While the federal government has described the initiative as a key milestone in Nigeria’s digital transformation drive, many citizens say more urgent challenges in the telecommunications sector still need attention.

Nigeria Launches ‘FreeTV’: A New National Platform Offering 100+ Channels Without Subscription Fees

The latest rollout, championed by Bosun Tijani, the minister of Communications, Innovation and Digital Economy, revives a project that has suffered years of delays despite repeated commitments by successive administrations.

Speaking at the launch, Tijani described the Digital Switch Over as the fulfilment of a longstanding national goal and an important part of Nigeria’s broader digital development agenda.

“The launch of Nigeria’s Digital Switch Over (DSO) marks the actualisation of a longstanding dream to transition our broadcasting from analogue to digital,” the minister said.

According to him, the project shows President Bola Ahmed Tinubu’s commitment to investing in infrastructure that can support economic growth and national development over the long term.

Nigeria committed to digital migration more than a decade ago under global broadcasting reforms coordinated by the International Telecommunication Union (ITU).

However, multiple deadlines were missed, while pilot projects in selected states failed to lead to nationwide implementation due to funding challenges, policy inconsistencies, infrastructure gaps and regulatory hurdles.

The latest relaunch is therefore seen as one of the strongest attempts yet to complete a programme that many industry stakeholders consider long overdue.

Tijani said the benefits of the DSO go beyond television broadcasting.

According to him, the initiative uses NigComSat’s satellite infrastructure to improve access to information, educational content, cultural programming and digital services across the country, particularly in underserved communities.

“The DSO represents a major advancement for broadcasting whose significance extends far beyond television.

“By leveraging NigComSat’s satellite infrastructure, Nigerians can benefit from clearer access to information, broader educational and cultural content, improved quality of service, and greater inclusion, ensuring that no one is left behind simply because of where they live,” he said.

The minister also linked the programme to the administration’s wider digital infrastructure plans.

He disclosed that the federal government is pursuing the deployment of 90,000 kilometres of open-access fibre infrastructure through Project BRIDGE, a nationwide connectivity initiative designed to connect communities, businesses, institutions and public services.

In addition, President Tinubu has approved investments in two new satellites expected to strengthen Nigeria’s communications capacity and support digital service delivery.

“The Digital Switch Over is one of the first visible benefits of a much larger national digital infrastructure strategy. Under this administration, Nigeria is embarking on the deployment of 90,000 kilometres of open-access fibre infrastructure through Project BRIDGE, connecting communities, businesses, institutions, and public services across the country.

“At the same time, Mr President has approved investments in two additional satellites that will further strengthen our capacity in communications and digital services.”

Despite the government’s optimism, reactions on social media show many Nigerians are judging digital transformation by everyday experiences such as network quality, data affordability and access to reliable services.

Responding to the minister’s announcement on X, Olugbenga Ogundipe (@OlugbengaOgund6) said consumers expected greater improvements in the telecommunications sector.

“Honourable Minister. We expect much more transformation in our telecommunication sector than what’s on ground. Poor network, expensive data, and allocating one’s SIM number to another person when not used for some time, validity date for data which poor network does not allow one,” he wrote.

Another user, Uzor Malasowe (@uzur1), welcomed the initiative but argued that reducing the cost of internet access should receive greater attention.

“Sir, as laudable as this sounds, providing cheaper data to enable internet access would have been better,” he said.

A third user, identified as @DonMiccollo, urged the ministry to deploy more technology-driven solutions to address insecurity across the country.

“Your ministry should be at the forefront of harnessing technological knowledge and alternatives to combat insecurity,” the user wrote.

The reactions mirror a wider debate around Nigeria’s digital transformation efforts. While projects such as the Digital Switch Over, fibre expansion and satellite investments are widely viewed as necessary for long-term growth, many Nigerians remain focused on immediate concerns including poor network service, rising telecom costs and the practical benefits of technology in daily life.

The relaunch of the Digital Switch Over programme is undeniably a renewed momentum in Nigeria’s digital infrastructure drive.

However, public reaction shows that many citizens will not measure its success just by new infrastructure, but by whether it leads to better connectivity, more affordable internet access and tangible improvements in their everyday lives.

