Media assets

Television: NTA Aba, NTA Abeokuta, NTA Abuja, NTA Plus Abuja, NTA Ado-Ekiti, NTA Akure, NTA Asaba, NTA Awka, NTA Bauchi, NTA Benin, NTA Birnin-Kebbi, NTA Calabar, NTA Damaturu, NTA Dutse, NTA Enugu, NTA Gombe, NTA Gusau, NTA Ibadan, NTA Ife, NTA Ijebu-Ode, NTA Ilorin, NTA International, NTA Jalingo, NTA Jos, NTA Kaduna, NTA Kano, NTA Katsina, NTA 2 Channel 5 Lagos, NTA Channel 10 Lagos, NTA Lafia, NTA Lokoja, NTA Maiduguri, NTA Makurdi, NTA Minna, NTA Ondo, NTA Osogbo, NTA Owerri, NTA Oyo, NTA Port Harcourt, NTA Sokoto, NTA Uyo, NTA Yenagoa, NTA Yola, NTA Sapele, NTA Education, NTA Sports

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

The Nigerian Television Authority is governed by the NTA Act of 1976, which formalized its status as a state-owned public corporation.

At the apex of NTA’s governance structure is its Board of Directors, originally envisioned as an 11-member body appointed largely by the Federal Government. However, the President is empowered by law to alter the board’s composition. As of 2025, the board consists of eight members, all of whom are government appointees, selected on the recommendation of the Minister of Information and Culture and confirmed by the President.

Executive oversight is provided by the Director General (DG), who also sits on the board and presides over day-to-day operations through the Management Board. The DG is appointed by the Minister, subject to presidential approval.

In June 2023, President Bola Ahmed Tinubu dissolved the boards of 14 federal agencies, including NTA, as part of a broader shake-up of state institutions. Until replacements were named, the President assumed direct oversight. Subsequently, in October 2023, Tinubu appointed Salihu Abdulhamid Dembos as Director General of the NTA—part of a wave of appointments reshaping Nigeria’s public service media landscape.

In March 2025, President Bola Tinubu appointed Felix Morka, National Publicity Secretary of the All Progressives Congress (APC), as the new Board Chairman of NTA. This marks a notable political appointment, as Morka is a prominent APC official.

The NTA’s board members appointed in September 2024 included: Ayo Adewuyi — Executive Director, News, Ibrahim Aliyu — Executive Director, Special Duties, Muhammed Fatuhu Mustapha — Executive Director, Administration and Training, Apinke Effiong — Executive Director, Finance, Tari Taylaur — Executive Director, Programs, Sadique Musa Omeiza — Executive Director, Engineering and Oluwakemi Fashina — Executive Director, Marketing.

Source of funding and budget

NTA is predominantly reliant on federal funding. In 2023, the broadcaster received NGN 8.33 billion (approximately USD 10.8 million) via allocations from the Federal Ministry of Information and Culture, reinforcing the state’s role as its primary financier.

Between 2010 and 2019, NTA was granted NGN 67 billion (equivalent to USD 43 million at 2024 exchange rates) in cumulative subsidies. Additionally, the Nigerian government pledged NGN 181.5 billion (USD 500 million) in 2020 to support the network’s digital transition—although implementation timelines and disbursement details remain opaque.

While advertising offers a secondary revenue stream, it remains limited in scale. Industry observers estimate that advertising revenue contributes roughly 20% to NTA’s overall budget—underscoring the broadcaster’s fiscal dependence on government subvention.

Editorial independence

Mandated to provide “independent and impartial television broadcasting for general reception within Nigeria,” NTA’s editorial autonomy remains, at best, aspirational. The founding legislation stipulates that the broadcaster must air government communiqués, ministerial speeches, and other official content upon request—formalizing a pathway for state influence over programming.

In practice, the NTA has often functioned as a de facto mouthpiece of the ruling government. Numerous media monitoring reports and academic analyses have documented the network’s role in amplifying the narratives of those in power, while marginalizing dissenting or critical voices.

In October 2021, during a budget presentation at the National Assembly, then-Director General Yakubu Mohammed publicly acknowledged the mounting pressure from ministries and government bodies seeking favorable coverage, further highlighting the institutional vulnerabilities that inhibit editorial independence.

