Discop-Africa-2012 Disbook The Africa 2012 EditionFinal

disbook
The africa 2012 Edition.

A compl i ment ar y copy off er ed t o al l DI SCOP AFRI CA 2012 del egat es.
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First Look
54 Country Reports
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Foreword - Disbook AfricA 2012
1
Africa is Rising
According to Charles Kenny, a World Bank development economist, in a not-too-dis-
tant future, the world will be watching 24 billion hours of Television a day, an average
of four hours for each person.
With a billion people - half of them using mobile phones -, large and young popu-
lations, digital switchover deadlines approaching fast, foreign investments growing
and the rapid adoption of new technologies and social networking tools, Africas
changing dynamics is fueling these vertiginous numbers.
We have already seen, in the last fve years, unprecedented changes for multiplat-
form, television content production and distribution activities. In that time period, and
despite the fact that the contours of the world economy underwent transformations
that shocked even the most pessimistic observers, throughout Africa, sectors of acti-
vity driven by content consumption have been thriving!
Serving as the exclusive DISCOP AFRICA show guide, DISBOOK AFRICA is meant
to provide its readers with a fresh assessment of the state of Africas booming televi-
sion industry, from the sharp perspective of those who create, produce and distribute
content across the Continent.
Africa is the new frontier for content consumption, with new TV Stations, new Pay-
TV platforms and new mobile and broadband-based TV services set to roll out in the
coming months. It is also a land of future opportunities for regional and international
coproduction deals. For instance, French has never been so popular in Anglophone
African states, and by 2050, half of the worlds French-speakers will live in Africa!
Clearly, Africa is quickly producing content that is far more relevant locally and
quickly distributing it across its own borders and beyond. Indeed, we are happy to
note that recent international TV consumption trends indicate a fast-growing interest
for flm and television content created in the African continent.
A very special thank you to the City of Johannesburg and the Gauteng Tourism
Authority for their warm welcome and their long-standing support of the flm and
television industries with their world class industry infrastructure, recognized exper-
tise and wide range of locations.
Welcome to Johannesburg!
Patrick JUCAUD-ZUCHOWICKI
General Manager
BASIC LEAD
Publisher of DISBOOK AFRICA & Organizer of DISCOP AFRICA
FOREWARD.indd 1 16/10/12 23:27
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Cont ri but ors - Disbook AfricA 2012
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Contributors
PUBLISHER
PATRICK JUCAUD-ZUCHOWICKI
patrickzuchowicki@basiclead.com
EDITOR IN CHIEF
FRANOISE LAZARD
francoiselazard@basiclead.com
CONTRIBUTING EDITOR
BOB JENKINS
bobjenkins7@btinternet.com
SPECIAL CORRESPONDENT AND PHOTOGRAPHER IN SOUTH AFRICA
JEAN-PHILIPPE NEHAMA
www.nehamaweb.com
SPORTS PHOTOGRAPHER
DEMBA MBALLO
dembamballo14@yahoo.fr
RESEARCH MANAGER IN JOHANNESBURG
RUSTAM KARYMOV
rustamkarymov@basiclead.com
ART DIRECTION
JADE LOMBARD &THIBAULT DE FOURNAS
jadelmbrd@gmail.com - thibaultdefournas@gmail.com
ADVERTISING MANAGER
AURLE RIVET
aurelerivet@basiclead.com
ADMINISTRATIVE MANAGER
FERNANDA TRUPIANO
fernandatrupiano@basiclead.com
DISBOOK IS PUBLISHED BY BASIC LEAD LLC USA
Suite 25, 8230 Beverly Boulevard - Los Angeles, CA, 90048
Tel +1 323 782 1300
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Disbook AfricA 2012 - Cont ri but ors
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Cont ent - Disbook AfricA 2012
7
Content
Welcome to Johannesburg!
Foreword 1
Count ry report
Speakers
Part i ci pant s
Index Advert i sers
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201
229
251
Conf erence Program 13
English Version
Version Franaise
Joburg Vi bes 27
Street Talks
Drum Archive
Made in Maboneng
The Bioscope
Faces
Watercolors of love
Siri
Mooz-Lum
Meet the Adebanjos
Irrational Heart
Destiny River
City of Men
Black hands
Made in Africa / Made for Africa
The titans of laamb
Inside Inside Story
Ecology of african audiovisual
content industry
Gems from the namibian
flm collection
The century of formats
Great formats will come
from Africa
Partners wanted
How many people (really)
watch TV in Africa?
Voulez vous coucher avec moi?
Africas digital switchover is
comingThe question is when?
Intelsats epic
China in Africa
Zee: from a to z
ALGERIA
ANGOLA
BENIN
BOTSWANA
BURKINA FASO
BURUNDI
CABO VERDE
CAMEROON
CENTRAL AFRICAN REPUBLIC
CHAD
COMOROS
DEMOCRATIC REPUBLIC OF
CONGO
DJIBOUTI
EGYPT
EQUATORIAL GUINEA
ERITREA
ETHIOPIA
GABON
GAMBIA
GHANA
GUINEA BISSAU
GUINEA CONAKRY
IVORY COAST / CTE DIVOIRE
KENYA
LESOTHO
LIBERIA
LYBIA
MADAGASCAR
MALAWI
MALI
MAURITANIA
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Fi rst Look
Trends & Busi ness
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77
The Brazilians are coming!
Against all odds
Discover Discovery in Africa
at Discop Africa
Television with a purpose
A detailed look at educational
television
Branded Entertainment
Hot docs-Blue ice, a unique
opportunity for African
documentary makers
A solution to Africas thorny
problem of dubbing costs
Mission statement
124
128
131
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137
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MAURITIUS
MOROCCO
MOZAMBIQUE
NAMIBIA
NIGER
NIGERIA
REPUBLIC OF THE CONGO
RWANDA
SAO TOME AND PRINCIPE
SIERRA LEONE
SENEGAL
SEYCHELLES
SOMALIA
SOUTH AFRICA
SOUTH SUDAN
SUDAN
SWAZILAND
TANZANIA
TOGO
TUNISIA
UGANDA
ZAMBIA
ZIMBABWE
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discopafrica.com
facebook.com/discopafrica
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MARKET
COPRODUCTION FORUM
CONFERENCE PROGRAM
SANDTON CONVENTION CENTER
JOHANNESBURG - SOUTH AFRICA
DISCOP
AFRICA 2013
SAVE THE DATE
6-7-8
NOVEMBER
12
12
program - Disbook AfricA 2012
13
Conference
Program
Tailored for independent TV content
producers and TV Station program-
mers, the CONFERENCE PROGRAM
runs alongside the 3-day
exhibition and is simultaneously avai-
lable in both French and English. The
program is open to all delegates and
includes morning keynotes, informa-
tive and hands-on sessions, case
study presentations and business
model overviews.
Disbook AfricA 2012 - program program - Disbook AfricA 2012
14 15
ConferenCeProgram / Day1
WeDnesDay 31 oCtober
9AM-10AM
The benefts of digital migration
TThe DISCOP AFRICA 2012 conference program will start with a frst session dedicated to the important challenges faced by African
countries in their digital switchover processes. The transition from traditional channels to digital channels will have a major impact on
broadcasting in Africa. Going digital will help grow the economies of some countries and open up a host of other economic opportuni-
ties for the local content production industries.
10:30 AM 01:00 PM
Creating and exporting francophone tv content
produced in Africa / part 1
02:30 PM 04:00 PM
Creating and exporting francophone tv content
produced in Africa / part 2
Hosted by Richard JOFFO, President of Afrique France Media (AFM), this two-session, hands-on program is aimed specifcally at
francophone Africas, public and commercial TV stations building up coproduction departments, and at independent producers and
distributors of francophone television content looking to set-up regional and international partnerships. It will explore funding and
cultural issues as possible obstacles to the development of francophone television content projects in Africa. For African francophone
television content producers and distributors, overcoming language barriers poses a real challenge.
10 AM-12:30 PM
Deploying TV brands across Africa
Any TV franchise entering the African market will have to work to build a strong and distinctive brand. Often, global companies think
of Africa as a monolithic market, failing to address its diversity. This session will examine why, rather than just a continent, Afri-
ca must be viewed as 54 separate and distinct television marketplaces with a wide array of political, economic, geographical, cultural
and social features. With more than 30-years experience in Africa, this session will be presented by EXPAGENCY, Africas largest
and leading marketing agency, and it will also establish why there is no substitute for local knowledge and how that can be best used
to bring brands to life.

15
02:00 PM 03:00 PM
Newsroom training that works
Does your newsroom need newsgathering training? Antoine CORMERY, Director of the ACADEMIE FRANCE 24, the training arm of
FRANCE 24, Frances 24-hour global news network, will demonstrate in this one-hour session how expert training can help a news-
room establish better practices for reporting, editing and sharing stories with others. In todays competitive environment, professional
training can help practicing journalists ensure excellence in reaching todays new multiplatform, television news consumers.
03:00 PM 05:30 PM
Turn local sports into televised events
Local sports have been badly neglected by broadcasters across Africa, as they rush to bring viewers coverage on international
leagues and events. If premium sports mean business for broadcasters, there is value in investing to properly cover local sports
with a local following, such as Senegalese wrestling, already a multimillion dollar sport that attracts more fans than football, and
is destined for widespread television popularity. This session will offer expert information on how to develop home grown sports
into a marketable brand that can offer fans, television viewers and advertisers a social and engaging experience, at a time
when television consumption continues to grow through the sports genre.
04:30 PM 06:00 PM
Joburg, your gateway to Africa
Johannesburg is the capital of South Africas smallest and richest province, Gauteng, a Sesotho name meaning Place of Gold.
It is home to 3.5 million households. With its world-class production facilities and recognized talent, Johannesburg and the
Gauteng province are quickly becoming destinations of choices for content producers who can beneft from diverse locations,
low costs and cash rebates. This program will explore the various incentive initiatives available to foreign companies that have
been recently set up by a far more supportive South-African government. Presented by the GAUTENG TOURISM AUTHORITY
and many stake holders, this session will also highlight a presentation of the MABONENG PRECINCT, a mixed-use develop-
ment and urban community in downtown, a favourite destination for South-Africas multimedia creative crowd.

16 17
ConferenCeProgram / DAy2
thursDay 1 NoVember
9AM-10AM
We condemn piracy
Ms. Patty GENESTE The global television industrys dirty little secret is that there are television companies who simply broadcast mate-
rial that they have recorded off air or formats that they have produced formats which they do not have the rights to. As guest speakers,
Corne GULDENPFENNIG, CEO of the Southern African Federation Against Copyright Theft (SAFACT), Patty GENESTE, the next
acting President of the Format Recognition and Protection Association (FRAPA) and Bernard AZRIA, President of COTE OUEST, will be
invited to share their thoughts on how to best face up to the challenges of piracy and to bring together broadcasters, content producers
and distributors, legislators and law enforcement bodies to set up ways to fght these violations.
10 AM-12:30 PM
While research has found that there is a positive correlation between television news viewing and sustained academic and profes-
sional results, this session presented by SABC EDUCATIONAL PROGRAMMING will focus on the production and the distribution of
television and radio content as informative tools, in multicultural The program will also look at the relations with academic bodies,
the power of animation as a training tool and the sustainability of initiatives that cobble together distance learning and news feed
networks linking schools, universities and working environment in mostly rural countries.
10:30AM - 01:00PM
How to select the best TV format
While research has found that there is a positive correlation between television news viewing and sustained academic and profes-
sional results, this session presented by SABC EDUCATIONAL PROGRAMMING will focus on the production and the distribution of
television and radio content as informative tools, in multicultural The program will also look at the relations with academic bodies,
the power of animation as a training tool and the sustainability of initiatives that cobble together distance learning and news feed
networks linking schools, universities and working environment in mostly rural countries.
Nowadays, more programming is based on Formats than original content. Designed for TV Station programming
managers, this session presentation by Justin SCROOGIE, Format Doctor with The Format People, an
international group of highly experienced TV professionals, will offer a critical, refective assessment of the
questions that need answering before a commitment to a TV Format idea is made. For the last twenty years, TV
Stations have increasingly experimented with new formats and types of production; let us examine what a
programmer should be looking for in new TV formats.
17
thursDay 1 NoVember
thursDay 1 NoVember
3 PM-5:30 PM
Formats for Africa
pitching competition
Tailored to support Africas fast growing, independent, format production industry, the FORMATS FROM AFRICA pitching competi-
tion has been launched by Basic Lead, the organizers of DISCOP AFRICA, and The Format People, an international group of highly
experienced TV professionals, to seek and promote original TV Formats created in Africa which can begin as local successes and
end up as international hits. Ten shortlisted candidates will be invited to pitch their formats live in front of a qualifed audience and
a judging panel of African and international programming and coproduction executives, format commissioners and distributors, and
advertisers, who will choose three winners.
3 PM-5:30 PM
New business models for television
A growing number of interesting money-making business models have been developed by entrepreneurs in the cracks of
mainstream television programming and traditional advertising. These models ingeniously marry entertainment with commerce
and social media engagement, in a competitive environment where the worldwide web begins to blend with television more
seamlessly, ferociously shifting viewing habits and media- buying strategies. Presented by Grazyna KOSCIELSKA, Co-Director
of STIMULII, one of Africas most innovative marketing agency, this session cover various business models implemented to fnd
ideal funding and monetization methods; mixing branded entertainment, product placement and other innovative schemes that
can deliver eyeballs marked by their love of multiscreen television, recognition and strong visibility that translate into increased
intentions to purchase a service or a product.

18 19
friDay 2 NoVember
9AM-10AM
Worldwide television consumption trends
Worldwide television daily viewing time rose to 3 hours and 16 minutes a day in 2011, six minutes more than 2010. This shows that
the lure of the TV screen has never been stronger and it crowns ten years of uninterrupted growth. These amazing results, especially
in a year without a major international sport event alongside recent worldwide television consumption trends will discussed during this
exclusive presentation hosted solo by Nassima BOUDI, International Business Manager,
MEDIAMETRIE / EURODATA TV.
03:00 PM 04:30 PM
Viva brazil!
Brazil has made Africa its priority in its foreign policy and trade with Africa has more than quadrupled in the last 10 years. Presented
by Rachel DO VALLE, Executive Manager of the Brazilian TV Producers association, this session will examine current coproduction
initiatives between Brazil and the African region and look at ways to open better communication channels between independent
television content producers from Brazil and their African counterparts, and not just in lusophone countries.
10:30AM-01:00PM
Content is king, telenovelas rule
Romance. Drama. Thats what drives Telenovelas, one of the most popular forms of entertainment in the in the world. With hundred
of millions of viewers worldwide, these television novels have their roots in Latin America, starting as graphic novel representations
of classic literature and stories, later evolving into radio programs. Telenovelas have a contained story arc, ending after a few months.
This makes them highly marketable and exportable. Some are aired only in the country they are produced, but others are remade
and adapted for dozens of other countries. With African television undergoing a huge renaissance, far outpacing traditional produc-
tion formulas, this program will look into the reasons for this success, and how Africa will impact Telenovelas production, adaptation
and distribution.

19
friDay 2 NoVember
03:00PM-05:00PM
The world loves content made in Africa
recent television consumption trends indicate that a growing number of TV operators around the world are acquiring programming
from the region. Shows with popular interest are documentaries, flms, soap operas and series, comedy concepts and low cost cross-
border formats. International acquisitions and programming executives interested in the increasing range of good quality content
created on the Continent will be invited to explain during this session, why they feel that African content provides a fresh antidote to
mainstream television.
10:30 AM 01:00 PM
The mobile advantage
Africas enthusiasm for mobile technologies is boosting television content consumption. It has over than 600 million mobile
phone users, more than America or Europe, and this number is expected to reach 735 million by the end of the year. Advances
in communications, with mobile banking and agricultural services, are important factors in this huge boom. Around a tenth of
Africas land mass is covered by mobile-internet services. The impact of mobile and smart phones on television content produc-
tion, distribution and monetization in Africa will be felt, more than anywhere else in the world.
20 21
Programme De ConfrenCe
Jour1 / merCreDi 31 oCtobre
9AM-10AM
Les bienfaits du passage au numrique
Alors que le secteur de laudiovisuel en Afrique devrait passer au tout numrique en 2015, le programme de confrences de DISCOP
AFRICA 2012 dmarrera par une session consacre aux bienfaits de cette migration. Seront passes en revue, les orientations tech-
niques, sociales, conomiques et politiques ncessaires a ce changement de systme de diffusion, ainsi que les bnfces que pourra tirer
lindustrie de la production audiovisuelle en Afrique.
10:30 AM 01:00 PM
Crer et exporter du contenu tv franchophone produit en
Afrique / premiere partie
02:30 PM 04:00 PM
Crer et exporter du contenu tv franchophone produit en
Afrique / seconde partie
Avec un temps de retard, lAfrique francophone se lance farouchement dans la production et la distribution de contenus audiovisuels.