The post Digital Switch Over Relaunch Sparks Mixed Reactions appeared first on Tech | Business | Economy.

The workshop, titled New Narratives and Singular Communication in Arts Journalism: The Museo del Prado Experience, was organized by the Yemisi Shyllon Museum of Art in partnership with the Embassy of Spain in Nigeria and Casa África through its #PeriodismoÁfrica programme, with the support of the Museo Nacional del Prado, Madrid, and Art Report Africa as media partner.

The intensive programme brought together journalists, editors, critics, museum professionals, cultural communicators, and academics for conversations on ethics, storytelling, audience engagement, media relations, digital communication, artificial intelligence, and the evolving role of journalism in shaping public understanding of arts and culture.

A major highlight of the workshop was the participation of Carlos Chaguaceda, director of Communications at the Museo del Prado, who delivered the keynote presentation titled The Prado and the Will to Communicate.

Widely regarded as one of the world’s leading museums, the Museo del Prado welcomes more than 3.5 million visitors annually and reaches millions more through its digital platforms.

In recent years, the institution has emerged as a global reference point in cultural communication, earning international recognition for its innovative public engagement strategies, including multiple Webby Awards and recognition among the world’s leading social media initiatives.

Drawing from the Prado’s experience, Chaguaceda shared insights into how museums and cultural institutions can build meaningful relationships with audiences, create compelling narratives, and generate public value through strategic communication.

Through presentations and a panel conversation, participants also engaged with leading voices from journalism, academia, and the arts, including Dr. Ike Obiaya, dean of the School of Media and Communication, Pan-Atlantic University; Sunshine Alaibe, Director of Art Report Africa; Wale Alimi, Artist; Dr. Nwachukwu Egbunike; and Dr. Jess Castellote, Director of the Yemisi Shyllon Museum of Art.

Speaking on the significance of the collaboration, the Cultural Adviser of the Embassy of Spain in Nigeria noted:

“One of the most effective ways to strengthen relations between nations is through culture. This workshop reflects our commitment to fostering meaningful exchanges between Spanish and Nigerian institutions and professionals. By bringing together expertise from the Museo del Prado and leading voices from Nigeria’s cultural sector, we are investing in relationships, knowledge, and dialogue that will continue to benefit both countries long after the programme has ended.”

Casa África, a public diplomacy institution linked to Spain’s Ministry of Foreign Affairs and dedicated to strengthening relations between Spain and Africa through culture, education, media, and knowledge exchange, supported the initiative through its #PeriodismoÁfrica programme, which focuses on strengthening journalism and media practice across the African continent.

Commenting on the workshop, Joan Tusell, coordinator of the #PeriodismoÁfrica programme at Casa África, said:

“The way culture is reported shapes how societies understand themselves and how the world understands Africa. Cultural journalism is not simply about documenting events; it helps preserve memory, interpret change, and connect communities through shared stories. Through #PeriodismoÁfrica, we seek to support journalists who tell richer and more nuanced stories about African realities. Bringing the communication experience of the Museo del Prado to Lagos was an opportunity to facilitate a practical exchange of ideas and experiences that we hope will inspire journalists and cultural institutions alike to build stronger narratives and greater public engagement around arts and culture.”

For the Yemisi Shyllon Museum of Art, the workshop reflects a longstanding commitment to strengthening the cultural ecosystem through education, dialogue, and professional development.

Dr. Jess Castellote, director of YSMA, demystified the hidden mechanics of value, validation and storytelling in the art world in his workshop presentation titled the Art Ecosystem and the Journalist’s Mandate. He remarked:

“A healthy cultural ecosystem requires informed and engaged journalism. Museums preserve and interpret culture, but journalists help amplify those conversations in the public sphere. At YSMA, we believe that the future of the art history of Nigeria depends partly on the stories journalists choose to tell today. This workshop created an opportunity for media professionals, academics, and cultural practitioners to reflect together on the opportunities and responsibilities of reporting on the arts. We hope this experience refines the quality of cultural journalism which ultimately shapes the visibility, understanding, and value society places on culture itself.”

