In a landscape where African creators were once locked out of digital earnings, Apollo Endeavor emerged as the catalyst, forging a clandestine partnership with Facebook to whitelist vetted talents like Mark Angel Comedy and Josh2Funny.
By providing critical data on market viability and offering ongoing support from appeals to early feature access, founder Oladapo “OJ” Adewunmi not only secured initial revenue shares for hundreds but also accelerated the continent’s shift toward a projected $30 billion creator economy by 2032, proving that strategic advocacy can transform regional barriers into boundless opportunities.
Adewunmi sits with BusinessDay’s Anthony Udugba to speak on how his firm Apollo, turned Nigeria’s content into a digital revenue stream.
Can you walk us through your career journey in the creative sector? What initially drew you to this industry, and what key experiences shaped your path leading up to founding Apollo Endeavor?
I’ve always been a creative at heart. Early on, I was editing videos, shooting my own content—even filmed a music video on a BlackBerry phone and edited it right there on the device; it’s still up on YouTube. I also produced beats and instrumentals back then.
This was around the early 2000s, long before the “creative economy” became a recognised concept. I never wanted a traditional nine-to-five job, so the real question was: How could I turn my skills into sustainable revenue?
One of the first opportunities we identified and essentially created ourselves was in music production. My friends made beats, and I’d scour Twitter (now X) using hashtags like #newEP, #newalbum, or #ontour to find international artists working on projects, releasing covers, or dropping singles. We’d DM them, saying we had a beat that perfectly fit their style. It was a numbers game—throw enough stones, and a few hit the target. Some artists responded, requested the beat, and paid us.
Getting paid was another challenge. We didn’t have reliable international payment options in Nigeria at the time, so we routed funds through a friend who traveled frequently and had a UK PayPal account. He’d receive payments there and transfer the equivalent in naira to us. That was one of my earliest experiences with digital revenue streams.
That hustle evolved into launching an online music competition. A company in Israel noticed our online activity and reached out, making me their representative in Nigeria for Mental Music. My role was to onboard creators to their platform for YouTube monetization.
From there, I attended a Facebook training program in Nigeria, focused on platform optimisation and content creation. I leveraged that opportunity to build a structured system helping other creators. At the time, Nigeria wasn’t eligible for Facebook monetization, but through my contacts—shout-out to Jocelyn and Joanna on the Facebook team—I helped establish a closed program. I’d vet creators, review their content and operations, submit recommendations to the team, and they’d whitelist eligible pages. This allowed many to monetize early, even before the country was officially opened up.
It also provided valuable data for Facebook, demonstrating the viability of the Nigerian market, which eventually led to full monetization access for the country.
Who were some of the creators you worked with initially to help push Facebook toward opening monetization in Nigeria?
We worked with just about everyone who mattered at the time. Today, we support over 500 creators, but back then it was the foundational names: Mark Angel Comedy, Brother Shaggy, Lasisi, Kiekie, Home of Laughter, Laugh Pills, Dickn Famous, Daddy Freeze, Josh2Funny—the list goes on. The goal was to bring in tested, trusted creators first to build credibility and open doors for others.
As a business, how did this become profitable for you? How did you build your own value while helping others monetize?
Our model is based on revenue-sharing partnerships with creators. Monetizing pages is one aspect, but we also provide ongoing support services such as handling takedowns, violations, appeals, and optimisation issues that creators face daily on platforms like YouTube and Meta.
Clients also gain priority access: first-hand onboarding to new features, early testing of programs (like Threads, where two of our creators, Ayomidate and Josh2Funny, posted before the official launch), and invitations to research initiatives or events. We take a percentage of the revenue generated, while the creator keeps the majority—it’s a collaborative, win-win structure.
What are the main monetization models for creators across platforms in Africa?
Most platforms earn primarily from advertising, then share a portion with creators. YouTube has long had established monetization. Meta (formerly Facebook) followed, and it scaled quickly.
The key difference lies in platform types: YouTube is a video-on-demand (VOD) search-driven platform—people go there for specific content. Social platforms like Facebook and TikTok are feed-based; users discover content organically while scrolling, commenting, and engaging socially. That discovery mechanism helped many African creators gain traction faster on social platforms.
Revenue ultimately ties to ad spend in each region. The U.S. has massive advertising budgets, so creators there earn more per view or engagement. In Africa, digital ad spend lags. last I checked, we’re not even in the global top 10. High viewership doesn’t always translate to high payouts when ad revenue in the region is lower.