Le Burkina Faso exporte ses feuilletons dans toute lAfrique francophone. Des cinastes de renom participent aussi laventure des
sitcoms. Au Sngal, le succs de Goorgoorlou a t immense. Dabord personnage dune bande dessine locale, Goorgoorlou sest
impos sur les crans sngalais. Les sries ivoiriennes connaissent elles aussi un grand succs. A limage de Dr Boris, une ne
sorte de Docteur House la mode ivoirienne. Anime par Richard JOFFO, Prsident de Afrique France Media (AFM), cette session
visera principalement les chanes de tlvision publiques et prives, et producteurs, afn de les aider a surmonter les obstacles au
dveloppement de coproductions de projets TV 100% francophones initis en Afrique.
11:00 AM 12:30 PM
Imposer son image de marque en Afrique
Lorsquune Srie TV souhaite percer sur le march africain, elle doit se construire une image forte, spcifque, qui tient compte
de la diversit des audiences en Afrique et des stratgies mises en place pour les fdliser . LAfrique nest pas une entit
monolithique comme beaucoup ont encore tendance a le croire. ce sont 54 marchs indpendants et particuliers, chacun
avec ses propres caractristiques politiques, conomiques, gographiques, culturelles et sociales. Cette session est prsente
par EXPAGENCY, le plus important rseau africain dagences de marketing direct et de relation publique spcialise dans la
fdlisation daudiences et laccompagnement promotionnel des marques TV en Afrique.

21
Jour1 / merCreDi 31 oCtobre
02:00 PM 03:00 PM
La formation, un outil stratgique
la disposition des salles de rdaction tv
Antoine CORMERY, Directeur de lACADEMIE FRANCE 24, interviendra sur le thme des Ressources Humaines dans les
mdias. Dans un contexte mdia de plus en plus concurrentiel, il montrera en quoi la formation peut tre un levier stratgique
aux mains des rdactions pour amliorer la qualit de leur antenne. Antoine CORMERY mettra, galement, en vidence le rle
crucial de la formation dans le cadre du pilotage du changement au sein dune organisation mdia. Le changement pouvant
prendre la forme dune fusion de mdias diffrents, il partagera avec son audience, lexprience de RFI, Monte Carlo Douala et
France 24.
04:30 PM 06:00 PM
Johoannesburg, votre porte dentre sur lAfrique
Johannesburg est la capitale de la plus petite et de la plus riche province dAfrique du Sud, le Gauteng. Elle compte 3,5 millions
de foyers. Grce des quipements de productions de niveau international et des comptences reconnues, Johannesburg et le
Gauteng, sa province, deviennent rapidement des destinations de choix pour des producteurs de contenus qui peuvent profter
de sites de tournage trs diversifs et de prix trs attractifs. Organise avec le concours de la GAUTENG TOURISM AUTHO-
RITY et de ses partenaires, cette session explorera les diffrentes initiatives rcemment mises en place par lAfrique du Sud,
lindustrie, le gouvernement et les collectivits locales afn dattirer des tournages de Film et Sries TV. Lune de ces collecti-
vits, le quartier de Maboneng, offre des espaces de travail, dhabitation et de loisirs pour les artistes, cinastes, producteurs
multimdia, acteurs et entrepreneurs en tout genre.
03:00 PM 05:30 PM
Faire dun sport local un succs tlvisuel
Les sports locaux ont t extrmement ngligs par les diffuseurs en Afrique, alors quils se prcipitent pour couvrir des cham-
pionnats et des vnements mondiaux. Si la diffusion de sport de haut niveau reprsente des enjeux fnanciers important, il y
a peut-tre un plus grand intrt a sinvestir dans une couverture TV convenable dpreuves sportives locales avec des publics
acquis. Par exemple, la Lutte Sngalaise , ce sport qui gnre dj plusieurs millions de dollars, compte plus de fans que
le football et connait une forte popularit tlvisuelle. Cette session offrira des informations pertinentes sur la manire de trans-
former un sport dimension locale, en contenu audiovisuel commercialisable qui puisse apporter aux supporters, aux tlspec-
tateurs et aux annonceurs, une relle valeur ajoute, une poque o le temps pass regarder la tlvision ne cesse daug-
menter, notamment grce au sport.

22 23
JoUr2 / JeUDI 1 NoVembre
09:00 AM 10:00 AM
La piraterie montre du doigt
Le secret le plus gard du secteur de la tlvision est que certaines chanes diffusent des programmes et des formats TV sans en
avoir le droit. Invits dbattre de ce sujet, Corne GULDENPFENNIG, CEO de la Southern African Federation Against Copyright Theft
(SAFACT), Patty GENESTE, la prochaine Prsidente of the Format Recognition and Protection Association (FRAPA) et Bernard AZRIA,
Prsident de COTE OUEST, nous feront partager leur point de vue sur les moyens de pouvoir faire front en Afrique aux problmes de
piraterie professionnalise avec laide des diffuseurs, producteurs, distributeurs de contenus, lgislateurs et services de police.
10:30 AM 01:00 PM
La tlvision vocation ducative
dans un monde de divertissement
Alors que la tlvision est perue comme un mode de divertissement universel, elle diffuse aussi de la connaissance et favorise la
concertation, la coopration et la mise en commun des expertises. Cette session prsente par SABC EDUCATIONAL sattachera
dmontrer comment il est possible dutiliser la tlvision, et les nouvelles plateformes de diffusion qui la servent, afn de dvelopper le
got du savoir, lacquisition de connaissances et de comptences, de mme quune culture gnrale et scientifque.
10:30AM-01:00PM
Comment ne pas se tromper en choisissant un format tv
Depuis quelque temps, la programmation tlvisuelle sarticule plus sur des formats TV imports que sur de la cration ori-
ginale comme des sries TV ou mme des flms. Cette session prsente par Justin SCROOGIE, Format Doctor au sein de lasso-
ciation The Format People, un regroupement de spcialistes internationaux de la production et de la programmation tlvisuelle,
sadresse aux programmateurs et plus particulirement aux responsables de lacquisition de formats TV qui il sera propos une
grille de questions critiques et analytiques, auxquelles ils doivent rpondre avant de sengager sur un nouveau format TV. La diversi-
t des genres, ainsi que le nombre de producteurs spcialiss ayant considrablement augment ces dernires annes, un minimum
de recul et de vigilance est aujourdhui indispensable avant de lancer un nouveau concept dmission.
23
JoUr2 / JeUDI 1 NoVembre
03:00 PM 05:30 PM
Concours de pitching Formats for Africa
Le concours de pitching FORMATS FROM AFRICA a t lanc par Basic Lead, les organisateurs de DISCOP AFRICA et The
Format People, un regroupement de spcialistes internationaux de la production et de la programmation tlvisuelle et ce afn de
rechercher et promouvoir des formats TV originaux crs en Afrique, et susceptibles dtre adapts dans dautres pays. Conu
pour soutenir lindustrie de production tlvisuelle africaine originale en plein essor, ce concours rcompensera trois gagnants qui
recevront chacun $2,500 et des prcieux conseils afn de dvelopper un pilote.
03:00 PM 05:30 PM
Gros plan sur de nouveaux moyens de fnancement
De plus en plus, les mondes de la publicit et de la production audiovisuelle sassocient pour dvelopper des nouveaux espaces
dexpression pour les marques. Ces rapprochements sont rendus ncessaires par le fait que ces deux secteurs sont remis en ques-
tion par lmergence de nouvelles habitudes de consommation, par la fragmentation de laudience et du media TV et par le dploie-
ment de nouvelles technologies. Cette session prsente par Grazyna KOSCIELSKA, Co-directrice de STIMULII, lune des agences
de marketing les plus innovatrices dAfrique, nous fera dcouvrir comment ces deux mondes sont de plus en plus complmentaires
et nous expliquera les dessous de ce que lon appelle aujourdhui le branded entertainment.

24 25
JoUr3 / VeNDreDI 2 NoVembre
09:00 AM 10:00 AM
Panorama des grandes tendances de consommation tv
Malgr lessor des nouvelles plateformes, la grande majorit des tlspectateurs restera fdle une programmation linaire, prf-
rant le choix dune chane la recherche dun contenu, estiment la plupart des tudes daudiences. Prsente en solo par Nassima
BOUDI, International Business Manager, MEDIAMETRIE / EURODATA TV, cette session nous expliquera pourquoi les grandes ten-
dances de consommation TV resteront favorables a la tlvision dite linaire, alors que le temps pass devant la tlvision program-
me ne cesse daugmenter : 3 heures et 16 minutes par jour en 2011, soit six minutes de plus que lanne prcdente.
10:30AM-01:00PM
Le contenu tv rgne, mais ce sont les telenovelas
qui font la loi
Partout dans le monde, les styles de vie, la mode vestimentaire, la vie dans les familles et au travail ont chang avec la diffusion de
Telenovelas une appellation hybride pour dsigner ces feuilletons populaires, sans fn, originaires dAmrique Latine, et omniprsents
dans le monde. Dans ces feuilletons on retrouve souvent des personnages la recherche dun membre de leur famille, des histoires
damour avec des domestiques et des problmes descroquerie sur un hritage. Adapt dans un nombre croissant de pays, le prin-
cipe de narration des Telenovelas fonctionne partout dans le monde. Prsente par COTE OUET et GLOBO TV INTERNATIONAL,
cette session examinera en dtails les recettes de fabrication des Telenovelas.
03:00 PM 04:30 PM
Viva brazil!
Les projets de coproduction, de plus en plus nombreux, entre lAfrique et le Brsil illustrent la prminence du ce pays dans les rela-
tions commerciales enter lAmrique Latine et le continent Africain. Anime par Rachel DO VALLE, directrice excutive de la Brazi-
lian TV Producers Association, cette session prsentera les opportunits dchanges entre lAfrique et le Brsil dans les domaines du
dveloppement de programmes, du fnancement, et de la production et de la distribution tlvisuelle.

25
JoUr3 / VeNDreDI 2 NoVembre
10:30AM-01:00PM
Les bienfaits du mobile
Avec plus de 600 millions dutilisateurs de tlphone mobile, plus quaux Etats-Unis ou en Europe, lAfrique est en train de vivre une
mutation technologique sans prcdent. Le mobile ne sert plus seulement communiquer de manire orale. Le rseau a donn naissance
une plateforme dinnovation pour le dveloppement conomique de lAfrique et la lutte contre la pauvret. Une rvolution socitale et
conomique en Afrique sub-saharienne o moins de 30 % de la population a accs llectricit alors que 11,5 % a accs internet. En
mme temps que le tlphone mobile sest impose sur le continent, lappareil a volu dune faon considrable. Dans un pareil environ-
nement, plus que nulle part ailleurs dans le monde, limpact du mobile et des nouvelles gnrations de Smart Phones sur la diffusion et
la montisation de contenus audiovisuels se fera ressentir en Afrique. Cette session fera le point sur ce quil est possible denvisager dans
un avenir proche compte tenu du niveau dquipement actuel et des moyens de chacun.
03:00 PM 05:00 PM
Le monde raffole de programmes made in Africa
Au-del de certains flms prims dans des festivals, cest toute la production audiovisuelle africaine qui connat une renaissance.
LAfrique sest rveille et dveloppe de faon spectaculaire ses propres flms et programmes tV. A lui seul, le Nigeria produit 2.000
flms par an et a donn naissance lindustrie de Nollywood qui taille des croupires aux productions occidentales, dans toute
lAfrique, notamment dans les pays anglophones. Mais au del des diasporas Africaines, le contenu Made In Africa connait ga-
lement un vritable succs de par le monde. Sa dimension universelle peut toucher aussi bien le spectateur occidental quAfricain.
Cette session tentera dexpliquer les raisons qui font que le monde adore de plus en plus les programmes MADE IN AFRICA .
26 26
L
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C
H
A
N
E

D
E
F
IC
TIO
N
A
F
R
IC
A
IN
E
Nol l ywood TV rej oi ndra prochai nement
les chanes du Bouquet Africain Premium
Plus dinfos sur www.lebouquetafricain.com - Retrouvez nous sur
Disponible sur :
Retrouvez-nous sur le stand
thema_pagepub_DISCOP_200x265cm_070912:Mise en page 1 14/09/12 09:31 Page1
Joburg Vi bes - Disbook AfricA 2012
27
Joburg
Vibes
Joburg. one of the most populous
modern African cities. Little but
tall grass and trees existed here
before 1886, when an Australian
prospector named George Harrison
struck gold on a farm about fve
miles west of todays downtown.
Revamped to host the 2010 World
cup games, the city built on a gold
reef now offers supersized mall
shopping, an electric nightlife and
a fourishing art scene. Johannes-
burg is one of Africas most thril-
ling metropolises. Revitalization
has blossomed. Johannesburg is
showing off its virtues, overcoming
its vices and hoping to erase the
urban-jungle image of the 1990s.
Even Central Business District,
which many businesses fed in the
transition to democracy in the 90s,
is on the rebound. Johannesbur-
gers from different backgrounds are
working together to remake their
city for the next generation, tapping
into a wellspring of entrepreneurial
spirit and creative vibes.
Heralding the entrance into the city, the 5,5 meters in height and 20 tons in weight concrete Eland at Braamfonteigns gateway, by artist Clive Van der Berg, brings an enormous amount of energy to the
area and contributes to make Joburg the cultural hub to Africa. JP Nehama
Disbook AfricA 2012 - Joburg Vi bes Joburg Vi bes - Disbook AfricA 2012
28 29
WWW.CFI.FR
CFI in 2011 :
> 165 projects in 84 countries
> 1 835 days of expert operations
> 1 800 professionals supported
1M USD invested in African production >
1 800 hours of programs transmitted by satellite to its African broadcasters >
8 production meetings set up with African producers and broadcasters >
Canal France International - CFI - is a French agency in development
aid for the audiovisual media. With 23 years experience in 45 African
countries, CFI provides advice and training in journalism, production,
media mutation, design, management for its 80 TV partners.
CANAL FRANCE
INTERNATIONAL
> Acting for media development
29
street
talks
Each saturday morning, at the
corner of Juta & kruger street,
Johannesburg new trendy spot,
the hipsters crowd is gathering
for a cappuccino, meet & greet
at the Neighborhood Market.
We asked a selected few, their
out-of-the-box thoughts about
current tV, favorite stars,
programs & the like Very
refreshing, funny & humbling.
Photos and texts by Jean-Philippe Nehama
For more information go to www.neighbourgoodsmarket.co.za
30 31
i emmys.tv/awards_ki ds
AWARDS
K
I
D
S
INTERNATIONAL
FRIDAY FEBRUARY 8, 2013
THERES
A NEW KID
IN TOWN
NEW YORK CITY
31
Name: andile age: 26 Occupation: Entrepreneur
Do you watch a lot of tv? Yes I do, I love it.
When you do, you watch african shows or international shows? Mostly, international.
What are your favorite tv shows? Spartacus, Entourage, Shameless, The PJS, South Park for the bad language, the
hustling, the crazy funny take on life. All this shows have a bit of them!
Favorite tv personality? Trey Parker/Matt Stone for their ability to take any idea or concept and make the world surreal.
The world needs a laugh dont you think?
street
talks
i emmys.tv/awards_ki ds
AWARDS
K
I
D
S
INTERNATIONAL
FRIDAY FEBRUARY 8, 2013
THERES
A NEW KID
IN TOWN
NEW YORK CITY
33
33
33
Name: Chuma age: 23 Occupation: stylist
Do you watch a lot of tv? Yes Im afraid so!
When you do, you watch african shows or international shows? Both. African shows have great story
to tell but our standards arent there yet.
What are your favorite tv shows? Late Night News with Loyiso Gola on ETV.
Favorite tv personality? OK, you know what? Ill give you
the name of a guy that I really hate but I love his work: Siyabonga SCOOP
Ngwekazi from VUZU. Hes sharp
and annoying.
street
talks
34 35
LOCATION
LOCATION
LOCATION
With the addition of studio spaces and post production facilities, Maboneng will become an ideal set location.
Exterior locations range from restaurants to rooftops with galleries, apartments and hotels added to the mix.
A number of successful commercials and films have been made on the streets of Maboneng. Get in touch to
secure a safe and diverse location in the city
integrated | urban | neighbourhood
hospitality@mabonengprecinct.com | www.mabonengprecinct.com
COMMERCIAL, FILM & TELEVISION PRODUCTION
C
M
Y
CM
MY
CY
CMY
K
DISBOOK MAG - MABONENG.pdf 3 2012/09/21 8:59 AM
35
Name: labo age: 21 Occupation: Poet, anthropology student.
Do you watch a lot of tv? Very seldom, I read and write poetry.
When you do, you watch african shows or international shows? I watch music channels, Trace TV, MTV, Channel 0.
What are your favorite tv shows? Greys Anatomy.
Favorite tv personality? Dineo Moeketsi. Okay, shes my sister, but as the star presenter of Channel 0,
I think she really is super talented and charismatic
street
talks
36 37
37
Name: lee age: 23 Occupation:assistant photographer / lomographer
Do you watch a lot of tv? As little as possible to stay sane.
When you do, you watch african shows or international shows? Id rather watch european, African or Korean
movies... Anything by Gaspard Noe!
What are your favorite tv shows? Spartacus.