The successful workshop reinforces YSMA’s growing role as a convener of critical conversations within Nigeria’s cultural and creative sectors. Over the years, the museum has consistently invested in workshops, professional exchanges, and training initiatives designed to strengthen cultural literacy, support creative practitioners, and build capacity among stakeholders across the arts ecosystem.

As one of Africa’s leading university museums, YSMA continues to position itself not only as a repository of Nigerian art and heritage, but also as a platform for learning, research, dialogue, and sector-wide development.

Through strategic partnerships with institutions such as the Embassy of Spain, Casa África, and the Museo del Prado, the museum continues to expand opportunities for knowledge exchange while contributing to the future of cultural communication and arts journalism in Nigeria and beyond.

The post How PAU’s Shyllon Museum, Partners are Strengthening Arts Journalism in Nigeria appeared first on Tech | Business | Economy.

For the first time in the tournament’s history, three countries are co-hosting the competition, all on the same continent and across 16 venues:

• The United States
• Canada
• Mexico

Several matches are already sold out long before kickoff, while millions more are following the tournament from home.

These numbers are hardly surprising for an event of this scale. But what is less visible, is the years of preparation, infrastructure development, and technological innovation that have gone into making the tournament possible today.

Technology has become the backbone of modern football.

And this is not unique to this year’s edition. From the 2002 FIFA World Cup in Japan and South Korea to the most recent tournament held in Qatar, football’s biggest stage has consistently embraced the latest technology available at the time to improve both the game itself and the general viewing experience.

This year’s tournament is no different.

Several technological trends, from artificial intelligence and connected devices to advanced broadcasting systems, have all aligned to make both the on-pitch action and fan experience more immersive than ever before.

Starting from the opening match between South Africa and Mexico, here is a look at the technologies powering the 2026 FIFA World Cup and what they tell us about the future of football.

New Technology Behind FIFA World Cup 2026

1. Adidas Trionda

It all starts with the official match ball of the tournament. The Adidas Trionda is more than just a football. It is literally the most technologically advanced match balls ever used at a FIFA World Cup.

Embedded inside the ball is an inertial measurement unit (IMU) sensor, a chip that is capable of transmitting highly detailed motion data.

The sensor tracks the movement of the ball, its positioning, rotation, and acceleration in three-dimensional space hundreds of times every second.

This information is then sent directly to match officials and the semi-automated offside system, helping to determine the exact moment a player touches or kicks the ball.

Because the Trionda contains electronic components, it is powered by an internal rechargeable battery. So before every match, the ball is placed on a wireless charging dock to ensure the sensor system remains fully operational throughout the game.

2. Advanced Semi-Automated Offside Technology (SAOT)

Offside decisions have come a long way from referees manually drawing lines on screens.

The latest version of FIFA’s Semi-Automated Offside Technology combines data from multiple stadium-mounted tracking cameras with information coming directly from the sensor inside the match ball.

Together, these systems track player movement and every ball contact in real time, allowing potential offside incidents to be detected within seconds. The technology significantly reduces delays while improving accuracy.

3. Instant Referee Alerts

When the system identifies a clear offside situation, it can immediately notify match officials through their communication devices, allowing decisions to be made faster and with greater confidence.

Although human referees still make the final call, AI-powered assistance helps to eliminate much of the uncertainty that normally surrounds close offside decisions.

4. AI-Powered 3D Replay Visualisations

One of the biggest improvements for television viewers comes through advanced 3D replay systems.

Using the tracking data collected during matches, broadcasters can now generate realistic three-dimensional visualisations that clearly show player positioning and movement during key moments.

For football fans, this provides a much clearer understanding of controversial decisions, especially offside calls that are often difficult to interpret from standard camera angles.

5. Referee Body Cameras

Referee body cameras are also making their debut at the tournament.

The technology gives broadcasters a first-person perspective of the match, allowing viewers to experience the speed, pressure, and intensity of elite-level football from the referee’s viewpoint.

Combined with modern video stabilisation systems, the footage is significantly smoother and more watchable than earlier experimental versions we saw at previous tournaments.

The Biggest Technology Innovation of Every World Cup Since the 2010s

2014 (Brazil): Goal-Line Technology

The 2014 FIFA World Cup marked the first use of Goal-Line Technology.