The 3rd African Creators Summit featured the launch of a Business Day—what were the biggest takeaways, and how did Apollo contribute to its success?
We planned, funded, and executed the entire summit intentionally. I’ve been in this space from the beginning, before it was even called an “industry.” I’ve watched it grow from nothing into something profitable and viable. But longevity requires structure, policies, and strong partnerships.
That’s why we launched the African Creators Summit (ACS): to foster meaningful conversations between creators, platforms, policymakers, and partners. We bridge gaps so discussions are relatable to everyone, not just creators talking among themselves.
We prioritise experience: knowledge-sharing, networking, and genuine connections. The biggest takeaway from the Business day was how much work remains, not just in Nigeria but across Africa. We heard from platform executives, legal experts, and safety specialists about missing frameworks. For instance, the EU has robust digital safety policies, but the African Union lacks equivalent continent-wide guidelines.
Another point: Much of the creator economy conversation is platform-driven through workshops. But creators themselves must lead discussions—articulating our challenges, needs, and perspectives to platforms directly. That clarity emerged strongly.
How can creators ensure their voices are heard so platforms address region-specific issues like safety policies?
It starts with creators. We need to initiate and own the conversations first then elevate them to policy levels. Only then should creators and policymakers engage platforms together. Top-down policies risk missing real on-the-ground realities.
Looking ahead, what new projects or expansions is Apollo planning to empower creators, particularly in monetization and infrastructure?
We’re on a strong trajectory. Feedback from the third edition has been incredible—locally and internationally. We self-funded to bring participants from DRC, Ghana, Kenya, South Africa, and beyond, intentionally building pan-African representation.
For 2026, we’re planning at least four mini-editions (sub-summits) across other African countries. These will deepen local conversations, forge connections, and lay groundwork for larger impact.
You’ve collaborated with figures like Marie Lora-Mungai and David Adeleke—how do these partnerships bridge creators, platforms, and investors?
ACS is designed for multiple stakeholders: creators, finance, legal, policy, and more. Marie has been instrumental from the first edition—her expertise in financial investment and genuine passion for the sector help scale opportunities.
David and I had connected for years before finally meeting in Dubai at the One Billion Summit. As CEO of Communique, he brings rigorous data research and reporting—essential for quantifying the creator economy and informing strategy. We seek partners across industries to build sustainably.
What defines a strong relationship between creators and major platforms? There’s a rumor TikTok may pull back from Africa in terms of partnerships and creator payments—how true is that? And what evolving trends are you seeing in platform engagement with African creators?
Trends have evolved dramatically. Four years ago, creators simply posted content and optimised for earnings. I used to advise: Platforms are your first “customers”—engage them, even on unpaid opportunities, to prove capability.
Now, platforms actively collaborate: brand campaigns, travel for events, vlogging, hosting, and product launches. Engagement goes far beyond content uploads.
On TikTok rumors—no official announcement or confirmation has come from them. Until we hear directly, it’s speculation.
Africa’s creator economy is projected to grow from around $5 billion to $30 billion by 2032. What excites you most about the opportunities, and what structural changes are needed?
Digital revenue will grow with higher-quality content and increased local ad spend—conversations we must drive. Merchandising is another massive untapped area. Many creators have loyal fan bases, but we need better ways to convert that into offline revenue streams. That’s a key focus for us in 2026.
Merch hasn’t taken off here partly because creators often try to handle everything solo—design, production, fulfillment. In mature markets, professionals handle execution: fabric, tailoring, market research, design refinement. We need specialised partners to professionalize this space.
Piracy and IP issues persist—what practical solutions do you recommend?
Apollo: It’s complex. Even within the community, IP boundaries blur—someone creates an original idea, others recreate it without clear “ownership” like in music covers. Platforms like Meta and YouTube acknowledge Nigeria’s importance (top three globally for Facebook users, strong WhatsApp presence), but enforcement remains challenging. Education, clearer guidelines, and community-driven standards will help.
For aspiring creators or entrepreneurs in Africa’s creative sector, what advice do you have for building sustainable businesses?
Consistency is everything. The creator economy is profitable, but not overnight. It takes time to ideate, produce, post consistently, build an audience, monetize, and stabilize.
There’s a difference between being a content creator and building a brand. Posting videos makes you known as “someone who creates content,” but a strong brand gives people something specific to associate with you—opening doors to collaborations beyond platforms.
Focus on structure: show up reliably, refine your niche, and think long-term. Sustainable success comes from persistence and intentional branding.