NTA’s Service Charter outlines internal quality control mechanisms, including a Research, Development and Monitoring Unit tasked with evaluating program standards. According to the Authority, daily monitoring reports are reviewed by senior management and guide editorial decisions. The broadcaster also invites public feedback and claims to respond promptly to viewer complaints. However, there was little public evidence to suggest these mechanisms safeguard journalistic independence or function as effective accountability tools.

In recent months, there has been a growing public demand for higher editorial standards and more relevant content, and NTA’s recent moves have been viewed as positive steps toward regaining cultural relevance and audience trust. The broader executive board overhaul in September 2024 also brought in industry-savvy figures such as Tari Taylaur, signaling a parallel push for editorial reinvention. Under the new board, NTA has launched initiatives to expand authentic Nigerian storytelling, including partnerships with Nollywood producers and the introduction of original programming like Temi and the Labalaba Band and Las Gidi. These efforts aim to reposition NTA as a platform for local, culturally resonant content rather than solely a government mouthpiece.

But while the new board has injected creative energy and a renewed focus on local content, the overarching influence of a politically affiliated chairman raises questions about the balance between cultural innovation and political neutrality. The risk is that editorial improvements in entertainment and cultural programming may be overshadowed by perceived or real bias in news and political coverage.

July 2025

The organization underwent another transformation in 1957, becoming the Nigerian Broadcasting Corporation (NBC). Its current structure and name—FRCN—emerged in 1978 following the merger of NBC with the Broadcasting Corporation of Northern Nigeria (BCNN). Today, FRCN stands as Africa’s largest radio network, operating six zonal stations across shortwave (SW) and medium wave (MW) frequencies, alongside 32 FM stations that span Nigeria’s geopolitical zones.

Media assets

Radio: Kapital FM Abuja, Radio One Lagos, Globe FM Bauchi, Supreme FM Kaduna, Power FM Bida, Metro FM Lagos, Peace FM Maiduguri, Pyramid FM Kano, Bond FM Lagos, Sunshine FM Potiskum, Companion FM Katsina, Jewel FM Gombe, Horizon FM Dutse, Gift FM Jalingo, Pride FM Gusau, Fombina FM Yola, Hausa Service 594 Kaduna, Gashua FM, Karama FM Kaduna, Royal FM Sokoto, Equity FM Birnin Kebbi, Precious FM Lafia, Premier FM Ibadan, Coal City FM Enugu, Canaan City FM Calabar, Harvest FM Makurdi, Progress FM Ado Ekiti, Heatland FM IMO, Bronze FM Benin, Highland FM Jos, Gold FM Ilesha (Osun), Purity FM Awka, Creek FM Yenagoa, Harmony FM Ilorin, Paramount FM Abaekuta, Pacesetter FM Umuahia, Atlantic FM Uyo, Prime FM Lokoja, Positive FM Akure, Unity FM Abakaliki, Treasure FM Port-Harcourt, Ogo Ilu FM Oko, Voice FM Nsukka, Charity FM Asaba, Amuludun FM Ibadan, Asabari Saki FM Oyo

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

FRCN is a government-owned entity established under Decree No. 8 of 1978, later codified as the FRCN Act. The governance model mirrors that of the Nigerian Television Authority (NTA), with overarching federal oversight.

Each of FRCN’s regional stations is headed by a Director who reports directly to the Director General of the corporation. The federal government, through the Minister of Information and Culture, maintains the authority to appoint executive leadership.

In October 2023, President Tinubu appointed Muhammed Bulama as the new Director General and CEO of FRCN, as part of a broader leadership reshuffle across federal media institutions.

In a significant structural development, President Bola Ahmed Tinubu approved in February 2024 the merger of FRCN with Voice of Nigeria (VON) to form the Federal Broadcasting Corporation of Nigeria. As of July 2025, the merger has been approved and is in the process of implementation, but full operational integration and rebranding under the new name are still ongoing.

Source of funding and budget

FRCN’s financial lifeline is firmly tethered to federal government allocations. In 2020, the corporation received NGN 7.8 billion (approx. USD 20.3 million), representing the single largest expenditure line within the Ministry of Information and Culture’s budget that year.

