Director Pink: Redefining Nigeria’s Music Video Scene, One Frame at a Time

It might seem small, but for Praise Onyeagwalam — the filmmaker known professionally as Director Pink — a clear space means a clear mind.

“I make sure that I arrange my room. I like when everything is organized and everywhere looks good,” she tells OkayAfrica. “If your space is disorganized, it reflects in your mind and whatever you’re going to put out.

That attention to structure is part of what makes Pink one of Nigeria’s most distinctive music video directors right now. In an industry long dominated by men, she has carved a lane for herself with videos that are colorful, narrative-driven, and unafraid to experiment.

Pink didn’t start behind the camera. She began as an editor, moved into photography, and eventually found herself directing.

“Music videos have always been a way for me to tell different stories of whatever song I am listening to,” she says. “I could listen for hours and hours without getting tired. I’ve also always loved dissecting music to the point where I would pick up every nitty-gritty detail of songs I am listening to and construct them into a visual flow in my head.”

Her breakthrough came with Chike’s video for “Egwu” featuring Mohbad. She wasn’t earning much at the time, but the experience confirmed what she already felt.

“From the very first video I did for Chike, I knew something was coming with this video directing. At that point, I wasn’t really making money from it, but I was happy, and that’s how I knew I really loved doing it.”

Since then, she has worked with some of Afrobeats’ biggest names: Davido, Wizkid, Burna Boy. Between those projects, she’s helped set a new standard for music videos in Nigeria at a time when many have become more promotional than artistic.

“When I get a song, the very first thing I do is arrange my space. Then I divide the songs into the hook, the chorus, and everything else,” she explains.

She spends time understanding what the artist wants the song to achieve. “I talk to the artist to get insights into their headspace. I ask questions like: ‘What do you want from this song? What do you want it to achieve?’”

Her background in economics also shapes how she approaches projects. “Aside from the art, I am also asking the artist, how do you want to commercialize this?”

From there comes a mood board, location scouting, shot lists, and risk assessments. She draws inspiration from classic films and current videos. The whole process can take one to two months depending on the scale.

“I plan my shot list – I watch a lot of videos that give me references. I also watch classic films just to get inspired and be in the right headspace.”

Each collaboration taught her something different. On the video for “Abracadabra” with Rexxie and Wizkid, she found a collaborator who respected her creative authority.

“Wiz was amazing throughout. He respects you as a creative person. There’s nothing like ‘oh, you’re a girl or a small girl, and I cannot listen to you.’ I learned something from them.”

That respect matters in a field where women are still rare. Pink is one of the few female directors consistently working at the top level in Nigeria, and she’s aware of what that representation means.

Pink describes her directorial style as “beautiful storytelling and unconventional color palettes.” Lately she’s been pushing further, blending filmmaking with special effects.

“I recently did a video where we created a full prosthetic for an alien,” she says. “I hope people are in the world I have created for them and forget whatever for two to three minutes while they watch that video. So if I don’t capture your attention, if I don’t put you in that world, then I don’t think I have succeeded as a director.”

That commitment to immersion is why she also shares behind-the-scenes footage. “Music video directing has made me regard every single thing I put out as art. I like it when people appreciate the effort and thought process that go into every video.”

This year has marked growth beyond the set. Pink has moved into film directing and entrepreneurship with Gopink, her brand.

“It’s more than a period panty brand,” she explains. “It is bringing a different invention than the regular pads that people wear because people always forget that the first days are the heaviest, and it’s designed to give you confidence to always just be on the go.”

For her, the brand is personal. On set, dealing with period stains while managing a shoot is a challenge male directors never face. Creating a product that addresses it is part of building an industry that works for women too.

“It makes me understand that I am in a position where so many women look up to me. I must never slack off because it makes other women believe in themselves. I see myself as a culture shifter.”

She’s also thinking about the bigger picture of what Nigerian visuals communicate to the world.

“As a music video director, we’re forming culture and the way people see Africa. I honestly think that’s what is going to make or break the industry, because what people see is very important.”

Despite the milestones, Pink says she’s only getting started. “When I think about who I was before and who I am now, I realize I have not even begun to conquer a fraction of what I want to. It makes me hungry for more.”

Her favorite part of the job remains the simplest: “Making something out of a blank slate.”

From an editor’s chair to directing videos for Afrobeats royalty, Director Pink has turned that blank slate into a space for bold color, new stories, and a new example of what a Nigerian music video director can look like.