disbook
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November 2015
New frontiers of television in Africa
CHINA, DISCOP AFRICA’S GUEST COUNTRY THE RISE OF THE STAND-UP COMEDY SCENE “MEET YOUR STARS”: THE JOHANNESBURG’S UPFRONTS THE IMPORTANCE OF BEING DUBBED
DISBOOK #7 | 2015 — content
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They really said this!
Filming in South Africa
Meet Your Stars
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China: DISCOP Africa 2015’s Guest Country
Proust Questionnaire with Kagiso Lediga
The new comedy scene in South Africa
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Noted
Portraits of 5 Afro-entrepreneurs
Discopro 2014
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Trends & Business
DISCOP Africa Abidjan 2014: the photo album
Editor in chief Françoise Lazard francoiselazard@basiclead.com Art direction Caroline Fabès www.carolinefabes.com Contributing editors Sylvain Beletre (Paris) sbeletre@balancingact-africa.com Daniel Hoffman (New York) mail.danielhoffman@gmail.com
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Bob Jenkins (London) bobjenkins7@btinternet.com Melisande Labrande (Paris) meli.labrande@orange.fr Percy Mabandu (Johannesburg) mabandujp@gmail.com Peterson Tumwebaze (Kigali) peterpata24@gmail.com Roy Youpa (Johannesburg)
Copy Editing Fernanda Trupiano fernandatrupiano@gmail.com
Advertising Rachel Jucaud racheljucaud@basiclead.com
Production manager Marine Perrette marineperrette@basiclead.com
Publisher/Éditeur Basic Lead Suite 511 – 6399 Wilshire Boulevard Los Angeles – Ca 90048
Cover Photo: Mario Epanya marioepanyaphotography @gmail.com Mannequin: Iman Cosmetics
Printer Ultra Litho Printers (Pty) Ltd. (Johannesburg) info@ultralithoprinters.co.za
PRIME TIME AFRICA 2015 BIGGEST. YEAR. EVER.
Visit stand # J5 at DISCOP Africa www.nbcuniversal.com
Come S e at Sta e uS nd
F6–F 7
Global insights for local heroes
Give your audience the information they need – with DW. In a world that is dominated by headlines and false information, reliable news and information is invaluable. Our new English channel is based on in-depth analysis and quality journalism – and developed with local heroes in mind.
deutsche Welle | distribution africa | sevan.ibrahim-sauer@dw.com | t +49.228.429-2754
dw.com
foreword — DISBOOK #7 | 2015
f O re W O rd In a recent editorial about future of television, the The New York Times journalist Farhad Manjoo reported about new live TV’s emotional power. Today, a show follower wants to watch it when everyone else is watching it, and they are tweeting about it. Watching a show without following the tweets about it, is like watching it on mute. “Twitter has become a vital part of the show,” says Manjoo. What television is becoming with the increasing live communal content consumption, and the impact of social media on the business of television, is precisely what the launch of the new DISCOP Africa live event “Meet Your Stars” is all about (“Discop Africa New Show”, page 24). The three-day B2B TV and Film market, will now host bloggers, Twitter obsessives, journalists, and other “TV influencers” along with on-screen and off-screen talents of upcoming South Africa shows under the Meet Your Starts networking platform. Also in this issue: the return of stand-up comedy as a favorite genre of theatre (“The Comedy Scene is pretty damn exciting!”, page 46); five Afro-entrepreneurs explain how they are reshaping the media landscape (“Five Faces of the African Century”, page 65); the importance of dubbing in Africa (“How dubbing is changing the film industry on the African continent”, page 86); and, finally, the best pictures of the first edition of DISCOP Africa in Abidjan (Photo Album, page 120).
FR ANÇOISE LAZARD – ED ITOR IN C HIEF
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ONE OF THE DUBBING INDUSTRY LEADERS IN EUROPE-MIDDLE EAST-AFRICA ENTRUST US WITH YOUR CATALOG AND DISTRIBUTE YOUR PROGRAMS THROUGH Multi-language dubbing and voice-over Project management from transcription to delivery of ready-to-broadcast master Perfect lip-sync with adherence to European broadcast standards PRE-PRODUCTION Transcription Multi-language translation and adaption Subtitling PRODUCTION Casting Artistic direction and project management Dubbing : feature-length films, documentaries,animations, telenovelas, TV series (african,turkish, indian… ) POST - PRODUCTION Sound design and mixing 5.1 - 7.1 Video editing and calibration Video tapes mastering and duplication Sound restoration, mass archiving Audiovisual heritage preservation CONTACT PARIS OFFICE : TEL : + 33 1 80 90 58 92 EMAIL : sales@europadubbing.com www.europadubbing.com
SEE US AT DISCOP AFRICA! BOOTH G10
DISBOOK #7 | 2015 — they really said this!
“Africa’s transition to digital broadcasting has reinvigorated the African Cultural Renaissance.”
“we aim to reach 6 million TV SUBSCRIBERS IN AFRICA BY THE END OF 2015.” (a Startimes executive, August 2015)
“The successful VoD model in Africa will be the one taking into account people’s payment means, with a lot of free content and with advertising.”
(Source: www.balancingact-africa. com/news)
Yves Bollanga, CEO of the Afrotainment Family of Channels
they really
“Over the last two years I’ve witnessed the highest ever demand for broadcast services in Africa.”
“Compared to OTT and terrestrial, satellite remains the best broadcasting technology, offering a wide reach for premium content.”
“The transition to DTT is a historic opportunity for Africa and government support is vital. Failing this and letting foreign interests prevail at the expense of African content would be a tragic mistake.”
Christoph Limmer, VP, Eutelsat
Arnaud Brun, Direcotr of Business Development, Glogecast, September 2015
Bernard Azria, CEO, Côte Ouest
Denis Pagnac, CEO, Sumview, September 2015
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“Africa will soon be technologically in par with Western countries!”
they really said this! — DISBOOK #7 | 2015
said this! “2014 is TV5Monde Afrique’s best year since the inception of our specific African channel in 1992.” Yves Bigot, CEO, TV5Monde
“OTT players offer African content producers new distribution opportunities in Europe and the USA” Russell Southwood, CEO, Balancing Act, July 2015
“We will start migrating in the next 24 months… All the cultural diversity will be showcased” Faith Muthambi, Ministry of Communications of the Republic of South Africa, in SABC Digital News, August 2015
“Digital transition is dramatically transforming Africa’s media industry, triggering more home-grown channels and low-cost business models.” Christoph Limmer, VP, Eutelsat
“In many countries, full DTT deployment is not only a technical matter. It comes with the liberalization of the media market and many hurdles are still ahead.”
“Thirst for African content is not only felt in Africa, but beyond its borders. Africa is a wealth of talents still completely unknown and untapped.” Bernard Azria, CEO, Côte Ouest
Denis Pagnac, CEO, Sumview, September 2015
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DISBOOK #7 | 2015 — they really said this!
We reside in a country where we need to increase the spaces available to tell our own stories. We have been the hunted, the imprisoned, those whose achievements were invisible to those who wrote history. Now liberated from this painful past, we can tell our own stories but if we cannot create places in which these stories are told, then the stories may cease to exist. Thus the showing of each film is another step towards realising our freedom, extending our real liberated zones. Local content also extends beyond the story. It includes the development of local skills and infrastructure. It incorporates the storyteller and the story, the marketer and distributor. Championing local content nurtures cultural expressions and encourages local languages and idioms. It improves cultural understanding, dialogue and strengthens democracy. But, it needs local content distribution strategies and channels. Our community arts centres and other sites are being looked at as possible additional spaces for screening and production hubs. While efforts have been made to transform the industry to reflect SA’s demographics through supportive grants especially to black filmmakers, filmmakers need better distribution models. Box office performance is affected by the few screens allocated to local films compared with imported films. Government offers incentives to the industry through the Department of Arts and Culture (DAC), through the Department of Trade and Industry (DTI), the South African Revenue Services (SARS) as well as the National Film and Video Foundation (NFVF) and the Industrial Development Corporation (IDC). This includes soft funding (through grants, tax allowances and incentives) and equity and gap financing. We have seen the global might of Hollywood’s which surpasses our local film industry. Yet we have also witnessed the growth of Bollywood and the unstoppable advances of Nollywood. Where is our Sollywood? NATHI MTHETHWAS, MINISTRY OF ARTS AND CULTURE OF THE REPUBLIC OF SOUTH AFRICA (extract from a speech to the country’s industry players, on October, 7, 2015)
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After a successful location scout in late 2013, Marvel decided to set a spectacular action sequence of Marvel’s Avengers: Age of Ultron with the backdrop of Johannesburg’s skyline and central business district.
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South Africa’s film entertainment market is projected to grow by 6.4% this year, generating earnings of R2.76 billion ($221.1 million), according to a PricewaterhouseCoopers (PwC) study. Revenues are expected to reach R3.42 billion ($273.7 million) within three years, with the industry expanding by a compound average growth rate of 7.1% in the five years to 2018. A system of incentives put in place by the Department of Trade and Industry (DTI) is helping to support the South African film industry, providing assistance to both domestic and foreign productions. The incentives not only encourage filming on location in the country but also offer additional rebates for post-production work conducted therein. This is helping to create employment in the sector, which currently numbers around 25,000 according to DTI figures, and further develop the skills base of the local industry. Several high-profile movies have already taken advantage of the country’s offer. 19
DISBOOK #7 | 2015 — DIFFUSEURS ET DISTRIBUTEURS FAÇONNENT LE FUTUR
Iron Man – who is the alter ego of Tony Stark (Robert Downey Jr) – in Marvel’s Avengers: Age of Ultron’s first action scene shot in the business district of Johannesburg.
MARVEL’S AVENGERS: AGE OF ULTRON
In February 2014, the Marvel Production team descended upon Johannesburg’s central business district and its Soweto and Yeoville Hill neighborhoods. 300 South African crew, 11 casts, 647 extras and 26 Johannesburg-based trainees were used in the 10-day shoot. The production team worked hand-in-hand with various government bodies, whose assistance and support was critical due to the immense scope of the scenes being shot. The film has gone on to become the sixth-highest grossing film of all time at the international box office. The action scene pictured above is a spectacular one between Hulk and Iron Man. “It takes place when the characters do battle against the backdrop of a major metropolitan city,” says Christine Service, SVP and Country Manager of The Walt Disney Company Africa. “The action comes to the coast of Africa to find Ultron and Scarlet Witch who have gotten to Banner (Mark Ruffalo), giving him a nightmare experience so overwhelming that he becomes not just The Hulk but The Hulk “Hulking out”, and it’s up to Iron Man (Robert Downy Jnr) get him out of the city and away from populated areas so he can put him down long enough to get Bruce back.”
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CHAPPIE Released in 2015 and shot in 2013, “Chappie” from South African director Neill Blomkamp (who directed 2009’s hit “District 9”) was shot in Johannesburg. The story is about a droid who is reprogrammed to think and feel for itself. Blomkamp said the big advantage of shooting in Johannesburg was not just its “amazing locations” but also “the ability to actually get them.” For example, “Chappie” was able to close two major freeways for a shoot on the weekend before Christmas, peak shopping season.
Queen of Katwe African stars Lupita Nyong’o and David Oyelowo recently shot the feature film “Queen of Katwe” directed by Indian filmmaker Mira Nair, which is based on the real story of Phiona Mutesi from the slum of Katwe, Uganda, who is on a quest to become a chess grandmaster. Amid a closely guarded secret and tight security, newspapers reported that fashionable Nyong’o and impressively Oyelowo were shooting scenes using the dilapidated Holy Trinity School on Khoza Street in Atteridgeville’s famous ridged road outside Pretoria.
FILMING IN SOUTH AFRICA — DISBOOK #7 | 2015
BLACK SAILS
MAD MAX: FURY ROAD Released in 2015, Mad Max Fury Road was partly shot in Cape Town (at Cape Town Film Studio), while the bulk of the film being shot in the Namibian desert.
The 3 seasons of Starz’s Pirate drama Black Sails were filmed on location at Cape Town Film Studios, doubling the region for the Bahamas. Set in 1720, the series follows the adventures of Captain Flint (British actor Toby Stephens) an infamous and feared pirate who has a reputation throughout the West Indies as being the most brilliant and feared of all the Golden Age pirates. Cape Town Film Studios built a special hill transformed to form part of the Nassau Island of that is the base for the pirates. The infrastructure includes a deep sea tank, a beach tank, a beach and an island. The series features also a veritable who’s who of South African talent including Sean Cameron Michael (When We Were Black), Louise Barnes (Jozi-H), Fiona Ramsey (Homeland) and many more. It is the TV production with the biggest-ever spend in South Africa.
RESIDENT EVIL
HOMELAND SEASON 4 After three seasons shot in Charlotte, NC, Showtime drama “Homeland” left the US to film its fourth season in Cape Town. Cape Town doubled for Washington DC, Kabul and Islamabad. The Season 4 sees a fundamental shift in the series’ plot, with the protagonist, CIA Operations Officer Carrie Mathison (Claire Danes) moving back to the Middle East to take up the rather dangerous position of station chief and continue her frenzied fight against terrorism. Narrow streets and city buildings were transformed into Pakistani themed alleyways, the production taking advantage of Cape Town’s chameleon like abilities to film the gripping political thriller series.
The final chapter of zombie film series “Resident Evil”, aptly titled “Resident Evil: The Final Chapter” was shot in Cape Town, last August. Apart from spotting leading actress Milla Jovovich in and around the city, fans were happy that actor Wentworth Miller (of “Prison Break” fame) was also in the city to reprise his role as a character in the 2010 installment of the franchise, “Resident Evil: Afterlife.”
blended While it was once the focus of a celebrated boycott by Steven Van Zandt’s Artists United Against Apartheid in the 80’s, the stunning resort of Sun City in the northwest province of SA has thoroughly transformed its image and reputation. The venue provided a backdrop to the Adam Sandler-Drew Barrymore vehicle, released in 2014.
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Ripper street © Anup Shah /www.shahrogersphotography.com
Elephants © Anup Shah /www.shahrogersphotography.com
INTERNATIONAL PREMIERE WITHIN MINUTES OF U.S. BROADCAST NOVEMBER 15, 2015 ON
SALES CONTACT SAM BUTLER, T: +44 (0) 207 644 7116 sam.butler@zone.amcnetworks.com
M MEET YOUR U STARS: S: DISCOP SC A FRICA’ A FRICA’ s s NEW W S SHOW W This year’s DISCOP Africa proudly presents the launch of MEET YOUR STARS, a glamour filled event where South African broadcasters, on-line and satellite platforms, along with their on-screen and off-screen stars, unveil their upcoming shows in front of “industry influencer’s”. In the current multi-screen environment, bloggers, journalists, TV programmers, media buyers and advertisers are all vital in contributing towards the success of a show – MEET YOUR STARS is DISCOP Africa’s vehicle to help generate that buzz! It’s glitz, it’s glamour and a peek into what to expect on your screens in the near future! (For a complete schedule of the live presentations, please refer to website, or onsite information boards or DISCOP Africa’s Show Guide.)
meetyourstars.discopafrica.com
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1. Nomsa Buthelezi (Abo Mzala) 2. Mbasa Fefe (Hectic Nine) 3. Keneilwe Matidze (Gold Diggers) 4. Patrick Shai (Ashies To Ashes) 5. Chumani Pan (Ashes to Ashes) 6. Gabriel Temudzani (Muvhango) 7. Tsholo Matshaba (Mamello) 8. Dumisani Mbebe (Rhythm City) 9. (L-R) Nokuthula Ledwaba, Nomzamo Mbatha, Hamilton Dlamini, Gcina Mkhize (Umilio) 10. Zenande Mfenyana (Ashes to Ashes)
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11. Fikile Mthwalo (Gold Diggers) 12. The cast of High Rollers 13. Mandla Nqcongwane, Skhumba, Busisiwe Mtshali, Tumi Mareitele (Thandeka Diaries) 14. J’something (Soul Foodie) 15. Nambitha Mpumlwana (Ashes to Ashes) 16. Fezile Mpela (High Rollers) 17. Mandla Nqcongwane (Ses Top’la) 18. Presenter with contestants (Your 16 Perfect Shishebo)
19. Banthu Hour 20. Hulisani Ravele (Hulisani Ravele Show) 21. (L-R) Tumi Morake, Sibongile Mafu, Nik Rabinowitz (Point Of Order) 22. Jay Boogie (Thandeka Diaries) 23. Anga Makubalo, Zola Nombona (Z’bondiwe) 24. Pacou Mutombo (Jongo) 25. (L-R) Clementine Mosimane, Tina Jaxa (Gold Diggers) 26. Sindi Dlathu (Muvhango) 17
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DISBOOK #7 | 2015 — meet your stars
7DE LAAN (Drama)
AFTERNOON EXPRESS (Talk Show)
SABC2
SABC3
“7 de Laan is South Africa’s first soapie to show an integrated society”, according to Publicity Manager, Tsholofelo Modise, “and it still continues to not be polarized by colour.” 7de Laan takes place in Hillside, a fictional suburb in Johannesburg and although the residents cherish their communal lifestyle and the spirit of Ubuntu that prevails, they fully embrace the new South Africa and all the challenges it presents, supporting each other in difficult times and rejoicing in each other’s triumphs and successes. The soapie recently went through a face lift – literally and figuratively, with a revamped set, new hair, makeup and wardrobe. “The new season offers more drama and excitement that pushes the envelope and will rock our fans boats” adds Modise. With: Annelisa Wylandt, Piere van Pltezen, Annelize van der Ryst Creative Director: Rohan Horn sewendelaan.co.za, Facebook: 7deLaanAmptelik Twitter: @7deLaanSABC2
“Afternoon Express has top presenters, discussing topics and chatting to people of interest to the audience” says Patience Stevens, series producer, “giving content the unique spin of their own intelligence and personalities and doing so in a beautiful studio space that reflects South African art and creativity.” The show epitomizes the burgeoning aspiration and energy of South African women. Afternoon Express offers style, personality, daily interaction, active digital and social media discourse and creativity. The show is relaxed, sexy and controversial and features people that inspire and uplift. Broadcast from a studio apartment and presented by South Africa’s most loved personalities – Bonang Matheba, Jeannie D, Bonnie Mbuli and Danilo Acquisto. www. sabc3.co.za
ASHES TO ASHES (Telenovela) e.tv
ABO MZALA (Comedy) SABC 2
Being single and on the wrong side of 30 is a challenge for any woman in Mzansi. Well, at least you’re a powerful professional with the world at your feet, right? Wrong! Meet Thuli, Ella, Zodwa and Thandi, four single domestic workers, doing whatever they can to find Mr. Right. Annelie van Rooyen, Executive Manger says the series is “nostalgic, it’s authentic and a lot of women can relate and it will keep the ladies always hooked on getting that rich, higher standard type of guy”. The chemistry between the four lead characters and how the ladies always find themselves in difficult situations juggling love, bosses and friendship within South Africa and the occasional international fling” will keep audiences in stiches and glued to the set! With: Nomsa Buthelezi, Thembsie Matu, Salamina Mosese, Nqobile Siqamela www.blackbrain.co.za Facebook: Black Brain Instagram:@blackbrain_sa
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In Mzansi, funerals can mean big business from the competition with the casket, the fancy cars and the red carpet, to the catering, the cows and the couture. So far, death has been good to the Namane family who run the popular and prosperous Namane Funerals. But their luck is about to run out with the arrival of an estranged family member and a dark secret. We dig up the dirt on the family business in… ashes to ashes. The major theme is life vs. death. The twists and turns of this drama will leave you speechless! With: Mandla Gaduka, Nambitha Mpumlwana, Craig Urbani, Chumani Pan, Zenande Mfenyana www.etv.co.za/ashes-ashes Twitter: @AshestoAshesetv
Expresso is a unique “feel good show that offers good news to viewers and a unique platform for brands to advertise on”. The show brings laughter, entertainment and positivity into the SABC3 viewers’ homes and has become appointment viewing by delivering the kind of information viewers need in the morning to enhance their day. The energy of the team is like, well, a shot of Expresso! Main Presenters: Katlego Maboe, Leigh-Anne Williams, Ewan Strydom, Elana AfrikaBredenkamp, Graeme Richards, Zoe Brown www.sabc3.co.za Facebook: SABC3 Twitter: @SABC3 Instagram: @sabc3
GOLD DIGGERS (Telenovela) e.tv
Stripped from the headlines, “Gold Diggers” is the story about an aging miner, Patrick Gumede, who enters the dark and dangerous world of illegal mining (the Zama Zama) in order to provide for his family, as his fatal illness grows. The telenovela is a gritty story, which brings key issues affecting South African working class to the fore. Seasoned actor Mbongeni Ngema portrays Patrick who gets increasingly drawn into the dark world and is forced to cross moral lines that make him question who he is. Gold Diggers is brought to life by a very powerful cast made up of industry veterans and young, upcoming actors who have great zest for telling local stories! With: Tina Jaxa and Clementine Mosimane Johnny Barbazano: Director Facebook: etvGoldDiggers Twitter: @etvGoldDiggers
HECTIC NINE-9 (Comedy) SABC 2
EXPRESSO (Morning Variety Show) SABC3
Expresso is a daily morning lifestyle show celebrating South African heritage and achievements and inspiring the Afrikaans community to live their best life. Paul Van Deventer, producer, says
Hectic Nine-9 is the revolutionary, LIVE daily magazine show for teens on SABC 2. HN9 as it’s known by its huge audience, is where the worlds of TV and teens collide, where their opinions matter. Combining high energy, highly entertaining, live studio action with pre-recorded inserts from around the country,
we cover anything and everything that has an impact in our audience’s lives. From Beyonce’s latest dance moves to bullying at school, passionate and unpredictable, ready to change direction at a moment’s notice as demanded by viewers. With: Laurian Nortjie, Samora Mangesi, Anomsa Smamnkele, Ayanda Makuzeni, Director: Wilna van Skalkwyk www.hn9.co.za, Facebook: HECTICNINE9 Twitter: @hecticnine9
HIGH ROLLERS (Telenovela) SABC3
The glamorous and backstabbing world of gambling. The series is an inter-generational family drama centering round three “brothers” – the Machiavellian casino kingpin David, his flawed and volatile older brother Paul and David’s trusted right-hand man Thato “TT” Mogale – who are divided by their love for money, family and God. From the boardroom to the bedroom, each man plays the hand dealt to him as they navigate a precarious tightrope between loyalty and betrayal. Selai Ralarala, Casting Coordinator and Operating Manager says what makes High Rollers unique is that “it is a multidimensional drama for all generations. It’s constantly moving and there’s lots of dangerous things coming up in the future that you can’t afford to miss!” With: Justin Strydom, Carmel Fisher, Fezile Mpela Screen Writer/Director: Luke & Josh Rous www.highrollers.roushouse.co.za
HULISANE RAVELE SHOW (Talk Show) A daily talk show with seasoned TV host Hulisani Ravele. This 48 minute show addresses everyday issues which affect young South Africans. The topics discussed range from light and entertaining to bold and life-changing. Each episode features guests who are thought leaders, newsmakers, game changers and life shifters in their own right – both ordinary South Africans and celebrated personalities. HRS seeks to instill
meet your stars — DISBOOK #7 | 2015
balance and positive living in the viewer – you won’t be disappointed! Format creators: Dale Herbst & Hulisani Ravele Facebook: hulisani.ravele Twitter: @hulisaniravele Instagram: hulisaniravele
ISIDINGO (Soapie) SABC3
Isidingo (The Need), is a South African soap opera set on the outskirts of Gauteng in the fictional mining town Horizon Deep. This multi-award winning soap opera follows the lives of everyday South Africans in the new millennium – their loves, fears, problems, heartaches and triumphs. “The series tells real South African stories” says Pumla Hopa, Show Runner/Producer, “and we push the envelope and force people to think and reflect on their lives and how they can better themselves”. In the future, expect a can of worms to be opened up as the Pastors tenure on the show is ending…. so tune in. With: Robert Whitehead, Kgomotso Christopher, Lindani Nkosi Rohan Dickson, Writer www.sabc3.co.za Facebook: SABC3 Twitter: @SABC3 Instagram: @sabc3
JONGO (Superhero – comedy/ drama) e.tv
Meet “Africa’s first mainstream superhero character!” Gareth Crocker, head-writer and cocreator says fans of the superhero genre are in for a unique treat with this comedy-drama series where special effects are used to punctuate the characters rather than the other way around. Set in modern-day South Africa and Zambia, Jongo tells the story of a young man – Eli King – who acquires an array of supernatural abilities after exposure to a mysterious crystal (left to him by his later father) found in a cave at the Cradle of Humankind. Jongos’ lead character is one of the world’s top hop-hop dancers and Jongo represents his break out role!