Favorite tv personality? Ruda Landmand from Carte Blanche on M-Net.
She brings aspects of South Africa to light that arent really functioning or that were trying to hide.
street
talks
38 39
39
Name: Michael age: 32 Occupation: Draftsman
Do you watch a lot of tv? Fairly, when I have some spare time.
What are your favorite tv shows? 2 Broke Girls for the sick adult humour...!
Favorite tv personality? Jeanie D. from Top Billing. Shes got it all, shes hot as a frecracker and funny as well, the
perfect package
street
talks
40 41
41
Name: Mishka age: 23 Occupation: stylist
Do you watch a lot of tv? Oh yes I do!
When you do, you watch african shows or international shows? Mixture but more international.
What are your favorite tv shows? Sport shows, Fashion TV, Modern Family...
Favorite tv personality? The Kardashians really is a strange addiction + I can relate to it since we are fve daughters in
the family if you see what I mean ahahahah!
street
talks
42 43
43
Do you watch a lot of tv? Not now because Im studying too much at University, but at home yes!
What are your favorite tv shows? 2 The Next Great Artist (M-Net) because unlike other reality shows it doesnt focus on
drama but rather on creativity.
Favorite tv personality? Sibusiso Blomo on GENERATIONS. Hes a great south african veteran actor that usually plays
tough guys. He id amazing in his show as the evil character.
Name: scotty age: 19 Occupation: Nuclear science Engineering
street
talks
44 45
join the voice of america for an
exclusive backstage pass to american music
r & b rock n roll bluegrass gospel jazz blues swing
come and visit us at stand s11
ContaCt: East and southErn afriCa rEgional offiCE
Paula Caffey | tel: +27-11-290-3264 | Cell: +27-79-111-1631 | pcaffey@ibb-voa.co.za
ContaCt: WEstErn and CEntral afriCa rEgional offiCE
Joyce ngoh | tel: +233-302-741-457 | Cell: +233-24-433-2766 | jmngoh@bbg.gov
voanews.com
45
Do you watch a lot of tv? Not a lot, but I like it when I do.
When you do, you watch african shows or international shows? Mostly international.
What are your favorite tv shows? Gossip Girls for the fashion, Im into fashion... And Supernatural for the goose pumps
that thriller brings to you.
Favorite tv personality? Leighton Meester, one of the stars of Gossip Girls, I like the way she dresses on anad off the
show, and her character is very strong in Gossip.
Name: tokelo & friend age: 23 Occupation: assistant buyer
street
talks
46 47
DRUM:
An
afRiCaN
sAgA
Prospero Bailey is the keeper of Baileys african History archive
(BaHa): 40 years of material from all the editions of Drum
Magazine and its various sister publications- Golden City Post,
trust, true love and City Press. the archive contains a wealth of
information from politics to culture and complexities of the vast
anglophone african nations. today, 50 years later, the archives still
aspire to that same vision of the early Drum Magazine: to remain
as popular educator and connect africans to africans through the
body of literary and visual work held at BaHa.
Contributing editor and special correspondent in Johannesburg
Jean-Philippe Nehama sat with Bailey and uncovers the Drums
unique african saga.
47
Drums November 1977 issue, few weeks after
the death in police custody of steve Biko, student
leader turned anti-apartheid activist and
founder of the Black Consciousness Movement.
steve Biko was famous for his slogan Black is
beautiful.
48 49
D
rum was frst pu-
blished in Cape
Town in March
1951 under the
title African
Drum by former
test cricketer and author Bob Crisp.
This venture was not successful and
the magazine moved to Johannes-
burg in September 1951 under a new
publisher, Jim Bailey an ex-RAF pilot,
son of South African fnancier Sir Abe
Bailey.
Drum fourished, eventually
achieving a circulation of 400,000 co-
pies distributed not only in South Africa
but also in Ghana, Nigeria and East
Africa. Speaking of his experiences
as editor of Drum in Johannesburg in
the 1950s, British writer and journalist
Anthony Sampson says: Of all South
Africas cities, Johannesburg was the
chief magnet. The gold mines below
and around the city absorbed thou-
sands of contract workers. They arri-
ved from the rural areas to be kept in
bachelor compounds. Then, months la-
ter they were sent back to their homes
when their contracts expired. This
world existed alongside a much more
sophisticated black Johannesburg of
shebeens, dancehalls, snappy dres-
sers - where life was lived fast, and on
the streets. And it was this world which
provided much of the creative talent in
the magazine Drum. The paper in its
early years had a series of outstanding
editors: Sir Anthony Sampson, Syl-
vester Stein, and Sir Tom Hopkinson.
Both Sampson and Stein wrote books
about their times as editor, respecti-
vely: Drum: A Venture Into The New
Africa and Who killed Mr Drum?
Drums heyday in the 1950s fell
between the Defance Campaign and
the tragedy at Sharpeville (The Shar-
peville Massacre occurred on 21 March
1960, at the townships police station.
After a day of demonstrations, at which
a crowd of black protesters far outnum-
bered the police, the South African po-
lice opened fre on the crowd, killing 69
people, Ed.). This was the decade of
potential Black emergence, the decade
when the Freedom Charter was written
and the decade when the ANC alliance
launched the Defance Campaign. The
aim was to promote an equal society.
The Nationalist government responded
with apartheid crackdowns and treason
trials.
It was also the decade of the
movement to the cities, of Sophiatown
(Sophiatown was one of the oldest
black areas In Johannesburg. Before
its destruction during apartheid it
was the epicentre of politics, jazz and
blues during the 1940s and 1950s; it
produced some of South Africas most
famous writers, musicians, politicians
and artists, Ed.), of Black jazz, the jazz
opera King Kong with a Black cast, an
adoption of American culture, of she-
beens (illegal drinking dens) and fam-
boyant American style gangsters (tsot-
sis) with chrome-laden American cars
who spoke a slang called Tsotsitaal.
It was a time of optimism and
hope. Drum was a record of naivety,
optimism, frustration, defance, cou-
rage, dancing, drink, jazz, gangsters,
exile and death , explains Bailey.
Drum described the world of the urban
Black; the culture, the colour, dreams,
ambitions, hopes and struggles. Lewis
Nkosi, famous writer and essayist, des-
cribed Drums young writers, as the
new Africans cut adrift from the tribal
reserve - urbanised, eager, fast-talking
and brash .
The atmosphere in Drums
newsroom, according to Peter Ma-
gubane, was a different home; it did
not have Apartheid. There was no dis-
crimination in the offces of the maga-
zine. It was only when you left Drum
and entered the world outside of the
main door that you knew you were in
apartheid land. But while you were in-
side Drum magazine, everyone there
was a family. Drums stellar cast of
Black journalists included such names
as Henry Nxumalo (also known as Mr
Drum ), Can Themba, Todd Matshi-
kiza, Nat Nakasa, Lewis Nkosi and
others such as William Bloke Modi-
sane, Arthur Maimane, and Casey Mot-
KeeP tHe HerItAge ALIVe
Bayleys African History Archive holds 40 years of material from all editions
of Drum Magazine and its various sister publications. The Archive contains
a wealth of information from politics to culture and complexities of the vast
Anglophone African nations. Prospero Bailey (descendant of Drums frst suc-
cessful publisher) has already embarked on a mission to extend the life of
his collection of social history by digitally preserving these records in order to
make it more accessible to the whole world.
We are developing our business initiative through better distribution (Inter-
net) and encouragement towards usage of the archive. We will encourage
publishers, museums, galleries and flmmakers to create more projects. The
BAHA is actively continuing a vision of keeping this history alive through pro-
ject-based development of the archive, that entertain, educate and expand
the horizons and faculties of our cognitive senses, enabling us to reclaim our
heritage and document our own history, says Prospero. www.baha.co.za
Drum staff is checking lynette kolatis measurements.
Originally from Western township in Johannesburg, she
became a legend, and made this May 56 cover one of Drums
most iconics.
49
tHe sOPHIAtOWn renAIssAnCe
Henry Nxumalo was the frst journa-
list and specialised in investigative
reporting. For example, he got a job
on a potato farm where he exposed
the exploitative conditions (almost
slave-like) under which the Black
labourers worked. In 1957, Nxu-
malo was murdered while investi-
gating an abortion racket (whose
story was the basis for the 2004 flm
DRUM.) Todd Matshikiza wrote
witty and informed jazz articles
about the burgeoning township jazz
scene. Dolly, the agony aunt, hel-
ped many a confused, young lover
to get their lives back on course.
Dolly Rathebe a popular actress,
pin-up and singer, wrote the Dear
Dolly letters. In reality, other Drum
writers, notably Casey Motsisi,
ghosted them. Arthur Maimane, un-
der the pseudonym Arthur Mogale,
wrote a regular series entitled The
Chief where he described gangs-
ter incidents he had heard about in
the shebeens.
Don Mattera, a leading Sophiatown
gangster took exception to this.
The gangsters were pissed off with
him and there was a word out that
we should wipe this guy off, says
Prospero. The offce telephonist,
David Sikebo, became leader of the
Pan-African Congress. Drum also
encouraged fction. EsKia Mpha-
hlele (the fction editor from 1955
to 1957) encouraged and guided
this. During that time, over 90 short
stories were published by such
authors as Todd Matshikiza, Bloke
Modisane, Henry Nxumalo, Casey
Motsisi, Arthur Maimane (alias Mo-
gale), Lewis Nkosi, Nat Nakasa,
Can Themba and others. These
stories described the people of the
street, jazz musicians, gangsters,
shebeen queens and con men and
were written in a uniquely Sophia-
town-infuenced blend of English
and Tsotsitaal. This creative period
has been called the Sophiatown
Renaissance.
sisi. Together, they were known as the
Drum Boys . This group lived by the
dictum Live fast, die young and have
a good-looking corpse . Most of them
went on to publish works in their own
right. The other journalists who worked
there include Bessie Head, Lionel Nga-
kane, Richard Rive and Jenny Joseph.
It wasnt only about writing
says bailey, The pictures were also
important . The main photographer
and artistic director was Jrgen Scha-
deberg who arrived in South Africa in
1950 after leaving a war ravaged Berlin.
He became one of the rare European
photographers to photograph the daily
lives of Black people. He trained a ge-
neration of rising black photographers,
including Ernest Cole, Bob Gosani and
later Peter Magubane. The later joined
Drum because they were dealing with
social issues that affected black people
in South Africa, he wanted to be part of
that magazine . Alf Khumalo was ano-
ther well-known photographer on the
staff. The backbone of the magazine
was crime, investigative reporting, sex
(especially if across the colour line) and
sport. This was feshed out by imagina-
tive photography. The formula worked
and made for compulsive reading.
Each issue of Drum was read by up to
9 people, passed from hand to hand on
the streets, in the clubs or on the trains.
It became a symbol of Black urban life.
240,000 copies were distributed each
month across Africa and in 8 different
countries: Union of South Africa, Cen-
tral African Federation, Kenya, Tan-
ganyika, Uganda, Ghana, Nigeria and
Sierra Leone. This was more than any
other African magazine!
Sadly, because of the immo-
vable force of apartheid, the promise
and dreams it described turned to frus-
tration and despair. In 1955 Sophiatown
was bulldozed and the writers died or
went overseas. The creative output of
the Sophiatown Renaissance came to
an end as the bulldozers
rolled in.
theo Mthembu, legendary boxing guru theo Black Panther
Mthembu, who had joined Drum in 1955 as sports editor.
October 65s cover, with Winnie Mandela. she was regularly
featured in Drum, as a political fgure.
the atmosphere at Drum did not know apartheid. there was no
discrimination; everyone there was part of a family. Pictured in
1956: Bob Gosani and Peter Magubane.
51 50
Joburg inner city is booming. areas for many years declared no-go
zones as a result of urban decay and crime are now the new places to
go, with many things to do, whithe the creation of shopping centers
and other real estate inprovements -among them, the Jewel City
Diamond District, currently undergoing a R40-million upgrade,
and the aBsa Banking Project-.
in the midst of this groundbreaking urban regeneration of
Downtown Joburg, lies the Maboneng Precinct (Maboneng is a
sotho word meaning place of light), a highly successful and very
original development project. The frst main building complex was
done by 2008 and today the whole district is a favorite destination
for south africas multimedia, creative crowd.
Mabonengs revival is the brainchild of Jonathan liebman, a 29-year
old property developer who is changing the shape of Johannesburg.
MaDE
iN
mAbOneng
texts and photos : Jean-Philippe Nehama
Disbook AfricA 2012 - Joburg Vi bes
51
50
Disbook AfricA 2012 - Joburg Vi bes
51
52 53
t
hrough the concep-
tion of his Maboneng
Precinct, a section
of City & Suburban in
downtown Johannes-
burg, Liebman has
not simply revamped a few derelict
buildings; rather, he has changed how
the young and hip urban creative types
in Johannesburg think of and interact
with the city centre.
In 2008, Jonathan Liebman
purchased several derelict construction
offces and warehouses and converted
this industrial space with its entire area
into have-to-be-there place with a fully
integrated, mixed-use community and a
comprehensive mixed-income residen-
tial offering. He purchased the property
when he was 24, with fnancial backing
from a private equity and collaborated
with sustainable architect Enrico Daf-
fonchio. This frst development, Arts On
Main, is now a cultural hub known for
its mix of galleries, artist studios, crea-
tive venues, restaurants, shops, offces
and retail spaces. Arts on Mains 28 te-
nants include clothing designers Black
Coffee, the Seippel Gallery, the Goethe
Institute, and the Goodman Gallery.
The feather in its cap, however, is one
of the sectional title owners, world-re-
nowned artist William Kentridge, who
maintains a studio there, enjoying the
double-volume space afforded him.
I think my tendency towards
investing in property comes from the
fact that I have a strong focus on lifes-
tyle, which includes the way you work
and the way you live, the way you go
on holiday. Im interested in the way
people do those things, he says.
Liebmann says he was very
aware that he would have to overcome
some preconceived ideas about the
rather industrial downtown area he was
developing, so he put his money where
his mouth was and moved into each
development during the refurbishment
phase.
The other developments in-
clude: Main Street Life, a urban living
complex; 12 Decades Hotel, a boutique
hospitality; Revolution House, a mixed-
use complex of residential apartments;
The Main Changes, an offce building;
and Fox Studios, a four-unit working
spaces. All those refurbishment deve-
lopments are highly successful. They
provide work and recreation spaces to
artists, flmmakers, fashion designers,
actors, entrepreneurs and residents
who have moved into the exciting
spaces with enthusiasm. Jonathan is
also building his own house on the top
of one of the buildings.
I am passionate about upgra-
ding the environment and bringing
people back into the city, creating new
jobs and creating entrepreneurs, says
Liebman. His biggest success had
been in creating many young new bu-
siness owners.
All these developments have
facilitated the emergence of new busi-
nesses, and what comes of the new
businesses is new employment. This
is my biggest success so far: creating
many young business owners.
Liebmann is keen to promote
economic development in the city, and
has created a Directory called Made
in Maboneng. More than a directory,
Made in Maboneng is a local buying
philosophy aimed at facilitating growth
for start up and existing businesses in
the area. Made in Maboneng also faci-
litates collaboration between local bu-
sinesses and freelancers in the area.
The entrepreneurs who have moved
into the buildings are encouraged to
use each others services: they are
buying locally, encouraging local busi-
nesses, and giving new businesses a
kick-start.
This should happen across
the entire city. But not just the city: the
suburbs and the whole of South Africa.
mAbOneng Is tHe set
Jonathan Liebman explains how Maboneng is becoming a favorite destination for South Africas multimedia, TV and
flm companies: Over the last four years there has been many organization related to the flm & TV industry that have
moved to Maboneng. It started with Uhuru Film Production which has its base at Arts on Main (Uhuru Productions is a
wholly black owned flm and television production house with offces in Johannesburg and Cape Town, headed by Pro-
ducer/Director Rehad Desai, Ed), and of course The Bioscope, the independent cinema which opened at Main Street
Life, and then there are casting and advertising companies that are connected to the flm industry that has moved to the
Main Change, one of our new buildings. The biggest incentive for those companies is the environment itself. Maboneng
promotes collaboration amongst the various creative industries and that can flter into their flms. Also, the space is far
more affordable than the space in the suburbs of Johannesburg where many of these companies are based.
On the frst foor of Revolution House, which is one of our latest buildings that we completed, weve built recording studios
and a flm studio. We aim to attract more locations shoots on site there, as well as potentially another flm company that
could even take the all space.
The neighborhood has been used for a lot for commercials and movies both local and international. Theyve used the
streets and theyve used the inside of the building under construction and some of the completed buildings as well. So
there is been a lot of production that actually happened in Maboneng with Maboneng becoming the set.
53
FORM MORE INFORMATION
http://www.mabonengprecinct.com/
PROPERTUITY HEAD OFFICE
brandmanager@mabonengprecinct.com
SALES AND RETAIL SPACES
sales@mabonengprecinct.com
MAIN STREET LIFE RENTALS
rofhiwa@mabonengprecinct.com
EVENTS/HOSPITALITY
operations@mabonengprecinct.com
At just 29, Jonathan Liebman is the very defnition of a self-made man. Though
he has a business degree from the local chapter of Monash University,
Liebmans career successes have been driven by a passion and determination
that cant be taught. Liebmann turned his frst property investment around, a
fat in Waverley , when he was 18. Property is his main passion.
