While artists and labels were busy debating copyright levy registration, a much deeper conversation erupted from a different corner. On 12 February, The Alien Visuals, a prominent Nigerian music video director, posted a revealing thread on X. Within hours, the post gathered nearly 6,000 views and landed like a punch to the gut of the industry. Essentially, his message was clear: Nigerian music video directors hold zero intellectual property (IP) in the works they create. This exclusion keeps them invisible in policy talks regarding the ₦1.2 billion copyright levy. Consequently, the thread exposed a structural crisis that goes far beyond a single payout.
The Service Provider Trap
To understand the problem, one must look at how directors currently operate. Most directors work strictly as service providers. They receive a brief, assemble a crew, and deliver the final master file. Once the invoice is paid, the relationship ends and all rights are transferred to the label. As a result, directors are left out of the long-term revenue ecosystem. While labels and CMOs argue over disbursement, directors have no seat at the table. Because they do not own the IP, they legally have no voice in how the money is shared.
Furthermore, the economics of the situation highlight a massive gap. A mid-tier Nigerian music video can cost up to ₦15 million to produce. Directors invest weeks of creative energy into these projects, yet they receive no residuals. WhileYouTube monetization and licensing fees flow back to the rights holders, the director walks away with only a one-time fee. This structure ensures that the people who build the visual identity of Afrobeats do not share in its long-term financial rewards.
The Hollywood Blueprint
In contrast, The Alien Visuals pointed to Hollywood as a successful reference point. Directors in the US negotiate backend deals and receive residuals whenever their work is broadcast. Moreover, they form powerful guilds, such as the Directors Guild of America (DGA), to protect their collective interests. By building production companies that hold IP, these filmmakers ensure they remain part of the ownership class. Therefore, the call to action for Nigerian directors is to move away from being “contractors” and toward becoming “producers.”
A Crisis of Organization
The community response to the thread was immediate and sharp. Many users pointed out that the Directors Guild of Nigeria (DGN) has failed to advocate meaningfully for its members. However, The Alien Visuals argued that waiting for a single association to save everyone is a mistake. Instead, he insisted that directors must organize intentionally and participate in building new frameworks. Specifically, he challenged the current generation to avoid the egos of the past. Since information is now more accessible than ever, there is no excuse for failing to unite in 2026.
Why Structural Change is Essential
Ultimately, this debate transcends the current copyright levy. It touches on the fundamental relationship between the creative economy and the people who shape its most visible outputs. Music video directors define how the world sees African music. Since every viral moment and iconic frame carries a director’s fingerprint, their influence is undeniable. Nevertheless, they remain invisible where money and policy intersect.
For this to change, Nigerian directors must start retaining rights in their work. They need to co-produce rather than simply execute. Whether this public conversation translates into real structural change depends entirely on their ability to organize. If they can successfully shift from a “hustle” mindset to an “ownership” mindset, they might finally secure their financial future.