With: Pacou Mutombo, Katlego Baaitse, Pauline Zwane, Christl Weinbeck, Bartho van Tonder, Chris van Rensburg, Cinematographer and visual effects editor: Nick Keulemans Co-director and writer: Gareth Crocker: www.motionstory.co.za
KOIFFURE KITOKO (Talent Show) A+
Host Maria-Noella Madinga introduces you to a reality TV series with a twist and some knots that might blow you away as well! For 8 weeks, 6 professional hairstylists will compete against each other to see who really has the magic touch. During each episode, contestants receive a challenge from a jury of experts that stretches both their technical and artistic abilities like never before. Who will be the last stylist standing tall with blow-dryer and flat iron intact? – peek into the salon and see. Hosted by: Miss Maria-Noella Madinga
MAMELLO (Drama) SABC2
Escaping an abusive marriage, idealistic principal and teacher Keneilwe Mogotsi has returned to Sebokeng, the industrial township she ran from as a young woman. Her mission is to rescue Mamello High, a disadvantaged school on the verge of being closed down. Can she rebuild the school as she rebuilds her life? With: Tsholo Matshaba, Jude Tshisevhe Facebook: MamelloSABC2, Twitter: @MamelloSABC2
MUVHANGO (Drama) SABC 2
A popular family drama, Muvhango is a story about two branches of the same family fighting over heritage, power, money and everything else. The story begins when Mashudu Mukwevho, a Chief from rural Venda, dies in Johannesburg in the arms of his wife, Catherine. But it’s
soon revealed that Mashudu has a traditional wife in Venda as well, and the drama unfolds from there. “Muvhango has a unique offering due to the success of how we’ve merged the cultural and modern lifestyles, comments Associate Producer, Morishe Kgosietsile. Muvhango emerged with a Venda story setting a wide spread interest in this culture which few people knew about.” The soapie symbolizes the conflict between modern and traditional values. The battle for power between the two families culminates into outright war. Kgosietsile adds“with the new season looming ahead, audiences should expect MORE drama, MORE conflict… MORE ‘Muvhanho’!” With: Cindy Dlathu, Gariel Temudzani, Lesley Musina Facebook: Muvhango
POINT OF ORDER (Comedy) Star One (Star-sat)
Point of Order brings together some of South Africa’s top comedians, in a mock parliament styled panel as they go head to head in how well they know, or more accurately, think they know South Africa and its colorfully quirky citizens. “With Parliament in SA often being a bit of a comedy show, the idea of mock politicians seemed like a great concept to base a show on” according to Karen Jeynes, head writer and producer. “We get to see comedians in a whole new light and are excited about the potential to roll this format out to other African countries, and the rest of the world – so we can all have a good laugh together” as the characters try and achieve the same goal – to get Madame Speaker to recognize their Point of Order! With: Tumi Morake, Nik Rabinowitz, Sbosh Mafu, Trevor Gumbi, Louw Venter, Mark Banks, Deep Fried Man, Sne Dladla, MumZ, Nina Hastie, Angel Campey, KG… and guests appearances from Tim Noakes, Zapiro, Rebecca Davis and more. Karen Jeynes (Writer), Multi-Cam Director: Alex Fynn Twitter: #PointOfOrderTV.
RHYTHM CITY (Soapie) e.tv
This multi-award winning daily drama is about the fast paced world of the South African music industry. This often controversial, “true to life” show is set in Soweto, takes a fast and hard look at the highs and lows of this often bruising industry. Sanity often seems like a distant illusion as artists compete for money, sex, self-esteem and status. Produced by Quizzical Pictures, one of the show’s unique brand positioning is its ability to infuse real-life celebrities and musicians on the show, incorporating them in the storyline so you never know who will show up today. With: Jamie Bartlett, Mduduzi Mabaso, Tebogo Khalo Head Director: Eric Mogale Writer: Neil McCarthy www.etv.co.za/rhythm-city Facebook: eRhythmCity Twitter: eRhythmCity
SCANDAL! (Soap Opera) e.tv
Award-winning drama at is best – Scandal has it all: provocative plots; conflict, confrontation and crisis; intrigue; family feuds; true love; shock surprises and shameful secrets; handsome men and beautiful women; villains, heroes & heroines; crime; coups & hidden agendas. Known to leave no controversial issue alone: alcoholism, drug addiction, & depression – and the recovery processes; HIV & ARVs, sexual abuse, sweatshops, political activism behind the scenes of investigative journalism. Scandal! covers it all. Scandal! always reflects the realities of life in South Africa and boasts some of the hottest stars in the industry today. With: Andile Sithole, Patrick Mofokeng, Marjorie Langa www.etv.co.za/scandal Facebook: etvScandal Twitter: @etvScandal
SES’TOPLA (Comedy) SABC1
Living in an up market apartment in Sandton, beyond their means, our couple meets a whole new
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DISBOOK #7 | 2015 — meet your stars
set of crazy characters that become a part of their lives. “The characters resonate with most viewers as we have the gold digging loxion and the wannabe, the responsible character and the irresponsible tied together by love and marriage” comments Creative Director Mandla Nqcongwane. The security guard whose always trying to rope Themba into investing in a get-rich-quick idea, their new Nigerian maid, who Phumi tries to undermine, but is a lot smarter than she looks, the young and rich neighbor that has an attraction to Phumi and competes with Themba and is constantly trying to show him up, and then there’s Phumi’s new fabulous sidekick, Thoko. Tune in an enjoy! With: Mandla N, Busi Lurayi, Trevor Gumbi, Leroy Gopal
SHOWVILLE (Talent Show) SABC 2
Going into South African towns and finding – and developing – wonderful, quirky, interesting talent is the basis of “Showville” – an exciting new TV talent contest. This feel good show does not mock talent but celebrates it! During an open audition process, we identify 4 unique acts whom our professional coaches will subsequently mentor. We follow the finalists as they polish their acts for the grand finale – a phenomenal stage show where the whole town comes to vote. The winner in each town walks away with R10 000! During the show, we examine the lives of our finalists learning about their small town stories and dreams giving us a glimpse of the country in a most unique way. With: Rob van Vureen and Bontle Modiselle Director: Wilna www.showville.co.za Facebook: ShowvilleSA
happiness too. Our hot new star has adopted a contagious passion for healthy living and enjoying good food while being conscious of portion control and how food is prepared. Join the journey as we travel to different locations and share his philosophy and opinions on food and life. His mom will be along for the ride too!! Series Director & Screen Writer: Nokuthula Mashaba Head of Culinary Research, testing: Cordelia Godi Facebook: jsomethingmusic Twitter: @jsomethingmusic Instagram: @jsomethingmusic
THANDEKAS DIARY (Comedy) SABC1
Thandeka Zulu (played by Busisiwe Mtshali) is an outcast at the height of puberty with an extra-ordinary mind that seems to often land her in sticky and hilarious situations. She attends school in Johannesburg CBD, the closest thing to a multiracial school that her parents can afford. The series is a “trend-setting comedy for South Africa as it takes the writing styles from tv shows like ‘Everybody Hates Chris’ and developed for a South African audience to bring families together. This writing style is a first in SA which makes it unique” says Annelie van Rooyen, Executive Manager. “The dream sequences, and being able to use different shooting formats than a standard sitcom in order to show viewers something that they have never seen on sitcoms before.” With: Busisiwe Mtshali (Thandeka), Bhek (Skhumba), Tumi Marietele (Sli), Katlego Dinga (Ayanda) Mandla Nqcongwane (Director), Nicci Fourie (Producer) www.blackbrain.co.za
THE BANTU HOUR (Variety Show with Comedy Sketches)
SOUL FOODIE (Cooking Show) Soul Foodie is about feeding your mind, body and soul. It’s a balance that superstar J’Something has found to be the secret, not only to nutritional success, but of
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SABC2
Co-hosted by musical legend Hugh Masekela and comedy icon Kagiso Lediga, Bantu Hour features some of the most celebrated, talented and progressive comedians and
actors in South Africa. Each episode delivers a dose of unadulterated social satire featuring archetypal South African characters in various comic situations. “The Bantu Hour” is a live multimedia extravaganza, which combines a unique mix of hilarious satirical comedy sketches, live musical performances and stand-up comedy. With: Kagiso Lediga, Karabo Lediga, Christopher Steenkamp, Muzi Dlamini, Talitha Ndima, Dusty Rich, Mojak Lehoko, Loyiso Madinga, Chris Forrest, Siyabonga Stig Sesanti, Nina Hastie, Late Liquorish, Precious Makgaretsa, Lazola Gola, Jerry Mntonga, Jason Goliath. Featuring performances by guests such as: Koketso Mophuthing, Israel Makoe, Thuli Thabethe, Pearl Thusi, Loyiso Gola, Tony Miyambo, Trevor Gumbi, Celeste Ntuli, Paballo Moganedi Directed by: John Barker, Kagiso Lediga, and Karabo Lediga. Twitter: @bmpeople
UMLILO (Drama) e.tv
“Umlilo” is a drama series that follows the lives of a moderately affluent but polygamous family deeply rooted in cultural practices. Mnqobi (played by Hamilton Dhlamini) is married to Cebisile (played by Gcina Mkhize), who is his childhood sweetheart from their rural village in KwaZulu Natal. He is also married to Dumile (played by Nokuthula Ledwaba), who is a city girl born and raised in Soweto. Things change in the home when a potential new wife, Khwezi (played by Nomzamo Mbatha), is brought into the fold. Someone is out to settle a score and it’s up to the family to decide to stick together or crack under pressure. Watch the drama unfold… With: Nokuthula Ledwaba, Hamilton Dlamini, Nomzamo Mbatha Director: Danny Miller Screen Writer: Gillian Brenslin Twitter: #Umlilo etv.co.za/umlilo Facebook: Umlilo-etv
YOUR PERFECT SISHEBO (Cooking Competition) SABC1
Undoubtedly one of South Africa’s most popular cooking reality TV shows. Your Perfect Sishebo has a stunning mix of riveting and engaging content and mouthwatering good fun with a heavy sprinkle of drama! The Sishebo studio, plays host to the contestants for all eliminations and, of course, the unforgettable cooking tasks. This engaging format includes elements of no elimination and double elimination that creates a dramatic tone and unpredictable pace. Watch and see if you can predict who will make it to the final and get the grand prize! With: Pops Creative Director & Screen Writer: Nokuthula Mashaba Facebook: Sishebo
Z’BONDIWE (Action drama) e.tv
Z’bondiwe is a gritty love story which covers the seedy underworld of gangsterism. Roberta Durrant, Creative Producer/Director says “viewers have had a great response because the story has such a strong story premise of a hero who has to rescue his fiancé from a gangster and to do this he has to pretend to be a gangster himself and go undercover even though he is a lawyer by profession.” In addition, “two of our actors, Israel Makoe and Bongani Maseko have experience in their own pasts of the gang environment and they were able to bring to the series an authenticity. Going forward expect big twists to the story which we cannot reveal up front except to say that there is a new female lead character that is introduced.” With: Mbulelo Grootboom, Anga Makubalo, Zola Nombona, Israel Makoe, Bongani Maseko Twitter: @etvZbondiwe
Liu Tao (left) and Hu Ge are the lead actors of “Nirvana in Fire”, a beautiful epic period drama distributed by CCTV, one of the companies that are part of the Chinese delegation at DISCOP Africa 2015.
China: discop africa’s
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AFRICA’S 2015 GUEST COUNTRY — DISBOOK #7 | 2015
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DISBOOK #7 | 2015 — AFRICA’S 2015 GUEST COUNTRY
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AFRICA’S 2015 GUEST COUNTRY — DISBOOK #7 | 2015
“
At the opening of DISCOP Africa 2015, I feel extremely honored to extend our warm welcome to distinguished guests and friends, from both our motherland and around the world, on behalf of the country of honor, China.
This year’s DISCOP Africa is held during “The Year of China in South Africa”. Chinese President Xi Jinping is planning to attend the Summit of the Forum on China-Africa Cooperation (FOCAC), to be held in Johannesburg in December, paying a special visit to South Africa. This represents a great opportunity to open up new prospects for China-Africa relations. Being DISCOP Africa 2015’s Guest Country is also of special significance in deepening further the media cooperation and cultural exchanges between China and Africa. With the theme “Media Partnership for China-Africa Friendship & Win-win Cooperation”, we will work closely with the Organizing Committee of DISCOP Africa, to co-host such events as the China Pavilion, Chinese Program Screening, and the Opening Party of DISCOP Africa. All these events represent great opportunities for us to share information and experience, all while striving for win-win cooperation and development with the African media. The State Administration of Press, Publication, Radio, Film and Television of the People’s Republic of China will continue to support media cooperation between China and Africa, making new contributions to promote mutual understanding, trust and friendship between Chinese and African people! We wish DISCOP Africa 2015 great success!
”
Mrs. MA Li, Director General, International Cooperation Department, the State Administration of Press, Publication, Radio, Film and Television of the people’s Republic of China (SAPPRFT)
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DISBOOK #7 | 2015 — AFRICA’S 2015 GUEST COUNTRY
An interview with Mrs. Lin Zhang Vice President of CCTV Program Exchange Center
D: In how many countries are you active internationally? Lin Zhang.: Our international distribution networks have been widespread in Asia, Europe, America, Oceania, Africa and other parts of the world, covering over 120 countries and regions. Our main markets include Southeast Asia, Japan and Korea. Africa is also one of the key markets in our distribution network. D: How important is the African continent for you? L. Z.: The African market has always been an important market in our
Actress Liu Tao in “Nirvana in Fire”. The story takes place during the 4th century in the feudal Northern Wei and Southern Liang dynasties.
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distribution network and efforts have been made in order to provide it with more Chinese. Considering Africa is a continent where many languages co-exist, we have prepared many multi-language programs to captivate the market, including programs that combine African and Chinese culture. 2015 is the fifth year our company attends DISCOP Africa and we look forward to launching diverse cooperating projects with local mainstream media in Africa. D: Which regions or countries are the most important for you on the African continent?
L. Z.: Sub-Saharan Africa is currently our most important market, and South Africa is the country we have mostly cooperated with. D: Are you beefing up your promotional efforts on the Africa continent? What type of achievements are you looking for? L. Z.: Yes, 2015 is China year in South Africa. We consider this a great chance to promote Chinese TV programs. We look forward to developing various types of cooperation with Africa, such as co-productions and channel co-development.
AFRICA’S 2015 GUEST COUNTRY — DISBOOK #7 | 2015
“The Great Wall” is an epic documentary with visual effects and reenactments.
D: How do you promote the Chinese film and TV products on a global scale? L. Z.: Attending big television program markets like DISCOP and MIPCOM is one of our important marketing tools to promote Chinese TV programs, because they provide us the opportunity to meet in person with African mainstream media and broadcasters. This BtoB “broadcaster to broadcaster” approach is a chance and a precious opportunity for us. However, the buyers list provided by the DISCOP organization is also a key tool for distributors like us. D: How many hours of programs do you have in your international catalogs? L. Z.: We provide more than 10,000 hours of classic TV dramas, documentaries, cartoons, entertainment and specials to overseas broadcasters and media agencies each year. D: What type or programs are the most successful? L. Z.: Our most successful programs include action TV series and films, documentaries and cartoons, each category for specific reasons. Because Kung Fu and action films and TV series are fast paced, they attract African viewers. The documentaries are a window through which African people get to know China. Cartoons are welcomed because culture and nationality differences are relatively vague in these kinds of programs. When we meet with clients, we offer them detailed program catalogues and brochures. We also provide them with trailers and related materials.