I think Ive known from a young age that I was never going to work for any-
body. Ive got the type of personality where I work better for myself than for
other people. Im passionate about new business ideas and the only way to
explore those properly is to do it yourself.
54 55
tHE
bIOsCOPe
t
he Bioscope is an
innovative 68-seat
independent boutique
cinema located on the
ground foor of Main Street
Life, which plays its part
in developing Johannesburgs quickly
regenerating inner city.
55
t
he aim of The Bioscope
is to increase the diver-
sity of content on South
African movie screens. In
bringing new flms to new
audiences, the cinema is
striving to grow new markets for new flms,
and is proud to be involved in developing
local audiences for locally and interna-
tionally produced cinema. With access
to restaurants, cafes, a rooftop bar with
unparalleled views of the Johannesburg,
and equipped with HD-ready projection
facilities, The Bioscope is the ideal venue
for conferences, presentations, launches
and other corporate evenwts. The cinema
is also available for increasingly popular
private screenings.Now The Bioscope
brings the internationally acclaimed French
flmmaker Michel Gondrys Home Movie Fac-
tory to Johannesburg. Following the example
of Jack Black and Mos Def in Gondrys flm
Be Kind Rewind (2008), The Home Movie
Factory is an installation that gives partici-
pants the opportunity and resources to make
a short flm less than three hours. The Home
Factory is a truly unique interactive exhibi-
tion, which after successful runs in Paris, Sau
Polo, Rio de Janeiro, New York and Rotter-
dam, is now being set up in Johannesburg by
Darry Els and Russel Grant of The Bioscope
Independent Cinema, as part of the France-
South-Africa Seasons 2012-2013. Participa-
tion in the Home Movie Factory is free, and
requires no special training or knowledge.
Through a formula designed by Gondry
himself, ready-to-use flm sets, backgrounds,
props, costumes - all refecting the iconic and
everyday aspects of Johannesburg - make
an infnite number of storylines possible.
Each small group of participants gets to work
independently and has creative control over
all aspects of the project, including the genre
and title of their flm, the script, and the acting
and actual flming. After three hours, partici-
pants are able to see a screening of their flm
and are given DVD copies of the fnal pro-
duct. The Home Movie Factory opens August
30th and runs September and October, in the
Museum of African Design (MOAD), a new
development in the Maboneng Precinct.
THE BIOSCOPE
286 Fox Street,
THE HOME MOVIE
FACORY, MOAD: 281,
Commissionner Street
For more information:
www.thebioscope.co.za
57
www.tv5monde.com/afrique
C
r
d
i
t
s

p
h
o
t
o
s

:

T
h
i
n
k
s
t
o
c
k
TV5MONDE is available via DSTV and Canal+ offers, and free to air via SES5 and Eutelsat 16A.
CELEBRATING 20 YEARS IN AFRICA
THANK YOU
FOR CHOOSING TV5MONDE
AP_DISCOP_200x265PP.indd 1 30/08/12 19:03
CHAKAn HIsLOP
57
faCEs
free spirits
from Joburg
CHAKAn HIsLOP
the facilitator
Chakan is the editor/publisher of Form Magazine in
Johannesburg. Form Magazine aims to platform arts,
culture, creative industries and urban regeneration in
Johannesburg. Its part of the fast changing environment
around cultural precincts in the City Centre and develops
extended distribution channels for arts organisations and
independent businesses, specifcally those that contribute
to progressive inter-cultural dialogue and the urban
renewal of the city of gold... Chakan is currently preparing
for a series of mixed media formats and exhibition
platforms, with associated national & international
partnerships and collaborations. Chakan lives in Soweto
& Maboneng.
http://issuu.com/form-magazine-sa
texts and photos :
Jean-Philippe Nehama
58 59
59
DAryL
the autonomous
Daryl Els and Russel Grant are
the co-owners of the Bioscope,
an independent movie theatre
located in Maboneng district.
They have defed convention and
made a success of something
that utterly shatters the
traditional mould, screening flm
off the beaten track. Their last
achievement: having convinced
internationally acclaimed French
flmmaker Michel Gondry to
bring to their Bioscope his Home
Movie Factory installation.
& RUssEl
60 61
61
DAVID mAx
the story hunter
53 years old Bown produced and
directed many acclaimed and awarded
documentaries, TV series, and short flms.
More recently he branched into fction
with several feature flms in development,
among them Call Me Gangster set in
Cape Town in the 1960s about a gangster
who becomes the prison cinema telling
stories and changing his life in the process.
www.davidmaxbrown.blogspot.com
BROWN
62 63
63
HAyLeIgH
EVaNs
the performer
100% involved in the
groundbreaking urban
regeneration of Downtown
Joburg, as Brand Manager
and Communications Manager
of Maboneng Precincts
development company
Propertuity, Evans is also on
the pulse of Joburgs creative
scene, through POPArts (People
of Performing Arts), a theatre
space fast becoming a hotspot
for Joburgs talented young
performers.
www.popartcentre.co.za
64 65
65
JOnAtHAn
the maverick
Property is his main passion.
At just 29, property developer
Jonathan Liebman, is the very
defnition of a self-made man.
He turned his frst property
investment around when he
was 18. The whole Maboneng
district he began to reshape
in 2008 is now a favorite
destination for South Africas
multimedia, creative crowd.
www.mabonengprecinct.com
liEBMaN
66 67
67
BailEY
PrOsPerO
the smooth operator
Bailey is the keeper of Bayleys African
History Archive (BAHA): 40 years
of material from all the editions of
Drum Magazine and its various sister
publications- Golden City Post, Trust,
True Love and City Press. Descendant of
Drums frst successful publisher, Bailey has
embarked on a mission to extend the life
of his collection of social history by digitally
preserving these records in order to make it
more accessible to the whole world.
www.baha.co.za
68 69
69
MalaN
rIAn
the untamed
South Africas most controversial and charismatic journalist
and writer from Afrikaner descent. His autobiographical
book, My Traitors Heart (1989), a Best Seller, was claimed
by writers as divergent as John Le Carre and Salman
Rushdie as a masterpiece of candor and brutal soul-
searching. Malan is also a music player, songwriter and
singer (considered part Tom Waits, part Serge Gainsbourg).
Malans last book, Resident Alien (2009) is a provocative
and engaging collection of the best of his writings that have
appeared in the likes of the New Yorker, Rolling Stone and
Esquire.
70 70
5 -7 MARCH
MARKET
COPRODUCTION FORUM
CONFERENCE PROGRAM
CEYLAN INTERCONTINENTAL
ISTANBUL - TURKEY
discop.com
facebook.com/discopmideast
discop@basiclead.com
DISCOP
WEST
ASIA2013
SAVE THE DATE
Fi rst Look - Disbook AfricA 2012
71
First
Look
17 years ago COTE OUEST set itself
to become Africas pioneer distributor
of television entertainment. Today, with
offces in Ivory Coast, Mauritius and
Morocco, COTE OUEST has been able
to reposition its portfolio of compelling
content effectively for todays televi-
sion viewing needs in Africa, delive-
ring over 20,000 hours of programs to
close to 100 TV Stations across the
Continent. A common entertaining vein
runs through this collection of program
trailers presented by COTE OUEST at
the 2012 edition of DISCOP AFRICA.
Disbook AfricA 2012 - Fi rst Look Fi rst Look - Disbook AfricA 2012
72 73
by Jorge Fernando (Director)
PrEsENTED bY COTE OUESTvv
coUNTrY of oriGiN: Brazil
oriGiNAL rELEAsE DATE: 2009
forMAT: Telenovela
GENrE: Drama
LENGTH: 145 x 45
LANGUAGE: English
sYNoPsis:
This is the story of a young couple, Dafne and Gabriel,
who are separated by her grandfather Jacques, a millio-
naire who couldnt handle that his granddaughter was in
love with a poor guy. After an accident, Jacques is presu-
med dead and leaves his business to Dafne, but on the
sole condition that she marries. Judit, her grandfathers
stepdaughter, takes over the business temporarily and
schemes to pair Dafne with her brother Nicholas in order
to consolidate her claim.
MATEriAL AVAiLAbLE AT DiscoP AfricA 2012
Screening DVD
Flyers
coMMENTs
1 Award for most Promising Actor and 18 nominations.
by Alison Ngibuini (Director)
PrEsENTED bY COTE OUEST
coUNTrY of oriGiN: Kenya
forMAT: Edutainment
GENrE: Drama
LENGTH: 40 x 30
LANGUAGE: English
sYNoPsis:
An edutainment drama series in its 4th cycle funded by
USAID, Siri (Swahili for secret) targeting peri-urban/rural
audiences. The show uses drama to highlight issues of
reproductive health -HIV/AIDS to spur behavioral change.
Screening DVD
Flyers
coMMENTs
WATERCOLORS OF LOVE
(Caras e Bocas)
SIRI
73
by Quasim Basir (Director)
coUNTrY of oriGiN: USA
forMAT: FEATURE FILM
GENrE: DRAMA
LENGTH: 99
LANGUAGE: English
sYNoPsis:
Starring Evan Ross, Roger Guenveur Smith and Danny
Glover, MOOZ-LUM is a 2011 feature. telling the story of
Tariq (Evan Ross), whose father (Roger Guenveur Smith)
is a strict Muslim, and a man of iron who will, when he
wife leaves him, taking their daughter with her, send his
son to a strict Islamist school. Years later, at college, run
by a deeply conservative Dean (Danny Glover) Tariq dis-
covers rock concerts, alcohol, girls and, above all, free-
dom. And then 9/11 happens.
Screening DVD
Flyers
coMMENTs
The flm premiered at the 2010 Chicago International Film
Festival
by Tony Mason and Debra Odutuyo (Directors)
coUNTrY of oriGiN: UK
forMAT: Sitcom
GENrE: Comedy
LENGTH: Saison 1 (8 x 30) Saison 2 (13 x 30)
LANGUAGE: English
sYNoPsis:
The story centers on a modern British-African family living
in London. It follows a larger than life Dad struggling to
instill his old fashioned African values in his reluctant
British household
Screening DVD
Flyers
coMMENTs
The whole family, from young children to grandparents,
can enjoy the series.
Most popular Black British TV show in UK
Nominated for 8 Awards during 2011 Black History Month
Theatre adaptation launched in London in July 2012 to
sellout audiences.
MOOZ-LUM MEET THE ADEBANJOS
74 75
by Dennis Carvalho ( Director)
forMAT: Telenovela
GENrE: Drama
LENGTH: 150 X 45
LANGUAGE: English
sYNoPsis:
Two brothers share an intense and turbulent rivalry. The
story revolves around unreasonable attitudes and the
consequences of generated that threaten to change the
course of many lives.
Screening DVD
Flyers
coMMENTs
Action flled, thrilling drama.
by Marcos Schechtman ( Director)
forMAT: TELENOVELA
GENrE: Drama
LENGTH: 105 X 45
LANGUAGE: English & French
sYNoPsis:
Solano and Estela are two lovers who will have to defy
destiny to be together and enjoy their passion. Solano
is a brave and honest man whose father dies in strange
circumstances in the Araguaia River, while Estela is his
fathers widow. She is a mysterious Indian woman who
gets increasingly attracted by Solano...
The two lovers will have to challenge destiny to live out
their passion and overcome the curse, but the romance
will stumble upon several obstacles.
Screening DVD
Flyers
coMMENTs
A telenovela that spans generations with a stellar cast,
flled with breathtaking natural scenery, and drama.
Nominee for the 2011 International Emmy Awards in the
Best Telenovela category.
IRRATIONAL HEART
(Insensato Corazon)
DESTINY RIVER
75
by Katia Lund and Fernando Meirelles (Directors)
coUNTrY of oriGiN: BRAZIL
forMAT: TV SERIES
GENrE: DRAMA
LENGTH: 20 x 30
LANGUAGE: English (soon available in Swahili)
sYNoPsis:
The program tells the stories of Luis Claudo and Uolace,
better known by their nicknames Acerola (Douglas Silva)
and Laranjinha (Darlan Cunha), who are two best friends
who live in a notorious Rio slum, in a community of drug-
dealers, hustlers, and teenagers struggling to fulfll their
dreams.
Screening DVD
Flyers
coMMENTs
Directed by Katia Lund and Fernando Meirelles, this TV
series is a spinoff of the award winning movie CITY OF
GOD, with the same main actors and setting.
It has been a huge success in Brazil with 35 million
viewers as well as internationally.
by Tetcha Bellange and Bianca Bellange (Directors)
coUNTrY of oriGiN: Canada
forMAT: Documentary
GENrE: Drama / Real story
LENGTH: 52 mm
LANGUAGE: French with English subtitles
sYNoPsis:
The documentary investigates slavery in Canada through
the story of Marie-Josphe Anglique, a Black slave ac-
cused of burning Montreal in 1734. After an epic trial, this
untamable slave is tortured and sentenced to death. But
was she really guilty of this crime or was she the victim of
a bigger conspiracy? Why this voluntary amnesia about
this unknown page of Canadian history?
A fascinating documentary that powerfully mixes inter-
views with historians and theatre re-enactments fctional
scenes, high in emotion, interpreted by seven actors.
Screening DVD
Flyers
coMMENTs
The flm, successful with critics and audience alike, has
been screened in several prestigious festivals like the
World Film Festival in Montreal, the African Diaspora Film
Festival in New York, the Victoria Film Festival in Canada
and the International Pan African Film Festival in Cannes.
The documentary was also selected in the offcial best
picture competition at the biggest festival in Africa, the
FESPACO in Burkina Faso.
CITY OF MEN BLACK HANDS
Trial of the arsonist slave
76 76
Trends and busi ness - Disbook AfricA 2012
77
Trends
&
Business
Multiplatform, television viewing
is a world-changing phenomenon.
With digital switchover deadlines
looming in Africa, amazing things,
with a true sense of purpose are
being done to meet the funding,
production and distribution chal-
lenges lying ahead. Listening to
specialists, combining global exper-
tise and regional perspectives with
local footprints seems to be the
safest bet.
Disbook AfricA 2012 - Trends and busi ness Trends and busi ness - Disbook AfricA 2012
78 79
Made in Africa / Made for Africa
African content presented at discop AfricA 2012
provides a fresh antidote to more mainstream television.
MooZ-LUM:
What does it mean to be both a Muslim
and an American in todays world?
Starring Evan Ross, Roger Guenveur
Smith and Danny Glover, MOOZ-LUM
is a 2011 feature telling the story of
Tariq (Evan Ross), whose father (Ro-
ger Guenveur Smith) is a strict Muslim
and a man of iron will. When his wife
leaves him, taking their daughter with
her, he sends his son to a strict Islamist
school. Years later, at a college run by
a deeply conservative dean (Danny
Glover), Tariq discovers rock concerts,
alcohol, girls and, above all, freedom.
And then 9/11 happens.
Presented by COTE OUEST
Evan Ross, Danny Glover, and Roger
Guenveur Smith star in MOOZ-LUM
(presented by Cote Ouest), a feature
flm which tells the story of an African
American Muslim family whose lives
are changed by the September 11 at-
tacks and their aftermath. The flm pre-
miered at the 2010 Chicago Internatio-
nal Film Festival.
MEET THE ADEbANJos
British African culture shown for the
frst time on TV
The UKs number one black comedy of
2011 tells the story of a modern British-
African family living in London. MEET
THE ADEBANJOS centres on Dad
(Bayo) struggling to instil his old-fashio-
ned African values in his reluctant Bri-
tish household. Comedy fows from the
typical family ups and downs, as well
as from the regular mishaps of Dad, the
familys eccentric lodger, Mum, and her
sister Aunty Funke. The familys Bri-
tish born children, Tobi and Sade, also
add humour to the series by constantly
bringing more of their British culture
into the lives of the resisting African
adults. Wale Ojo, who has appeared
in many Hollywood movies, including,
JOHNNY ENGLISH REBORN, plays
Bayo. Aunty Funke is played by Moji
Bamtefa, star of the hit Nigerian co-
medy FUJI HOUSE OF COMMOTION,
and son Tobi is played by Daniel Antho-
ny, a young star in the making who has
appeared as Simba in the London West
End production of THE LION KING.
This sitcom was nominated for eight
awards during Black History Month
(2011), was the winner of three TV
awards. It is an online hit with over 1
million viewers of trailers on various
websites and YouTube. A stage play
with the full cast was adapted and
launched in London in July 2012 to
sold-out audiences. The series airs in
Nigeria, Uganda and Ghana.
Presented by COTE OUEST
Wale Ojo (as Bayo) and Moji Bamtefa
(as Aunty Funke). Wale has appeared
in many Hollywood movies. He is the
star of famous Nollywood director and
producer Kunle Afolayans new movie,
PHONE SWAMP. Moji is a veteran ac-
tress of both TV and stage in Nigeria
and UK.
JULiE AND roMEo (2012) from Burki-
nabian Boubakar Diallo: Shakespeare
revisited by Black Magic!