Designed to eliminate debates around “ghost goals,” the system used multiple high-speed cameras positioned around the stadium to determine whether the entire ball had crossed the goal line.

If a goal was scored, an automatic signal was sent to the referee’s watch in less than a second.

For many fans, it was the first major example of technology that directly influenced officiating decisions in football.

2018 (Russia): Video Assistant Referee (VAR)

The introduction of Video Assistant Referee (VAR) changed football forever.

For the first time at a World Cup, a team of officials working from a dedicated video operations room could review incidents involving goals, penalties, red cards, and mistaken identity.

Although VAR remains controversial in some situations, it actually improved decision-making accuracy and laid the foundation for many of today’s automated officiating systems.

2022 (Qatar): Semi-Automated Offside Technology

The Qatar World Cup introduced the first large-scale deployment of Semi-Automated Offside Technology.

Using a network of tracking cameras and sensors inside the match ball, officials could identify offside situations much faster than traditional VAR reviews.

An honourable mention is Qatar’s Modular Stadiums, an innovative move to create more arenas with prefab materials. Qatar also showcased one of the most ambitious stadium engineering projects ever attempted.

Stadium 974 was constructed using modular components and repurposed shipping containers, allowing large sections of the venue to be dismantled and reused after the tournament.

The approach highlighted a growing focus on sustainability and flexible infrastructure for future sporting events.

The story of modern football is increasingly becoming a story of technology. From goal-line systems and VAR to connected match balls, AI-powered officiating, and immersive broadcast experiences, every World Cup introduces new tools designed to make the game faster, fairer, and more engaging for fans.

The 2026 FIFA World Cup is not just the biggest tournament football has ever hosted, it is also the most technologically advanced.

And if current trends continue, the future of football may not just be decided by the players on the pitch, but by the intelligent systems working quietly behind the scenes to make every moment count.

The post Tech behind the 2026 FIFA World Cup: AI, Smart Footballs and Referee Cameras appeared first on Tech | Business | Economy.

Mark Okoye II, MD/CEO led the SEDC team appearance before the Senate Committee on South East Development Commission on Tuesday chaired by Senator Orji Uzor Kalu.

Now, Okoye’s team is pushing back against characterisations of its spending as wasteful and providing context it says lawmakers did not have before them during the hearing.

The statement, dated 9 June 2026, addresses two flashpoints from the Senate session, the ₦153 million spent on its Abuja liaison office, and the ₦2.5 billion categorised as “implied expenditure”, and attempts to reframe both as either routine institutional costs or as yet-undisbursed budget commitments.

The Abuja Office: Cumulative Cost, Not a Single Transaction

On the liaison office, SEDC said the ₦153 million does not represent the cost of renting a single room, as the framing during Tuesday’s hearing implied, but rather the cumulative total of establishing and running a functional office at the Congress Building in Maitama, Abuja, from its inauguration on 11 February 2025 through to the present date.

The commission said the office serves as its operational hub for engagement with the National Assembly, federal ministries and agencies, development finance institutions, and strategic partners, engagements it described as central to unlocking the federal resources and partnerships on which its regional mandate depends.

The commission also said its board and management have prioritised relocating to its designated headquarters in Enugu at the earliest opportunity, and that rather than procure an entirely new facility, which it said would have represented a greater call on public resources, it had secured a building transfer from the Enugu State Government.

The commission said a formal agreement is already in place to fast-track the rehabilitation of that facility, with the rehabilitation contract addressed separately in the statement.

“Implied Expenditure”: Money Committed, Not Spent

The ₦2.5 billion described as “implied expenditure”, which drew sharp questioning from senators including Enyinnaya Abaribe, Victor Umeh and Austin Akobundu, is, according to SEDC, a contract awarded for the rehabilitation of the Commission’s headquarters facility in Enugu.

The commission said the contract was awarded in line with the Public Procurement Act 2007, following approval by the Bureau of Public Procurement and with the concurrence of the supervising ministry. It characterised the figure as a budgeted obligation that has been lawfully committed but not yet disbursed, standard practice in public sector financial management.