D: What are the key products that you’d recommend to African broadcasters during this edition of DISCOP Africa? L. Z.: We would like to recommend our new documentaries “The Roof of the World”, “The Great Wall – Stories of China”, “The River from Himalayas”, “The Spring Festival Gala”. We will promote the variety show “Star Parners”, and the dramas “For the Holy Gui Gui”, “The Four”, “Chinese Hero Zhao Zilong”, and classic cartoon series such as “Panda and Little Mole”.
D: Do you think that China has special binds with African countries? L. Z: China does have special connections with African countries in diverse aspects, such as business cooperation, science and technology exchanges and cultural communications. This year is China year in South Africa. As the biggest Chinese television program distributor, we are looking forward to building more cooperative relationships with local mainstream media in South Africa.
“The Four” is a martial arts costume drama about four men who each excel in different martial arts practices and use their expertise to bring down corruption and establish justice.
D: What type of international cooperative projects are you pushing forward with African countries? L. Z.: Considering the African continent has such unique natural resources and culture and sights, we would love to coproduce some documentaries based on both Chinese and African nature and culture. Additionally, we hope that Chinese programs can be broadcasted in Africa and welcomed by African viewers. So we are looking for local media cooperation, or television channels with a special timeslot to broadcast Chinese content on a local level. D: What is your position regarding program imports, co-productions and cooperation programs with African broadcasters? L. Z.: We consider ourselves as the bridge between Chinese TV programs and African programs. We not only export the best Chinese TV programs to Africa, but we also acquire great African TV programs to China.
“Roof of the World” shows the lives of ordinary people and nature on the mysterious Tibetan Plateau.
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DISBOOK #7 | 2015 — AFRICA’S 2015 GUEST COUNTRY
An interview with Mr. Bu Yu President of Jiangsu Broadcasting Corporation
Established in June 2001 out of merger and acquisition, Jiangsu Broadcasting Corporation (JSBC) has been growing by leaps and bounds through tireless efforts to become the most powerful and influential market player of China’s media and cultural industry. Its branch company Jiangsu Broadcasting Corporation International Company Limited (JSBCI) focus on international media business. Their business is spreading over 50 countries and regions in Asia, Europe, North America, Africa, Oceania, the Middle East and so on, and range from international distribution, channel operation, content investment and production, to overseas tourism and education services.
for several years now, paving the way to our international expansion. Today the African media market is undergoing a rapid development, especially with the digital switchover. As our parent company JSBC is very experienced in the digitalization process, we do hope to take an active part in Africa’s media development and share our experiences and resources with our African partners. We are open to cooperative opportunities that might come from around the African continent, like program exchanges, program coproductions, digitalization, professional training, or financial investments. So yes, the African continent is indeed strategic for the future of JSBCI and its parent company JSBC.
Disbook: How important is the African continent for your company? Mr. Bu Yu: The African market is strategic for JSBCI, and this is why we have been cooperating with African media groups
D: Are you currently beefing up your promotional efforts on the Africa continent? What type of achievements are you looking for? Mr. Bu Yu: Of course, as the African market is developing rapidly and has a great future, we have been beefing up our promotional efforts. Our company has been the organizer of the China Pavilion at DISCOP Africa since 2012, and as one of the biggest Chinese TV content providers, we have distributed our dramas, documentaries, cartoons, formats, and entertainment shows in African countries. It is our hope that high quality Chinese content enter and prevail on the African market, and that we deepen our friendship. Moreover, JSBCI also hopes to be a long-term partner for African “We are in Love” is a popular reality TV show.
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media companies, and to share his professional, commercial, technical and managerial experiences and resources with them. D.: How important are BtoB events like DISCOP Africa? Mr. Bu Yu: DISCOP Africa is a very important event and a great platform, allowing us to be in contact with international media players, and African media companies in particular. D: How many hours of programs do you have in your catalog? Mr. Bu Yu: Each year, JSBC provides more than 1,000 hours of new selfproduced HD programs, aside from hundreds of hours of co-productions with China’s leading production companies. Moreover, JSBCI is acquiring quality Chinese content for international distribution. Altogether, we have thousands of hours of dramas, documentaries, entertainment shows, animation series as well as TV formats, and we can answer to almost any type of requests. D.: What type or programs are the most successful in Africa? Mr. Bu Yu: Not only China and African countries are in a long-term friendship, but they also share many similar points of views about life or family relations. Therefore, all of our programs are well received by African audiences. D.: What new programs are you going to promote during DISCOP Africa? Mr. Bu Yu: We are going to promote the dramas “Twin Flowers” and “New Age
AFRICA’S 2015 GUEST COUNTRY — DISBOOK #7 | 2015
of Love”; the format “Super Combat Teams”; the documentaries “Unrevealed China”, and “The Grand Canals”; and the entertainment show “Perfect Match”. D: What type of partnership opportunities are you pushing forward with African countries? Mr. Bu Yu: JSBCI and its parent company JSBC are currently discussing with African media groups about cooperation programs in different fields like digital switchover, professional training, and co-productions. For instance, we are looking for a co-production partnership for the African version of our dating format “Perfect Match”. Ever since 2012, there have been many exchange visits between senior executives of JSBC and senior media representatives from Namibia, Cameroon, South-Africa, Côte d’Ivoire, Nigeria, Zimbabwe and Kenya. We have established cooperation treaties with Namibian and Cameroon Broadcasting Corporations, respectively in 2012 and 2013, providing them with consulting services on analog-to-digital
conversion, as well as a catalog of Chinese content (10 dramas, 52 films, 5 cartoons, and 4 documentaries,) all dubbed and ready for broadcast. JSBC has also signed a cooperation agreement with Namibian Broadcasting Corporation, regarding the production of the African version of “Perfect Match” for Southern Africa. When African content can be well received by Chinese audience, we may acquire it for Chinese channels and new media platforms. D: Do you think that China has special binds with African countries? Mr. Bu Yu: There have always been long-term friendship and mutually beneficiary partnerships between China and African countries. During the past half century, China has been helping in the building of infrastructure, in putting together educational and medical programs, as well as developing other projects related to the economic and social development of African countries. In the mean time, African countries remain very friendly to Chinese people, Chinese companies
“Unrevealed China” is a documentary film about Chinese culture and history.
and Chinese organizations. Step by step, we have understood that culture too can bind people and nations together, while keeping their hearts closer. As a China-based culture and media company with a global vision, JSBCI is happy not only to build bridges with people and cultures from Africa, but also to deepen our friendships.
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“Super Combat Teams” is an original format already sold in many countries around the world.
Kagiso Lediga answers the Proust questionnaire For over a decade – this multi talented comedian has entertained audiences in the live space, on the small screen, on the big screen and also now from behind the screen producing some of the most groundbreaking comedy content South Africa has ever seen. Here one of the country’s pioneering and most recognizable black comedians reflects on sneakers, his hair, and the President of the Galaxy.
What is the trait you most What is your greatest
deplore in others?
Procrastination!!
fear?
Fear itself
What is the trait you most What do you most value in
deplore in yourself?
Procrastination…
your friends?
Honesty
What is your greatest extravagance?
I have a great weakness for suits and sneakers!
Which talent would you most like to have?
The ability to say no! When and where were you happiest?
What is your favorite occupation?
What is your most marked characteristic?
What I’m doing right now – comedian, director, producer in Johannesburg, South Africa!
My hair
What is your greatest Which words or phrases On what occasion do you lie?
What is your current state
With my family, on a beach, in East Africa!
When I have to explain why I cleared the ‘ Recent History’ folder on my computer!
do you most overuse?
You know what I mean!
Focused on making hilarious African content. What is your motto?
No regrets – everything that has happened to me, has happened as it should – good or bad!
Who is your favorite hero of fiction?
Zaphod Beetlebrox – President of the Galaxy in the Hitchhikers Guide to the Galaxy!
of mind?
regret?
Which historical figure do you most identify with?
I don’t identify with any historical figures, the future is where it’s at!
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DISBOOK #7 | 2015 — Comedy scene in South Africa
THE COMEDY SCENE IS PRETTY DAMN EXCITING! Inside the tradition and humor of the rising comedy industry in South Africa
The world has increasingly tipped towards a trajectory where a child who tells their parents that they want to be a lawyer, in the future, are told to first learn to be a comic so they can have what to fall to when things go awry. Well, the hyperbole aside, the return of stand-up comedy as a favorite genre of theatre act has been a boon to the comedy world.
By Peterson Tumwebaze
Helped by the emergence of the Internet, comedy has experienced a rebirth that has seen not only proliferation of skits, but also mushrooming of several talents, as many people are finding it easier to share their jokes and other skits on social media, gauging public reaction as they seek ways to make a breakthrough in the genre. By the early 2000s, countless websites had become devoted to showcasing comedy; video and clip-sharing sites like YouTube allowed audiences new access to stand-up, sketch and improvisational comedy. Networking sites such as MySpace, Twitter and Facebook allowed thousands of comedians a new venue for exposure
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and promotion, and new communities of comedy fans began to develop. And, today, the demand for comedy has shot through the roof. To this, South African budding and famed comedians can only whistle in appreciation, stepping on the higher rungs of the ladder with each ticking minute. This explains why Takunda Bimha has a tinge of pride when he reels off names of accomplished comedian, whom he has managed over the last ten years through Podium Comedy Merchants Company. Among the top names Comedy Merchants has handled include South Africa’s most celebrated comedians in the likes of Kagiso Lediga, Loyiso Gola, Trevor Noah, David Kibuuka, Eugene Khoza, Stuart Taylor, Conrad Koch, just to name a few.
Poster for the recent performance of comedy pioneer David Kau at the Parker’s.
South African Trevor Noah joined Comedy Central in December to host and executive produce “The Daily Show with Trevor Noah”, in replacement of the “The Daily Show with Jon Stewart”.
Comedy scene in South Africa — DISBOOK #7 | 2015
“Our content combines Comedy Central’s own productions from Africa, UK and US plus acquisitions from the US and Africa. Side by side on our schedule you might find Comedy Central Presents Chester Missing Live at Parker’s (a local production), episodes of The Big Bang Theory and Modern Family (acquisition), an episode of The Daily Show with Trevor Noah (Comedy Central US production), and Brotherhood (comedy drama produced by Comedy Central in the UK).
Since Trevor Noah joined Comedy Central’s The Daily Show with Jon Stewart in December, the spotlight was shone on South Africa’s local stand up comedy scene. Trevor Noah has since taken over as host and executive producer, and the show renamed ‘ The Daily Show with Trevor Noah’, premiering on African TV this past September 19. Evert Van Der Veer, who heads Comedy Central in Africa,
Africa’s only 24 hour comedy channel and part of Viacom International Media Networks (VIMN) Africa, said they produce and broadcast comedy content 24 hours day for audiences in subSaharan Africa. Discussing their operations, Van Der Veer said their output includes a blend of locally and internationally produced satire, comedy dramas, sketch shows, sitcoms, comedy specials and more.
Van Der Veer said: “South Africa has a strong comedy heritage – and humor has always been part of everyday life, but then comedy is part of every society, every country, every culture. It is essential to life. Comedy puts things in perspective, and helps us getting through the day, or even life itself.” The Comedy Central channel director said the stand-up comedy industry has grown impressively, reflecting more comedians, more comedy initiatives, more comedy productions, resulting in more comedy on TV. “There is a huge energy and excitement in the industry; we see it in the talent search, we see it in the quality of the comedians. Our own launch in 2011 has played a part in this: our ethos prioritized supporting local comedians in everything we do. Comedy Central
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DISBOOK #7 | 2015 — Comedy scene in South Africa
is now the largest producer of stand-up comedy for television on the continent, producing close to 40 hours of local stand-up, featuring more than 100 comedians,” Van Der Veer said. “South African comedians are increasingly finding recognition abroad,” he added, citing Trevor Noah’s takeover of The Daily Show this past September. “We always see a great reception for African comedians when we take them to the Just For Laughs international festival in Montreal – and we’ve taken a wide range of comedians including John Vlismas, Riaad Moosa, Jason Goliath, Loyiso Gola, Basketmouth (Nigeria), Conrad Koch and Chester Missing (a puppet).” For Bimha, the growth of comedy as an entertainment genre has opened more horizons for him to try his trade. After ten years in the game, the man who manages comedians is entering into a global partnership with GF Holdings, the producers of the Montreux Comedy Festival, the biggest of its kind in mainland Europe. “Together we have created a new entity called Bimha Productions and the primary mandate of the company will be to create and build world class comedy properties on the African continent and beyond,” he said. Bimha, who describes the tradition of South African comedy as “diverse, colourful, unique and eclectic because
it comes from a truly multicultural and multilingual society,” said the first product to come out of this collaboration will be the Johannesburg International Comedy Festival, which we will be hosting in the precincts of Braamfontein and Newtown from November 5-8. “We are excited about this venture, as well as all the other plans we are lining up,” Bimha said. As stand-up comedy finally found its niche in the 2000s, it regained much of the cool cache it garnered in the 1970s, but still remaining visible in the mainstream. From clubs to TV to the internet, audiences had more opportunities of finding stand-up than ever before. It had taken a long time to get there, but comedy was finally here to stay. “Comedy has been growing exponentially ever since the country became a democratic state, which resulted in the art form being exposed to a broader audience. But we are now entering a new era in the sense that, more recently, local comedians are starting to make real progress in the world of comedy outside of our borders,” Bimha said. For South Africa, many would want to consider looking into how the scope of comedy has changed in the post-apartheid era. During the apartheid, a large section of the South
Stand up comedians Dusty Rich at Parker’s comedy club. Rich’s had his own half-hour special on TV’s Comedy Central, he’s toured pretty much everywhere with Trevor Noah over the last 2 years, and he features on Noah’s latest DVD special (‘Nation Wild’).
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African population was not permitted to freely express themselves. That was the era of censorship as the Apartheid regime was averse to anything drama that could stir the masses. The censorship meant that stand-up comedy was watered down and not representative of the whole nation. “Post apartheid, that balance has been addressed and now you see comedians of every race and hue on the same stage. Probably as a result of the apartheid, South African stand-up is often very political, and not afraid to criticize politicians or policies, which is a good thing,” Van Der Veer said. “Apartheid and politics in general remain good fodder for jokes—standup comedy routines are often torn from the headlines and adversity always generates great material. Humor can also be effective at defusing lingering post-apartheid racial tensions.” Bimha has similar perception to Van Der Veer when he says comics have been performing for quite a while in South Africa, but that before 1995 it was really a select few performing to a very specific audience. “However, I would say around the early to mid 2000’s is when comics started entering the mainstream as the country started embracing a more inclusive and open minded post-Apartheid identity,” Bimha said. “Comedy has an incredible way of making us face up to some harsh truths about ourselves and the world we live in. Given our tragic and torturous past, comedy has played a vital role in helping the country deal with its past, make sense of the present and engage with our future in a manner that’s disarming, inclusive but most of all honest.” Due to the variety given by the host of accomplished comedians over the years, South Africans find it a hard call naming specific comedy stand-ups they could say has been the most outstanding of them all. What seems indisputable is that the likes of Trevor Noah, Conrad Koch, Barry Hilton, David Kau, Loyiso Gola, Jason Goliath,
Comedy scene in South Africa — DISBOOK #7 | 2015
Evert Van Der Veer of Comedy Central Africa (2nd from left) with Nicholas Goliath, Jason Goliath, Donovan Goliath, the men behind the “Goliath and Goliath” perform.
one of the biggest and best stand-ups of all time. Chris Rock still stands out as one cool dude on stage.
Chris Forrest, Riaad Moosa, Tumi Morake, John VLismas, Basketmouth, Salvador and others have made their mark in them, the country’s entertainment consumers seem to never lack a choice. All you have to do for a live attendance is visit Parker’s Comedy Clubs in Johannesburg or the Cape Town Comedy Club. That is if the weight of your wallet can tip the scale a bit. But there are options. A lot of stand-up takes place in restaurants, bars, theatres, hotels, halls or even nightclubs. Van Der Veer cites, for example, The Box, a great comedy initiative in downtown Johannesburg. Comedy Central is also presenting a Comedy Central International Festival the first weekend of December, with international, pan-African and South Africa comedians. Other venues in Johannesburg such as Lyric Theatre, Joburg Theatre, Market Theatre, Pop Art, among others, also offer great comedy. In Cape Town, venues such as the Baxter Theatre, Armchair Theatre are also regular laughter zones. Durban’s fledgling comedy industry is also on the up. Such variety is giving the feel that comedy is the next big thing in the film industry. Bimha agrees. “You only have to look at how huge the comedy genre is
from a global box office point of view and as our filmmakers continue to improve the quality of product that they are putting out in this country which will surely attract bigger audiences, I think you’ll see it becoming more competitive with time,” he said. Obviously, the proliferation of the comedy clubs and theatres, added to the fact that with the global economy increasingly leaving a pinch on the wallets, people are increasingly looking to their innate talents for a living, many young South Africans are turning to comedy for a living. But how can you hone that raw talent within? “Well, first things first you have to be funny, but it’s much more than that: you have to work hard, write material, write more material, test it out and then rewrite it again and again to get it right,” Van Der Veer says. “Comedy is hard work. Look at Trevor Noah: he worked very hard to get where he is now, acting, presenting TV shows, writing his own material and performing hundreds of gigs – and now he has one of the biggest and most influential gigs in comedy, globally.” Beyond Trevor Noah, looking at the likes of Chris Rock and their journey to stardom also tells of the same hard work script. There was a time Chris Rock’s fame was plummeting. He decided to transform himself into
An upstart comedian can also look to the rise of Dane Cook. Perhaps more than any other comic of the new millennium, Cook used the Internet to build his celebrity and create a name for himself, eventually racking up 2.3 million ‘friends’ on his MySpace profile. He became the biggest name in standup, selling out stadiums across the country, creating legions of new comedy fans and bringing new attention to stand-up comedy. But in the quest for honing raw talent, there always will emerge the trouble of obscenity, racial and sexual undertones, sexism and so many other overboard aspects in comedy. So should comedians be censored in a way? Van Der Veer would not agree. “That will take away the power of comedy but comedians need to use their own judgment. Usually comedians learn for themselves where the line is and then make the choice to cross it – or not. Some things are okay to laugh about today, some things will have to wait. There’s a saying that comedy = tragedy + time,” he said. Bimha is of similar sentiment, saying it is extremely difficult to censor standup comedy in its live form but it’s when it’s being performed for broadcasters that things can get restrictive depending on what the channel will or will not air on their platform. Other forms of comedy such as social commentary, satirical or sketch comedy TV shows can also be censored by the broadcaster. “Comedians have an obligation to be sensitive to the audience that’s put in front of them and consider how they present their content in a way that doesn’t amount to hate speech or anything like that but once you start censoring comedians, then the essence is lost,” he said.
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DISBOOK #7 | 2015 — Comedy scene in South Africa
IN CONVERSATION WITH GREGOIRE FURRER AND TAKUNDA BIMHA Lawyer-turned-mogul Takunda Bimha manages South African top comedians; Gregoire Furrer, founder and boss of Europe’s biggest comedy festival talk comedy with Disbook.
Disbook: You have dedicated your careers to comedy. Do you have a lot of fun in your professional life? Are you funny people? Gregoire Furrer: I have fun in life because I’ve decided to have fun, not because I am in comedy, I have fun with my family and friends. Takunda Bimha: I wouldn’t call myself funny; I like to believe I have a comedic sensibility. Otherwise I wouldn’t be able to identify comedy talent, manage and produce comedy content over the years. D: Do you think one can joke about anything? G. F.: Yes, although we’ve seen lately in Paris for instance, that comedy can injure. We need to take this into consideration. Comedy should make people laugh, integrate and not the opposite. Freedom of expression is important and should be preserved but we need to trust people won’t take it too far.
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T.B.: We need to be considerate and contextually aware of what we’re saying. With great power comes great responsibility! Comedians need to be given the freedom and scope to express but need to be mindful of how, why and when they do it. D: Swiss people are not especially well known for comedy. Grégoire, what challenges did you face in developing a comedy festival in Montreux? G.F.: Don’t forget that Trevor Noah’s father is Swiss, haha! I did it in Montreux, Switzerland, because I grew up there and I had the feeling that the next big global event in Montreux would be a comedy festival – I just did it. T. B.: Yes, the next host of The Daily Show has Swiss precision and timing, South African flair and flamboyance – maybe we need to collaborate more with these guys, hahaha!