This feature won LEcran DOr at this
years Festival Ecran Noir at Yaounde,
Cameroon.
Two lovers, Julie and Romeo, decide
its time to move in together. But an
old quarrel between their two families
stands in the way. During a family reu-
nion, a terrible quiproquo starts the
drama: Romeo thinks Julie committed
suicide and in turn, kills himself. Julie,
broken by the news, reaches out to her
uncle, Mateo, who is said to have mys-
tical supernatural powers that enable
him, using the power of lighting, to move
objects from one place to the other and
from one time dimension to the other.
Julie decides its time to try something
new: she will go back a week in time
to prevent her beloved from ending his
own life. Will Mateo be willing to lend
his occult services to the new dange-
rous experience of time travel?
Presented by DIFFA.
THE DEBUT OF DIFFA
DIFFA: A new company supported
by the OIF, whose goal is to sell
African productions to the interna-
tional market (and to other African
countries too!), makes its debut at
79
DISOCPA AFRICA 2012.
DIFFA is a joint venture between
Frances Media Consulting Group,
headed by Alain Modot, and Ivo-
ry Coasts Martikas Productions,
headed by Jean-Hubert Nankam.
The company began operations in
January this year, and, at the time
of writing, had six members who
will be attending DISCOP AFRICA.
Alain Modot, co-founder of DIFFA,
explains that, After four years co-
vering Africa, I realised that there
was simply no existing mechanism
for selling African programming on
the international marketnot even
really between African countries.
One or two of the big English lan-
guage broadcasters, such as M-
Net, had made a few attempts, but,
in French-speaking Africa, there
was literally nothing. One of the
main reasons for this was the cost
associated with distribution, which
meant that even if a sale was made,
the proft left over was so small as
to render the exercise pointless.
One of my hopes with DIFFA is
that by amortising these costs we
can make the exercise of distribu-
tion much more attractive. And, he
adds, by aggregating as many pro-
ducers as possible, we also hope
that DIFFA will beneft by making
itself a one-stop shop for broad-
casters wishing to acquire African
content. Modots third aspiration
for the new organisation is that,
It will be able to train and coach
producers in the business of distri-
bution and get them to the point at
which they are able to undertake
distribution for themselves.
The six companies DIFFA will be
representing at DISCOP AFRICA,
but all of which will also be atten-
ding the market individually and in
their own right, are:
-From Cameroon: Banque dImage
dAfrique Centrale (BIMAC), which
will be represented by its founder,
Remi Atangana.
-From Burkina Faso: Les Films du
Dromadaire will be represented by
its Director General, Mr. Boubakar
Diallo, and Films 21 will be repre-
sented by Adama Roamba.
- From Ivory Coast: Jean Hubert
Namkams company Martika Pro-
ductions, and Marie Louise Asseus
Ymale Productions.
- From Mali: Brico Films will be
represented by Nana Kadidia Tou-
magnon.
Given that DIFFA was only foun-
ded in January of this year, deve-
lopments are obviously at an early
stage. However, Modot, who says
that he hopes that DIFFA will, Be-
come Africas TVFIexcept that
we will be selling as well, promises
that, There will be at least one
episode of every series available
for screening in English during
DISCOP AFRICA. And progress
is already being made with Modot
reporting that DIFFA, Is already in
discussion with Canal Overseas,
which is planning to launch an Afri-
can flm and fction company, as
well as some broadcasters in the
Caribbean who specialise in African
content, and a number of European
PSBs.
TEENAGErs, a series presented by
DIFFAT, which was recently Awarded
by the Organisation Internationale de la
Francophonie at the 28th Festival Inter-
national Vues DAfrique in Montreal, for
best representation of the view of the
young and the social structure of the
family
THE kiNGs of sEGoU (LEs rois DE
sEGoU) .The saga (a series of seven
episodes of 78 minutes each) takes the
viewer on the steps of the Bambara,
which dominated the region of present-
day Mali between the seventeenth and
nineteenth century. The stated goal of
this production (deliberately simplifed)
is to: Give Africans the opportunity to
see through the screen of their past,
staged in an attractive and understan-
dable way for the broader audience,
says the director, Boubacar Sidib. It
is also an opportunity to learn about
the kingdom of Segous war customs
beyond the borders of Mali. To write
this history, the director had to make a
long archival work, but also meet many
griots and specialized historians. You
know, the themes of many series focus
on African ideas and realities. Far from
despising the entertainment and intel-
lectual enrichment aspects that these
series provide, I feel, however, as frus-
trated as the viewers of my continent,
says Boubacar Sidib. The shooting,
which took place in the forest of Tien-
fala, a few kilometers from Bamako,
the capital, and in the village of Ngami,
near Segou, lasted ten weeks, with the
participation of 250 actors and extras
from Mali.
Presented by DIFFA. Season two is
ready for delivery
riDEr WiTHoUT A HorsE (2009)
presented at DISCOP AFRICA 2012 by
the Namibian Film Collection/AFRICA-
VENIR.
Directed by Tim Huebschle, RIDER
WITHOUT A HORSE imagines Wind-
hoeks Reiter (German for Rider) Mo-
nument, one of the most prominent his-
torical monuments in Namibia, coming
to lifeand being confronted by his
own identity.
In a tale that is both funny and serious,
the Reiters journey takes him through
a changed world, as he stumbles
across the 18th Independence Day
celebrations in the Namibian capital.
The Reiter fnds himself confronted
by modern reality. He has to deal with
mixed-race couples, rude taxi drivers,
obnoxious prostitutes, drag queens
and even black men in uniforms! All he
longs for is a return to his normality,
and this leads him to an entanglement
in a Herero protest march against the
signing of a Namibian-German deve-
lopment treaty at the Alte Feste. His
experiences of todays social and politi-
cal realities make him question what he
really stands for. With a simple gesture,
the Reiter turns around the meaning of
80 81
the monumentmaking a positive sta-
tement about Namibias future.
THE PoWEr sToNE, a two-part docu-
mentary presented at DISCOP AFRICA
2012 by The Namibian Film Collection/
AFRICAVENIR. Produced by Mamoko-
bo Video & Research and directed by
Andy Botelle and Kelly Kowalski, THE
POWER STONE tells the true story of
the journey of a sacred stone belonging
to the Kwanyama people of northern
Namibia and southern Angola. Passed
down from generation to generation,
this sacred power stone remained at
the centre of the Kwanyama until the
last king was killed in 1917.
After the kings death, the stone di-
sappeared.
This documentary takes us on a quest
to fnd the power stone. Part One,
When We Were Kings, traces the
stones migration through pre-colonial
Africa and witnesses the rise of the
Kwanyama Kingdom. Part Two, Africa
Gets Light And Security examines the
effects of colonialism on the kingdom
and follows the stones secret journey
to Europe during the war against apar-
theid, and its remarkable return home
after Namibian independence in 1990.
SEASONS, presented by Nigerian Vi-
sion Productions, is an historical drama
(120 episodes x 23-26 minutes) set in
the 17th century African kingdom of
Jafala, pre-dating the arrival of either
Christianity or Islam. Centred on a
successful merchant family, the Amos
family, SEASONS provides comedy,
drama, intrigue and also several very
valuable lessons in the form of morality
tales.
PEEP, presented by Ghanas Sparrow
Productions, is a 26 x 60 minute produc-
tion, made this year in partnership with
Ghanaian broadcaster TV3. It centres
around three dynamic young journalists
who come together to set up a trendy
publishing company, Peep Online.
Their aggressive investigative journa-
lismboth they and their team will stop
at nothing to get the story frstmakes
them an instant hit. However, when
they uncover some ugly truths about
a major bank and its operations, they
discover that their insatiable drive for
scandalous stories can also make them
very unpopular in certain dangerous
quarters. Written by Shirley Frimpong
Manso and Hetty Owuso, directed by
Manso, and starring Jasmine Baroudi,
Senanu Gbedawo and David Oscar,
this fast-paced investigative drama
brings a fresh angle to the new age of
journalism.
cHEckMATE, a thriller presented by
Ghanas Sparrow Productions. Kwame
has made all the right moves in life, he
has a good job, a beautiful and devoted
wife, and an adorable child; he is also
a shoe in for an impending promotion
to senior customs offcer. But, when he
goes with his new friend Kiki for what
seems like a typical guys hang out wee-
kend away from home, he makes his
frst serious mistakea very serious
mistake. After losing a game of chess,
he accepts Kikis challenge of seducing
the attractive and very sexy, Caroline.
Some weeks later, the consequences
of his now forgotten dirty weekend
reappear in Kwames life, threatening
to destroy everything he so dearly
loves. Kwame realises that the game is
only just beginning as it becomes clear
that Carolines demand for his love is
nothing compared to the demands of a
drug lord, who is blackmailing Kwame
over the affair, and who will stop at
nothing to get him to help smuggle
his drugs out of the country. With his
entire life hanging by a thread, Kwame
realises this is one game he must win,
or he risks losing everything. Starring
Nadia Buari, Naa Ashorkor Mensah-
Doku and Ekow Blankson, CHECK-
MATE was produced by Ken Attoah
and written and produced by Shirley
Frimpong Manso.
ADAMs APPLEs, presented by Gha-
nas Sparrow Productions. A series of
10 features, created and directed by
Shirley Frimpong-Manso, and produced
by Ken Attoah, ADAMS APPLES is set
in the hustle and bustle of the Gha-
naian capital, Accra, and its suburbs,
with a few glimpses of London.
The movies follow the lives of four
Ghanaian women, all called Adams.
Doris, in her late ffties, the widow of a
diplomat, and her three daughters, all
in their early thirties, Jennifer, Baaba
and Kukua. Following her husbands
death, Doris has had to abandon her
dreams of following him around the
world, home schooling her kids while
playing hostess to high-profle func-
tions as the wife of a successful diplo-
mat. Her frst born, Jennifer, is known
as the boss. In her mid thirties, she is,
unusual for a Ghanaian lady, still single
and runs her own real estate business.
Baaba is the wild child, and as such is
constantly at logger heads with Jenni-
fer, although Baabas life experiences
easily outstrip those of both her two
siblings combined. When Jennifer and
Baaba are having one of their regular
falling outs, Kukua, the youngest of the
Adams daughters, can be relied on to
be the peacemaker. Creative director
at an advertising agency, Kukua is easy
going, friendly and full of beans.
WEbs (52 x 30 min), presented by Ni-
gerian production house GBN. The se-
ries follows the lives of three families,
the Adams, the Williams and the Oko-
jie, and their mutual struggle for wealth
and power.
THE AfTErMATH (52 x 30 min),
presented by Nigerian GBN, tells the
powerful story of the consequences of
a rape. As a teenager, Alero was raped
by Jeremiah. Her failure to get justice
at the time has led her to become a
bitter, hate-flled, woman utterly deter-
mined to revenge herself on Jeremiah,
now a rising political star and chairman
of a committee in the house of repre-
sentatives, with aspirations for elec-
tion to the senate. As a senior police
offcer, Alero is well placed to execute
revenge on Jeremiah, but his father,
Chief Akinbade Lewis, a wealthy and
powerful man, is determined to see his
son rise to the very top of political life.
THE AFTERMATH is a compelling sto-
ry, brimming with politics, intrigue, love
and hate.
81
coMrADE, a flm from Modern Africa
Productions (Nigeria), made in 2011
and yet to be released. Hakeem,
played by Osy Ukeje, is an employee
of the Central Bank of Nigeria, and,
as such, becomes privy to some very
disturbing information. He becomes
aware of a web of corruption that sees
80 percent of all money released by the
Central Bank fnding its way into the
pockets of Nigerias elite, with only 20
percent being left to cover the wages of
more than 90 percent of the population.
Hakeem is so outraged by this injustice
that it turns him into a quintessential
ideologue. For Hakeem, there is only
one solution to this injustice, and that
solution is hard core Marxism.
THE PArDoN, presented by Rwanda-
born producer, writer and director Joel
Karekezi, is a heart-wrenching and
moving story about hard-core beliefs
and the ways in which they impact the
lives of ordinary, decent people. Set in
Rwanda during the confict between
the Hutus and the Tutsis, Karekezis
flm tells the story of two life-long frien-
ds, Karemera and Manzi, both in their
twenties, but sadly on opposite sides of
this tragic ethnic divide. Manzis Hutu
family insist that Tutsis are enemies of
Rwanda and, eventually, Manzi succu-
mbs. When the Hutu Presidents plane
is shot down and Tutsis are blamed,
he joins an extremist group, raids the
house of his old friend and kills all of
Karemeras family, although Karemera
himself escapes. Eventually, Manzi is
sent to prison for ffteen years for his
part in the atrocity, but, when he is re-
leased, Karemera has to decide how to
face the reality of his old friends new
freedom. Initially, both men seem de-
termined to continue the path of hatred
and revenge that began all their pro-
blems, but, when Karemera sees the
same hatred developing in his son, he
suddenly sees it for the pointless and
destructive force that it is, and begins
a process of reconciliation with his for-
mer friend.
GHETTo coUrT (26 x 22 min), a show
presented by South Africas distributor
Click Boogie Media. Presided over by
hip hop legend Eric B of the rap group
Rakim, the only laws that apply in this
court are the laws of the street. One
rule GHETTO COURT always obeys is
to let the accused speak their mind
creating hilarious accounts of crazy
situations.
YoU ArE THE sUPErMoDEL (25
x 52 min), presented by Click Boogie
Media (South Africa). This series is a
unique womens lifestyle show, for all
women the world over. Age and size
does not refect todays supermodel.
Young mothers, business owners, tall,
short, petite, curvaceouswith more
self confdence than ever before, wo-
men want to know everything about
fashion, beauty tips, colours of the
seasons and even how to pluck their
eyebrows! But they also want to know
about successful women and how they
achieved their ambitions through per-
sonal determinationand have them
pass on some of their pearls of wisdom.
sUbirA (1 x 12 min). The 2007 winner
of the Short Film Award at the Cannes
International Film Festival, SUBIRA
tells the story of a Muslim girl of that
name, brought up in an orthodox Mus-
lim family on the remote Kenyan island
of Lamu. When Subira reaches the age
of 11, she is expected to follow tradi-
tion, take the veil and learn household
chores so that she can, one day, make
some man a good wife. But Subira has
other ideas and wishes to live by the
same rules that apply to her younger
brother. The flm explores the tensions
raised by this confict of modernity and
tradition, and the audience discovers
whether Subira can fnd the balance
between tradition and modernity, or
whether she will succumb to a life of
conventional bondage.
Presented by Kaaya Films of Kenya
DrUiDs WATcH, presented by Ke-
nyan Xeinium, is an animated series,
which is still in development. This pro-
ject tells the story of spoiled Prince
Abdi, who fnds his life of comfort and
privilege turned upside down when he
has to leave the confnes of the pa-
lace walls and undertake an arduous
journey with his companion Nomadi
in order to fnd rare ingredients that
are needed to make a medicine for a
loved one who has fallen gravely ill.
During his journey, Abdi comes face to
face with threats from within his own
82 83
THE STORY BEHIND NUMER
ONE BRITISH BLACK COMEDY
Thirty years ago, two men met on
the plane from Nigeria to the UK.
They just happened to sit next each
other, but over the seven hour plane
journey they developed a friendship
that would last till today. They both
only planned to stay in the country
for a few years to study, but one
thing lead to anotherthey got
married, children were born, and
they both ended up settling in Pec-
kham, London. Debra Odutuyo was
the daughter of one of the friends.
She had grown up in a loving family
full of fun and laughs and as a pro-
ducer wondered why this was not
represented on UK TV. She wanted
to do a sitcom which promoted
family values, allowed people to
laugh and which gave people an in-
sight into her British African culture.
She then spent a few years deve-
loping MEET THE ADEBANJOS
and pitching the concept to major
TV networks. She fnally decided to
produce it independently, having in
mind to create a whole new industry
in the UK with quality programs that
refect a culture not shown on UK
TV and that can be shown around
the world.
kingdom, and has to decide whether
to continue with his journey to save the
one he loves, or go back home, save
his kingdom, and take his rightful place
as king.
THE sAMAriTANs, presented by Ke-
nyan Xeinium, is a comedy still in deve-
lopment. The story revolves around a
British NGO in Kenya, Aid for Aid. The
head of its Kenyan feld offce, Martha,
and her multi-cultural team grapple
with their own shortcomings, ignore
the demands of their head offce, and
continue their never ending search for
funding while simultaneously battling
local bureaucracy and doing as little
as possible under the guise of saving
Africa.
THE coLoNY. Set in turn of the 20th
century Kenya, THE COLONY tells the
stories of three families, one British,
arriving in Kenya after scandal forced
them from their comfortable lives in
London high society; a family of tra-
ders from the British Raj in Kenya,
who quickly make a success of trading
everything from ivory to coconuts; and
a Kenyan family whose father is chief
of a vast tribe, and who uses his skills
and position to gain a prominent posi-
tion in the British army, thus securing
his familys future to the detriment
of his tribe, who come to see him as
a traitor to both their cause and their
country. The COLONY is a project still
in development, presented by Xeinium
from Kenya.
