Reported by: Oahimire Omone Precious | Edited by: Oravbiere Osayomore Promise.
A growing chorus of criticism has emerged from within Ekiti State’s vibrant community of digital content creators and social media influencers as local online personalities publicly rebuked the Ekiti State Government and the Ministry of Arts & Culture for reportedly hiring non-indigenous actors and media personalities to front promotional campaigns for government projects. The backlash highlights rising tensions between grassroots creative professionals and the state’s official communication strategies amid a broader conversation about representation, local talent development, and cultural authenticity.
The controversy first gained wide attention on platforms such as X (formerly Twitter), Facebook, and Instagram, where several Ekiti-based influencers — many of whom produce content about the state’s culture, history, lifestyle, and tourism — voiced dismay that the government had engaged outsiders to feature in official promotional content. Posts widely shared by community members stressed that Ekiti is home to a wealth of talented creators who consistently showcase the state’s identity online, yet these indigenous voices felt sidelined in favour of actors and presenters from outside the state.
In a video clip circulating on social media, prominent Ekiti digital creators reiterated their frustration, arguing that their everyday work promoting Ekiti’s heritage and attractions has built strong engagement and resonance with both local and diaspora audiences, yet their contributions have not translated into meaningful participation in state-endorsed campaigns. For many of these creators, whose followings span thousands of followers on platforms like TikTok, Instagram, and YouTube, the perceived decision to import external talent is seen as a missed opportunity to elevate homegrown voices and economic participation.
Several posts underscored a broader sentiment within the state’s creative ecosystem: that government promotional initiatives should reflect Ekiti’s own storytellers rather than rely on unfamiliar faces to tell the story of the state’s development and achievements. While the field of social media influencing and online content production has grown substantially across Nigeria in recent years, with many creators regarded as significant cultural ambassadors in their own right, the feeling among Ekiti creators is that official platforms have not kept pace with this trend.
The criticisms have emerged against a backdrop of intensified efforts by the Ekiti State Government to promote major projects and developmental narratives as part of its public communication agenda. Governor Biodun Oyebanji — whose administration has emphasized infrastructure advancement, tourism development, and economic reforms — has in recent months spotlighted various initiatives aimed at bolstering the state’s profile domestically and internationally. This includes infrastructure tours by media personalities and thespians, which have been featured in government media coverage alongside political leaders.
Supporters of the governor’s developmental programs argue that mobilizing external media figures can help amplify messages beyond local circuits, appealing to broader audiences and potential investors. However, creators within Ekiti’s digital sphere reject this rationale as insufficient, maintaining that local influencers bring authentic understanding of cultural nuance and audience trust — qualities they say can drive deeper engagement with state initiatives.
Public exchanges on social platforms show a clear division among some users, with defenders of the government’s strategy asserting that PR campaigns often involve professionals hired for specific skills irrespective of origin. Others, particularly voices from within the creative community, counter that such procurement policies risk alienating local talent and contributing to perceptions of exclusion in the state’s emerging digital economy.
At the core of the dispute is a sense among local content producers that their longstanding, unpaid promotion of Ekiti’s culture and attractions has not translated into recognition or formal collaboration with public institutions. Many of these creators have built substantial followings and have spotlighted Ekiti’s landmarks, festivals, cuisine, and community life — often encouraging tourism and civic pride organically through their content. Their supporters argue that such grassroots advocacy deserves to be integrated into official promotional architectures in a way that benefits the state and its creative economy.
Critics have also called for greater transparency in how government contracts and engagements are awarded for promotional work, calling for clear criteria that prioritize local skills and sources of representation. They argue that inclusivity in government communications would not only recognize the contributions of Ekiti’s youth and cultural ambassadors but also create economic opportunities in the creative sector that align with broader state development goals.
In response, there has been no formal public statement from the Ekiti State Government directly addressing the specific allegations made by content creators as of the latest reports. Government media channels have continued to highlight project achievements and partnerships with public personalities, without explicitly commenting on the outsourcing of talent to non-indigenous actors.
Observers of the unfolding debate note that the confrontation reflects broader dynamics in modern governance and communication — where digital content creation has emerged as a powerful tool for shaping public perception and community identity. Governments are increasingly engaging influencers as part of outreach strategies, even as local stakeholders demand more equitable participation and representation in those engagements.
For Ekiti’s growing digital creator community — which includes emerging voices with national and international audiences — the controversy has sparked renewed calls for dialogue with state authorities. Many say they remain committed to advancing the state’s narrative but want formal recognition and involvement in major campaigns, citing their lived experience and deep community ties as assets that external actors cannot replicate.
As the conversation continues online and within cultural circles across the state, attention now turns to whether the government will engage directly with local creators to address their concerns and whether policy adjustments might be made to integrate Ekiti’s own creative voices in future promotional activities.
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