D: It’s said that one of the biggest challenges in cinema is to dub comedies. Do you agree? G. F.: Comedy needs personality, finding the right comedians are key. T. B.: Absolutely agree – there is so much more to a joke than just the words – timing, audience engagement, context, narrative and all round personality. There are so many layers that it’s incredibly difficult to completely and accurately replicate every aspect. D.: Trevor Noah’s new gig as host of “The Daily Show” has put the spotlight on South Africa’s local standup comedy scene. T. B.: The Daily Show is an iconic show, millions watching it globally. It has become the flag bearer for political satire. Jon Stewart, an institution himself, stepped down after 16 years. Being replaced by a young South African comedian, relatively unknown outside of comedy, is huge, huge news…
the comedy scene is pretty damn exciting! — DISBOOK #7 | 2015
Gregoire Furrer and Takunda Bimha last August in Johannesburg.
global headlines type of stuff! Although young, South African comedy is showing the world what it can produce. Great local comedians are touring internationally. It’s the right time for the spotlight to be focused on us. The Johannesburg International Comedy Festival will contribute to the movement for years to come! G. F.: Africa has the freshest, newest and sexiest content. Our music, art, fashion and lifestyle influence the world – it’s comedy’s time. Africa has much to say and comedy is the perfect medium to do so. D: Is the Internet today’s comedy club, especially for the millennial generation? T. B.: Yes and no. Yes because comedy is about the artist and it’s audience. The web makes artists accessible to a broader demographic. No, because there are elements in a comedy club such as atmosphere and audience interaction that could never be replicate on the web.
G. F.: The web provides access directly to audiences without filters like producers, broadcasters and promoters but nothing can replace a live audience. D: “Stand up Africa” is your shared project. Can you tell us about it? T. B.: I wanted to contribute to the development of the art form in the continent. I want audiences to be exposed and appreciate the talent we have, in a way that engendered social interaction, Afro optimism and unity through comedy. Stand Up Africa! We’ve experienced groundbreaking success and widespread support. With Gregoire, we have even done the show at the Montreux Comedy Festival and together we are now looking to tour Africa with it and potentially take it to London, New York, Los Angeles and Toronto. G. F.: I hope SUA becomes a leading representative of African comedy. D: What is The Johannesburg International Comedy Festival?
T. B.: The 3-day (Nov. 6th – 8th) comedy extravaganza consists of multiple shows, multiple venues and a plethora of local, continental and international talent. There will also be Fringe programmed shows from November 2nd to the 4th, providing exposure and platforms for emerging young talent. We’re incredibly excited about Africa’s very own international comedy festival. G. F.: North America has Just For Laughs, Europe has got Montreux, Australia has Melbourne and now Africa will have the Johannesburg International Comedy Festival. This ushers in an exciting new chapter for comedy as a whole. D: What is your favorite comedic bit? G. F.: Mr. Bean because he is pioneer in the globalization of comedy. T. B.: There are too many to mention but I would have to say ‘Eddie Murphy’s RAW,’ because that was the very first comedy show I ever saw and that was the beginning of my love story with comedy.
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DISBOOK #7 | 2015 — noted
Noted A MILE FROM HOME
CLEVERMAN “Cleverman” (6 x 1 hour) is a major new genre drama starring Iain Glen (“Game of Thrones”) and Frances O’Connor (“The Missing”). This smart, sexy and startlingly original drama for ABC Australia and SundanceTV is set in the near future, where a species from ancient mythology must live amongst humans and battle for survival in a world that wants to silence, exploit and destroy them. Scripted / Genre Drama, 6 x 1 hour Distributed by Red Arrow International: Booth #EU02
Distributed by Diffa, “A Mile from Home” is a 2013 Nigerian action-drama film that chronicles the life of a university student, Jude Odaro/Lala (Tope Tedela) who joins a gang in his quest to avenge an injustice meted out to him by Stone, a notorious gangster who forcefully dispossesses him of a precious possession. The film was nominated in two categories at the 2nd Africa Magic Viewers’ Choice Awards and won EINSTEIN best actor in a drama for Tedela. “Einstein” (6 x 1 hour) is a fast-paced The movie won the 2014 Africa new crime series about the great Movie Academy Award for grandson of scientist Albert Einstein. Achievement in Visual Effect and As the youngest professor to have ever the Best Feature Film at the 2014 Nollywood Movies Awards Original language: English / Available with French subtitles Diffa: Booth #H7-8
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taught theoretical physics at his university, Felix is a genius. He is also terminally ill with hereditary Huntington’s disease, and faces a prison sentence when accused of stealing illicit stimulants to help manage his condition. He is saved from jail when the police recognize that his brilliance could help them solve some of their most complex cases. Distributed by Red Arrow International: Booth #EU02
I
n a continent called “the Cradle of Humankind”, which is 4 times the size of the United-States, which has the youngest population in the world and will have in 2050, the largest working-age population. A continent that contains around 1.2 billion inhabitants and has the largest diaspora in the world spread all over earth. A continent which will turn, at the end of this century, to 4.3 billion of people, and then will represent the largest population on earth. In a continent which hosts 7 out of 10 fastest growing economies in the world, in which more than 400,000 companies are created each year, and where the private sector constitutes 90% of the employment and 70% of the activity. A continent where 50 % of the population will live in cities by 2050. A continent considered all over the world as the new Eldorado and that will
receive this year more than US $ 60 billion in direct foreign investment. A continent that, with its 900 million mobile users, has already surpassed Europe in terms of number of mobile phones and the U.S. in terms of mobile users. A continent which regroups an extraordinary diversity of ethnicities and cultures that share a common history. A continent in which around 300 local producers create annually 25,000 hours of content of a permanently improved quality. A continent that, in the digital era, with the last generation of technical means, is about to experience the most significant of its revolutions. For this continent which has given so much to Literature, Arts, Music, and Science in the World during the past Centuries; We think time has come. We think
it’s time for Africa!
Even if we know that it’s more appropriate to talk about the Africas in the plurality and richness of cultures which thrive in Africa, what we want to call Africa, is not limited to the extraordinary rich variety of people and cultures who live inside the borders of this continent, but also includes the different African diaspora and their descendants. All these children of Africa are part of what we call the Greater Africa. Everyone knows how the future of Africa is brilliant. Everyone knows that the African Dream is about to become a reality. In the media industry, as well as every other industry, Time of domination is over. Time has come for Africans to control their future. Time has come for Africans to tell their own stories and to ensure the development of their own cultural heritage. We trust that African productions can easily travel across and beyond the borders of the continent.
We know how tasteful and h o w c o l o u r fu l these Africas are. We Think that African creativity and African productions deserve a higher and better place on the international scene. We believe that Africa will succeed in all of these through a stronger reunification of its forces and resources.
T h AT I s W h y W e h Av e T h e AmbITIous mIssIon To r e u n I T e A ll T h e s e vIbrAnT TAlenTs AnD flAmInG colors InTo A sInGle cATAloG.
DISBOOK #7 | 2015 — noted
Dubbing Solutions for the African Television marketplace Ken Lorber, President/CEO of The Kitchen. “While quality is always our focus, the rapid development of the African Television market dictates that pricing be as competitive as possible, as well. It doesn’t matter if you deliver the best possible quality if your clients cannot afford to buy it”.
A The Kitchen studio in Miami with an actress dubbing a telenovela.
The Kitchen, the entertainment industry’s only Emmy Award Winning language dubbing company, based in Miami and now Caracas, dubs telenovelas from Spanish, Portuguese, Turkish and Mandarin, into English, Spanish, French and Portuguese. “The growth in telenovela viewers in Africa has been much faster than any other market in the world,” says
Being based in Miami and now Caracas enables The Kitchen to provide the highest quality and most cost effective dubbing for the principal languages spoken in Africa and elsewhere. Thanks to a large talent pools of native born Brazilian, French and English speakers, The Kitchen dubs in these languages for far less expense than possible in Brazil, France or other parts of the United States. Through the use of its proprietary software and by producing very high volumes of dubbed programming, The Kitchen has been able to actually reduce the costs and pass those savings onto its clients, making everyone happy.
THAT’S LIFE (26x26’, Senegal) The day-to-day life inside a health center in Ratanga where life varies between joy, sadness, work and family life. Assitan is the newest midwife to arrive at the center. Along with the audience, she discovers the hard reality of relationships between colleagues, and the constant struggle for power. The series uses humor to show a complex, surprising and captivating Africa where different social groups coexist, as they love, hate, betray and try to understand each other.
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Starring: Fatou Jupiter Touré, Christiane Dumont, Awa Djiga Kane and Ndiaye Ciré Ba. Distributed by Diffa: Booth #H7-8
“Dubbing is like any other business: if you buy 1,000 hours of dubbing, it will cost less than if you only buy just one or two. It is not a matter of compromising on the quality as much as it is a matter of guaranteeing your staff and talent enough work to justify discounted prices, and we’ve been very successful in doing so”. The Kitchen now houses 30 dubbing suites, with the majority of the studios dedicated to the dubbing of telenovelas from around the world. Each dubbing suite produced five TV hours weekly, for a total of 50 hours of telenovela programming a week, or 2,600 TV hours of telenovela programming each year. Visit The Kitchen, Booth VB24
KISS BANG LOVE “Kiss Bang Love” is a provocative new dating format from the creators of “Married at First Sight”. Research shows that kissing is a powerful tool in our search for the right partner, and the average single person kisses 15 people and has at least 2 one-night stands before falling in love. “Kiss Bang Love” puts this to the test as a group of single people in search of love agrees to take part in this radical new TV experiment. Distributed by Red Arrow International: Booth #EU02
DISBOOK #7 | 2015 — noted
A BRAND NEW VERSION DAZZLING MIRAGE (124’)
FOR THE TELETUBBIES DHX Media is showcasing the brand new version of Teletubbies – a preschool mega-brand that needs no introduction. Globally renowned and one of the most successful entertainment brands of all time, Teletubbies has proven evergreen appeal. DHX has brought the show up-to-date with a new contemporary version while ensuring that the magic of the original is retained for fans both old and new. Versions in multiple languages including French-dubbed versions and Arabic are available. DHX Media: Booth #VB07
Produced and directed by legendary Nigerian filmmaker Tunde Kelani, “Dazzling Mirage” is an inspiring story centered around an advertising executive, a talented, beautiful young sickle-cell sufferer who overcomes social stigma, prejudice and her own selfesteem to achieve career success, marriage and motherhood. This feature film is about love, denial, pain, and perseverance as fate unfolds through life’s twist and turns. Starring: Kemi ‘Lala’ Akindoju, Kunle Afolayan, Bimbo Manuel, Yomi Fash Lanso, Taiwo Ajai Lycett, Seun Akindele. Audience Award at the Nollywood Week Film Festival 2015 in Paris – Selected for the Lumières d’Afrique Festival in Besançon 2015, France – Original language: English / Available with French subtitles Distributed by Diffa: Booth #H7-8
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NATIONAL SECURITY (Action – 26x26mn) Due to the growing insecurity reigning in the country, the President decides to establish a secret police department aptly named “National Security” that works under the acronym NS. This special unit made up of a mix of ex-convicts and some of the best response unit agents will fight against crime under the guidance of the President and the supervision of Chief Bailly, a retired iron lady that has already proven herself to the government secret service. Distributed by RTI Distribution Booth # 1- 2 /J1-J2
noted — DISBOOK #7 | 2015
THEMA: AT THE ORIGIN OF A TSUNAMI “Canal+ is part of Thema now, and I am happy to report that we are today the no 1 editor of non-national French speaking channels, with a unique knowhow in the packaging and the development of channels,” said François Thiellet, CEO of Thema. “The last 12 months saw the phenomenal success of Nollywood TV, the successful launch of Novelas TV, and we are currently launching a new version of Gospel Music Television. With Nollywood TV, the first fiction channel Made in Nollywood and broadcast in French, we are at the origin of a tsunami in French speaking countries and especially in Côte d’Ivoire. When one offers content that the viewer can identify and be comfortable with, success happens. The winning strategy of Nollywood TV is to meet with people’s culture.” Thema: Booth #J7-J8
THE ROMEO SECTION
HEREROS ANGOLA
“Hereros Angola” is a documentary from Brazil and Angola about the ethnic group of the same name. Inhabitants of the lands of southeastern Angola, descendants of the Banto group, the Hereros have an ancestral tradition transmitted orally from parent to child. The film reveals the living knowledge of this group, in constant movement: from birth to death, through the most important aspects of ancestry, that maintains this millennial culture alive, receiving new meanings through the movie camera. 99’, Original language: Herero / Available with English, Spanish, Portuguese and French subtitles Distributed by Diffa: Booth The “Romeo Section” #H7-8 (10x1hour) is a high-
stakes thriller about espionage in the Pacific Rim from acclaimed show runner Chris Haddock (co-executive producer/writer: Boardwalk Empire). Set in Vancouver, the show follows seasoned spymaster Professor Wolfgang McGee (Andrew Airlie –Fifty Shades of Grey; 50/50), an academic who secretly manages a roster of espionage assets and informants. These assets, referred to as Romeo or Juliet spies, use their powers of seduction to extract secrets from state intelligence targets. As this intensely woven international spy story unfolds, the underside of a seemingly serene city is exposed as a haven for international drug barons, fugitives and covert financiers. Distributed by Red Arrow International: Booth #EU02
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DISBOOK #7 | 2015 — noted
THE RED DRESS 7 AFRICAN BROADCASTERS TEAM UP TO PRODUCE A NEW TALENT SEARCH CONCEPT Following its successes in the Netherlands and China, FCCE signed a format deal with Azam Media to launch together with local broadcasters the “Entertainment Experience” in South Africa, Kenya, Tanzania, Uganda, Nigeria, Ghana and Zambia. The Pan-African/ cross media project will be produced by Endemol Shine. “Entertainment Experience” is a cross media/multi platform format, combining a TV series, viral and social media campaigns, and undiscovered talent ending with two movies. One user-generated movie and one user-inspired remake by a professional dream team! In the Netherlands the professional version was directed by Holland’s most successful Hollywood Director Paul Verhoeven (“Robocop”, “Total Recall”, “Starship Troopers” and “Basic Instinct”). On July 2014 the Chinese version was launched (local name is: 全民电影 EEC) directed by John Woo and actress Zhang Ziyi as part of the dream team. FCCE: VB#10
TV5MONDE AFRIQUE’S BEST YEAR! TV5Monde Afrique actually reaches 13 800 000 homes by June 2015 (12% growth from 2014). Commercial marketshare is growing yearly, reaching 1,5 million € in 2014 (8% growth over 2013), making it TV5Monde Afrique’s best year since the inception of the specific African channel in 1992. The family-oriented scheduling and independent news programs have allowed the French speaking entertainment company to attract the new african middle-class and the youth market, and new advertisers within the food, hygiene, fashion or consumer goods industries. The channel is distributed through satellite, cable and terrestrial. Visit TV5Monde Afrique Booth #L8
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(26x26mn) A young beautiful and very ambitious 20-year-old student manages to destroy the life of a diplomat in his fifties. She seduces him thanks to the power of her red dress …This dress is another aspect of black magic. Distributed by RTI Distribution – Booth # 1- 2/J1-J2
GOSPEL MUSIC TV French group Thema is launching a new version of Gospel Music TV, a channel featuring 24 hours a day the most inspiring and uplifting gospel music videos from the African continent. Gospel Music TV features artists from Ghana, Kenya, South Africa, Nigeria, Congo, Tanzania, Uganda, UK, the US and many more. Thanks to Thema’s unique know-how in the packaging and the development of channels, Gospel Music TV has been refreshed. “In a new trendy and fashionable look, the channel offers a mix of urban gospel, American gospel and African gospel that will appeal to youngsters”, said Clémentine Thugendat, SVP Content at Thema and COO Nollywood TV, Novelas TV and Gospel TV. Thema: Booth #J7-J8
noted — DISBOOK #7 | 2015
PETER & WENDY “Peter & Wendy” (1 x 120 mn) is a magical new family adventure based on J.M. Barrie’s much-loved classic Peter Pan, told through the imagination of a 12-year-old girl and starring Stanley Tucci (“The Hunger Games”), Laura Fraser (“Breaking Bad”) and BRIT award-winner Paloma Faith. “Peter & Wendy” is a breath-taking and emotional reimagining of this timeless classic with a compelling modern twist. Distributed by Red Arrow InternationalBooth #EU02
FRENCH SPEAKING HEARTS BEAT STRONGER Clémentine Thugendat, SVP Content at Thema and COO Nollywood TV, Novelas TV and Gospel TV, says about the launch of Novelas TV:“Our new 24/7 channel, 100% fiction, 100% telenovelas and 100% in French available on Les Bouquest Canal+ in more than 30 Central and West African countries, is a great success… Passion, love, drama and sagas, won the hearts of the African audience.” Thema: Booth #J7-J8
NEW CHAIN OF THEATRES IN AFRICA On 27th September in Guinea-Conakry, the cornerstone of the “CanalOlympia” (Canal+ with Olympia, a legendary theatre in Paris which hosted the most prestigious artists in the world and many young talents) has been laid in the presence of Guinean President Alpha Condé. The theatre will open by mid-2016 and will host over 400 people. Like the other CanalOlympia to follow throughout Africa (in Benin, DR Congo and Senegal), the stage will have the possibility to be set up for open air presentations gathering over 3,000 persons. KALASHA INTERNATIONAL This theatre will host concerts from artists under the Universal Music label, which FILM FESTIVAL belongs to Vivendi, owner of Canal+. With a recording studio and a rehearsal room, Kalasha International, an initiative by the Kenya Film Commission they will allow to spot, manage and ensure in partnership with the French Embassy in Kenya, has appointed the international exposure of talents, Media Pros Africa, a Nairobi based media consultancy firm whether musicians, singers or actors. monitoring Africa’s multiplatform content production and The creation of the CanalOlympia chain of distribution industries, to direct the Film Festival. East Africa’s theatres comes as premier event, Kalasha International Film Festival creates a part of Vivendi’s platform for East African filmmakers to showcase their creative strategy to works. The Festival attracts film industry stakeholders including strengthen its broadcasters, distributors, investors/sponsors, advertisers and presence in high the general audience. The Film Festival is a five-day celebration growth markets of world class cinema which screens features, documentary and where a middle short films from around the globe with a special focus on East class constantly African films. (Nairobi 26/30 October 2015). looking out for Visit the Kenya umbrella: Country Zone, Level O new contents is emerging.