“To be precise: this money has not left the Commission’s accounts,” the statement said.

No Capital Budget Released

Underlying much of the commission’s defence is a claim that complicates the Senate’s premise: that SEDC has not received any disbursement from its capital budget at all.

The commission said all expenditure to date has been drawn from recurrent resources, directed at building institutional foundations, staff salaries and arrears for personnel operational since February 2025, capacity training for seconded staff, the establishment of its Abuja and Enugu operational bases, and procurement of ICT infrastructure.

Capital project development work, it said, has been advanced using every available resource and goodwill, specifically to ensure that groundwork is in place for swift execution once capital releases are made.

The commission noted that it received its first disbursement of funds only after more than ten months in existence, a delay it said shaped how its early expenditure profile was structured.

Proceedings Adjourned, Deadline Stands

Despite the public clarification, SEDC’s immediate obligation to the Senate Committee remains unchanged.

The Commission confirmed that proceedings were adjourned following Tuesday’s session and that it is required to submit comprehensive documentation, covering contracts, payment schedules, and all supporting records, on or before 23 June 2026.

The Commission said it had welcomed the documentation request and sought only a short window to collate and transmit materials at the level of detail required.

Whether the explanations now in the public domain satisfy Senator Orji Kalu and his committee will become clearer when the session resumes.

The committee’s preliminary finding that roughly ₦3.6 billion has been spent against the ₦16.6 billion released, is the figure lawmakers say they want properly accounted for.

The post SEDC Pushes Back on Senate Scrutiny, Says ₦153m Abuja Office Covers 16 Months of Operations, Not a Single Room appeared first on Tech | Business | Economy.

The discussions followed a meeting between Abdu Bello Muhammed, NISO’s managing director/CEO and Kashifu Inuwa, NITDA director-general, on Tuesday.

During the meeting, both organisations explored opportunities to deploy intelligent technologies to improve electricity transmission and market operations nationwide.

NISO, a key institution created under ongoing reforms in the Nigerian Electricity Supply Industry (NESI), is responsible for overseeing efficient, transparent and reliable electricity transmission as well as market operations across the country.

The engagement highlighted the indispensable role of digital technology in the power sector, with both organisations identifying smart systems as critical tools for improving grid efficiency, enhancing operational visibility and supporting data-driven decision-making.

Speaking during the meeting, Inuwa described digital technology as a major driver of economic growth and national development.

“The future of electricity management lies in intelligent systems capable of providing real-time insights, supporting predictive maintenance, enhancing service delivery and promoting transparency across the energy value chain,” he said.

Technologies such as the Internet of Things (IoT), artificial intelligence, cloud computing and advanced data analytics are bolstering energy management globally. Experts across the industry believe their adoption could help modernise Nigeria’s electricity infrastructure and improve service delivery.

Inuwa reaffirmed NITDA’s commitment to supporting initiatives that use digital innovation to strengthen the country’s electricity ecosystem, encourage the adoption of emerging technologies and build local digital capacity.

Muhammed also said collaboration between the two institutions could help create an enabling environment for innovation while speeding up the deployment of intelligent infrastructure across critical sectors of the economy.

The proposed partnership aligns with Nigeria’s digital transformation agenda and reveals the thriving importance of technology in addressing infrastructure challenges and improving the delivery of essential services.

With Nigeria pushing towards a digital economy, partnerships between technology and sector regulators will boost focus on building the smart infrastructure needed to support sustainable growth and a more efficient power sector.

The post NITDA, NISO Begin Talks on Digital Transformation Drive in Nigeria’s Power Sector appeared first on Tech | Business | Economy.

Between January and June 2025, TikTok took down 7,464,081 videos in Nigeria for violating its Community Guidelines, 3,683,655 in the first quarter and 3,780,426 in the second, representing more than 41,000 removals every single day.

The scale is arresting on its own terms. But it is what the numbers reveal when placed inside TikTok’s broader global transparency data that makes them truly significant, because Nigeria’s story turns out to be both unique and universal.

What Nigeria’s Numbers Actually Show

The volume of Nigerian content removed tells one story. The mechanics behind those removals tell a more complicated one.