Despite being granted the authority to earn commercial income since 1988, advertising remains a supplementary revenue stream. Local media economists estimate that advertising contributes less than 25% of FRCN’s total income.

According to public budget data, FRCN had the following financial situation:

• 2022: Projected budget of NGN 10.92 billion (approx. USD 25 million); revenue generation: NGN 1.3 billion (USD 3 million).
• 2023: Federal subsidy totaled NGN 10.51 billion (USD 13.6 million).
• 2024: As of June 2025, no detailed public breakdown has been released. However, budget trends suggest a continuation of state dependency with limited commercial growth.

The merger with VON, once fully operational, is expected to trigger a recalibration of budget allocations and resource deployment under the newly named Federal Broadcasting Corporation of Nigeria.

Editorial independence

While the FRCN Act mandates the delivery of impartial and independent broadcasting, the station’s editorial posture remains heavily influenced by political power structures. The law itself obliges the network to carry government announcements and provide broadcast time for official statements—thereby codifying the state’s presence within its editorial framework.

Journalists and media analysts in Nigeria consistently report that government officials receive prioritized coverage, with FRCN often relegated to a platform for disseminating state-approved narratives. This institutional culture, rooted in both formal legislation and informal political norms, has led to a programming agenda where government-related news dominates, often at the expense of critical or diverse perspectives.

As of 2025, there is no statutory or independent oversight mechanism in place to monitor or enforce editorial autonomy at FRCN. Unlike some peer public broadcasters globally, FRCN lacks a functioning external review board or ombuds system that could credibly assess its content output.

July 2025

Media assets

Television: TVT

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

TVT operates under state ownership, falling within the remit of the Ministry of Communication and Media. Its executive leadership is appointed by the Council of Ministers, reinforcing a top-down governance model that places the broadcaster squarely under political control.

Following the resignation of TVT’s previous director, Minister Akodah Ayewouadan temporarily assumed operational leadership of the broadcaster in August 2022, pending a formal appointment. As of mid-2025, no permanent replacement has been publicly confirmed, and the channel continues under interim ministerial oversight—a situation that raises concerns over the long-term stability and independence of the institution’s governance.

In an important move, the Togolese government passed legislation in January 2022 to merge the country’s public audiovisual media—TVT, Radio Lomé, and Radio Kara—into a single national broadcasting body, Radio et Télévision du Togo (RTVT). Although structural unification is underway, the process remains incomplete. Integration of management structures, editorial teams, and budget lines has progressed slowly, with full consolidation still pending as of June 2025.

Source of funding and budget

TVT is entirely state-funded, a fact confirmed by the Friedrich Ebert Stiftung (FES), a German foundation known for its research on African media systems. This financial dependency has long been a double-edged sword: while it guarantees operational continuity, it also serves as a lever of influence. Government authorities have historically disbursed TVT’s funding in piecemeal tranches, undermining the broadcaster’s ability to execute long-term editorial planning or technological upgrades.

To date, the government has not made TVT’s annual budget publicly available, making it difficult to assess the broadcaster’s fiscal health or investment priorities.

Between 2017 and 2022, the Chinese government has played an increasingly visible role in supporting Togo’s state media. Documents reviewed by the Media and Journalism Research Center reveal that US$12 million in Chinese funding was channeled to TVT and Radio Lomé during this period, underscoring a deepening partnership that includes infrastructure development and technical support. While these investments have modernized aspects of TVT’s operations, they also raise questions about external influence on domestic media narratives.

Editorial independence

Despite the absence of formal mandates requiring TVT to favor the government in its editorial content, the station remains under de facto political control. Its financial dependency and politically-appointed leadership leave little room for critical journalism or dissenting voices. A February 2024 survey conducted by the Media and Journalism Research Center among ten Togolese journalists confirmed this dynamic: respondents unanimously characterized TVT’s coverage as closely aligned with government messaging.

No institutional framework exists to safeguard or evaluate the broadcaster’s editorial autonomy. There is no independent oversight board, editorial charter, or regulatory mechanism tasked with ensuring impartiality. In practice, TVT functions as a mouthpiece for state policy, with its editorial agenda shaped more by political expediency than by journalistic standards.