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DISBOOK #7 | 2015 — noted
SIBLING RIVALRY Inspired by Gwen Stefani
DHX Media will be unveiling at DISCOP Africa the new animated series, “Kuu Kuu Harajuku”, which is inspired by, and includes creative input from, Grammy Award-winning music artist Gwen Stefani. The series is a complete original – a kaleidoscope of music, fashion and style inspired by Stefani’s love of street fashion and youth culture found in the renowned Harajuku neighborhood of Tokyo, Japan. Also new for DISCOP Africa are “Looped”, which will appeal to every kid who ever wished they could turn back time or predict the future, and “Gaming Show”, an innovative semi-scripted magazine series that takes kids and tweens into the world of gaming in a fun, authentic, comedic, and informative way. Versions in multiple languages including French-dubbed versions and Arabic are available. DHX Media: VB#07
(Drama, 12x26mn) Frédéric Kalou is a strong, mighty and wealthy businessman. A good atmosphere, solidarity and unity are the major assets of his family. Kyana and Keyla, Frederick’s daughters, are smart and hardworking women and respectful of their family’s values. Everything is fine until Eric, the neighbor’s son, comes back from France. War is declared between the two sisters. Distributed by RTI Distribution, Booth # 1- 2 /J1-J2
THE BEST TELENOVELAS FROM PHILIPPINES With a growing library of original world-class content, GMA Worldwide (the distribution arm of GMA Network Inc, the Philippines’ leading broadcaster) is syndicating series and feature films to the African market, and among them a line up of great telenovelas: “Carmela”, “Legacy”, “Dyesebel”, “Losing Heaven”, “To Love You”, “Sinner Or Saint”, “One True Love”, “Golden Heart”, “The Other Mrs. Real”, “My Destiny”. Visit GMA WI Booth VB#01
LITTLE KISS (Comedy, 52x13mn) Aïcha, a young secretary with an easy going temperament lives with her cousin Britney, a young hyperactive mixed race woman she tries to channel as best as she can. Then comes an exceptionally gifted little girl, Roxanne, the only child of one of Aïcha’s friends, the bipolar nerd newly arrived from France to forget a break-up. Amidst joy, misunderstandings, compromises
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and trouble finding solutions to grown-up problems, the atmosphere is incredibly tense in the house. Directed by Mike Damon – Produced by RTI Productions with Martika Productions. Distributed by RTI Distribution Booth # 1- 2/J1-J2
A Lagardère Studios Company
BOOTH NUMBERS
H7/H8
Promoting African TV contents !
www.diffa.tv 7, rue du Dôme - 92100 Boulogne Billancourt - FRANCE - Tel : +33 1 40 74 77 62 - Contact : info@diffa.tv
Five faces of the African century THOSE INNOVATIVE ENTREPRENEURS, AWARE OF THE INCREASING DEMAND FOR QUALITY AFRICAN CONTENT, ARE RESHAPING THE AFRO-MEDIA INDUSTRY LANDSCAPE WITHIN AND OUTSIDE THE CONTINENT. By Mélisande Labrande
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DISBOOK #7 | 2015 — Five faces of the African century
Marie Lora-Mungai, co-funder of Restless Global: “a studio active at every step of the content pipeline” Last February, media entrepreneurs and producers Marie Lora-Mungai and Tendeka Matatu launched Restless Global, a global studio engaged in all aspects of development, finance, production, distribution and exhibition of African content within and outside Africa. Restless Global is not the first venture in Marie Lora-Mungai’s serial-entrepreneur life. At only 33 years of age, she has become a key figure in the African media industry, with the creation of successful companies such as Buni Media, Buni.TV or Restless Talent Management. Her shift from journalism towards media production occurred in 2006, when she worked as a foreign correspondent across Africa. She was covering conflicts and disasters for AFP TV, Reuters TV, BBC World Service and CNN, when a new story struck her: African innovation and the continent’s economic renaissance. A story she did not want to report; but a story she wanted to be a part of. So she left journalism and started her own media company: Buni Media. Marie Lora-Mungai was born and raised in France. She studied Political Science in Sciences Po, and holds a Masters degree in Marketing from ESCP Europe Business School. During her first job in CNN’s New York bureau, she soon felt an urge to do fieldwork. She landed in Kenya, where she had no particular connections, and started to travel, getting to know the country and building a network. Ten years later, she is married to a Kenyan, has a Kenyan last name, owns a Kenyan business and has created one of the most popular satire political programs in Kenya, the “XYZ show”, which is followed by more than 10 million people every month, and was the winner of the Africa Magic Viewers’ Choice Awards for Best TV Series in 2013. “Ogas at the Top”, its Nigerian version, was also met with huge success.
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Marie Lora-Mungai’s experience in the African media industry does not stop there. To produce the “XYZ show”, she created Buni Media in 2007, a multimedia production company with offices in Nairobi and Los Angeles. In 2012, she launched Buni.TV, now the leading web and mobile African video-ondemand platform for high quality content. Its aim is big: to leverage Africa’s smartphone boom and revolutionize the way African content is distributed and consumed on the continent and in the diaspora. Buni.tv has reached 1.5 million unique visitors since its April 2012 launch. “Buni” means “innovation” in Swahili. Marie Lora-Mungai thinks the best way to answer the increasing demand of new media contents on the continent and the African diaspora is to keep agency at every step of the content pipeline. That is precisely what “Restless Global” is making possible. This fully integrated studio launched in 2015 unites, under the same umbrella, several successful companies created by Lora-Mungai and Matatu over those past ten years. Apart from its production arm (Ten10 film, Buni Media), its sales and distribution role and its globally available channels (Buni.TV digital platform), the studio also includes “Restless Talent Management”, a global company focusing on the raise of African talent and development of creative content. This upstream part of the work already ensured strong relationships between the studio and rising stars of the new African cinema, such as O.C. Ukeje, Nse Ikpe-Etim and Tosh Gitonga. Restless Global clearly has Pan-African ambitions. With more than 80 employees, it is already present in Lagos, London, Johannesburg, Los Angeles and Nairobi.
Five faces of the African century — DISBOOK #7 | 2015
Olivier Laouchez, founder of Trace.tv: “A bet on urban culture” Olivier Laouchez is a French-Caribbean entrepreneur in the media and entertainment industry. He is the founder and CEO of Trace, a multimedia group focused on urban culture, African music and sports celebrities. 48-year-old entrepreneur Olivier Laouchez does not exactly look like what you would expect, when one thinks of the man who has done so much for urban culture in France for the last 15 years. The smart grey suit, unobtrusive glasses, clean-shaven affable face and articulated turn of phrase will not leave you utterly surprised when you learn he studied at ESCP in Paris, one of the best European business schools. But Olivier Laouchez does not need to pretend to “look like” anything. What he has created stands on its own. Trace is a multimedia group founded in 2003, focusing on two of the most popular entertainment segments for youth: Music and Sports Celebrities. Its five thematic television channels (Trace Urban, Trace Tropical, Trace Africa, Trace Sports and Celebrities, Trace Toca) are distributed in 160 countries, reach 10 millions subscribers in metropolitan France alone, have become the number one musical media for the 15-34 age group in all Sub-Saharan African countries and keep on expanding in the African, American (US, Brazil) and European (UK) markets.
label Secteur Ä: the first independent label devoted to hip-hop and urban French music. This is when he started to notice that urban music and culture were under-represented in the mainstream media. Olivier Laouchez describes Trace’s 2003 launch as “a bet on urban culture”. “While some people thought it would not last longer than tecktonik dance, we knew urban culture was something more perennial.” Trace was born from the successive acquisitions of MCM Africa channel and Trace magazine (the American “urban vogue”). Initially launched in France and Africa, Trace.tv soon met an international audience. In 2010, Olivier Laouchez took control of the company, which gave him leeway to fully develop the potential of the group. In 2011, Trace Sports was launched, a channel delving into the lives of global sports stars; then Trace Music Star in 2013, a mobile song competition to discover South Africa’s rising stars; the big innovative idea about it being replacing a physical casting by a digital one. In 2014, the competition was rolled out across 13 countries in Africa and led 2.6 millions people to participate. After Trace Taco, their latest musical channel doing well in Portuguese-speaking African-countries since July 2014, the next step is Trace Gospel, a channel entirely focused on gospel music. The launch is planned in November in France and the USA. Last September, five gospel singers put Trace’s Parisian press conference room on fire – enough to give French press a taste of it! Olivier Laouchez is bursting with projects: a mobile operator offering streaming services to young South-Africans, a VOD platform devoted to urban entertainment in France, new channels targeting African diaspora, and more. Investing in content production is also an experience he can proudly speak of. “Le Gang des Antillais”, a French-Caribbean movie, is in production. “We are targeting a double audience,” he said about Trace, “both African youth and multicultural youth”. No doubt he is expected to win his bet.
Born in the outskirts of Paris, Olivier Laouchez grew up in Martinique, birthplace of his parents. After graduating ESCP in 1988, and completing a 2-year mission in Indonesia, he settled in Martinique where he created a music video production company. In 1993, he launched ATV (Antilles Télévision), the first pay television channel in the Antilles region authorised by the CSA (the French audio-visual authority). In 1998, back in Metropolitan France, he joined the executive team of the record
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DISBOOK #7 | 2015 — Five faces of the African century
Philippe Bresson: “We are trying to create the look of African content”
The first Insignia official TV show, “New Beginnings”, was coproduced by Côte Ouest and launched in 2015. It is the story of Sean, a young man waking up from a coma who needs to learn how to live again, love again, and trust people again. The show is doing well on EbonyLife right now, and it’s about to start on KTN station (Nairobi), and they are in talks with a station in South Africa. Bresson has also told me about the second official TV series they are currently working on: it features a young African girl sent out of her village by her parents to get a better life, only to be kidnapped on her way to the Middle East, and held as a prostitute in her own country. Philippe insisted on the idea that, to him, there are no barriers between inspiring the audience, creating awareness on serious issues, and entertaining people with a good TV show.
Kenyan cinematographer and producer Philippe Bresson is the co-founder of Insignia, a production company launched in 2007 with Pan African ambitions. His new TV show, « New beginnings » now on EbonyLife, is about to start on KTM (Nairobi).
Still in the writing phase on the day we spoke, he told me he would have a few episodes to showcase at the next DISCOP event: “Here is the nice part of my new executive producer role: I don’t have to wait for people to finance an episode to be able to shoot it!”
At 30 years old, Philippe Bresson already knows many aspects of the job he is doing. After getting his start as the head of an Internet TV station for Mars Group, he worked as a sound engineer for companies like MTV. He is known for his high-quality work as a D.O.P. in all sorts of contents: advertisements, corporate videos, documentaries and several TV shows he also produced. Among them: the series “Changing Times”, a family drama about a brilliant business-man and loving father getting involved with the wrong people. It has been a success in Kenya and East Africa since 2010.
Creating new high-quality content and testing them on the public, right away: this seems to sum up Philippe Bresson’s dynamic, and the whole Insignia adventure.
In 2007, the young cinematographer co-founded Insignia Production, a Kenyan company which now clearly assumes its Pan African ambitions (in 2014, it shifted to “Insignia.global”). With his co-founder, scriptwriter and director Jennifer Gatero, Philippe Bresson has been building new partnerships in Nigeria and South Africa. He has told me that Insignia now gets many demands from all over Africa: successful series, popular game shows… For now, corporate videos, animation and ads have kept the company profitable, which allows them to develop original TV projects. Bresson predicts that African production companies will soon be able to survive only on original TV content. If this is the case, he will surely be at leading this movement in the coming years. For Philippe Bresson not only has experience, he also has a real vision for the industry. What he wishes most,
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he told me, for the five years to come, is to create “a good standard for African television”. He wants people to be able to turn on TV and say: “Ok, this is African content. This is how we are going to work from now on: good stories, high quality, high end.”
Five faces of the African century — DISBOOK #7 | 2015
Tonjé Bakang, CEO of Afrostream: “Making premium content match with an active audience” Tonjé Bakang is a 34-year-old French entrepreneur with Cameroonian roots and a rich experience in the entertainment industry. He is the co-founder of Afrostream, a VOD and streaming platform for African and African-American content serving the European and African market. As a teenager growing up in France in the 1990s – at a time when a bookshelf packed with VHS tapes was not a hipster must-have yet – Tonjé Bakang used to watch many AfricanAmerican TV shows and movies with his family, such as Def Comedy Jam, The Jamie Foxx Show, The Cosby Show, on copies brought back from the US and Canada by visiting relatives. Two decades later, Tonjé Bakang was struck by how difficult it still was to access that kind of content outside the US. So in November 2013, he created Afrostream: a service company offering VOD access to African, African-American and Afro-Caribbean content produced around the world. 34-year-old Tonjé Bakang already has quite the experience in entertainment production. In 2005, he started the Comic Street Show, France’s first urban comedy series, launching the trendsetting concept of stand-up in France. He has produced for television and the stage – he has also run a theatre in the centre of Paris. Here is the most important lesson he learned from his past experiences: being at the head of a small structure rather than large media groups makes you more perceptive and reactive when a big cultural move occurs. This was the case for hiphop or stand-up, he says, which did not emerge first on French traditional channels. Being able to spot new trends before the others, and making them immediately accessible, is an advantage Tonjé Bakang wanted to capitalize on when he launched
his own service company. The past months have made it clear Afrostream meets a massive demand. In February 2014, when Afrostream partnered with MyTF1VOD (one of the most widely distributed catalogues in France), its audience grew to 500,000 people. However, it remains a enterprise, as Tonjé Bakang insisted when I asked him about his mood, two days after a subscription campaign was launched: “Being at the head of such a start-up company is like giving birth to a premature baby: you hardly ever sleep, you need to have somebody watching it 24/7.” On their Facebook page (over 80 000 fans), you can see a video of Tonjé addressing the Afrostream community directly. He makes it clear that the platform will improve thanks to audience feedback: it is still a work-in-progress, bugs will happen – they just need to communicate about them. His bet is that this kind of direct, human relationship between a service and its clients is precisely what new generations want. On September 1st, a subscription campaign was launched in France, Belgium, Switzerland, Senegal and Ivory Coast, offering unlimited access to Afro films, TV series, documentaries and kids shows for €7 per month. At the time, Tonjé Bakang and Ludovic Bostral, Afrostream’s co-founder, had just came back from Mountain View, CA, where they spent 3 months improving their strategy with the start-up accelerator Y Combinator. Tonjé Bakang told me he was looking forward to the next DISCOP event, to see if productions from French-speaking African countries are getting as good as Kenyan, Ghanaian, Nigerian and South-African ones. He will be on the lookout for premium content.
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DISBOOK #7 | 2015 — Five faces of the African century
Yves Bollanga is a Cameroonian entrepreneur with a French background, now working in the USA. He is the co-founder and CEO of Soundview Africa, a New York-based network of six television channels (Afrotainment) dedicated to broadcast and create Afro-centric content. Born in Yaoundé, Cameroon in 1968, Yves Bollanga describes himself as a pure product of Cameroon’s education system. After a stop at University of Ngoa Ekelle, he moved to France where he graduated with a Bachelors degree from the University François Rabelais in Tours. Even though he now lives and works in the US, he still has strong ties to France (including two children in college there) and Cameroon, where his father lives. He has several siblings and a beautiful house in the outskirts of Douala. As a child, Yves Bollanga wanted to become a shoemaker. But he started working for IBM as a software engineer in France, then in the USA for 12 years. This, to him, was a fantastic experience: a chance to learn planning, forecasting, customer relationship, sales and management… all skills he would need to become a confident entrepreneur. While a university student in Tours, back in 1995, Yves Bollanga already had the urge to create his first company: AB ROLL, dedicated to creating corporate videos, commercials and video coverage of events. The second impulse came from one of his childhood friends: Constant Nemale (who later founded Africa24). In 1998, both in their early thirties, they created 3A Telesud, which was to become the first Pan-African Television, now available throughout Europe and Africa. Ten years later, as Yves Bollanga was living in the US, he had the idea of a production company devoted to offer Afrocentric content. “I was shocked to see how under-represented the Black community was on television: only 2 or 3 channels targeting 44 million people and none targeting the diverse African diasporas, back in 2005”.
Yves Bollanga: “Going back to our roots with a sustainable model” So in 2008, Yves Bollanga and his longtime Pakistani-American business partner Shafquat Chaudhary created Soundview Africa. The same year, they launched Afrotainment Movies, a general entertainment channel dedicated to broadcasting African movies, series, reality shows and talk shows. From then on, Afrotainment has not stopped broadening its scope, both in terms of contents and distribution. In 2009, Soundview created Afrotainment Music, a 24/7 music channel giving great exposure to African artists. Yves Bollanga grew up during the peak of the music video era, with MTV and M6, an experience that, to him, definitely influenced this launch. In 2011, they created Afrotainment Plus (a cable service featuring a selection of the best movies and music from their key channels). Since August 2015, Afrotainment has been expanding in Africa with a VOD app: YEBO, and several new channels as OUI TV, a 24/7 channel broadcasting African TV series and movies (including Nollywood) in French. Yves Bollanga told me he is confident OUI TV, will become a leading channel in French speaking Africa within the next 15 months. About this on-going expansion on the African market, Yves Bollanga stressed how important it is to “go back to our roots with a sustainable model (payTV)”. He has strong faith in the evolution of the African TV industry, and is ready to bet on a virtuous circle: to him, digital migration will increase the number of channels available, which will, in turn, increase the demand for local content. “We are dreaming of an African broadcast industry where the majority of content and channels will be locally produced.” When asked about his wishes for the future, Yves Bollanga answered: “Continue to be in good health and provide for my family, loved ones and shareholders (in that order)”!
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radio France internationale
© GÉDÉON / PHOTOGRAPHIE : FRANÇOIS-XAVIER GBRÉ
the world and all its voices
Radio France Internationale, broadcast in French, English, Portuguese, Hausa, Kiswahili, Manding and 8 other languages. Available on FM 24/7 in 115 African cities, FTA via satellite on SES-5 and Eutelsat 16A and DTH operators, internet streaming and IOS and Android Apps.