A TAsTE fo HUNNEY (13 x 22 min)
presented by South African Click Boo-
gie Media, revolves around ex con and
designer Satai Gordon, who hooks up
with soft-core actress, Patrice Fisher,
to form and launch a nationwide linge-
rie line. Sparks fy as these two fgure
out how to best use their assets.
THE cELibAcY (LE cELibAToriUM)
presented by DIFFA, is a Tv series
From Burkina Faso (Season: 20x26,
Season 2: 40X26, Season 3 in produc-
tion).
LiTTLE sErGEANT (PETiT sEr-
GENT) presented by DIFFA, is a TV
series from Burkina Faso (Season 1:
12x26, Season 2: 20x26).
cLAss A, a TV series from Ivory Coast,
presented by DIFFA (54 x26)
A HUsbAND for TWo sisTErs (UN
MAri PoUr DEUX soEUrs) pre-
sented by DIFFA, is a Tv series from
Ivory Coast.
THE sTorY of GirLfriENDs
(LHisToirE DEs coPiNEs) pre-
sented by DIFFA
Entertaining the world
Contact Content Sales
ABC Commercial Entertaining the world
To discuss our new release programs, contact:
Katherine McMillan, Sales Manager, Africa & Worldwide Format Sales
mcmillan.katherine@abc.net.au +61 417 685 830
CHILDRENS
81 x 22
NATURAL HISTORY
1 x 60 HD
COMEDY
Series 1: 8 x 30 HD
Series 2: 8 x 30 HD
the search for the oceans
super predator
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83
Entertaining the world
Contact Content Sales
ABC Commercial Entertaining the world
To discuss our new release programs, contact:
Katherine McMillan, Sales Manager, Africa & Worldwide Format Sales
mcmillan.katherine@abc.net.au +61 417 685 830
CHILDRENS
81 x 22
NATURAL HISTORY
1 x 60 HD
COMEDY
Series 1: 8 x 30 HD
Series 2: 8 x 30 HD
the search for the oceans
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84 85
The titans
of laamb
Thanks to the power of television, the world has begun to watch
senegalese wrestling, a sport of choice for thousands of fans across
Africa, with battles cloaked in mysticism and religion pitting locals
against each other. While the matches are over in moments, much is
made of the ceremonies during the preparations and the warm-ups.
This is great television entertainment! photos demba Mballo
85
86 87
87
88 89
HiGHLiGHTs
Laamb is the Wolof word for
African Wrestling. The Wolof is the
native language of the Wolof people,
who make up 40% of the population
in senegal.
Wrestling is hugely popular in the
West African country of senegal,
has become the number one national
sport in senegal, ahead of football
(soccer), and has also become a
means of social ascendance.
Star wrestlers can earn $200,000
per contest
The game attracts between half
and one billion CFA francs ($1m-
2m) in sponsorship money a year
(according to radio Television
senegalese)
Senegalese wrestling, name Laamb, is one among many versions
of the traditional West African wrestling. Laamb ends when one of
the wrestlers puts his opponents head, back or both hands and
knees to the ground. Unlike other forms, laamb allows punches
in certain matches. Senegalese wrestling began in the villages,
when farmers who only worked during the fertile rainy season
would pass the time with this traditional African sport that has
been practiced across the continent for hundreds of years. Du-
ring the dry seasons, the farmers would come to the cities looking
for work. There they found an audience of people keen to watch
and bet on the matches.
As the sport gained in popularity, it began to take on elements of
martial arts, incorporating boxing, judo and karate, as well as the
traditional elements of African wrestling.
In the 1990s, Gaston Mbengue, a Senegalese sports promoter,
started to stage matches that allowed bare-fsted fghting.
In one of the only countries in the world where this kind of fghting
is legal, this modern twist revolutionized the sport and turned it
into a multi-million dollar game that now attracts more fans than
any other sport, including football.
One match can attract up to 80,000 people. Commercial compa-
nies are desperate to get their brands into the ring, from where
the images will be beamed on television screens to millions of
viewers across the country.
Its a big business in Senegal, with the biggest names earning
up to $200,000 per contest, and the sport is now managed as
professionally as for the football
Wrestlers say that this sport is as mental as physical. Its all
about making sacrifces, said Gris Bordeaux, the Senegalese
star in this sport. It requires training and meditation.
The show is not just in the ring. With long breaks between the
matches, the traditional spectacle is part of this very spectacular
show, including mystical preparations, warm-ups, magical talis-
mans called gris-gris, protective baths of varying size and color
for protection against negative tongues and eyes.
In the mystical Suf tradition, the marabout, or spiritual guide,
support the wrestlers.
89
90 91
INSIDE STORY is a flm about love,
soccer, HIV and self-discovery, at the
centre of which is a young Kenyan foot-
baller, Kalu, played by Kevin Ndege
Mamboleo. At home in rural Kenya
Kalu is an aggressive striker for his
local side the Malindi Sharks. Sel-
fsh and self-assured Kalu knows he
is destined for greatness. But his life
changes on one dramatic day when, as
Kalu receives an offer to join the Black
Stars, a second tier professional team
in Johannesburg, his father is killed in
an accident, and, unbeknown to Kalu,
he is exposed to the HIV virus. He de-
cides to take up the offer to go to South
Africa, determined to make his name in
professional soccer and earn enough
money to send home to keep his mo-
ther and sister.
Kalu fnds life in Johannesburg very
different from that in rural Kenya. He
meets hostility from Spirki (Sdumo
Mtshali), the Black Stars captain and
starting striker, and, as he battles both
the hostility from his team mates and
the spreading HIV virus, his friendship
with the coachs daughter Ify (Kendra
A flm made by Africans for
Africans:
inside Inside Story
Amongst the standout content offered at discop AfricA 2012,
one remarkable flm truly graces this gathering of African media
professionals. iNsidE sTorY is at once both a powerful love story,
a moving tale of self-discovery and a unique exploration of HiV, how
it works and the effects it has on the suffer and those around him.
disBooK spoke to distributor Bruce rabinowitz and Executive
Producer Aric Noboa to fnd out more about this remarkable movie.
Text: Bob Jenkins
Etufunwa), is developing into much
more, while she has to ward off the
advances of team owner, Goodwill
(Fana Mokoena) who makes it clear to
her that if she continues to reject his
advances, her fathers job as coach is
in jeopardy.
These battles on and off the pitch from
the dramatic backdrop for a much more
dramatic story the battle Kalus body
is fghting against HIV. Using state of
the art animation, INSIDE STORY, take
the audience on a journey inside Kalus
body and shows, as has never been
shown before, the relentless attacks
of the HIV virus, and how it transforms
previously normal T-Cells, and how the
body fghts back against this onslaught.
INSIDE STORY is executive produced
by Aric Noboa, President of Discovery
Channels Global Educational Par-
tnership, and is represented at DISCOP
Africa by Bruce Rabinowitz, a twenty
year veteran of the flm and television
business as an attorney, consultant,
sales agent and producer, who current-
ly also consults extensively with Italian
state broadcaster RAI, and United Na-
tions Television, among others.
Rabinowitz is clear that, from the out-
set, the producers had several key
goals. Firstly, he enumerates, it was
very important for us to create an Afri-
can project that was, in as many ways
as possible, a truly Pan-African pro-
duction, which is why the flm is shot
in Kenya and South Africa and the cast
is drawn from Kenya, South Africa and
Nigeria. But, in addition, he continues,
another very important aspect of the
overall project was to ensure that while
it is clear and obvious that this is an
African flm, it was also very important
to ensure that the production values
were every high. I think, in all hones-
ty that we succeeded in both aims. It
is unmistakably an African movie and
the production values are very high it
looks, in those terms, like a Hollywood
movie.
These are sentiments shared by Exe-
cutive Producer Aric Noboa, who
declares, we didnt want to do a dry
science documentary, instead we de-
cided we wanted to make a great Afri-
can movie, telling a great African story
91
that everyone could enjoy, as well as
teaching the science of HIV and I
think we succeeded. Noboa also pays
fulsome tribute to INSIDE STORY di-
rector Rolie Nikiwe. The critical deci-
sion to the success of this picture,
declares Noboa, was fnding Rolie and
Equivocal Pictures (formerly known as
Curious Pictures). We knew instantly
that we had found the right person for
the job because he was immediately
so clear on the concept and unders-
tood how important it would be that the
animation scenes located inside Kalus
body, demonstrating the science of HIV,
didnt derail the main action, and that,
for all its educational intent, INSIDE
STORY must be an entertaining movie
with a powerful love story - which it is.
Rabinowitz agrees, revealing, a big
part of the motivation for making the
movie was to portray HIV in a modern
way. Too many of the early flms on the
disease focused far too heavily on the
shocking illness it can become. No one
in this flm looks unhealthy and no one
dies. It is a flm about how to manage
and stabilise your illness and how to
protect your partner. At its heart it is a
love story with the message that know-
ledge is power. And he is keen to em-
phasise that, it is also a flm that shows
modern Africa, it isnt grim, its uplifting,
eschewing the stereotypical images of
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09/24/12 12:36:19 PM
PUBLICATION: DISBOOK MAGAZINE
LIVE: 184MM X 249MM TRIM: 200MM X 265MM BLEED: 206MM X 271MM
His toughest opponent is the one he cant see.
WW WW WW WW WW. W. WWW.IN IN IN INSI SI SI SI S DE DE DE DE DEST ST ST ST S OR OR OR OR O YT YT YT YTHE HE HE HEMO MO MO O MOVI VI VI VI VIE. E. EE.OR OR OR ORGGGGG WW WW WW WW WW. W. W. WFA FA A FACE CE CE C BO BO BO OOK OK OK K OK.CC .C .C COM OM OM M OM/I /I /I /INS NS NS NSID ID D IDES ES ES ES E TO TO TO TORY RY RY RY RY Y
DIRECTED
BYROLIE NIKIWE
PRODUCED
BYHARRIET GAVSHON & ARIC NOBOA& MARIKI VAN DER WALT
EXECUTIVE
PRODUCERS ARIC NOBOA & HARRIET GAVSHON
LINE
PRODUCER STEPHANIE COETZEE
DIRECTOR OF
PHOTOGRAPHY WILLIE NEL
LOCATION
SOUND ARTHUR KOUNDOURIS EDITORMELANIE JANKES GOLDEN
STORY
BY ROGER SMITH AND SHEILA CURRAN BERNARD
SCREENPLAY
BY DARREL BRISTOW- BOVEY AND SUNU GONERA AND GILLIAN BRESLIN
ORIGINAL
MUSIC BRENDAN JURY
PRODUCTION
DESIGNEREMILIA WEAVIND
PRODUCTION
MANAGER ANNA WALTON CO-PRODUCERTHEO SMITH ANIMATIONMASTERS & SAVANT
POST
AUDIO ON KEY SOUND STUDIO
DISCOVERY CHANNEL GLOBAL EDUCATION PARTNERSHIP PRESENTS A CURIOUS PICTURES PRODUCTION
KEVIN NDEGE MAMBOLEO KENDRA ETUFUNWA HAKEEM KAE-KAZIM FANA MOKOENA SDUMO MTSHALI SETH ZIMU
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Africa INSIDE STORY offers audiences
a modern, up-beat Africa.
INSIDE STORY was, reveals Noboa,
funded by a wide range of sources
from a broad geographical spread, in-
cluding both the US and South African
Governments and commerce from both
these countries, all of whom wanted to
help to create something very special,
and all of whom trusted the Discovery
brand to do that, which I think we did.
The desire to educate as many people
as possible not only forms a key ele-
ment of the movie itself but, as Rabi-
nowitz reveals, it is also central to the
distribution strategy, which is why the
many funding partners have come to-
gether to create French, Portuguese
and Swahili versions of the flm which
was shot in English. Rabinowitz was
in Kenya in September for AITEC, as
a result of which he is, hopeful that I
will shortly close a deal that will cover
Kenya and Uganda, and, in all proba-
bility it will have a few small theatrical
releases in Kenya, Nigeria and South
Africa but theatrical distribution is really
very small in Africa, and cinema doesnt
really provide the audiences were af-
ter. It really is DISCOP Africa that I am
hopeful will produce signifcant results,
because for Rabinowitz and Noboa, the
distribution isnt just about numbers of
eyeballs, it is also about impact, and
ensuring INSIDE STORY reaches the
audience that most needs to see it.
Ideally, he declares, I would like to
see it have a signifcant airing across
Africa on, or near to, December 1st,
which is World Aids Day. Our aim, he
continues, is to reach about one third
of Africas population but it must be
the right third, and the great thing about
DISCOP Africa in this regard is that it
really is the only event that attracts all
Africas broadcasters from of Africas
different language areas, and that is
important because, in my experience,
as soon as an African broadcaster sees
INSIDE STORY they want it!
92 93
M-Net Sales - DISBOOK Ad - Discop Africa - FA.indd 1 9/14/2012 8:35:58 AM
93
M-Net Sales - DISBOOK Ad - Discop Africa - FA.indd 1 9/14/2012 8:35:58 AM
94 95
Ecology of African
audiovisual content
industry
A Q&A withe Mike dearham, senior Vice president, General
Manager of the Mauritian Offce, COTE OUEST
Q: At the AITEC Africa conference
held last June in Nairobi, you gave a
presentation entitled Africas Audio-
visual Market: Overall analysis of
production levels, innovations, bud-
gets and fnancing ecology. What
was the content of this presenta-
tion?
A: The aim of this presentation was to
review the existing product environ-
ment in sub-Saharan Africa, as well as
examine new developments and iden-
tify gaps and opportunities in the mar-
ketplace for both producers and distri-
butors.
Q: What are the different forms of
fnancing available for producers?
A: There are many! And some of them
may be interlinked. Lets begin with
government and donor grants. This
is very straightforward. It is the pro-
cess by which a government, or other
governmental or quasi-governmental
bodies, issues grants in order to sup-
port their local audio visual industry.
The requirements vary greatly from one
scheme and one government or donor
organization to the rest, but, as a gene-
ral rule, the advantage is that, while the
donor will wish to see their money back
with a small proft, that element of the
arrangement is usually not as onerous
as with its commercial counterpart.
Another source of fnancing are tax
credits. These are arrangements under
which a government, either national or
local, allows money spent in their region
or country to be reclaimed against tax
liabilities. The main difference between
these schemes and the government
grants referred to above is that tax
credits are usually used to tempt fo-
reign producers to shoot in a particu-
lar country or region, while grants are
usually reserved only for nationals and/
or companies registered and trading
within that country.
Q: Apart from government fnancing,
are there other forms of fnancing?
A: Yes. Producers can receive money
from suppliers of goods and services
in return for featuring those goods and
services in a positive light in their pro-
ductions. The Bond movies are a good
example with Eon Films (the producers
of the Bond movies) raising signifcant
sums from the manufacturers of the
sort of luxury goods so essential to the
modern international spy! This type of
fnancing is called product placement.
Another funding, called recoupment
equity investment, revolves around a
third party who buys a percentage of
95
the flm or television series in return for
a cash investment towards its budget.
Q: Is there any recommendation you
could give to producers trying to put
together that kind of deal?
A: Very often the key issue with such
deals is whether the percentage being
bought is a percentage of gross reve-
nue or of net proft. Another key issue
is the position of the investing party in
relation to other investors and sources
of fnancing. In this context, the word
position refers to the order in which
investors are allowed to reclaim their
money. So, an investor granted frst
position will get all of their entitlement
before one placed in second position.
Producers should know that they can
also offer to the talents involved in the
production to defer all, or part, of their
agreed fee, usually in return for some
other form of fnancial recognition to be
paid later when the content has been
produced and is earning. The same
cautionary caveat regarding the diffe-
rence between gross income and net
proft applies as above.
Q: What about the broadcasters?
Are they fnancially involved in a
production?
A: There are many ways in which
broadcasters can become involved in
the fnancing of content. In Africa, com-
missioning, (i.e., where a broadcaster
puts up a signifcant percentage of
the programme budget in return for an
agreed set of rights) is almost unheard
of outside of South Africa, but a broad-
caster keen to secure a production
can make a signifcant contribution by
accommodating the needs of adverti-
sers prepared to back the production
of a show. In Europe, there are some
broadcasters, such as RAI in Italy and
the UKs Channel 4, that have made a
specialty of investing in feature flms.
But such broadcasters are the excep-
tion not the rule.
Q: Lets jump to formats. The format
is now very much the currency of
the international television market.
It is a business that has, historical-
ly, been dominated by the US and
the UK. However, this is now chan-
ging and smaller countries, such as
Turkey and Israel, are making signi-
fcant inroads. This is why DISCOP
has inaugurated Formats Day. What
are the chances that Africa can deli-
ver the next MILLIONAIRE?
A: As a matter of fact, a number of
countries, in particular the UK and to
a lesser extent the US, have domina-
ted this market exporting far more for-
mats than they import. However this is
a trend which is now very much chan-
ging. A few elements make up the
DNA of a successful format. Firstly, it
has to be universal in its appeal. This
is key, and, frankly, most of the other
points fow from that. This is really an
obvious point, but, just to underline it,
love, dating and human relationships
are universal, and therefore all good
bases for a format. Baseball is not.