July 2025

By 1963, the station broadened its horizons to become a full-fledged international broadcaster. Until 1990, VON functioned as the external service arm of the Federal Radio Corporation of Nigeria (FRCN). That changed when Decree No. 15 of 1991 (retroactively effective from January 1990) conferred autonomy on VON, establishing it as a separate legal entity under what later became known as the Voice of Nigeria Corporation Act.

Media assets

Radio: VON

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

VON operates as a state-owned enterprise established under the 1991 legal decree No 15. The Board of Directors, its highest governing body, consists of nine members, all appointed by the President upon recommendation by the Minister of Information and Culture. The Director General, who serves as the chief executive and oversees the organization’s day-to-day operations, is appointed via the same political process.

As per official and credible records, Mallam Jibrin Baba Ndace is the current Director General and CEO of VON, appointed by President Bola Tinubu in October 2023

In February 2024, the Federal Executive Council approved a structural consolidation of Nigeria’s state-owned broadcast entities, announcing the merger of VON with FRCN. The newly proposed umbrella entity is to be known as the Federal Broadcasting Corporation of Nigeria.

However, as of mid-2025, this merger remains administratively approved but not operationally completed. VON and FRCN continue to function as separate institutions, pending full legal and structural integration. For that reason, they are still profiled separately in this database. (See the FRCN profile for further context.)

Source of funding and budget

VON is wholly dependent on public funds, with its entire operating budget sourced from the Federal Government of Nigeria through allocations via the Ministry of Information and Culture.

• In 2020, VON received NGN 2.9 billion (approx. USD 7.5 million) in federal subsidy.
• In 2023, its allocation rose slightly to NGN 3.3 billion (approx. USD 4.2 million).

No significant increase in revenue-generating capacity or alternative funding streams has been recorded. Unlike commercial or hybrid broadcasters, VON does not derive income from advertising or sponsorship.

Given the upcoming merger with FRCN, it is expected that future allocations will be consolidated under a joint budget line once operational unification occurs.

Editorial independence

Although VON is tasked with delivering Nigeria’s voice to the global stage, its editorial output is widely regarded as aligned with government messaging. Legally, VON is obligated to provide airtime for government views and official narratives, a requirement that effectively curtails the station’s ability to operate independently.

According to local media observers and journalism experts interviewed for this report, VON’s programming frequently displays overt favoritism toward the government, and critical or oppositional voices are largely absent from its international news agenda.

Importantly, no independent oversight body or statutory mechanism currently exists to safeguard or assess VON’s editorial autonomy. In the absence of legal provisions for content monitoring or public accountability, editorial capture by the state remains systemic and unresolved.

July 2025

Media assets

Television: SLBC TV

Radio: SLBC Radio

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

SLBC was formally established in 2010 through the merger of the government-run SLBS and Radio UNAMSIL, the UN peacekeeping radio operation. This unification was enacted under the SLBC Corporation Act (2009), which defines the broadcaster’s public service mandate. SLBC is fully state-owned and operates under the supervision of the Ministry of Information and Communications.

Governance is vested in a nine-member board, composed largely of representatives from civil society, academia, and professional bodies including the Bar Association, the University of Sierra Leone, and media development groups. The President appoints the board chairperson, with parliamentary approval, while the Director-General sits on the board as an ex officio member.

In March 2024, Josephine Kamara was appointed as Director-General by presidential decree, becoming the first woman to lead the institution since its transformation from SLBS. Kamara, a former senior journalist and media policy advocate, has signaled intentions to modernize the newsroom and professionalize editorial standards. Her appointment has been broadly welcomed by media reformers as a potential turning point for the beleaguered broadcaster.

Source of funding and budget

SLBC’s finances are a hybrid of state appropriations and commercial income, including advertising and paid programming. Yet despite these dual revenue streams, the broadcaster remains far from financially self-sufficient. Government subsidies continue to underpin SLBC’s survival, with annual budget shortfalls hampering its capacity to invest in infrastructure, staff, and content.

Historically, approved allocations have often not materialized in full. For example, in 2019, only SLE 317.8 million (US$34,000) of the SLE 1.3 billion (US$140,000) budgeted was disbursed by the Ministry of Finance, according to parliamentary oversight reports. In 2020, the broadcaster received SLE 710 million (US$76,700) in state support while earning SLE 563 million (US$60,800) from commercial operations.