IAIN GLEN
laura
fraser
FRANCES O’CONNOR
paloma
faith
HUNTER PAGE-LOCHARD
STANLEY
AND
TUCCI
BASED ON THE NOVEL PETER PAN BY J.M. BARRIE
CLEVERMAN: 6 x 1 hour PETER & WENDY: 1 x 2 hours www.redarrowinternational.tv
ROB COLLINS
DISBOOK #7 | 2015 —
The audience
T), Miki petition: Aletta Alberts (MNE Com ts ma For the of y Jur The ega (Endemol), Gnama Baddy-D Mori (NHK), Helga Palmer s) d in Africa Film (Skyprod), Peter Gird (Cooke
UM B L A O T O PH E FR OM TH S S A L C 4 1 0 2
Angela Aquereburu ; Alain Modot; Makganwana Mokgalong
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n and Olivia Da hots of the competitio , ter en -V rth rfo Ga e Michell unication, Côte Ouest Kiprié, Head of Comm
dié
— DISBOOK #7 | 2015
Michelle Garforth-Venter, pro ducer, journalist, TV pre senter, host of the pitc hing competition
Samora Sekhukhune and Ari
ce Siapi
The Jury of the Documentary Competition: Ribeiro (Telev isao Independente De Mozambique), Ahmadou Bakayoko (RTI), Brendan Gabriel (Endemol), Denise Mwende (Zuku Entert ainment)
The Jury of the TV Series Competition: Wangeci Murage (Zuku Programming), Ben Amadasun (MTG Africa), Alain Modot (DIFFA), Damiano Malchiodi (A+TV), Charles Povey (Endemol)
Nisha Ligon; Anthony Silverston; Nick Wilson
Patty Geneste; Gnama Baddy-Dega; Grant Flynn; Emily Wanja
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DISBOOK #7 | 2015 — DISCOPRO 2014
S A E D I H FRES E H T M O R F ing h c t i p 2014 ion t i t e p com S WINNER
ts Forma
“#Hashtag Friendorsement” pitched by Grant Flynn
We all need our friends to lean on from time to time. As a crutch, confidant or social circle “friends” have and remain to be the people who stay, as lovers come and go. Imagine if we could take this age-old social behaviour one step further for the 21st century and use the power of friendship to benefit a “Friend in Need”? In today’s small world it feels like 2 or 3-degrees of separation rather than 6! Despite the fact we are ever more connected to all 7-billion people but can still, at times, feel left behind, isolated and alone, and unable to get that lucky break. All we really want is to land that dream job, find the “one”, be made over from head to toe, or perhaps it is that lucky break for an audition or gig. With our friends help and their public seal of approval we can successfully launch a coffee shop via crowdsourcing; secure clientele for a start-up PR agency, or simply clear that mountain of debt one has accrued. Each week two presenters scour the nation looking for the most dire Friends in Need who have either been nominated by friends and family, or have personally cried out for help. #FRIENDORSE uses a “Friend in Need’s” close Friend Circle’s real and cyber-life network to unlock the untapped ‘collective’ potential that exists around every friend circle. This is the ultimate way to selflessly endorse one of your friends and be their hero simply by using one’s reach. This series is a nationwide Call to Action for all Friends to act and and Fulfil an age-old need to #Friendorse in today’s connected world. Okuhle Media, South Africa / www.okuhle.co.za Contact #1: +27 214 862 900 – Email: grant@okuhle.co.za
In the near future, the Afronaut, South Africa’s top technologist, creates an intergalactic spaceship. Invited on its maiden journey are Africa’s celebrities and politicians. Julius Malema discovers Afronaut’s cute furry chimpanzee and sets him free. In the ensuing bedlam the chimp bites the ships nuclear stabilizer and a nuclear reaction goes off… The result: the politicians and celebrities mutate into adolescent human-animal hybrids. When the mutated children return to Earth, the world turns it back on them, and so the Afronaut takes them to the land of Azania. It is here that the Afronaut creates the Nelson Mandela School for Gifted Mutants and, even though the world frowns upon the existence of these freakish mutants, the great and noble celebrities of our time; such as Brangelina, MJ and Madonna flock to Azania to adopt the “gifted” kids. My Child lampoons African current affairs. My Child TV, South Africa / website: www.thecar2n.tv Contact #1: +27 73 938 9921 / Email: nick@thecar2n.tv
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Animati
on
“My Child” presented by Nick Wilson
DISCOPRO 2014 — DISBOOK #7 | 2015
In Sub-Saharan Africa, a marabout is a sorcerer who offers to solve all kind of problems. Our hero, Lyncha O, is an expert in detecting spells; she sells the services of her occult speciality team: they help people that are victims of curses. Descended from a prestigious family of Marabout, Lyncha O chooses to attend a scientific police school where she graduated as a chemical criminologist. The black magic added to the analytic chemistry help her in solving complex riddles. After he was released from a spell by Lyncha, a politician comes back to her to ask her to cast a spell on his opponent. What is she going to do? This plot will be the back framework of the season knowing that each episode will have a new enigma to solve. “Marabout” is an afro esoteric thriller series, with the main character being a charismatic woman using trail blazing methods. The audience will be captivated by the analysis of each case. The fact that Lyncha O talks frequently to the audience by looking into the camera, captivates the audience. Particular attention will be placed on the choice of the afro original soundtrack which will support each action. “Marabout” claims an elaborate visual identity using conscientious credits, afro modern clothing, and cinema aesthetics. “Marabout” is an audacious premium TV series which goal is to offer a new kind of “afro thriller”. Caring International, Togo / www.caring-int.com Contact #1: +228 90 17 17 09 – Email: caring@caring-int.com / Email: caring@caring-int.com
Docury men ta
Samora Sekhukhune, “Wizard of Zim” presented by Samora Sekhukhune
TV series
“Marabout” pitched by Angela Aquereburu
A daughter goes to what seems like the ends of the Earth to make her father’s birthday wish come true: to meet President Robert Mugabe of Zimbabwe. On the journey they come face to face with truths and lies about global media, politics and each other. When South African farmer, Segopotje Sekhukhune turns 70, his five daughters offer him any gift he wants. Without hesitation, he declares that he wants nothing else but to meet President Robert Mugabe of Zimbabwe. Most people they tell about this request react with horror: The leader of South Africa’s northern neighbor has been portrayed in mainstream media as a violent dictator ruthlessly grabbing land from ‘innocent’ white farmers, crippling the economy in the process. While the other four sisters forget all about this conversation and move on with their lives, middle daughter, Samora, takes it upon herself to make her father’s wish come true. Plans get underway to better understand his motives, grapple through fear and red tape to reach President Mugabe. Through the father’s colorful storytelling and looking at history and current affairs from his perspective we uncover a President and enemies we never knew we had! On the road has always been a sanctuary for the father and daughter: where they connect, away from the constant presence of the other, strong willed sisters. A natural stage is set for the principle story to unfold. The film is thought provoking yet humorous; global yet very intimate. It combines classical road-trip film elements, archive footage and a sense of investigative adventure. Will the pair manage to achieve what many have said is impossible? Away from the Keyboard, South Africa / Contact #1: +27 61 404 5360 Email: sssamora@gmail.com
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...TV for us
P O T S NON AL TV DIGIT
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...and lots m
info@consat.tv www.facebook.com/consattvng
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@consattv www.consat.tv
DTT AND PAY TV IN AFRICA: DO YOU KNOW YOUR NUMBERS?* 2.400.000.000 450.000.000
There are 17 million pay-TV subscribers in Africa
110.000.000+
50.000.000
7 million DTT customers have access to free and paid TV services h
40.000.000
450 million €, the cost for Nigeria to switch to digital
50 million €, the cost for Senegal to switch to digital
40 million €, the cost for Togo to switch to digital
17.000.000 2.4 billion in US$, the total cost for DTT in 24 countries where investment figures have been announced
There are 2,200 satellite TV channels in Africa
7.000.000
110 million, the number of television sets in Africa (this number is growing daily)
636
2.200+ 4 pay-TV operators have 1 million+ subscribers: DStv, Startimes, Canal+, ZAP
33
2 lead DTT broadcasters: GOtv and Startimes (Canal+ is the third serious contender.) 50+ is the percentage of growth for pay-TV subscribers in the past 3 years
636: is the number of free terrestrial channel broadcasters
50
6 countries have started cutting analog signal
16
6
12
16 countries have launched DTT but have not yet cut analog TV
10 pay-TV operators are leading the field a
4
10
12 countries have started terrestrial deployment of the DTT network and 12 countries have set up DTT committees
* SOURCE: SYLVAIN BÉLETRE, CONSULTANT AND SENIOR ANALYST AT LONDON FIRM BALANCING ACT WWW.BALANCINGACT-AFRICA.COM
There are 33 countries that might request to postpone the analogue switch off deadline
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DISBOOK #7 | 2015 — trends & business
The SABC is Going Multi-Platform By Johan van Rooyen, Project Leader, SABC Digital
Despite a delay in South Africa’s implementation and launch of Digital Terrestrial Television or DTT the SABC unabatedly continued with its planning and development processes to be ready to launch with five Television services when the switchover from analogue to digital Television takes effect.
Digital Terrestrial Television (DTT), digital TV migration and freeing up valuable digital dividend spectrum became some of the widely used buzzword across the African continent as the SADEC region pooled resources and countries prepared to meet the June 2015 international analog switch-off deadline as stipulated by the International Telecommunications Union (ITU). Some of the SADEC countries have already switched over to DTT while the remaining ones continue to commit all their resources in an effort to overcome country specific challenges. Once operational, DTT will free up valuable spectrum for use in the rollout of wireless broadband networks. This in turn will have a profound impact on traditional broadcasting models and will force players to adopt multi-platform content distribution strategies or face a bleak future or even extinction. Data and connectivity are significant enablers and also key drivers which continue to shape how modern day consumers interact with media. Consumers increasingly demand choice. They want to be in control of what they consume, when they
consume and how or through which means they prefer to consume content. This forms the foundation of all current and future multi-platform broadcast models. Multi-platform broadcasts and integrated distribution networks place added demand on broadcasters to understand consumer dynamics and respond with content packaged to best suit the delivery method or platform. South Africa also ranks amongst the top performing countries in the world when it comes to mobile device ownership and usage. Smart device prices continue to drop making it more accessible for mass market adoption but data costs remains a constraint (for now). The SABC recognizes the importance of the mobile phone in a consumer’s life. In many instances the communication function of the device has been replaced with non-verbal communication via social media and text based applications. Social networks are the norm and the broadcaster needs to acknowledge the importance of connected audiences. Social networks afford ordinary citizens a platform to “raise
trends & business — DISBOOK #7 | 2015
their voice”. Most members are highly opinionated and the broadcaster needs to respect this silent rule. They can either act as brand ambassadors or have the power to destroy years of marketing and reputation building in an instant. Engagement is important and broadcasters need to be genuine in their response. One wrong move and fake intentions will be exposed with dire consequences for the platform or brand. While traditional broadcast platforms continue to play an integral part in audiences’ daily information, education and entertainment needs the importance of websites, mobisites, social media platforms, streaming services, etc. as brand extensions with their own unique persona and requirements cannot be overstated. These extensions offer multiple new touch points and varied ways of interacting with consumers. Content remains king and must be packaged in ways that best suit the specific publishing environment and consumer preferences. Creating
South Africans from all walks of life continue to show huge appetite for locally produced Television content. Properties like Skeem Saam, Generations the Legacy and Uzalo are mere examples of the most watched locally produced soaps and dramas the SABC commissions for broadcast to its audiences. These program properties create strategic anchors to attract audiences to a specific SABC Television channel. While creating multi-platform distribution channels for the TV brand, the SABC also considers the cumulative role these popular programmes play in evoking response from loyal followers. A different strategy is applied to integrate the unique properties of the programme in a multi-platform delivery environment. The extended programme offering must continue to complement the channel’s identity and strategic positioning. The SABC is further mandated to deliver content to all South Africans as part of its universal access obligation as the country’s public
“ Social networks
afford ordinary citizens a platform to “raise their voice”
”
opportunities for audiences to respond to content (via social media platform integration) and share their perceptions and emotions with peer-networks will determine the success broadcasters achieve in creating affinity groups and a loyal following.
broadcaster. SABC 1 remains the top performing Television channel in the current analogue broadcast environment. As South Africa’s leading commercial satellite Television operator, Multichoice fulfils its must-carry obligation to broadcast the SABC’s free-to-air TV channels.
This affords citizens access to SABC TV channels in areas where a particular channel might not enjoy coverage due to current broadcast footprint limitations. SABC 1 and SABC 2 continue to be the most watched channels in the Multichoice DSTV bouquet. SABC 1, SABC 2, SABC 3, SABC Africa News and the recently launched SABC Encore will make up the SABC’s bouquet of television services when the country switches over to digital terrestrial broadcasting. Audiences will also have access to the 19 SABC radio station services via their TV sets and all stations will enjoy full national coverage as opposed to the regional footprint restrictions FM transmission imposes on them. Multi-platform delivery remains an intricate science of trying to harmonise delivery mechanisms or platforms with diverse audience requirements and preferences. The only constant in a multi-platform environment is ongoing evolution. Broadcasters and content publishers need continuous investment in robust research projects. This will help them understand consumer dynamics, identify consumption trends and track behavioral changes which influence audiences to switch from or between various platforms and channels. The SABC realizes that it will have to increase its investment in production of compelling local content. This will stimulate development of the local production industry resulting in a more diverse content proposition from the various provinces in the country. Multi-channel environments will continue to create new opportunities and avenues for ordinary citizens to interact with the SABC. From analog to digital, from cradle to grave, SABC continues to inspire South Africa.
DISBOOK #7 | 2015 — trends & business
How dubbing is changing the film industry on the African continent By Peterson Tumwebaze
Unless you are watching a silent comedy like Mr. Bean, there is no film worth a single minute when the language is strange to the viewer. There were times in the yesteryear when many films were too limited in viewership, largely because of the language used. The concept of subtitles would come later to break the language barrier. But it had little appeal, as many consider it an eyesore, and that it detracts from the action, since one has to read the fast subtitles as well as watch the film.
Early dubbing’s forerunners were colonial cinema narrators, who interpreted live while standing next to the screen. This form of live interpretation of film has still survived in Kenya and Uganda, where so-called veejays (video jockeys) comment live on foreign filmshow in video clubs (Photo Andrew Tshabangu , 2011, Courtesy Gallery Momo).
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Over time, local ‘geniuses’ in some parts of Africa like in Uganda and Kenya sought out a way to ensure that language was not entirely a barrier in the enjoyment of films. The development of live interpretation of films, a dubbing concept that mushroomed around Uganda and Kenya—the so-called veejays (video jockeys) are very much in business in these countries to-date, where they
trends & business — DISBOOK #7 | 2015
have made a cult following with their often comical interpretations. The veejays are common fixtures in makeshift shacks commonly made of plywood and tin sheeting, and video halls that function as the main form of cinema for the Ugandan masses, most of whom cannot afford theater tickets or rentals of pirated DVDs. The fact is that these translations have played a salient role in the development of the film industry in the African continent. Prince Nakibinge Joe, the president of Uganda’s Video Jockeys Association, compares the VJ to the DJ, “who spices up music in a discotheque” and thus keeps viewers glued to the screen until the end. With this ‘cinematic boom’, film dubbing has become a reality beyond the veejays. Whereas the veejays translate the film dialogue in a manner that suits their audience, what they are trying to do is known in conventional terms as ‘film dubbing.’ Dubbing is most familiar to audiences as a means of translating foreignlanguage films into the audience’s language. When a foreign language is dubbed, the translation of the original dialogue is carefully matched to the lip movements of the actors in the film. Pascal Mwita, of African Voices Dubbing Company, a Nairobi, Kenyabased company that specializes in dubbing, says the concept is basically voicing in another language. “It seems simple said that way, but the reality is dubbing has several stages. For us the key to successful dubbing is two-fold: translation and matching the right voice talent to the existing character. Keeping it authentic for the future viewer and/or listener is where the real work is,” Mwita says. Sam Shale, the head of the scripting department at Endemol Shine Africa, a multiplatform content producer with its
“
THE DISTRIBUTOR OR THE
PRODUCER SUDDENLY HAS THE ABILITY TO REACH A MARKET OF A BILLION PEOPLE WITH THE SAME CONTENT.
headquarters in South Africa and presence in Nigeria and Kenya, says the concept of dubbing in South Africa and Africa is designed to create content accessibility to the targeted market. South African language cannot travel outside our borders without dubbing and subtitling and therefore substantially lowering the revenue threshold for both broadcaster and producer. “The use of the target audience language creates resonance with the characters and the story as the viewer can understand the language spoken, which means a French movie can be dubbed into local languages and still resonate locally,” Shale says. Jan Botha, the Facilities Manager at Endemol Shine, says the dubbing process is a simple technique, but it is extremely effective in ensuring the reach of a far greater audience market by translating, recreating and replacing a single spoken language into different indigenous or foreign languages. “Translated language dubbing eliminates subtitles, which is an effective method in reaching children and a younger audience who are not able to read yet,” Botha says. “You can increase your distribution on the back of the same bouquet of content. The distributor or the producer suddenly has the ability to reach a market of a billion people with the same content,” Mwita says.
”
Botha says dubbing opens up the opportunity for re-selling the content to another regions for the distributor, as well as creating a new value chain in traditional production. Previously a thing favored in relatively affluent countries and in language communities with large cinema going publics, film dubbing has grown to be a sub-section of the film industry itself, notably with the advent of soap operas and telenovelas. And with many African upcoming film makers, it became obvious that dubbing was the only market penetration strategy to serve large and varying audiences. Jan Botha, of Endemol Shine Africa, said their main clients are local and continental broadcasters, mobile networks and advertisers, for whom they produce the shows. “We are also working with Endemol Shine International and major and independent studios for content distribution. We do from time to time work in partnership with other independent producers. The company produces scripted and non-scripted formats for both local and continental broadcasters but the ideas can travel internationally as well. We create, produce and distribute content. We also offer post-production and dubbing facilities,” Botha said.
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DISBOOK #7 | 2015 — trends & business
market. Ironically, though, Mwita does not think dubbing has become a standard procedure in Africa, citing lack of capital, lack of content to dub, insufficient skill set, among others, as some of the factors that impede the growth of dubbing in Africa.
Pascal Mwita, General Manager at the African Voices Dubbing Company, says the concept makes sense for Africa because it’s a huge market with a plethora of languages and dialects. “One program dubbed in every language is a link to a new market. Our aim is to access those markets,” Mwita said.
Shale is of similar sentiments with Mwita, saying we [Africa] still have long way to go. “In South Africa, for example, we have not been able to export nonEnglish titles successfully and consistently. This solution is simple but it requires investment by either commissioning broadcaster or the buying broadcaster to dub. International distributors have seen this opportunity and now bring in content from all around the world to distribute into Africa.” Shale says.
Over the last few years, the number of dubbing companies on the continent has more than doubled. Mwita said this goes back to the numbers and the cost of commissioning new work. “It’s cheaper to dub than to commission a new series. The only cost-effective way to expand the market for the same material is to dub,” he said. Botha links the growth of the dubbing industry to content that he says has become more accessible to the masses and all platforms want to show the best content and get the best results, which in most cases is dubbing into English or French for the bulk of the African
Mwita also thinks the growth of film dubbing could eventually affect the production of new content to some degree, especially since Africa stills
Five good reasons why the dubbing industry should be developed in Africa
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2
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The cost of dubbing a high quality film or TV series is generally between 5 and 20% of the production cost of the same. As a result, investments in dubbing might lead to a dramatic increase in the volume of African productions available for broadcasting or distribution. Secondly, many TV professionals consider subtitling as not suitable for broadcasting and hence end up embracing dubbing.
3
4
5
And for television programs, dubbing is highly recommended, especially in Africa because of the high rate of illiteracy in many countries. Dubbing is known as “the art of illusion”, making it easier for audiences to identify themselves with films than when they have been subtitled. A dubbed version looks much more familiar to the audience than a subtitled version.
does not have enough indigenous content when you consider the size of the market. “Unless African content is also dubbed as actively as content from the other continents we stand the risk of not telling and sharing our stories. We could get lost in the flood,” he says, adding that among the challenges of dubbing on the continent are the few companies engaged in the sector. “Beyond the African languages you have the dialects as well. The potential is huge. This is a growth area. No other continent has so many languages coupled with a huge population and a rapidly expanding middle class, who are demanding content that they can identify with, we believe the sky is the limit for dubbing. Africa is rising,” Mwita says. Botha cites language diversity and funding for dubbing as some of the challenges, saying Africa is a continent with multiple countries, everyone has different challenge. However, the South African is optimistic of the future of the sector. “We believe that dubbing will grow in the film industry in the next 10 years, as there is more appetite in the African content and more emphasis on distribution is growing. It’s certainly an area we are considering,” Botha says. African Voices Dubbing Company: Viewing Box VB21
Right page: Movie posters made in Ghana. When the first videocassettes made their way to the West African nation of Ghana in the early 80s, cinema operators set up shops with a TV, a VCR and a portable generator mobile. They would screen Hong Kong action flicks, Bollywood musicals, Nigerian movies and Hollywood blockbusters. When official movie posters couldn’t be imported, local artists would bootleg them with a total free interpretation… Another genre of dubbing!
trends & business — DISBOOK #7 | 2015
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Adama Traore of Mali battles for the ball with Hardlife Zvirekwi of Zimbabwe during the 2014 CAF African Nations Championships Quarterfinal football match between Mali and Zimbabwe at Cape Town Stadium.
THE COMING OF AGE OF AFRICAN LOCAL SPORTS For a long time the story of sports casting in sub-Saharan Africa has been one of domination of soccer, and especially European soccer, and of SuperSport as its overwhelmingly dominant outlet. And, while that is still the case – there are signs that change might be on the way. Disbook talks to Callum McCarthy, reporter for the London-based Sports Business Group.
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“Let us be clear,” insists Callum McCarthy, “soccer remains, by far and away, the most popular sport in sub-Saharan Africa and it is highly unlikely that this will change.” Having established the continuing hegemony of the old order, however, McCarthy does go on to point to a number of aspects of the sports market in sub-Saharan Africa that are both encouraging and which also might be seen as portents of change.
McCarthy reports that, “as in the past, pay-TV operators and broadcasters are prioritizing the acquisition of major football properties,” and, encouragingly he adds, “this is causing rights fees to rise steeply from cycle to cycle.” Interestingly, McCarthy also notes that, “sub-Sahara’s booming Anglophone pay-TV market is beginning to shift the balance of power away from the wealthier parts of South Africa, as operators such as StarTimes
trends & business — DISBOOK #7 | 2015 and Azam have started offering top level soccer at more affordable prices, making the market far more diverse than it used to be the case.” That said, however, McCarthy is still clear that, “despite this increased competition, SuperSport is still the dominant player in the sector with an income unmatched by any of its newer rivals. It has,” he asserts, “cornered the market in terms of affluent consumers and, consequently, remains the only broadcaster able to affords the most expensive sports properties without putting its business at risk.” But, while this enviable dominance enables SuperSport to put marquee properties such as the English Premier League and Spain’s La Liga in pride of place in its portfolio, and there is no doubt that these are the two key drivers of subscribers, StarTimes’ acquisition of Germany’s Bundesliga and Italy’s Serie A will, notes McCarty, “form the backbone of its sports offering in a strategy that merely caters to consumer demand.” While he readily acknowledges that, “the quality of international sports content and its production values are, generally speaking, more attractive to African broadcasters and consumers,
and this has, to an extent, left local content in its shadow it is not,” he notes, “a completely one-sided story.” As he points out, “SuperSport’ rights to the South African Premier Soccer league, as well as to the main South African rugby and cricket competitions are essential to attract and maintain subscribers.” But for those looking for evidence that local sports coverage in Africa is showing signs of emerging from the long shadow of European soccer, the big story is surely Lagardere’s recent acquisition of the Africa Cup of Nations between 2017 and 2028 for a cool US$1 billion – which, as McCarthy insists, “has laid down a marker for just how valuable home-grown content can be.” And there are other indications too that local sport is coming of age. SuperSport is investing significant amounts in the South African Premier Soccer League allowing both the league and the clubs to improve the footballing infrastructure. Additionally, McCarthy reports that, despite relatively low numbers of subscribers in Kenya and Zimbabwe, SuperSport is “nurturing both the Kenyan and Zimbabwean Premier Leagues and, investment in these leagues is sorely needed if
they are to develop and become attractive to African audiences.” McCarthy suggests that, in the longterms there are very clear advantages to broadcasters such as Azam and Zuku in developing local sport – not least its availability for a fraction of the cost of acquiring major European leagues. But he is also at pains to stress that, “while it is a huge positive to see some African sports properties receiving better prices for their broadcasting rights, it is important that broadcasters acquiring those rights take advantage of the relatively small outlay and invest in the longterms value and appeal of these properties. They should do this,” he suggests, “by putting money into high-quality production and marketing as well as giving these properties sufficient airtime to reach an audience. They should also consider lending administrative expertise to federations and leagues – working closely with the governing bodies to ensure that the money is being used in the right way. These are the keys” believes McCarthy, “to making Africabased sport a success in the long-term.” Despite all the genuine causes for optimism, two unavoidable truths remain. Soccer, and in particular European soccer, is still the overwhelmingly dominant televised sport in Africa and there is no chance of this changing in the foreseeable future. The second unavoidable truth is that, with very few exceptions, South African rugby being the obvious one, indigenous African sport will struggle to make any impact on the international stage. But, for all of these caveats, the fact is that local African sport represents a genuine and solid investment opportunity for many of the continent’s newer broadcasters – and it is one they should grab with both hands while they still can. Springboks’s star Duane Vermeulen during a 2012 match against the All Blacks (New Zealand).