In the first quarter of 2025, 88.2 per cent of all removed Nigerian videos had zero views. By the second quarter, that figure had edged up to 88.3 per cent, meaning nearly nine in ten harmful videos were deleted before a single Nigerian user saw them.

That is a system working, at least at the level of detection speed. But beneath the headline efficiency numbers, specific categories of harmful content were slipping through at rates that should concern regulators, advertisers, and users alike.

Content involving fraud and scams carried a pre-view removal rate of just 44.4 per cent in Q1 2025, meaning more than half of scam videos were seen by Nigerian users before being flagged and removed. AI-generated or edited media designed to deceive fared little better, with a pre-view catch rate of only 46.6 per cent. In a country where digital financial fraud is already a significant and well-documented public harm, those numbers represent a meaningful gap between platform capability and platform responsibility.

Scam content also took longer to action once detected, with a 24-hour removal rate of just 61.8 per cent in Q1, far below the 90 to 99 per cent range seen in other content categories.

Beyond individual videos, TikTok took action in March 2025 against 129 accounts in West Africa linked to covert influence operations, a data point that places Nigeria squarely inside the global conversation about how short-form video platforms are being used to manipulate political environments, not just to share dance challenges.

The Government Engagement Gap

Here is where Nigeria’s story becomes most analytically interesting, and most uncomfortable.

Despite the sheer volume of content enforcement affecting Nigerian users, Nigeria does not appear among the leading nations in TikTok’s Government Removal Requests data for H1 2025.

Of the 89 countries that submitted content and account removal requests to TikTok during the period, Malaysia led with 5,141 requests, while Romania followed with approximately 3,432.

Nigeria, one of TikTok’s most active African markets and a country with documented exposure to platform-enabled fraud and political manipulation, is not in that leading group.

The gap between the scale of enforcement affecting Nigerian users and the degree of formal Nigerian government engagement with TikTok’s regulatory mechanisms is not merely a bureaucratic footnote.

It is a signal about regulatory capacity, digital diplomacy, and the degree to which African governments are actively leveraging tools that other states are deploying far more aggressively.

While Nigerians generate and consume content at a pace that puts the country among TikTok’s significant African markets, the formal relationship between Nigerian regulatory institutions and the platform’s governance architecture remains underdeveloped relative to what the volume of activity, and the documented harms, would warrant.

The Global Picture: Governments Learning to Fight Back

Pull back further, and what TikTok’s H1 2025 data reveals is something more significant than any single country’s removal numbers: a structured, accelerating global contest between governments and platforms over who ultimately controls the information environment experienced by citizens.

Malaysia’s position at the top of the removal request table is not accidental. In the first half of 2024, Malaysian authorities had already led globally with 2,606 removal requests.

The H1 2025 figure of 5,141 represents a near-doubling in twelve months, the output of a government that has deliberately invested in understanding and using platform governance mechanisms as an instrument of national information policy.

Romania’s emergence as the second-highest requester tells a different but equally instructive story. Following the annulment of Romania’s presidential election in December 2024, in which TikTok was specifically named in concerns about foreign-linked influence operations affecting voter sentiment, TikTok built out extra precautions for the country’s subsequent electoral processes and saw a significant increase in enforcement activity.

The surge in Romanian government requests in H1 2025 is the direct downstream consequence of a political crisis in which a social media platform found itself at the centre of a constitutional emergency.

Taken together, Malaysia and Romania represent two distinct models of intensifying government engagement with TikTok: one driven by ongoing domestic content governance priorities, the other triggered by acute democratic threat. Both models are spreading.

The China Silence

In a dataset documenting government requests from 89 countries, one absence stands out with particular sharpness.

China, whose ByteDance subsidiary owns TikTok, submitted no removal requests during the H1 2025 reporting period, consistent with prior transparency cycles.

The absence draws consistent attention from digital rights researchers, who note that the formal request mechanism available to other governments is structurally redundant for Chinese authorities.

The regulatory architecture within which ByteDance operates domestically makes the kind of arm’s-length content negotiation that other governments must conduct through TikTok’s transparency portal an unnecessary formality.