It is also important that a format should
be renewable.
Q: Like soaps?
A: Exactly, like soaps. Formats help
to build the brand of a broadcaster
and for that reason it is important that
they remain in the schedule for as long
as possible. Ultimately, quality is, of
course, the one element that makes a
format inherently renewable.
Q: What can make a format not suc-
cessful?
A: A format that relies on the surprise
of the participants is likely to be short
lived because, while the surprise might
be genuine for the contestant, it ceases
to be so very quickly for the audience.
In the same vein, it is important that a
format is capable of being repeated.
To an extent, of course, all shows tire
with repetition, but, as with renewabi-
lity, which is very much the same thing,
there are elements that make some
formats intrinsically less repeatable
celebrities extolling the merits of their
latest, book, flm, album, etc. being one
such. Very exciting at the time, but two
years later when youve seen the move
30 times already it does tend to pall!
Q: Is there a chance that an African
format can sell outside the conti-
nent?
A: In order to be successful internatio-
nally, it is important that a format can be
made cheaply. Studio shows that are
based on a good idea and a talented
presenter can be made anywhere.
Those that are entirely dependent on
expensive locations and/or stunts will
struggle to fnd a home in smaller mar-
kets that have smaller budgets mat-
ching their size.
Q: Is it worth buying?
A: Well, one of the key reasons for
buying a format is that, with that pur-
chase, you also get the expertise that
made the show successful in the frst
place. Not just the bible, but also the
production expertise that has encoun-
tered all of the problems that are likely
to crop up and has solved them. If the
idea behind a format is too simple, then
you probably dont need this expertise
and will be better off making the show
Dearham began his career working
in radio communications and poli-
tical science before joining South
Africas Pay giant, M-Net, rising to
become head of sales and library
acquisitions. Dearham is a flm in-
dustry veteran, and has led a string
of Pan-African Media Initiatives,
receiving, in 2005, the Prince Claus
Award for outstanding contributions
to the growth and development of
the African flm industry.
In his current position, he has ove-
rall responsibility for Cote Ouests
business development in English
speaking Africa, and the strategic
growth and development of the
group as a whole. He also has full
responsibility for all Cote Ouests
production and co-production acti-
vities.
96 97
yourself. After all, neither US nor Euro-
pean law recognizes the existence of a
format, and broadcasters only pay for
these rights because they know that
if they stole other peoples formats,
then they could not protect their own.
Q: What else is good to know?
A: Today, it is also vital that a format can
live and work in all audiovisual environ-
ments. This is because todays consu-
mers fnd content in many different
environments, and, above all other
reasons, if they fnd content they like in
one environment, that makes it all the
more likely that they will look for it in
others. So, if they fnd an online game
that engages them and which is derived
from a TV show, they are more likely to
watch the show. Additionally, making
your format as ubiquitous as possible
makes it signifcantly more attractive
to an advertiser and also opens many
transactional possibilities.
Finally, as indicated by the opening
statistics of this section, the format
business is a crowded business and it
is, therefore, vital that your format has
every possibility of standing out in this
very crowded market place. Of course,
ultimately this is down to the quality of
the format. It is crucial that there is a
hooka solid reason for audiences to
want to come back to it over and over
again. But there are other elements,
amongst which the most crucial is ac-
cessibilityaudiences have to be able
to fnd your format. Association with key
brands is a good way of achieving this,
as is optimizing search.
Q: Lets say a word about African ci-
nema. Despite the current phenome-
non of Nollywood, cinema in post-
colonial Africa has had a checkered
history. By the mid 1990s, African-
made movies accounted for less
than 0.1 percent of all flms screened
in Africa. Thirty-fve mm flm produc-
tion has been all but defunct since
the 1970s and 16 mm features num-
ber only a handful every year.
A: There are many, largely self-fulfl-
ling, reasons for this state of affairs.
Many African countries have such a
small cinema market from which there
is no possibility of recouping the cost of
production from local box offce alone.
Many of these markets are kept small
by the tendency of their governments to
place steep taxes on cinema ticks and
tariffs on flm imports; all of which is
compounded by a lack of regional fea-
ture flm production strategies. Indeed,
it is increasingly the case that the suc-
cess of Nollywood is largely based on
transnational production activity with
many flms shot in Benin, Togo, Niger,
Cameroon, Sudan and the Ivory Coast,
and the industry benefts from exposure
at the annual Nollywood Foundation
convention in Los Angeles and the UKs
Afro Hollywood Awards.
For these reasons, Africa, in common
with many other developing areas of
the world, has seen the emergence of
sub-cinema and a straight-to-video
industry. Sub-cinema, in which flms are
shown in a variety of impromptu loca-
tions, is characterized by handshake
deals, slim proft margins and piracy.
It is also, by its very nature, hard to
control, bypassing DVD regional coding
and other forms of regulation. Reliable
information on the straight-to-video bu-
siness is hard to obtain, but it is esti-
mated that, in Africa, straight-to-video
accounts for around two-thirds of all the
titles in the market place.
It has been estimated by Harvard Business School that the worldwide value of the format business between 2005 and
2008 was a staggering E 9.3 billion (US $12 billion), representing just over 40 percent of the all the business done at
international television markets such as DISCOP Africa.
97
98 99
Gems from the namibian
flm collection
The Namibian film collection (Nfc) is currently housed in the
Multimedia Library of the fNcc, although copies are also available
at two public libraries in Berlin, the National service, sports
and culture library of the Ministry of Youth and the Katutaura
community and Arts centre, pat of the Ministry of information and
communication Technologies, and may also be seen in its entirety at
www.africavenir.org/projects-namibia.html
But perhaps the frst, and possibly most
important, think to know about the NFC,
is that this is an ongoing project. New
Namibian flms are constantly being
added to the collection. The collection
exists purely for the promotion of Nami-
bian flmmaking, and also in order to af-
ford access to quality Namibian flms to
the general African public. Filmmakers
therefore grant the NFC non-commer-
cial rights to their flms in order for them
to be placed in the collection, and the
FNCC, for its part, grants space in its
Multimedia Library for public access.
In order to generate a wider exposure,
especially international exposure, for
the collection, titles are published and
promoted on the AfricAvenirs web
site (see above). This exposure and
promotion has already generated inte-
rest from both the SABC and M-Net
in South Africa, where part of the col-
lection was screened on the commu-
nity channel Cape Town TV earlier this
year, and Swiss operation trigon as
well as from the Library of Congress in
Washington DC, and the University of
Rio de Janeiro. Also, Air Namibia cur-
rently features one flm from the collec-
tion every month in its in-fight maga-
zine, Flamingo.
THE POWER STONE 1999 English 53 minutes
Produced by Mamokobo Video & Research and directed by Andy Botelle and
Kelly Kowalski. THE POWER STONE tells the true story of the journey of a
sacred stone belonging to the Kwanyama people of northern Namibia and
southern Angola. Passed down from generation to generation this sacred
power stone has remained at the centre of the Kwanyama until the last king
was killed in 1917.
After the kings death, the stone disappeared. This documentary takes us on
a quest to fnd the power stone. Part One: When We Were Kings traces the
stones migration through pre-colonial Africa and witnesses the rise of the
Kwanyama Kingdom. Part Two: Africa Gets Light And Security examines the
effects of colonialism on the kingdom and follows the stones secret journey to
Europe during the war against apartheid, and its remarkable return home after
Namibian independence in 1990.
RIDER WITH A HORSE 2009 English 26 minutes
Directed by Tim Huebschle, RIDER WITHOUT A HORSE imagines Windhoeks
Reiter (German for Rider) Monument, one of the most prominent historical mo-
numents in Namibia, coming to life and being confronted by his own identity.
In a tale that is both funny, and serious, the Reiters journey takes him through
a changed world, as he stumbles across the 18th Independence Day celebra-
tions in the Namibian capital. The Reiter fnds himself confronted by modern
reality. He has to deal with mixed race couples, rude taxi drivers, obnoxious
prostitutes, drag queens and even black men in uniforms! All he longs for is
a return to his normality, and this leads him to entanglement in a Herero pro-
test march against the signing of a Namibian-German development treaty at
the Alte Feste. His experiences of todays social and political realities make
him question what he really stands for. With a simple gesture the Reiter turns
around the meaning of the monument making a positive statement of Nami-
bias future.
99
Hans-Christian Mahnke, director
and founder of AfricAvenir Wind-
hoek has been showing quality
African flms since 2004, tackling
the challenges of distribution
and screening culture in order
to bring quality African movies to
African. In 2009, in association
with Joe-Vision Production and
the France-Namibian Cultural
Centre (FNCC) he launched the
Namibian Movie Collection, currently consisting of almost
ffty titles. The Namibian Film Collection, will be presented
by Hans-Christian Mahnke during DISCOP AFRICA 2012,
on the AFRICAVENIR stand.
100 101
101
The century of formats
As the format increasingly becomes the currency of the present day
international television market, it is also becoming a liberating
force. No longer is this a market dominated by the US, UK and
Netherlands. Hugely successful formats are emerging from an
ever-growing number of countries that had hitherto not troubled
headline writers. discop AfricA sees no reason why African
countries should not join this growing list. duncan irvine, cEo of
south African production house rapid Blue, and the continents
undisputed king of the format, agrees. We profle his company.
Rapid Blue has dominated the for-
mat business in South Africa for many
years, working with global giants such
as Fremantle, BBC Worldwide and ITV
Studios Global Entertainment, and is
now the biggest producer of television
formats across Africa. They also pro-
duce more prime time entertainment
and reality programming than any other
production company on the continent.
In terms of television formats, Rapid
Blue covers the whole gamut, not
only producing the biggest and best
formats such as, SAS GOT TALENT,
STRICTLY COME DANCING, IDOLS,
CRAZY GAMES, DONT FORGET THE
LYRICS, SO YOU THINK YOU CAN
DANCE, etc., but also producing day-
time and prime access hits such as,
COME DINE WITH ME, WHO DO YOU
THINK YOU ARE?, THE WEAKEST
LINK etc. Additionally, Rapid Blue has
also created and co-created smash
hit formats ranging from ELITE OPS,
SOKKA KINGS, UP & UNDER and
many, many more.
In addition to this production expe-
rience, Rapid Blue also specialises in
multiple funding mechanics to assist
in funding television projects, series
and programming blocks. Working very
closely with media agencies, creative
agencies, co-producers and media
funding from outside Africa amongst
others, almost all Rapid Blue produc-
tions are either partly or fully funded
by a combination of cutting-edge fun-
ding mechanisms, all designed to help
broadcasters fll their schedules with
great programming, while also working
with brands to ensure that they reach
the consumers in the most elegant and
compelling manner. Rapid Blue has
optimised the brand integration model
and this is a model they can deliver for
all of their clients.
CEO Duncan Irvine is clear that, No
other production company that we are
aware of has this media and advertiser
funding expertise in house, especially
with links into media groups outside of
Africa. Emphasising the importance of
this expertise, Irvine goes on to cau-
tion, The media model is changing, for
broadcasters and for advertisers, and
it is changing in a world where there
needs to be more accountability. We
live in an ever-changing media lands-
cape in which advertisers are fnding it
more diffcult to communicate with their
consumers. The proliferation of com-
munication channels has fragmented
audiences and forced brands to build
engaging relationships with consumers
by integrating marketing into the things
that people want to see and do by
creating communication relevant to the
lives and interests of target audiences.
Branded content has the ability to do
this effortlesslyit can drive the enga-
gement around the personality of the
brand. Branded content, continues Ir-
vine, creates new and innovative ways
for brands to connect with the consu-
mer. Successful branded content will
interconnect personal stories and brand
stories in an organic and natural way. It
identifes and connects to the passion
points of the consumer. Most brands,
he insists, have moved away from the
need to simply create awareness; the
next level is to move to greater affnity,
engagement and ultimately advocacy
from their consumers, so that they will
also recommend the brand to friends
and family.
While Irvine acknowledges that, Bud-
gets, for both brands and broadcas-
ters, are constantly under pressure,
he sees this as an even greater argu-
ment for branded content, insisting,
Branded content has created an op-
portunity for brands and broadcasters
102 103
to co-create content that meets the ob-
jectives of both brands and audiences,
and to cooperatively engage with the
consumer to drive both brand affnity
and television viewership. Brand asso-
ciation with programme content can be
amplifed through PR, publicity, online,
mobile, events and hospitality. A broad-
caster working cooperatively with a
brand can optimise exposure through
these amplifcations.
So important does Irvine regard this
approach that, as mentioned earlier,
Rapid Blue not only has an exten-
sive catalogue of formats and depth
of production talent, but it also has an
in-house team of media experts who
spend their time with media agencies
not only discussing brand positioning,
but also crunching numbers. And this,
insists Irvine, is a much more compre-
hensive approach than any other com-
pany can offer. Once, he reminisces,
advertisers were always pitched on
the beneft of association with a se-
ries, now we never use the word asso-
ciation, we offer them a full, year-long
marketing strategy with the show at its
heart. We match the personality of the
brand with the show in question, and
suggest ways in which this can be used
to leverage the brand. For example,
we are looking at working with a brand
whose tag line is much, much, more,
and we will fnd ways of integrating that
into presenter links.
This holistic approach to branded pro-
gramming, a model Irvine clearly sees
as crucial to the future development
of formats in Africa, has importance
extending beyond the benefts to the
advertiser. As Irvine explains, in the
rest of Africa, outside South Africa, this
is the only realistic way in which to fund
a production. In most countries the ma-
jority of broadcasters offer few, if any
commissions, and most of these are
on very low budgets. Producing televi-
sion content is not a cheap business.
So while the lack of commissions in
Africa really puts the producer in the
middle, one of the huge advantages of
branded entertainment is that it offers
great, and just as importantly, measu-
rable ROI, which is vital as you have
to be able to demonstrate to the adver-
tiser exactly what they are getting for
their money. The upside of this is that
more and more advertisers and agen-
cies really do get this, and that is why
we are seeing more and more quality,
branded, entertainment shows across
Africa, and, he reveals, we are now
beginning to take this to the next level,
and are in discussions with brands and
their agencies about the possibility of
designing shows to meet the character
of the brand in question.
But this is not the end of Rapid Blues
activities and expansion. Its newest
division is Rapid Blue Digital. Here,
the company produces content for the
digital space, on-line and mobile. RBD
leverages off the long form skills within
the business, and stretches this into
all aspects of digital. One of the latest
thrusts is in Augmented Reality, which
can be accessed via the site www.b-ar.
co.za. The company is working on its
frst mobisode series called GET ME TO
THE DAISIES, so RBD has the capabi-
lity not only to produce long form and
short form content for digital, but also
to consult on clients digital projects, as
well as helping to create platforms and/
or content that will engage audiences
in a far more compelling and sticky
manner, including the entire spectrum
of social media. The companys capa-
bilities are further enhanced by Rapid
Blue On-Air Promotion & Design, a
division specialising in broadcast pro-
motion and design. It has worked with
all the MNet and SuperSport channels,
the SABC, and some of the terrestrial
broadcasters in Africa, and has just
fnished producing the channel bran-
ding and over twelve programme title
sequences for TPA, the public broad-
caster in Angola, while also producing
all the on-air promotions for Top TV
in South Africa. The division provides
a wide range of services in this area
from consulting, strategy, design, pro-
duction, training, and scheduling. Eve-
rything, in fact, a broadcaster needs to
reposition, refresh and rebrand itself,
and has won many awards for its work
both locally and in the USA at Promax
over the course of the last sixteen years.
Its pool of clients is not drawn only from
broadcasters across Africa, but also in-
cludes international broadcasters such
as the BBC, the Food Network, MTV,
ABC Family and MBC. Over the last
fve years, Rapid Blue has built studios
in Nigeria, now has an active produc-
tion division in the country covering all
of West Africa, and is currently expan-
ding into many other African countries
and regions. Outlining this growth,
Irvine reveals, We now have a strong
business in Nigeria, and productions
from there tend to move easily into the
rest of West Africa, especially Ghana.
And we also now have a partner in An-
gola with whom I have now established
a JV called Motion Media; and that, of
course has opened up a lot of oppor-
Duncan Irvine, CEO of Rapid Blue, is sponsoring a DISCOP AFRICAs session
focused on the business of formats. This session might, just might, fnd Africas
frst break out international success. Irvine tells us what hes looking for, so as
to whet entrants appetites and give them a sense of the opportunity on offer.
The producer of shows such as SOUTH AFRICAS GOT TALENT and the local
versions of STRICTLY COME DANCING and THE WEAKEST LINK, told DIS-
BOOK Africa, What I hope will come out of this session is the uncovering of
something really special, or at least the uncovering of the start of something
really special. I think, continued Irvine, Ill be looking for two things in particu-
lar. Firstly, Ill be looking for something that is freshI dont want to see clones
of shows that are currently on air around the world. But secondly, what I would
like to fnd is a show that has the ability to travel And, he concludes, I would
also say to people that I am not necessarily looking for a big shiny format; even
if it is original, it doesnt have to be designed to fll a WIPE OUT slot. It could
easily be niche like drama-reality such as THE ONLY WAY IS ESSEX.