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DISBOOK #7 | 2015 — trends & business
And the news is – serious business in Africa Africans are news junkies. And they are serious about it. Sports and celebrities have their place in African news, as they do everywhere else. But, what drives people is ‘hard news’ – whether that be local or international. But, as is the case the world over – African news is being driven and changed by the advent of new technology. Bob Jenkins looks at the news that’s driving African news.
Francois Picard, host of France 24’s The World This Week is unequivocal that “the appetite for news, and especially political news, in sub-Saharan Africa is tremendous”, adding, “it is probably fair to say that Africans are political junkies.” However, Picard also cautions that, “if that is true then it is also true that, in quite a number of sub-Saharan countries, news is still subject to greater state control than would be acceptable in the West.” And this, says Picard, is the reason for one of the more surprising and yet significant aspects of news gathering in Africa is the rise of news portals run by African Diaspora, from overseas. Citing just one example to prove his point, Picard cites a news portal run by West Africa ex-pats based in Washington as being, “the most popular news outlet in Abidjan.” However, the ex-pats are not alone. According to Francois Chignac of Euronews service, Africanews, one of the most significant trends in African new gathering is the
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penetration of, and usage of the mobile phone, Chignac is clear that, “mobile phones are being leveraged by citizens to varying degrees to contribute to news making. Individuals with mobile phones are able to capture news in ‘real’ or ‘close to real’ time – much more immediately and rapidly than professional journalists. The SMS function,” he adds, “is particularly seen as the most potent tool for alternative communication in the developing world today as it is less expensive than making a phone call or using voice mail services.” Chignac sees this as key to the development of news reporting in Africa, stating, “in Africa the mobile phone is facilitating professional journalism while also allowing citizens to participate in the process of reporting,” and, as he adds, “this development has also seen the creative deployment of SMS commentary in various programmes on radio and television across the continent.” And Chignac goes on to promise
“we will take this new paradigm into account at Africanews not only by offering a substantial and agile mobile programme, but also by integrating user generated content.” Chignac also believes these changes in the way news is gathered are increasingly having a significant impact on the way in which it is reported and consumed. As an example, he cites the fact that, “many journalists on the African continent argue that social media helps them gather more, and sometimes better, material – the argument is that social media helps journalists to find wider range of voices, ideas and eyewitnesses more quickly.” One of the other effects of the arrival of digital on the business of gathering and disseminating news across Africa is the demise of the bureaux. Chignac says that while “many international news agencies still operate bureaux across Africa, many have recently scaled down the number and size of
trends & business — DISBOOK #7 | 2015
“ African newsrooms
are already using technology from drones to floating smart phones to gather information and get stories
”
their bureaux as these become less and less profitable in the face of increasing competition from Internet news sources.” These are trends also noted by Sheila Gangji , Director of the English division of Voice Of America, who comments that there is a significant move away from radio as the primary source of news to televisual news, which, she suggests, “is linked to the explosion of the Internet, and especially to that of mobile Internet,” although she does also caution that, “while the growth of this sector of news gathering is definitely the fastest it will still take some years for it to catch up with traditional broadcasting in terms of overall importance as a news gathering platform.” Chignac’s colleague Isaac Khagulki isn’t so sure that the change will take so long to come about, reporting that, “African newsrooms are already using technology from drones to floating smart phones to gather information and get stories they would not previously have been able to gather. Additionally”, he continues, “social media is now allowing brands to become media in their own right – platforms such as YouTube, WordPress and Twitter have made it easier and more affordable than ever
for brands to create and distribute their own content, and thereby become media companies.” However, regardless of the means by which news is gathered, there is no doubting the African demand for serious, analytical news. This is evidenced by the success of Deutsche Welle which, says Sevan Ibrahim, Head of Distribution for Africa, has just launched an English language flagship TV service as an addition to the information the company already provides in 30 different languages.” This, says Ibrahim, is a reflection of the focus the company has on local issues which she says are “a priority for DW” and, she stresses, “DW correspondents on location work closely with Africa experts in order to produce impactful and regionally relevant programming.” Amongst the topics which dominate the DW agenda this year, Ibrahim lists “ the presidential elections in Nigeria, the fight against Ebola, the progress of digitalisation and the impact this is having on African media, the conflict between private and public media and, possibly the most significant item of all, the deepening relationship between China and many African governments.” Language is another key factor in the delivery of news in Africa. Africanews’ Khaguli reports that “French West
Africa and North Africa associate strongly with news from France and French speaking Europe, while Anglophone countries associate more with English speaking nations, and, in particular the US,” and, he adds, “Africanews will be a unique media that will bring all of these voices, opinions and trends across Africa to life.” For VOA’s Gandji, however, “the key issues and debates in African news tend to vary from country to country and year to year. That said”, she continues, “current affairs, politics, economics and humanitarian news all constantly interest our audiences right across the continent.” And she also agrees with France 24’s Picard that, “our surveys and qualitative research show that, compared to many other regions of the world, celebrity news is not among the leading news topics in Africa, lagging behind both international and domestic news,” – although she does acknowledge that, “there may be a bit of social desirability affecting the results of this research.” And Africa news’ Chignac also cautions that there is a lack of hard audience numbers. Agreeing with his colleague Isaac Khaguli, that audiences have a tendency to migrate towards international news in the language they speak, he also notes that, “consumers privilege national news followed by Pan-African ‘hard news’ and also African news that will have an international impact.” It is clear that news in Africa is an important business – and it is also one that is growing as quickly as it is changing. This is one of the many areas of Africa’s audiovisual business where it seems the news is only good news! Deutsche Welle , Booth #F6-7 Euronews, Booth #E6 France 24, Boot #H5 Voice Of America, Booth #Aa2-3
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DISBOOK #7 | 2015 — trends & business
Africa Rising Euronews will soon have a younger sister. The international news network will launch Africanews in the next few weeks, setting high standards for this unique pan-African project. DISBOOK talked with Euronews’ CEO Michael Peters. – By Daniel Hoffman
Why is Africanews unique? This media project has a real panAfrican ambition with coverage and content produced in Africa by Africans. This is the core of our strategy and, I hope, the secret to our success. Our digital platform has been designed for mobile devices since this is the primary source of news consumption on the continent. Also, the editorial policy will be decided from our headquarters, in Congo-Brazzaville. How did you recruit the channel’s journalists? We built a multi-national, multicultural and multi-lingual newsroom. Our directors organized recruitment sessions in regional hubs like Nairobi, Johannesburg, Abidjan, Doula, Dakar, Brazzaville, Ndjamena and Lagos. We looked for journalists combining a wide knowledge of African current affairs, strong experience on-air and a real vision of media independence. For this process and for the whole project, we were lucky to work with the journalist Stephen Smith, one of the best experts on Africa in the world. What are the audience goals? The main goal is to reach the opinion leaders of the continent. For us, they’re not only billionaires or heads of state.
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It can also be a student with an innovative idea. Secondly, we’ll target the middle-class, which we believe to be the future of Africa. This is why we worked so hard on the mobility of our products. If we want to reach this population, we need to be present on mobile platforms. What is the channel’s economic model? We aim to be at financial equilibrium after five years. If we manage to produce credible content, we believe that we will earn significant revenues from advertising. As a pan-African media, we will bring together the Anglophone, Francophone and Lusophone worlds. We also intend to develop partnerships for coproductions and might strike deals in the next few months. In addition, we will develop distribution throughout the continent. The last aspect is diversification: if our brand is strong after one or two years, we will be able to launch new activities such as a media academy or sponsorship of events. What is your personal involvement? Before this project, I didn’t know Africa very well. I just thought there was something new to do there. I had the opportunity to meet and become
“ we will
bring together the Anglophone, Francophone and Lusophone worlds
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friend with the famous South African DJ Black Coffee, who organized a huge concert in the Moses Mabhida Stadium in Durban four years ago. The event was called “Africa rising”. For me, this title is the symbol of Africanews’ ambitions. Our aim is not only to create a new media. We want, as humbly as possible, to help the world witness the rise of Africa.
Michael Peter, Euronews’s CEO.
Breaking the news — DISBOOK #7 | 2015
DISBOOK #7 | 2015 — SABC
trends & business — DISBOOK #7 | 2015
A GREAT LIBRARY, A GREAT VISION, A GREAT TEAM
The SABC is on a roll – watch this space!
Head of International Sales Ida McNair, Senior International Sales Executive Veena Lala and Technical Executive for International Sales Selina Lam give the lowdown on their recent successes in Africa’s Anglophone and Francophone markets – and some very interesting news and views on the future of digital.
Characters from “Skeem Saam” a new youth drama on Sabc3. The series takes a close look at the lives of teenage boys and their families, and examines the plight of today’s male children and the tough challenges they face transitioning into manhood.
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DISBOOK #7 | 2015 — SABC
Genimus dusam ati volore eos voluptibus saesto vellupt aquaes aliquam fugia consed quia essunt, cor a doluptatet ulparum eum quia velestium sinciisit quam.
The story of “High Rollers” takes place in the glamorous and backstabbing world of gambling.
By Bob Jenkins Head of International Content Sales Ida McNair is clear from the start of the interview that the most important thing to understand about SABC International is that it has the largest library of African and South African content in the world, and, as she goes on to observe, “the current boom in the African audiovisual content business has created a great demand for African content – and this means there is an even greater demand for, and therefore value on, our library.” This is no small boon. But, added to that is a recent, and ongoing expansion in the SABC’s production. Veena Lala points to new series such as the powerful soap Uzalo, which she describes as “a provocative, bold and authentic narrative telling the story of two family dynasties – the Mdletshes and the Xulus – and the two young men who carry their family’s hopes and
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legacies”; and also Skeemn Saam, a soap opera which has been very successful on SABC 3 and which Lala describes as, “a blend of stories about the journey to manhood in today’s South Africa.” In addition the SABC has new seasons of Generations which, with its themes of family, romance, rivalry, suspense and blackmail has made the series extremely popular, not only in South Africa but with broadcasters right across Anglophone sub-Saharan Africa who, reports McNair “just keep coming back for more.” All of which, says McNair, “is the result of a multi-million Rand commissioning drive instigated by the SABC of several new series right across all genres”, and she insists that her department, International Content Sales, “is ready to take on the challenge of placing our programs right across the globe – focusing not only on the traditional broadcasters but also on the myriad of new digital platforms springing up globally.”
SABC — DISBOOK #7 | 2015 A historic deal between the SABC and A+ And, as she continues, it becomes clear that digital, and the future it holds, is a subject close to McNair’s heart. “It is clear to me”, she insists that the future of broadcasting globally is a digital future. The future belongs to those who best adapt to meeting the demands of the plethora of new channels – and the SABC is no exception.” That the SABC understands this is clear. It has already established a 7-day-catch up channel on YouTube, featuring a number of the SABC’s most popular series such as Uzalo, Skeem Saam, Muvhango and Generations, and is, reports McNair, “showing promising growth.” Additionally the SABC is in development with what McNair will only identify as, “a local Pay-TV’s satellite platform”, to develop a stand-alone catch up channel which will offer up to 60 hours a month of popular new content. The arrival of DTT is also part of the SABC’s exciting expansion into the world of digital. Utilizing DTT’s ability to broadcast more than one track, Technical Executive Selina Lam says, “an audio descriptor soundtrack can be created and broadcast to give added value to the visually impaired.” This technology is currently being trialled with a series called Sticks and Stones in a late night slot on a regular channel and, once DTT is more widely available, it will, says McNair, “form the backbone of a new offering for the visually impaired.” As for VOD, McNair says that, “while it is currently the case that SABC content is already available as VOD offerings on a variety of platforms, in the long term, the corporation’s aim is to have its own content available on its own VOD platform.” This all adds up to a significant ambition. But it is an ambition that is backed up by a significant library – Africa’s largest – an insightful vision – and a great and talented team headed by McNair. Watch this space! “Uzalo” is the new telenovela on SABC1. The story is about two affluent families in the township of Kwa-Mashu: one presides over the Kwamashu Kingdom Church and the other runs a car theft syndicate. The two families are connected by the fact that their eldest sons were switched at birth.
Six years ago the SABC began to explore the potential of Frenchspeaking West Africa. It was immediately clear that there was potential for SABC content in the region as Ida McNair, Head of International Sales recalls, “we did manage to licence content in the region, but not directly with a broadcast, selling instead to a well known international distributor – this is the first deal we have closed directly with a local international broadcaster.” Thanks to DISCOP Africa, back in 2013, conversations between the SABC and A+ began – even before the channel had launched! And they continued to prosper through various DISCOP markets until it was concluded in June this year when Senior Licensing Consultant, Shalini Naidoo visited the inaugural DISCOP Africa in Abidjan and closed the deal while also, she reports, “making contact with other potential clients from French Speaking Africa.” The deal itself focuses mainly on South Africa drama with high production values, including series such as Uzalo, End Game, Tempy Pushas, High Rollers, Shreds and Skeem Saam. A+ Managing Director, Damiano Malchiodi says that the attraction of this particular package for the channel is that, “these series are modern and high quality, but, not only that, they also have a broad appeal and will allow us to attract family audiences, as well as attracting both a female audience and also teenagers.” McNair describes the deal as, “focused mainly on South African drama content with high production values. Dramas”, she continues, “which portray daily Africa family lives, intertwined with tradition, culture and values which I think are universal – and of importance no matter where you live.” And she is very clear as to the significance of this deal from the perspective of the SABC, saying, “A+ is a broadcaster of very high repute that covers large areas of West Africa, which will give exposure to these high quality SABC series to millions of people who have never before seen them. We are,” she adds, “proud to be working with a broadcaster of the calibre of A+ and delighted to have our programmes dubbed into another language and shown in a part of Africa they have not previously reached.” And, as she goes on to make clear, there is a very sound business reason as to why this deal has brought such pleasure and excitement to the SABC. As she points out, “West Africa has millions of potential viewers, Africa’s Francophone channels are growing rapidly and so too is the audience demand for original African content. In the past, many of these channels broadcast content they received from Europe that wasn’t remotely ‘African’. Now, with the increased availability of African content, the demand is growing and the SABC would like to license more of our content to this audience.” These comments are reflected in observations made by Malchiodi. “When A+ launched a year ago,” he reveals, “our schedule was about 80% acquired programming. But, because of our strategy which is focused on co-productions, that figure has already fallen to 60%.” The real significance of this deal from the perspective of A+ can be seen from Malchiodi’s acknowledgment that, “this deal with the SABC represents about 15% of our annual acquisition of programming”. Which only serves to reinforce McNair’s observation that, “deals such as this are a great opportunity for both parties,” and she adds, “we hope to be able to expand our content offering to include children’s and environmental programming and, with DISCOP Africa in Johannesburg and in Abidjan, these will provide us with excellent opportunities to strengthen business relationships with potential clients in the region.” It seems as if this could be the first of many deals of benefit to all sections of the African audiovisual content business – whatever language they speak!
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CÔTE OUEST STRIVES FOR FAIR AUDIOVISUAL TRADE A conversation with Bernard AZRIA, CEO OF CôTE OUEST, about the changes and challenges facing Africa’s content development industry.
Disbook: Each edition of DISCOP Africa is an opportunity to review the current situation for Côte Ouest. What are the news? What can you announce to us? Bernard Azria: The goal of Côte Ouest is the same: we are and we want to remain the leader in content distribution on Africa and for Africa. As for our strategy, it sharpens with the evolution of the new distribution and consumption channels, the new commercial zones for the African market and the new content. D: Let’s start with the new distribution channels. B.A.: New media, new platforms, new targets, new modes and circumstances for consumption: the audiovisual product, that once used to be a cultural product, has become a mass product. Understanding and anticipating these evolutions is a major stake for us. D: What does that concretely mean for Côte Ouest? B.A.: It means that we’re looking to advance little by little and that we’re exploring, carefully but systematically, all the sources of business that we see coming. Côte Ouest will always position itself where the added value is the most important, even if it implies reconsidering our business model. D: You were also mentioning the commercial zones. B.A.: I think that the future of African content will not only be decided in Africa, but in the entire world. I am
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obviously referring to the diaspora of two hundred million Africans who – by the way, now represent the biggest portion of consumers of VoD platforms –, but I also mean that Africa, through its countless talents and still unexploited sources of inspiration, can play and will play a growing role on the international scene. D: So what about the content? B.A.: Our ambition was to gather the largest and most varied catalogue of African content. It’s a done deal! “United Colors of Africa” is comprised of approximately 17,000 hours of programming (telenovelas included) and 7,000 hours of African content strictly speaking. Today, our strategy is changing direction. It is no longer a quantity issue, but a quality issue: our goal is to have the best possible African content. D: How do you aggregate the best content? B.A.: In the past, we used to wait for the content to come to us. Today we must go and find the content, and step in earlier in the production line. We must identify the most promising projects and trustworthy partners with whom we might invest – for 2016, we have 8 projects in development all over Africa. We also have an acquisition strategy. For example, we acquired more than 250 Nigerian titles, including blockbusters like “October 1” by Kunle Afolayan. Côte Ouest also has a training strategy. We have founded in Abidjan
a creative hub whose mission is to gather the most talented young Ivorian Youtubers and to coach them. Our goal is to supervise and produce their shows. D: Any wish for the African audiovisual industry? B.A.: The sector is still weak, but things are moving in the right direction and African production is already experiencing a growing demand. However, the African content doesn’t yet have the place it deserves on the international stage. That’s why we focus on “exportable” content: stories must not only speak to the Africans, but also to the diaspora and to Africa lovers. The content must be ethnic without being ethno-centered, and it must obviously meet international standards. The African industry must also free itself from some powerful international groups who impose unjust dictates, whether they’re an attempt to obtain international rights for nothing or for only a symbolic amount, or an imposition of outrageously low prices with long periods of exclusivity. On the contrary, our role consists of stimulating local production and giving local operators something to live for. Acquisition agreements must be a ‘win-win’ situation. The goal of Côte Ouest is precisely to help set up the conditions for a fair audiovisual trade. Visit Côte Ouest: Booth #E1-E4/F1-F2
trends & business — DISBOOK #7 | 2015
C ÔT E O UE ST ’S NEW LINE-UP FOR 2015
UNDER PRODUCT I O N FO R 20 1 6
“The Getaway” (13 x 26’) is a glamorous, witty, suspensefilled drama series about five couples, that meet at the plush, exotic hotel Paradise where they go, to try to forget all their problems and issues. The series exposes the dysfunction, drama, intrigues, lies and ultimately love, that abounds in their checkered lives. The series is co-produced with Emen Isong.
