In Nigeria’s crowded corridors of politics, Hannah Musawa moves with the rhythm of someone sketching a future on invisible parchment. A lawyer by training and a minister by appointment, she has turned her portfolio into a stage where culture, art, and ambition learn to dance together.
Recently, her choreography reached Paris. Musawa sought partnerships with French officials and even the Louvre in hopes of accelerating Nigeria’s museum renaissance. In the same breath, she secured €100 million from the French Treasury to seed creative hubs that could rewrite the economy’s script.
The plan is audacious. Lagos, Abuja, and Katsina will host the first hubs, with Enugu, Kwara, and Akwa Ibom waiting in the wings. If completed, every Nigerian state will have a space where creativity is infrastructure rather than a hobby, an arena where imagination becomes as tangible as cement.
Musawa knows the country’s fragility. Funding is scarce, promises are heavy, and history is littered with unfinished projects. Yet she insists innovation, not lamentation, will carry the day. “We have had to be creative,” she says, framing scarcity as a spark rather than a shadow.
Her record already shows this pivot. Plans for creative arenas in Abuja and Lagos, a signed MOU for a Creative City, and restoration projects for museums speak to a ministry that refuses to shrink under fiscal drought. Each initiative signals a refusal to reduce art to an afterthought.
It would be inaccurate to think of Musawa as only a minister. She is the daughter of an activist, a student of foreign universities, and the woman who once worked on election petitions before stepping into policymaking. Her story bends across law, oil, politics, and now culture, a life insisting on multiplicity.
Whether Nigeria’s creative economy rises to meet her grand vision is uncertain. But if €100 million can be turned into bricks, arenas, and hope, then Musawa will not merely have held office. She will have built, note by shimmering note, a chorus strong enough to outlast her tenure.
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