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A recent call for papers on storytelling may appear, at first glance, to be a routine academic exercise. Organised by the Centre for Media and Communication Research at Pan-Atlantic University in partnership with Intercontinental Distillers Limited, the symposium invites scholars and practitioners to reflect on storytelling across film, television, advertising, public relations, digital media and related fields.
For members of the Film Educators Guild of Nigeria (FEGON), who have been given a special opportunity to participate, it represents a welcome platform for scholarly engagement and professional visibility.
Yet the significance of the initiative extends beyond the symposium itself. It raises important questions about how Nigeria understands storytelling and, more importantly, how seriously the country is prepared to invest in the structures that sustain it.
For decades, storytelling has been treated largely as a cultural activity, valued for its entertainment appeal and its role in preserving traditions. While these functions remain important, they no longer capture the full scope of storytelling in the twenty-first century.
Across the world, storytelling has evolved into a strategic asset. It influences consumer behaviour, shapes political narratives, drives digital engagement and increasingly determines how nations are perceived on the global stage.
Nigeria offers a compelling example of this transformation. The rise of Nollywood has demonstrated the power of stories to travel beyond national borders, carrying with them images, values, aspirations and identities. Nigerian advertising campaigns, radio programmes, social media content and public relations strategies all depend on storytelling to connect with audiences in a crowded information environment. Even public policy is often judged not only by its substance but by the narratives constructed around it.
Given this reality, it is surprising that platforms dedicated to the study and advancement of storytelling remain relatively scarce. Opportunities that bring together researchers, educators and practitioners are still limited, often emerging through isolated collaborations rather than as part of a sustained national agenda. This creates a gap between practice and knowledge, between those producing stories and those studying their impact.
The consequence is that one of Nigeria’s most vibrant sectors continues to grow without the depth of research and institutional support that could make it even more competitive. While creative talent abounds, structured opportunities for reflection, documentation and scholarly inquiry remain insufficient. As a result, valuable lessons are often lost, innovative practices go unrecorded and the industry is deprived of insights that could strengthen its long-term development.
This is why the involvement of both academia and industry in initiatives such as the forthcoming symposium deserves attention. Universities possess the capacity to generate knowledge, while private-sector organisations understand the practical demands of audiences and markets. When these worlds collaborate, they create possibilities for innovation that neither can achieve alone. Research becomes more relevant, and industry practice becomes more informed.
The Film Educators Guild of Nigeria appears to recognise this potential. Its intention to leverage the opportunity as a foundation for an annual conference reflects an understanding that professional associations must do more than advocate for their members; they must also help build intellectual communities capable of shaping the future of their disciplines.
Such efforts are particularly important at a time when artificial intelligence, digital platforms and changing audience habits are redefining how stories are created, distributed and consumed.
The questions facing storytellers today are not merely artistic. They are economic, technological and social. They require rigorous investigation and sustained conversation.
The larger issue, therefore, is not the symposium itself but what it represents. If storytelling now sits at the heart of entertainment, commerce, governance and digital culture, then investment in storytelling research should no longer be viewed as a niche academic concern. It should be regarded as an essential component of national development.
Countries that understand the value of stories do not simply produce content; they build institutions around the production, study and preservation of narratives. They recognise that stories shape public imagination, influence economic activity and project national identity. In an increasingly competitive global environment, the ability to tell compelling storiesโand to understand how those stories workโmay prove as valuable as any physical resource.
Nigeria has already demonstrated that it can produce stories capable of captivating audiences around the world. The next challenge is to create the knowledge systems that will ensure those stories continue to inform, inspire and compete on a global scale. Opportunities such as the forthcoming storytelling symposium offer a glimpse of what is possible. The task now is to ensure they become the norm rather than the exception.