As of June 2025, no updated annual report or financial statement has been released by SLBC. However, internal sources consulted for this report suggest the broadcaster continues to struggle with late and partial disbursements, contributing to unpaid staff salaries and outdated equipment. While the Kamara administration has reportedly proposed a digital transition plan to attract donor and private-sector support, its implementation remains in the early stages.

Editorial independence

From its inception, SLBC was envisioned as an independent public service broadcaster, and international partners—including BBC Media Action, DW Akademie, and UNESCO—have long provided technical assistance, journalist training, and governance support toward this goal. However, persistent political interference has stymied such reforms.

SLBC’s editorial alignment with ruling authorities was highlighted in the European Union’s 2023 Election Observation Mission report, which described the broadcaster as “subservient” to government interests. The report cited clear favoritism in its electoral coverage, particularly during the presidential campaign, where opposition voices were underrepresented in both time and tone.

Despite the statutory founding law, there remains no domestic legal framework explicitly guaranteeing SLBC’s editorial independence. Moreover, no independent regulator or public service charter exists to review or safeguard its impartiality. The absence of institutional checks has left SLBC vulnerable to political capture, with successive governments leveraging the outlet as a tool for state messaging.

July 2025

Media assets

Radio: Radio Lome

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

Radio Lomé is owned and operated by the state, functioning under the jurisdiction of the Ministry of Communication and Media. Its leadership is appointed directly by the government, a practice confirmed by local journalists interviewed in February 2024, who noted that appointments typically occur without transparent recruitment processes or parliamentary oversight.

In a broader restructuring move, the Togolese government adopted a law in January 2022 mandating the merger of Radio Lomé, Télévision Togolaise (TVT), and Radio Kara into a single national public entity: Radio et Télévision du Togo (RTVT). As of mid-2025, the transition remains incomplete, with no public documentation detailing the operational or editorial integration of the three outlets. Radio Lomé continues to operate under its existing structure, pending full consolidation.

The current Director General (Directeur Général) of Radio Lomé is Mr. Takou Abalo John, as confirmed on the station’s official website in 2025. He frequently appears in connection with staff training sessions and other institutional activities

Source of funding and budget

Like its sister institutions, Radio Lomé is entirely funded by the state, a fact documented by the Friedrich Ebert Stiftung (FES) in its assessments of African media. The broadcaster relies on direct allocations from the national budget, though specific line items for Radio Lomé have not been published in recent government finance laws.

Between 2017 and 2022, Radio Lomé received a share of US$12 million in Chinese government funding, a sum that was jointly distributed between Radio Lomé and TVT, according to documentation reviewed by the Media and Journalism Research Center. These funds are believed to have supported technical infrastructure, training, and equipment upgrades, although no formal reporting on fund allocation or impact has been released by Togolese authorities.

Editorial independence

Although no legislation explicitly mandates Radio Lomé to promote government viewpoints, the station’s editorial output is heavily shaped by political influence. In practice, both funding mechanisms and government control over managerial appointments act as levers of influence. A February 2024 survey conducted with ten Togolese journalists by the Media and Journalism Research Center confirmed that the broadcaster’s content routinely aligns with the government’s communication strategy and avoids critical coverage.

To date, there is no statute or institutional framework—such as a public service media law, editorial board, or independent regulator—that guarantees or assesses the station’s editorial independence. Radio Lomé operates without external oversight, leaving its editorial direction firmly in the hands of state officials.

July 2025

Media assets

Television: Gambia Television (GRTS TV)

Radio: Radio Gambia

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

GRTS was formally incorporated under the Gambia Radio and Television Services Corporation Act of 2004, which defines it as a public service entity owned and funded by the state. The broadcaster is fully owned by the Government of The Gambia through the Ministry of Information and Communication Infrastructure (MOICI).

A board of directors oversees GRTS and reports to the Minister of Information. The Director General (DG) is appointed by the President upon the recommendation of the Information Minister. As of June 2025, there have been no reported changes in ownership structure or board composition. The current Minister of Information is a former Director General of GRTS, reinforcing strong government ties to the institution’s leadership.