It is a detail that speaks volumes about the asymmetric nature of the global platform governance contest, and about why the question of who ultimately controls TikTok’s content decisions remains unresolved despite years of regulatory scrutiny from Washington to Brussels.

The Deeper Question

What TikTok’s H1 2025 data ultimately documents, from the 41,000 daily Nigerian removals to Malaysia’s 5,141 government requests to Romania’s election-driven enforcement surge, is the slow, uneven, and still-contested formalisation of a new kind of sovereignty: the power to determine what information citizens in any given territory are permitted to access on the world’s most-watched video platform.

Some states are exercising that power aggressively and systematically. Others, Nigeria among them, are only beginning to understand that the mechanism exists, let alone how to use it.

The race, by TikTok’s own data, is already well underway. The question for Nigeria, and for Africa more broadly, is whether the continent’s regulators will arrive at the table before the rules are already written.

[TikTok publishes Government Removal Requests data biannually through its Transparency Center. The full H1 2025 dataset is available here].

The post Every Hour in the First Half of 2025, Roughly 1,700 Videos Posted by Nigerians Disappeared from TikTok appeared first on Tech | Business | Economy.

In the fourth quarter of 2025, TikTok removed 4,021,252 million videos for violating its Community Guidelines in Nigeria.

According to the report obtained bt Techeconomy, 99.9% of these videos were proactively removed before anyone reported them, while 98.4% were taken down within 24 hours of posting.

These figures underscore TikTok’s continued investment in advanced detection systems and rapid response mechanisms designed to limit the spread of harmful content.

Globally, TikTok removed a total of 175,302,085 videos during the quarter, representing about 0.5% of all content uploaded on the platform.

Of these, 152,580,933 videos were detected and taken down using automated detection technologies and 8,360,780 videos were reinstated after further review. The platform recorded a 99.1% proactive removal rate, with 93.4% of flagged content removed within 24 hours of posting.

TikTok LIVE

In the latest report, TikTok emphasizes its commitment to keeping the TikTok LIVE experience safe. The platform has noted a further rise in the number of LIVE streams being interrupted and the number of LIVE monetisation enforcement actions (both demonetisation and warnings).

In Nigeria, TikTok interrupted over 86 000 Live rooms for violation of guidelines. Globally, TikTok took action, including warnings and demonetisation, on 17,714,756 LIVE sessions and 9,277,720 LIVE creators for violating the platform’s LIVE monetisation guidelines.

Warnings serve as an opportunity to educate creators when their content may breach LIVE monetisation policies, allowing them to make necessary changes.

AI-Generated Content Removals

TikTok aims to protect its community by prohibiting and removing AI-generated content (AIGC) that is harmful or misleading, and requiring people to label realistic AIGC.

In Quarter 4 of 2025, TikTok removed over 93 000 videos under its policy for edited media and AI-generated content (AIGC) for violating community guidelines in South Africa.

The platform requires creators to label all AI-generated content that contains realistic images, audio, and video.

To bolster the platform’s AI-generated content labels, earlier this year, TikTok tested a solution called “invisible watermarking.”

The platform requires people to label realistic AI-generated content on TikTok and layer multiple strategies to apply that rule.

Committed to Safety and Integrity

TikTok said it remains committed to inspiring creativity and bringing joy while prioritising the safety and well-being of its Nigerian community.

The TikTok Q4 2025 Community Guidelines Enforcement Report can be found here.

The post TikTok Removes Over 4 Million Videos in Nigeria in Q4 2025 appeared first on Tech | Business | Economy.

The platform, accessible at nollywoodcv.com, describes itself as a dedicated space where Nollywood professionals can showcase their work, connect with industry decision-makers, and find career opportunities.

Its launch into full operations marks a significant moment for the industry, which has historically lacked a centralised, structured system for talent discovery and professional profiling.

NollywoodCV currently hosts over 500 talent profiles, has facilitated more than 42 casting calls, and claims involvement in over 30 productions since it began accepting users.

The platform caters to the full spectrum of Nollywood professionals, from actors and directors to makeup artists, cinematographers, sound engineers, script writers, and over a hundred other industry roles.

One of its flagship features is the Explore Talent page, which functions as a searchable directory of Nollywood professionals.