“The Nairobians” is a crime drama set in contemporary Nairobi. The series is inspired by the rich vein of Kenyan crime fiction that includes novels such as John Kiriamiti’s, “My Life in Crime” series from the 70’s and 80’s, and the more recent work of Mukoma wa Ngugi (“Black Star Nairobi”). It tells the story of a Nairobi underworld Kingpin. Produced by Jeremy Nathan.
“V Republi:c” is a 26-episode series, produced by the talented Ghanaian Shirley Frimpong Mensoh. Four leading women are seeking answers to their notso-perfect lives. They are each challenged in various issues including awkwardness, dream struggles, fun, reality and their men. The much-anticipated TV series tackles the diversities entrenched in our cosmopolitan lifestyles through the lenses of four women as each takes on whatever life throws at her.
“Chronicles Of A Runs Girl” is a fresh TV series based on the serialized short novella written by Leye Adenle read over 250 000 times. It is the story of Amaka, a young and pretty undergraduate from a less-than-privileged family, and her roommates of similar ilk, as they strive to make ends meet the only way they can – by exchanging sexual favors for money.
“Missié Madam” (90x3mn) is a short form comedy retracing the daily life of a couple who are opposites in every way: Nancy (Isabelle Béké) is a young top model, a cultivated fashionista who travels the world while her partner Laurent (Ibo Laurent) is a local bon vivant, unemployed and downto-earth, and doesn’t always understand how a woman like her could choose him. The 100% Ivorian series is co-produced with Erico Sery.
“Shampaign” produced by Shirley, tells the story of a young, beautiful single seeking the ultimate office in the country: the first female President of the Ghana. As her campaign gathers momentum and the race for the party’s presidential candidacy gets contentious, the most hardworking campaign team in the country must contend with their own skeletons, that of their candidate and the sham of politics which may well diminish their dream of winning a historical election.
“October 1” (145 min.) by the Nigerian Kunle Afolayan. Winner of the Africa Magic Viewers Choice Award 2014, this movie immerses the viewer in the middle of a thrilling investigation led by detective Dan Waziri. A few days before its Independence Day, Nigeria is the stage of a series of atrocious murders against young women. Detective Dan Waziri is dispatched by the government to shed light on these crimes.
SPARROW PRODUCTIONS PRESENTS
AN ENTRANCING POLITICAL DRAMA SERIES
“Women of Courage” In co-production with Philippe Bresson (Insignia Productions, Kenya), this 5-movie collection is an ode to African women who each day, have to overcome impossible situation and difficulties as mothers, wives, sisters, friends or just women.
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DISBOOK #7 | 2015 — First Look by televisa
Passion and Power
Anything But Plain
Synopsis Eladio Gómez Luna and Arturo Montenegro have been archenemies since they were young, they fight against each other for the control in business and, especially, for Julia’s love. Julia and Arturo were getting married, but a one-night stand and a pregnancy result in Arturo losing Julia. Devastated and convinced that she will eventually fall in love with Eladio, Julia accepts marrying him; but loving her in such sick way, he just couldn’t manage to win her love and he sexually abuses her at their very wedding night. Arturo decides to rebuild his life when his son’s mother dies and after learning Julia is pregnant with Eladio’s child. This is how he starts a family with Nina, an attractive but frivolous and self-interested woman. Years go by and destiny intersects Arturo’s and Eladio’s paths again since their children, Regina and David, fall in love with each other.
Synopsis To be Alicia, Lichita had to be smarter than any other, and learn that, no matter how hard you try to pretend to be what you are not, it will be impossible to betray the heart and give up to what matters the most in life: true love. Lichita is a smart, pretty, young girl, but she just doesn’t know how to cash in on her qualities. Besides finding love, Lichita dreams with being the creative director of Icónika and stop being invisible to those who ignore and look down on her. The opportunity for Lichita to be noticed comes when is necessary to develop a project, but on her way to make her dream come true, she bumps into Roberto Duarte, a man who steals her heart… and her idea, too. Her dreams vanish in front of her eyes, and now, she will also go through hard times being Luciana’s assistant. Lichita decides to change and this way recover what belongs to her, she will stop being Lichita, she will ‘become’ Alicia, and she will fight even against her generous nature to prove that she is: Anything but plain!
Country of origin: Mexico Year: 2015 Format: Telenovela Duration: 150 x 60’ Languages: Spanish
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Year: 2015 Format: Telenovela Duration: 150 x 60’ Languages: Spanish and English
First Look by televisa — DISBOOK #7 | 2015
I Dare You To Leave Synopsis This is a heartbreaking story in which power, envy, selfishness and desire for ownership will tragically mark the deep love Paulina and Adrián feel for each other. The young couple will have to fight against a past that marked their families’ fate and now demands justice. On one hand, Paulina’s father, Gonzalo Murat, who pretends to be an impeccable man, won’t accept Adrián since he thinks he is beneath her social status. On the other hand, there is Julieta, who looked after her brother Adrián since he was little and who feels a profound love for him that borders in obsession so, in her eyes, no woman is enough for her brother; but most importantly, she feels a special kind of hate towards Paulina for being the daughter of her father’s murderer and she is willing to go to any lengths to separate them. Paulina and Adrián will defend the great love they feel against all odds, even if that costs them their very lives.
I Don’t Trust Men Anymore Synopsis Following the murder of her father, young and humble Maria Dolores met Maximiliano, an honest lawyer who offered to help her. Although there was an attraction between them, Max was about to walk down the aisle and Maria was dating Daniel, an unscrupulous junior who tricks her into a fake wedding, leaves her pregnant and sets her up for a murder he committed. Maria gives birth in prison, but Daniel legally takes her son from her. While proving her innocence, she and Max fall in love. Now that she’s free, Maria Dolores is ready to take on any challenge in order to get back her son and the man she loves. Country of origin: Mexico Year: 2014 Format: Telenovela Duration: 150 x 60’ Languages: Spanish, English and French
Year: 2015 Format: Telenovela Duration: 150 x 60’ Languages: Spanish and English
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Little Giants
Generation GaP
Synopsis Eight teams of kids between 4 and 12 years old, each lead by a captain, compete in singing, dancing and talent performances in front of a jury made of popular celebrities who were former child prodigies. The international success of Little Giants has made the format a leader among the Kids Talent shows in 12 countries, including the U.S., Mexico, Spain, and Poland. Currently in production in Ukraine, Vietnam and Portugal, and commissioned in Italy, Little Giants continues its successful international journey around the world.
Synopsis Four families, made up of members from different generations, can win a lot of money by demonstrating how much they remember about the times they have lived through. To win, the families have to answer trivial yet fun cultural and generational questions. However, it’s not that easy… the family member who would appear to have the least possibilities of knowing the right answer, may end up winning much more money for his or her family. The format is the Mexican adaptation of the internationally popular “Generation Gap” created by Mark Burnett and distributed by Televisa and United Artist
Country of origin: Mexico Year: 2014 Genre: Entertainment Format Duration: (I) 17 x 120 (II) 12 x 120 Languages: Spanish and English
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Year: 2012 Genre: Entertainment Format – Game Show Duration: Episodes of 30-45’ Languages: Spanish and English
First Look by televisa — DISBOOK #7 | 2015
The Rose Of Guadalupe Synopsis A miracle seemingly granted by the Virgin of Guadalupe in response to a prayer to a symbolic white rose will bring about radical change in their lives in this family entertainment series that presents different stories of tragedy and misfortune, based on real people who find themselves in desperate situations. It’s a series that offers an uplifting message, full of hope and encouragement. Country of origin: Mexico Year: 2008 Format: Series Genre: Drama Duration: 324 x 60’ Languages: Spanish and English
As the Saying Goes… Synopsis A saying or proverb is a behavioral guideline or generalized description of an everyday event; a synthesis of the wisdom that is used by common people everywhere. So much in fact, that quite often the same saying is equally understood in Mexico, Spain, Germany, Italy, and many other countries. Sayings are a constant part of our lives, always ready to jump in at the slightest provocation. This is the basis of “As the saying goes…”, which aims to create the vast number of stories that these proverbs can inspire; stories that will captivate the audience, because in each episode, characters and viewers will establish an immediate rapport. Country of origin: Mexico Year: 2011 Format: Series Genre: Drama Duration: Episodes of 60’ Languages: Spanish and English
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The photographer behind Disbook’s cover Mario epanya shares his thoughts about THE REFLECTION OF THE LIGHT ON DARK SKIN and his belief in africa’s creativity You were born in Douala, Cameroon. How did you end up in Paris working as a photographer? It’s a long story but let’s make it short: as a child I was highly interested in painting and fashion, and at the age of 18 I did my first exhibition during an important cultural Fashion event in Douala, and had the chance to meet with artists from all over the world. That changed my life, and few years later I went to Paris and started a hair and makeup career. How exciting! Through the years I noticed a lack of diversity, and I decided to become a Beauty and Fashion Photographer and opened up Studio Epanya Paris. I contacted Conde Nast, the editor of Vogue Magazine, and suggested them to create Vogue Africa. My project was declined, but suddenly my name was out there and doing great in the industry. Can you share with us some images, memories, people, or landscapes that shaped your inspirations and style? I’d say my mom for sure, she loves fashion and back in the day she had an atelier full of colorful fabric and magazines, and I remember spending hours reading the magazines and watching her work. I’m also inspired by dark skin. The reflection of the light on dark skin is incredible. Dark skin for me is like wearing permanent jewelry… You have been talking a lot about “Afro-descent creativity” and Africa’s potential as a prominent high fashion and cultural hub. All of my work is about promoting Africa creativity. You know, for decades Africa has been painted in the Western me-
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dia as a land of desperation, war, hunger and poverty. But that’s not the Africa I know or see. I don’t deny there are problems, like on every continent, but we have got to deal with it. As an artist of African descent, I think my role is to show the beauty and give hope to the younger generation and help them to see the potential of this beautiful continent. Disbook’s readers are executives who do business in what is today’s world’s most vibrant television marketplace. Do you have a theory on why good times are rolling in, and why wholesale television content business in Africa is booming? Hollywood, Bollywood, Nollywood… It says all, and I admire very much the television business booming in Africa. This is just the beginning. Africa is rising, and starting to feel confident and secure about itself, and also ready to embrace the richness of its history. The industry of television also creates jobs, and some countries such as South Africa, Nigeria, Ivory Coast, Kenya, Ghana, or Senegal have an understanding of this economic impact locally. But television is beneficial for culture too. Do you have in mind a TV show that you would consider as a symbol of Africa’s creativity? Yes, shows such as “Shuga”, “Love Games”, “An African City”, “Gidi Up”… and more coming up. I always say: Africa is the future. Any comments about the picture on Disbook’s cover? Sharp, minimalist, elegant.
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DISBOOK #7 | 2015 — trends & business
Kenya – Production Paradise In 2005 the Kenyan government established The Kenyan Film Commission, a state corporation with the mandate of developing, promoting and marketing Kenya’s film industry both locally and internationally. Disbook spoke to CEO Lizzie Chongoti to find out what Kenya has to offer and who can take advantage of it.
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Starting with the obvious advantage, Kenya has tremendous locations – Chongoti points to “snowy equatorial mountain peaks, savannah plains, white beaches and volcanic lakes,” all of which, as she emphasises, “are easily reachable.” But, as you might expect, the CEO of Kenya’s Film Commission is adamant that the country has a great deal more to offer than just lush and beautiful scenery – as she explains. “Since our establishment in 2005,” says Chongoti, “we have developed a number of great initiatives that have driven the growth and development of the Kenyan film industry, such as the signing of important international production treaties with bodies such as The National Film and Video Foundation of South Africa, a treaty which was substantially negotiated over a number of the
DISCOP Africa markets and also a treaty with the CNC (National Centre for Cinema and Moving Image) in France.” The co-production treaty with the CNC is administered through the French Embassy in Nairobi by Cultural Attaché Juliette Viver, who commented, “Kenya has the most vibrant and well placed film industries in East Africa and, along with Nigeria and South Africa one of the strongest in Africa, and it is both important for us to be able to offer the security of fully structured treaty to French producers wanting to access this market and also a pleasure to be able to work closely with our friends, such as Lizzie, at the Kenyan Film Commission.” But, important though these agreements are, they are just the tip of a very impressive iceberg. Amongst
the many other achievements the Kenyan Film Commission can boast, Chongoti also stresses “the institution of incentives for film production in Kenya, building the industry’s capacity, mobilizing resources for local filmmakers, lobbying for greater local content quotas for Kenyan broadcasters and industry research to inform and guide strategic development activities.” And she can also proudly point to many tangible results directly attributable to these activities. For example, the Commission’s research, in addition to analyzing the contribution of the local film industry to Kenya’s economy, also analyzes consumer trends and develops E-Commerce strategies for the film industry. The Commission’s work in this field also identified the need for training, and the skills in which the demand was greatest which has resulted in the training of over 300
Filmmaking in Kenya dates back to the 19th century. Few Hollywood movies such as “The Colour Purple”, “Out of Africa”, “The First Grader” and “Tomb Raider 11: The Cradle of Life” have sat alongside independent Kenyan movies such as “The Battle of The Sacred Tree” and “The First Grader”.
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skilled Kenyan professionals in fields such as scriptwriting, production, directing, photography and film entrepreneurship. Its activities in lobbying and assisting in developing the industry framework, have resulted not only in the foundation of The Film Industry National Film Policy, but led to the development of a Film Incentive and Stimulus Package introducing incentive for local filmmakers and, for the first time, a rebate system for foreign filmmakers. That seems like an impressive list – but there is a great deal more to come. In many ways, however, it isn’t just the quantity of the Commission’s achievements that is impressive, but also the scope and breadth of these achievements – extending well into the realms of promoting film in general, and not just the economic benefits of local and international feature film production being located in Kenya. The most recent of these initiatives is the Kalasha International Film and TV Market, the first edition of which launched 26 October in the Kenyan capital Nairobi. Another result of the Kenyan Film Commission’s co-operation with the French Embassy in Nairobi, the new event is dedicated to the promotion of culture, stories and creative skills within the East
African region. And they also have a keen appreciation of the importance of fostering an affinity for local feature film production within the Kenyan population, and, to that end, have for some time been undertaking screenings of Kenyan films in rural communities which, otherwise, would not have access to feature films on a big screen. This is an initiative still in progress, and will continue to be so for the foreseeable future. All of which leaves the Kenyan film industry in a very strong position – one of the strongest in Africa. Chongoti takes obvious and deserved pride in reporting that “Nairobi currently has two fully fledged grip and light houses, and a range of dollies, cranes, jibs, heads, stands and rails are available.
Lights, including LEDs, HMIs, Cinepars 18ks, 12ks and down are also available as are Gels, reflectors and butterfly kits. Additionally,” she continues, “our grips and electricians are held in high esteem and have worked with top crews from all over the world – some since the 70s, and these are the people who are now training budding film crews now emerging from institutions of higher learning. There are production houses that have worked with the likes of Paramount, Mark Burnett, Jerry Bruckheimer, and Warner Bros. Kenya also boasts several small scale sound studios that are in high demand for voiceover and dubbing, and many multinationals such as MNet, Star Times, EBRU TV and Coke Studios, amongst many others have set up shop in Kenya.” These are powerful testimonials. Companies such as those quoted by Chongoti are, simply, ‘Best In Class’, and, as such, can work with whomever and wherever they choose. That they choose to do so in Kenya should tell you all you need to know about the Film and TV industry in this East African paradise.
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CFI, THE FRENCH OPERATOR IN MEDIA COOPERATION CFI is the cooperation agency of the French Ministry of Foreign Affairs and International Development tasked with coordinating and implementing France’s aid policy for the development of media in the South. It provides assistance to stakeholders, both public and private, in the media industry with the aim of strengthening the processes of modernisation and democratisation, a cause to which France is committed. Key figures 2014
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www.cfi.fr
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DISCOP AFRICA IN ABIDJAN — DISBOOK #7 | 2015 June 2, 2015: Opening Ceremony of DISCOP Africa Abidjan , in presence of Mr. Duncan, Prime Minister of Côte d’ivoire, Mrs. BambaLamine, Ministry of Communication, Mr. Bandama, Ministry of Culture and Francophony, and South Africa’s Ambassador in Côte d’Ivoire Mr VL Sindane.
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1. Mr. VL Sindane, South-African Ambassador in Côte d’Ivoire 2. Daniel Duncan, Prime Minister of Côte d’Ivoire 3. Affoussiata Bamba Lamine, Minister of Communication of Côte d’Ivoire 4. Minister of Culture and Francophony of Côte d’Ivoire and Patrick Zuchowicki, CEO Basic Lead 5. Opening Ceremony 6. Sandra Coulibaly, Head of RTI Distribution 7. Ivorian actress Eugénie Ouattra during a RTI workshop 8. Zamantungwa Mkosi, CEO, National Fim and Video Foundation, South Africa, and Phil Molefe, Executive Chairman, Africa Media Institute in South Africa 9. Ivorian actors Kane Mahoula, Khady Toure and Guy Kalou
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10. Ivorian actress Akissi Delta with delegates 11. Ahmadou Bakayoko, CEO, RTI 12. Ivorian actress Aurélie Eliam 13. (L-R)Lila Lokmane (Europa Dubbing), Patrick Zuchowicki (Basic Lead), Amick Teeluckdharry (Mauritius Broadcasting Corporation), Abdelkader Benyahia (Europa Dubbing) 14. Affoussiata Bamba Lamine, Ministry of Communication with Mamane 15. Ivorian actor Guy Kalou 16. Ivorian director and producer Alain Guikou 17. Sandra Coulibaly (RTI Distribution), Anna Ballo (Bogolan TV), Ahmadou Bakayoko (RTI) 18. Ivorian screenwriter Binta Dembele 13
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Big Ideas. Perfect Locations.
Contact Details 56 Main Street Johannesburg, 2108 South Africa PO Box 61601 Marshalltown 2107 T: + 27(0) 11 833 0409 E: info@gautengfilm.org.za www.gautengfilm.org.za
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why Gauteng in South Africa is the perfect location to bring your big idea to vibrant, colourful life.
About the Gauteng Film Commission (GFC) The Gauteng Film Commission (GFC) is an agency of the Gauteng provincial government under the Department of Sport, Arts, Culture and Recreation tasked with the development and promotion of the audiovisual industries in Gauteng, with more focus on the Film & TV industry. GFC’s core business is to deliver professional film commission services, as well as to support, facilitate and enhance the contribution of the film industry to the economic growth of the Gauteng province.
The GFC continues to give the much needed support to the local film & TV industry while at the same time promoting Gauteng with its world-class infrastructure, recognised expertise and wide range of locations, as a destination of choice for filming. The organisation also work with industry, government agencies & departments and other key stakeholders on the development and growth of sustainable audiovisual industry through various support initiatives that prioritise production and project support, distribution, market development & training.
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The GFC’s overall objective is to support, develop and contribute to the growth of the Gauteng film industry through the following key focus areas: Content Development Support - significantly increase the number of participants involved in the development, production and distribution of independently made films in order to realise the sector’s full job preservation and creation potential.
Audience Development - develop audiences for the appreciation of local content through supporting film festivals; screenings in townships and supporting release of films supported through cinema circuit. Logistical Support - assist with locations enquiries and facilitate issuance of filming permits and ensuring that all filming activities happen smoothly without any hindrances.
Funding & Advisory Services - offer advisory services to the industry in the form of inputting on strategic direction the film must employ when completed.
Distribution and Marketing Support - provide support for alternative marketing and distribution network of local content and facilitate alternative exhibition channels and platforms.
Skills Development - address scarce skills in the sector; Advancement of personnel currently working within the industry to increase their capacity; Relevant training and development of emerging talent and contribution to the decreasing of the skills gap as identified in the research conducted by the GFC.
The GFC has a good working relationship with three major broadcasters i.e. SABC, e.tv, and M-Net through one of its channels, Mzansi Magic as well as independent distributors. This has enabled the GFC to increase its support for Gauteng made productions.
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¢ ACCOMPAGNE LES PRODUCTEURS, LES ACTEURS ET LES RÉALISATEURS DANS LEURS PROJETS AUDIOVISUELS.