences and products for tourists. They

showcase the creativity and traditional craftsmanship of destinations local artisans and contribute

to the authenticity of the tourist experience. This was in relation to other author; work on the

subject of creative industries and their impact on tourism development: Various authors have

highlighted the significant role that creative industries play in enhancing tourist experiences and

attracting visitors. For example: According to Richards (2011), cultural festivals are a powerful

draw for tourists as they provide an authentic experience of local traditions. Therefore, it is

evident from both the table data provided and existing literature that diverse forms of creativity

within the arts and crafts sector contribute significantly to tourism development by enriching

visitor experiences with authentic cultural offerings.

From the result gathered during the study shows that Job creation and promotion of heritage and

tradition are strongly agreed upon by 100% of respondents with mean value of (5.00), follow by

Community development which was strongly agreed upon by 95% of respondents with means

value of (4.89), while Cultural attraction is strongly agreed upon by 63% while 20% agreed.

Destination branding is strongly agreed upon by 85% respondents ranking 4 th with mean value

(4.81), also revenue generation is strongly agreed upon by 78%, ranking 5 th with mean value of

(4.67), in a nutshell the result indicate that there is strong support for the positive impact that

creative industries have on job creation, promoting heritage/tradition, community development,

23
destination branding, revenue generation but slightly less for cultural attractions and unique

experiences provided.

The study further revealed the challenges confronting creative industries. These include

insufficient funding, lack of investment, limited access to grants, insufficient access to modern

equipment, local market limitations, lack of promotion, limited training opportunities,

inconsistent policies, economic downturns, and lack of networking opportunities. According to

finding gathered as at the period of the study Insufficient funding, Limited access to grants and

insufficient access to modern equipment and Lack of training opportunities and lack of

networking opportunities are strongly agreed upon by 100% as by the respondents, while in on

the other hand Lack of investment is strongly agreed upon by 62%, with an additional 23% in

agreement. Local market limitations are strongly agreed upon by 85%, with the remainder

neutral or disagreed. Overall mean scores for these factors range from a high of 5.00 (insufficient

funding; limited access to grant; insufficient access to modern equipment; limited training

opportunities; lack of networking opportunities), down through some slightly lower scores such

as inconsistent policies (4.59) and local market limitation (4.81), finishing with economic

downturns (3.99). The data suggests that there is widespread consensus regarding challenges

such as inadequate funding, limited grant accessibility but divergent opinions on issues like

inconsistent policies or economic downturns within the creative industries and tourism sector.

24
 CHAPTER FIVE
5.0 CONCLUSION AND RECOMMENDATION
5.1 Conclusion
The majority of the respondents (70%) were male, while the remaining (30%) were female. The

greater proportions of the economically active sex in creative industry are males. Most of our

respondents (35%) were within the age group of 26 – 35 years. There were ten of respondents

(30%) ages 18 to 25, (20%) ages 36-45, while (15%) ages were above 46years. The major

creative industries found in the study area were Art and craft while few engaged in cultural

festival, fashion industry act and Music and performing art. The major contribution of creative

industries to the local government area were job creation, Promote heritage and tradition,

Community development, Destination branding, Revenue generation and Cultural attraction.

Major challenges confronting the creative indusrties were Lack of networking opportunities,

Insufficient funding, Limited access to grant, Limited training opportunities and Insufficient

access to modern equipment among all.

5.2 Recommendations

The study recommends that;

1. Nigerian government should encourage the tourism industry by creating effective policy and

provide financial institutions of getting loans for successful running of the business.

2. Creative industries must be practiced in such a manner that, it will remain relevant as a vehicle

of change attraction for tourism development.

3. It is important for Nigerian government to look inwards by developing the creative energies of

their citizens, by doing so it will develop the creative industries sector sector for tourism

development

25
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27
 FEDERAL COLLEGE OF WILDLIFE MANAGEMENT, P.M.B. 268, NEW BUSSA,
NIGER STATE.
QUESTIONNAIRE

TOPICS: CONTRIBUTIONS OF CREATIVE INDUSTRY TO TOURISM

DEVELOPMENT, A STUDY OF BORGU LOCAL GOVERNMENT AREA, NEW
BUSSA NIGER STATE

SECTION A: SOCIO DEMOGRAPHIC DATA

1. Gender: (a) Male ( ) (b) Female ( )

2. Age: 18-25 ( )b. 26-35 ( ) c. 36-45 ( )d. 46 above ( )

3. Educational Background: (a) Primary Certificate ( ) (b) Secondary Certificate ( ) (c)

ND/NCE ( ) (d) HND/BSc. ( ) (e) others ( )

4. Marital Status: (a) Single ( ) (b) Married ( ) (c) Divorced ( )

5. Religion: (a) Christian ( ) (b) Islam ( ) (c) Traditional ( )

6. Occupation : (a)Students ( ) civil Servant ( ) c. Trader ( )

7. Designation: (a) Resident ( ) b. Tourists ( ) c. Visitor ( ) d. Excursionist ( )

SECTION B: IDENTIFY THE Creative industries in Borgu local government

Creative industries

28
SECTION C: WHAT ARE THE CONTRIBUTIONS OF CREATIVE INDUSTRIES TO
THE LOCAL GOVERNMENT?

NOTE: 1- Strongly Agreed, 2- Agreed , 3- Neutral, 4- Strongly disagreed, 5- Disagreed

Variables SA A N SD D
i. Cultural Attractions
ii. Unique Experiences
iii. Job Creation
iv. Revenue Generation
v. Destination Branding
vi. Content Creation
vii. Collaboration with stakeholders
viii. Promote Heritage and Traditions
ix. Cross-Cultural Exchange
x. Community development

SECTION D: WHAT ARE THE CHALLENGES CONRONTING THE EVELOPMENT

OF THE CREATIVE INDUSTRIES IN THE LOCAL GOVERNMENT AREA

NOTE: 1- Strongly Agreed, 2- Agreed , 3- Neutral, 4- Strongly disagreed, 5- Disagreed

Variables SA A N SD D
i. Insufficient Funding
ii. Lack of Investment
iii. Limited Access to Grants
iv. Inadequate Facilities
v. Insufficient access to modern equipment
vi. Poor internet connectivity and digital
infrastructure
vii. Local Market Limitations
viii. Lack of Promotion
ix. Limited Training Opportunities
x. Inconsistent Policies
xi. Lack of Incentives
xii. Economic Downturns
xiii. Lack of Networking Opportunities

29
30