Users searching for talent on the platform can filter results by role, location, gender, language, and age bracket, making it possible to narrow down searches with significant precision.

The roles available under the Cast category include actors, actresses, lead performers, supporting roles, voice actors, stunt performers, and body doubles, among others.

The Crew category is even more expansive, listing over a hundred crew designations ranging from directors of photography and production designers to VFX coordinators, intimacy coordinators, film critics and YouTube content analysts.

The platform’s Jobs and Auditions section allows producers, casting directors, and production companies to post opportunities directly to the platform.

Job and Audition listing on the page can be filtered by category, separating general industry jobs from casting calls and auditions, and can also be filtered by state across all 36 Nigerian states and the FCT.

This geo-filtering system is particularly significant for productions operating outside Lagos, giving talent in states like Anambra, Rivers, Enugu, and Delta visibility to productions within their region.

The platform also runs a blog section organised into multiple editorial categories including News Posts, Reviews, Star Features, Career Mentorship, Editorial, and a weekly Top Movie Picks column.

The blog has already published content covering Nollywood news, film reviews, and industry features, positioning NollywoodCV not just as a professional directory but as a media destination for industry conversation.

NollywoodCV offers a free registration tier that allows users to create a basic profile, browse talent, and read blog content.

Premium subscribers can access full CV and filmography features, as well as the ability to post jobs, at a rate of ₦600 per month or ₦5,000 per year, the latter representing a 31 per cent saving over the monthly plan.

The post Nearly One Year after Beta Launch NollywoodCV Begins Full Operations appeared first on Tech | Business | Economy.

The government stated that such a move contradicts the Mbah Administration’s determined effort to boost investment, business and productivity in the state, and therefore does not have the government’s blessing.

The government made its position known in a statement issued by the Commissioner for Information and Communication, Dr. Malachy Agbo, on Friday.

It said that people should feel free to go about their businesses, a predisposition it said prompted the decision of Mbah Administration to end illegal Monday sit-at-home effective June 5, 2023.

The statement equally maintained that political association remains an individual right and choice, saying participation in the Saturday rally and subsequent rallies by any group should never truncate businesses or involve any form of compulsion.

“The attention of the Enugu State Government has been drawn to an alleged plan to shut markets in the state capital as a demonstration of solidarity with the Enugu East zonal rally to drum up support for His Excellency, President Bola Ahmed Tinubu, GCFR, and His Excellency, Governor Peter Mbah, ahead of the 2027 general election.

“While the government appreciates the enormous demonstration of goodwill by traders across the state, it frowns, however, at any attempt by any market leader to shut down major markets in the Enugu East Senatorial District on account of the planned rally.

“This is not only contrary to the administration’s vision and drive to grow Enugu State’s economy from $4.4 billion to $30 billion, and also to position the state as the preferred destination for investment, business, tourism and living, but also the decision of the administration to ban illegal sit-at-home effective June 5, 2023.

“Furthermore, the 1999 Constitution (as amended) guarantees freedom of association and assembly. Thus, nothing should be seen to detract from these rights in this or future rallies by any group whatsoever.

“For emphasis, political participation should be voluntary and without any attempt to deny the people access to markets or other public spaces where they earn their daily living.

“Therefore, members of the public, particularly leaderships of various markets in the state should take note, please, as government will not hesitate to impose sanctions on any action to the contrary,” the statement read.

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The three-day programme, held at the Technology Incubation Centre, Farm Centre, Kano which ended yesterday, was designed to equip participants with practical renewable energy skills, promote women-led enterprises, and enhance sustainable livelihoods.

The initiative forms part of NASENI’s broader commitment to empowering women, creating economic opportunities, and expanding participation in Nigeria’s growing clean energy sector, under the leadership of Khalil Suleiman Halilu, executive vice chairman/CEO of NASENI.

It also aligns with the Renewed Hope Agenda of President Bola Ahmed Tinubu by supporting job creation, entrepreneurship, and inclusive economic development.

Through targeted interventions such as the She-Powers Energy Initiative, NASENI continues to demonstrate its commitment to leveraging technology and innovation to improve lives and drive sustainable development across the country.

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