Rethinking Patronage: Audience Investment Models and the Future of Cultural Funding in Nigeria

Abstract

The question of cultural patronage remains central to the survival and growth of literature and theatre in Nigeria. Historically, patronage was derived from royal courts, wealthy elites, and later government institutions; however, these forms have proven unstable, inconsistent, and often subject to political manipulation. In recent years, dwindling state support, coupled with economic uncertainties, has compelled practitioners to seek alternative models of cultural funding. This paper interrogates the possibilities of rethinking patronage through audience investment models that re-centre the consumer of art as a co-creator of value and sustainability. Drawing on theories of cultural economy, postcolonial cultural practice, and audience development, the paper situates Nigerian theatre within both African and global contexts of cultural funding. Using comparative perspectives from South Africa, Kenya, Latin America, and Europe, it highlights subscription schemes, community-based funding, cooperative models, and digital patronage platforms as viable alternatives for Nigeria’s creative industries. The study argues that audience investment offers a pathway not merely for survival but for cultural empowerment, as it encourages participatory ownership and reduces overdependence on political or elite benefactors. Ultimately, this approach foregrounds a future of Nigerian theatre and literature that is sustainable, democratised, and more attuned to the cultural agency of its audiences.