As of June 2025, Abdoulie Sey is the Director General (DG) of GRTS. He was officially appointed in April 2023, succeeding the previous DG, Malick Jeng. Sey is an insider, having worked across editorial roles at GRTS since 2007, and holds a Master’s in International Multimedia Journalism from the University of Kent, UK.

Source of funding and budget

GRTS is primarily funded through two public mechanisms: direct government grants and revenue from the Global System for Mobile (GSM) levy on telecommunications operators, which is collected by the state and partially allocated to the broadcaster.

GRTS has not published financial reports for recent years, and no detailed financial data for 2024 or 2025 are publicly available. However, according to independent experts familiar with the broadcaster’s internal records from 2017–2018, government support—including both direct grants and levy transfers—continues to account for more than half of GRTS’s total income.

The Ministry of Information (which oversees GRTS) was allocated GMD 67.60 million in the 2025 national budget, representing about 0.13% of the total national “All Funds” budget for 2025. However, no GRTS-specific line item was publicly disclosed, but the broadcaster remains heavily dependent on state funding, often receiving partial or delayed disbursements. These financial challenges have resulted in frequent staff shortages as journalists migrate to better-paid positions in private media.

Editorial independence

The legal framework in The Gambia provides only limited protections for editorial independence. While Section 208 of the Gambian Constitution obliges all state-owned media to offer “fair opportunities and facilities for the presentation of divergent views and dissenting opinions,” in practice, GRTS operates under strong government influence.

Despite formal claims of neutrality, the broadcaster’s editorial line is perceived as aligned with the government. There is no statute or regulatory mechanism in place to enforce or independently assess GRTS’s editorial autonomy. GRTS is not governed by a public service broadcasting charter, nor is it overseen by an independent regulator. In 2022, the Gambia Press Union (GPU) denounced an internal directive instructing GRTS staff to avoid coverage of labor protests, calling it a clear act of censorship. In May 2025, further public criticism emerged on social media warning against the partisan use of GRTS in electoral coverage.

While improvements in media freedom have been noted under the current administration—particularly in the print and digital sectors—broadcast media remain subject to executive control. GRTS continues to be used as a vehicle for government messaging, with little space for dissenting or opposition voices, particularly during politically sensitive periods.

July 2025

Media assets

Television: RTS1, RTS2, RTS3, RTS4, RTS5

Radio: Nationale, Thies, Mbacke, Kaolack, Kolda, Ziguinchor, Dakar FM, Matam, RSI

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

RTS was established under Law No. 92-02 of 1992, taking the baton from the former state broadcaster ORTS, which had been in operation since 1973. The governance of RTS rests with a Management Council composed of 12 members representing various government ministries. The Director General, who holds the reins of the organization, is appointed by the President of Senegal. The broadcaster operates under the auspices of the Ministry of Culture and Communication, reflecting its close ties to the state apparatus.

Pape Alé Niang was appointed as the Director General (CEO) of Radiodiffusion Télévision Sénégalaise (RTS) on April 24, 2024, replacing Racine Talla.

Source of funding and budget

RTS’s financial backbone is a blend of license fees—collected from households via their electricity bills—state subsidies, and advertising revenues. Industry insiders estimate the broadcaster’s annual budget to be around XOF 11.3 billion (approximately US$20.8 million).

In March 2024, a presidential decree introduced a new funding mechanism aimed at providing RTS with a steadier stream of income. This includes an audiovisual fee of 0.7% levied on Senegal’s national electricity provider, SENELEC, calculated based on annual electricity consumption. The intent behind this move is to help RTS reduce its dependence on direct government subsidies and, in turn, strengthen its financial footing.

As of mid-2025, RTS has been making strides to keep pace with the evolving media environment. Investments in cutting-edge technology and staff training are helping the broadcaster sharpen its competitive edge, particularly in sports broadcasting where advanced replay and slow-motion capabilities are being enhanced. Additionally, RTS is expanding its regional presence, with plans to roll out new radio and television stations in key cities such as Mbour, Louga, and Saint-Louis, ensuring a wider reach across the country.

Editorial independence

RTS’s editorial stance has often been viewed through the lens of its close relationship with the government. The composition of the Management Council and the presidential appointment of the Director General are seen as factors that influence the broadcaster’s editorial direction.

To date, there is no formal legal framework or independent oversight body in place to guarantee editorial independence or to provide external assessments of the broadcaster’s content.

July 2024

While its early mission was to counter Western media narratives and offer a local perspective, NAN has since evolved into a central distribution hub for news consumed by newspapers, broadcasters, corporate clients, and public institutions across Nigeria.

Media assets

News agency: News Agency of Nigeria (NAN)

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

NAN was legally constituted under Decree No. 19 of 1975, subsequently known as the News Agency of Nigeria Act. It functions as a state-owned corporation, under the purview of the Federal Ministry of Information and Culture.

The agency’s highest governing body is its Board of Directors, composed of eight members. According to the statute:

• Half of the board is appointed by the federal government.
• The Chairperson of the Board and the Managing Director (MD) are both appointed by the President upon the recommendation of the Minister of Information and Culture.

As of mid-2025, there have been no publicly announced changes in leadership or board composition since the last major restructuring of state media agencies in 2023. NAN continues to operate under the federal government’s close administrative oversight.

Ali Muhammed Ali is the current Managing Director/CEO of the News Agency of Nigeria. He was appointed in October 2023 by President Bola Tinubu and has served in this capacity throughout 2024 and into 2025.

Source of funding and budget

NAN’s operations are predominantly financed by federal budget allocations, with a limited portion of its revenue coming from commercial activities such as subscription fees paid by institutional clients—primarily media organizations and government bodies.

No detailed data on 2024 budget figures had been officially released by June 2025, although it is assumed that state subsidies remained stable or slightly increased, consistent with the pattern of allocations to peer institutions such as NTA and VON.

Editorial independence

While NAN is widely regarded as a professional and operationally capable newswire—with one of the most extensive national footprints of any media organization in Nigeria—its editorial independence remains compromised by structural and legal constraints.

The agency operates as a de facto government mouthpiece, with its content rarely if ever deviating from official narratives. It routinely prioritizes government-related coverage, omits critical or investigative angles on public authorities and complies with requests or directives from state officials.

There is no statutory provision or independent oversight mechanism in place to ensure NAN’s editorial autonomy. No independent ombudsman, regulatory board, or public complaints mechanism exists to vet content or editorial practices. Consequently, NAN functions as an institutional amplifier of government communication, rather than a watchdog or neutral information intermediary.

June 2025

Media assets

Radio: Radio Kara

State Media Matrix Typology

State-Controlled (SC)

Ownership and governance

Radio Kara is entirely state-owned, operating under the direct authority of the Ministry of Communication and Media. As confirmed by local journalists and media experts, its senior management—particularly the Director General—is appointed by the government, without the involvement of independent oversight bodies or public consultation.

In January 2022, the Togolese government passed legislation to consolidate the country’s public audiovisual media—Radio Kara, Radio Lomé, and TVT—under a unified entity, Radio et Télévision du Togo (RTVT). Although the legal foundation has been laid, the integration process remains incomplete as of mid-2025. Radio Kara continues to function under its original administrative and editorial structure, with no confirmed public steps toward full merger implementation.

Source of funding and budget

According to research by the Friedrich Ebert Stiftung (FES), Radio Kara is entirely financed through public funds, drawing its operating budget from national appropriations managed by the Ministry. However, no detailed or disaggregated budget information for Radio Kara has been made public, either through official government finance laws or sectoral reports.

Editorial independence

While no legal provision explicitly mandates Radio Kara to support government narratives, its editorial posture is widely understood to reflect state positions. This alignment is not imposed by law, but rather maintained through structural dependence: the station’s leadership is appointed by the government, and its finances are tightly controlled through public subsidies.

According to media analysts familiar with the outlet’s operations, Radio Kara’s editorial decisions are generally consistent with official messaging, with little to no space for dissenting perspectives or independent investigation.

Importantly, there are no institutional safeguards in place to guarantee or measure the broadcaster’s editorial autonomy. Radio Kara lacks an editorial charter; an independent board; and any form of external regulatory oversight regarding content neutrality or public service obligations.

June 2025