103
tunities for us in Mozambique. And, of
course, Kenya is a vibrant market that
is growing in importance to us in terms
of pick-up business. Although a lot of
our shows are on DStv, which tends to
limit pick-up opportunities, it is a side
of our business that is growing and we
have recently made sales in Uganda
and Namibia.
If Rapid Blues business has been
changing over the past few years then,
says Irvine, so too has Africas format
business. Three years ago, he recalls,
the format business was relatively new
to Africa, and it was structured around
major sponsors, mobile operators,
banks, etc., who, of course, wanted the
major global successes of IDOL, MIL-
LIONAIRE and such. But that is now
changing, partly because there is a bet-
ter understanding of formats, and partly
because we are now selling smarter.
Now we urge brands to be more than
just sponsors, and to integrate their
brand and leverage around the show.
Irvine has no doubt that this is the way
forward. Producing television, he
observes, isnt cheap, and branded
entertainment offers great and mea-
surable ROI. With the lack of commis-
sions in so many African countries,
producers have to go to brands and be
able to demonstrate what they will get
for their money. Also, he continues,
one of the key issues in Africa at the
moment is that marketers here are
realising, as they have done in the US
and Europe, that the 30 second ad spot
simply isnt getting the traction that it
once did, largely because of the chan-
ging way in which audiences consume
content. Branded entertainment is def-
nitely the way to counter thisit is the
future.
Unsurprisingly, Irvine is determined that
Rapid Blue should play a major role in
that future, pointing out, Rapid Blue,
as a privately owned company, has
been running for nineteen years, and
because of the great quality or work we
do, we have developed incredibly good
relations with international and African
broadcasters, media agencies and dis-
tributors, and all of these relationships
have stood the test of time because we
produce high quality, award-winning te-
levision. We create shows that deliver
audiences for broadcasters and exceed
brand or sales targets for the adverti-
sers we work with. We also create fun-
ding vehicles for almost all the broad-
casters we work for that assist them to
achieve their revenue targets and build
for the future.
pictured rapid Blues headquarters, situated in randburg, Johannesburg. The company, with two new
divisions and new studios in Nigeria, is the biggest producer of television formats across Africa.
104 105
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105
Great formats will come
from Africa
discop Africa is as much about getting African content seen
around the world as it is about importing great content from the
rest of the world. Which is why discop Africa 2012 is excited
about the launch of the forMATs froM AfricA pitching
Competition, which will hopefully fnd one that will go on to become
Africas frst breakout format. This initiative has been launched to
seek and promote original TV formats created in Africa, which can
begin as local successes and end up as international hits.
The competition will be led by Patti
Geneste, the recently appointed Head
of the Format Recognition and Pro-
tection Association (FRAPA), Michel
Rodrigue and Justin Scroggie, both of
the Format People, a company which
acts as a specialist consultant to the
format business, and Duncan Irvine,
CEO of the days sponsor, Rapid Blue,
and early supporter of the FORMATS
FROM AFRICA initiative. Irvine says
We will uncover something special, or,
at the least, the beginning of something
special. Ill be looking, he adds, for
two things in this regard. Firstly, I want
to see something that is fresh. I really
dont want to see clones of shows that
are already on air. I also want to see
formats that have the ability to travel.
The other thing I would say is that I am
not necessarily looking for a big shiny
formatit certainly doesnt have to be
another WIPEOUT.
Commenting on the competition as a
whole, Michel Rodrigue, CEO and Par-
tner of the Format People, says, We
have divided the day into two parts. The
morning session is all about how to as-
sess a pitch being made to you, and in
the afternoon sessions, real buyers will
be pitching real formats, live, in front of
an audience of their peers. One of the
important lessons that Rodrigue hopes
will come from FORMATS FROM AFRI-
CA is an ability to understand what
will work in your market, because, as
he says, While the success a format
has had in other markets is a key rea-
son for considering its acquisition, it is
important to understand that not all for-
mats work in all markets, and it is im-
portant for buyers to avoid being blin-
ded by success in other markets and
to focus on what will work in their own
market.
Finalists in the pitching competition
will get a chance to pitch their formats
live to a professional panel. Paul Bo-
ross, author of The Pitching Bible and
the man known as The Pitch Doctor,
insists that, The one thing all great
pitchers have in common is one of the
most underrated qualities in the world,
and that is the ability to listen to what
people want, and not to listen to what
is inside your own headyou have to
give people what they want. It is pro-
bably no surprise then, that Boross
also believes that, You should spend
at least as much time preparing your-
self as you do preparing the pitch.
If you want to be successful in the for-
mat business it is clear that you need a
great idea, a great pitch, and you also
need to know how to make it work in
any given market, and that involves
knowing how to make it scalable.
Prior to the pitching competition, a mor-
ning session titled HOW TO SELECT
THE BEST FORMAT will focus on in-
dependent producers and acquisition
executives. Justin Scroggie believes it
will be just as valuable to sellers, pro-
ducers and distributors because, as
he emphasizes, If you want to create
a format that will sell well, you have
to understand the view from the other
side of the table.
Michel Rodrigue, deemed by the press as The Father of
Formats and widely viewed as the driving force behind the
establishment of the format industry. Michel his currently a Los
Angeles-based intellectual Advisor & Broker with The format
people Group.
106 107
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Partners wanted
We felt that it was important to bring some justifed attention to
the AfricAN EYEs documentary series, a collaborative project
presented at discop Africa by Johannesburg-based Marc
scHWiNGEs, Mayenzeke BAZA and Michael LEE and to be
produced by flmmakers from all over Africa.
With the re-emergence of Africas new
economic position, as the world rushes
to invest in Africa, the continent is ex-
periencing an unprecedented oppor-
tunity to harness its strengths, break
down borders, build a strong and uni-
fed identity, take its destiny into its own
hands and control its own development
for the frst time in centuries.
African Eyes is a collaborative docu-
mentary series in development that
refects and promotes this reality. In
African Eyes, Africans will tell African
stories of high quality and entertaining
content. African Eyes will be created by
an array of flmmakers from across Afri-
ca who, partnered with a South African
flmmaker, come together to tell com-
pelling, character-driven stories that
show how Africans are working across
national boundaries to make Africa an
innovative, future looking continent,
and how the rest of the world can learn
from African techniques, traditions, vi-
sions, and values.
Each episode of AFRICAN EYES will
be collaboration between flmmakers
from two countries. African Eyes as a
project is itself a collaboration of South
African producers in partnership with
numerous international documentary
and TV organizations, as well as Afri-
can and international broadcasters. Its
content is thus informed by the authen-
tic voices of both the flmmakers and
audience.
For TV broadcast, African Eyes will
feature 6 episodes of 52 minutes in the
frst season and expand to a maximum
of 13 per season thereafter. African
Eyes will also feature a core trans-me-
dia component including supplementa-
ry online content and debate opportuni-
ties as well as cell phone distribution of
media and content.
The intention is to fnance one-third of
the project via the South African De-
partment of Trade and Industry Local
and Co-Production Incentive, one-
third through African broadcast, and
one-third via international broadcast.
In order to achieve this and to allow
shooting in African countries a formal
co-production status must be obtained
for the project, and thus it will be pro-
duced under an existing South African
co-production treaty.
Profts are envisaged from additional
series exploitation beyond the core
partners. All flmmakers will be paid
a professional fee and South African
flmmakers will hold equity in the ove-
rall series by virtue of the DTI Incen-
tive and South African Broadcasters
investment. Expected cost of creating
content for the frst series is approxima-
tely 600,000 Euro, not including costs
of training, development, and promo-
tion.
Support partners include South Africas
Documentary Filmmakers Association,
HotDocs, the International Documenta-
ry Film Festival in Amserdam, DISCOP
Africa, WorldView Broadcast Media
Scheme, the Berlinale Talent Campus
and the Durban International Film Fes-
tival.
For more information, please send em-
ail to info@africaneyes.tv or call + 27
11 483 88 04
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How many people (really)
watch TV in Africa?
The lack of regular and reliable audience measurement in sub-
saharan Africa is a serious drawback to advertising revenue
growth for regional broadcasters. However, no one can agree on
the best way forward, or how to pay for a new system. Bob Jenkins
crunches the numbers.
It is diffcult to understand the scale of
the challenge facing Africas advertising
industry over the accurate, reliable and
regular measurement of television. Ce-
lia Johnson, Deputy Managing Director
of South Africa audience research com-
pany SMV Group, estimates that cur-
rently only 18 to 20 African countries do
any kind of audience research, and in
the majority of cases it is done very ha-
phazardly and irregularly, with studies
being carried out every two to three
years, which is not suffciently frequent
to impact the market.
The website for trade organization Pan-
African Media Research Organization
(www.pamro.org), only mentions South
Africa, Kenya, Nigeria, Zimbabwe and
Ghana as conducting a regular annual
survey, while, at the time of writing, (a
new PAMRO report was due shortly),
Zambia, for example, had not published
research since 2004, and Tanzania and
Mozambique since 2009. These bare
facts can be seen as a powerful illus-
tration of the signifcant potential of the
African broadcast market given that,
despite this lack of audience measure-
ment, PAMRO estimates that total ad-
vertising spending in Africa grew 45%
year on year between 2006 and 2010,
with television, at taking a whopping
85% of the 2010 total.
It is also worth noting that while
French audience research house TNS
SOFRES is a member of PAMRO, their
West African subsidiary Omedia (based
in the Cote dIvoire) is not a member,
despite conducting annual audience
surveys since 2008 in eight countries
of West and Central Africa, including,
Senegal, Cote dIvoire, Cameroon, The
Democratic Republic of Congo, Mali,
Gabon, Niger and Madagascar; the
results of which are published annually
every August in the Africascope report.
But the frequency of the reports is not
the only issue at hand; Africas adver-
tising industry also faces a major chal-
lenge over the means of collecting
information, and this is where opinions
diverge. Keld Nielsen, Global Business
Development Director at Kantar Media
Audiences, a subsidiary of global giant
WPP, acknowledges that, in terms of
audience measurement, the common
denominator for sub-Saharan countries
is the diary, and while Nielsen accepts
that, as all the countries within the re-
gion that are currently undertaking au-
dience measurement are using diaries,
what matters is the size of the sample
they use and the frequency with which
the research is carried out provided,
of course, that the diary duties are car-
ried out in a good research fashion.
Craig Johnson, Managing Director,
Media at Nielsen South Africa is keen
to see the regions broadcasters move
on from the diary system to a system
based on the deployment of electronic
measurement, even if this is initially,
only a small-scale people meter ser-
vice, as he believes this would, give
a much better read of what people are
watching. Despite this enthusiasm
Johnson acknowledges that there are
problems in the way of such a deploy-
ment. Ideally, he suggests, you
would want the situation that exists
in Europe, the US and Asia where all
stakeholders, the brand owners, the
advertisers and the broadcasters all
get involved. But even then he sees a
signifcant obstacle to the deployment
of people meters, as the globally ac-
cepted practice is that these systems
should be paid for by the broadcasters.
After all, Johnson reasons, it is the
broadcasters that really beneft from
the introduction. Additionally, the agen-
cies get their money from the adverti-
sers, and, understandably, advertisers
dont see why they should pay for such
a system.
Monica Mollon, head of Omedia (TNS
SOFRES West African subsidiary),
doubts that the enthusiasm exists for
such a move: certainly in West and
Central Africa agencies and adverti-
sers will be reluctant to pay for this
information, partly because they have
109
never had in the past, and so they will
need to be convinced of its importance,
and partly because in so many of the
countries in these regions, such as
Cote dIvoire, Mali and Burkina Faso,
there is only one broadcaster.
However, Both Nielsen and Johnson
are convinced that such a system would
bring many benefts because electro-
nic audience measurement is interna-
tionally very well known to all parties
within the television and advertising
industries, whether they be broadcas-
ters, media agencies or advertisers,
it normally results in increased televi-
sion advertising expenditure and sees
television take market share from other
advertising channels, such as outdoor.
This, he continues, is because the
system is used across the globe, and
this makes it easier for international ad-
vertisers to compare campaigns across
regions and continents. This is not the
only beneft Nielsen sees as poten-
tially deriving from the introduction of
a people meter system: the dynamic
nature of electronic audience measure-
ment, with its ability to deliver overnight
numbers, and a constant stream of
data makes it possible for broadcasters
to monitor both reach and audience
behavior.
Johnson agrees with this suggesting
the lack of transparent electronic mea-
surement can hinder the growth of ad-
vertising within a market, while its pre-
sence brings accurate viewer numbers
and commercial verifcation which is
very important for international adver-
tisers. And he insists that at Nielsen
[they] have seen in the past that when
electronic measurement is introduced,
the TV advertising market grows, as
does the confdence in the numbers
being produced. Moreover, advertisers
are able to target and verify their cam-
paigns with much greater accuracy.
However, not everyone shares this
enthusiasm for people meter measu-
rement. SMVs Collins says, I believe
that Africa will stay with the diary sys-
tem for the foreseeable future because
I see the most important immediate
goal as being the creation of a standar-
dized and regular reporting system. It
is very important that we get stabilized,
harmonized and regular reporting, the
result of which can then be put into a
system accessible by the agencies and
the advertisers.
Another possible way forward was
discussed in one of the many panel
sessions at PAMROs annual confe-
rence in Uganda from August 26th to
29th, 2012. Brenda Wortley, Director
Strategy and Research at DStv Media
Sales, suggested that return path mea-
surement might also be a possible way
forward, outlining how it works in other
parts of the globe and why it might be
the most appropriate solution for the
needs of Africas advertising industry.
Whether the way forward is, as sug-
gested by SMVs Collins, to build on the
existing diary system making it, in her
words, stable, harmonized and regu-
lar, as well as accessible to all agencies
and advertisers, or whether an electro-
nic system should be introduced, and,
if so which system, are questions which
need to be answered if the undoubted
potential of Africas television market
is to be unlocked. And, suggests Niel-
sens Johnson, they are also questions
which need to be answered sooner ra-
ther than later, because, as he points
out, the switch to digital will inevitably
hasten the move to an electronic au-
dience measurement system, because
once you have all the additional chan-
nels that DTT will bring, a diary that is
put into the feld two or three times a
year simply will not be able to measure
with the required degree of accuracy.
The stakeholders in Africas television
advertising business, whether they be
broadcasters, media agencies or ad-
vertisers have, collectively some criti-
cal decision to make, and only a limited
amount of time in which to make them.
110 111
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His toughest opponent is the one he cant see.
WW WW WW WW WW. W. WWW.IN IN IN INSI SI SI SI S DE DE DE DE DEST ST ST ST S OR OR OR OR O YT YT YT YTHE HE HE HEMO MO MOO MOVI VI VI VI VIE. E. EE.OR OR OR ORGGGGG WW WW WW WW WW. W. W. WFA FA A FACE CE CE C BO BO BO OOK OK OK K OK.CC .C .C COM OM OM M OM/I /I /I /INS NS NS NSID IDD IDES ES ES ES E TO TO TO TORY RY RY RY RYY
DIRECTED
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PRODUCED
BYHARRIET GAVSHON & ARIC NOBOA & MARIKI VAN DER WALT
EXECUTIVE
PRODUCERS ARIC NOBOA & HARRIET GAVSHON
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DIRECTOR OF
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LOCATION
SOUND ARTHUR KOUNDOURIS EDITORMELANIE JANKES GOLDEN
STORY
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SCREENPLAY
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ORIGINAL
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Voulez vous coucher avec
moi?
A new report examines the current worldwide
importance of the french language and predicts
that it may be spoken by more than 700 million
people by 2050
French is spoken by more people than ever 220 million worldwide,
20 million more than in 2007, according to a new report launched by
the International Organization of the Francophonie (OIF). With 96.2
million Africans speaking French at the moment, the OIF believes
that rising rates of literacy and birth rates mean there could be 700
million French-speakers in the world by 2050.
About half of all French speakers live in an African country. Howe-
ver, this data is probably not completely accurate, since the statis-
tics used include only people who understand, speak, read, and
write French. Therefore, those who practice the language only
orally have been excluded which may mean that the fgure of 220
million French-speakers is an underestimate especially in Africa.
According to the OIF, Africa could represent over 85 percent of the
Francophone world by 2050, if the population growth does not slow,
and if literacy continues to improve thanks to increased schooling.
The actual teaching of French will therefore be very important for
the languages development on the continent. Amazingly, French
as a foreign language is the second most frequently taught lan-
guage in the world (116 million people are learning and programs
are available in every single country worldwide), so there should be
no shortage of role models.
The number of speakers of the language of Voltaire has increased
in recent years thanks to the African population explosion. In many
parts of Africa, French is the language of instruction, so its use
should grow with the spread of education on the continent.
If all the predictions that this will be Africas century prove true and
its economic development really accelerates, then demand for
French Film and TV content will skyrocket.
112 113
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113
Africas digital switchover is
comingThe question is when?
The International Telecommunication Union has formally set the
date of June 2015 for Africas switch from analogue to digital
transmission. However with the Association for progressive
communication reporting that only six African countries are about
to start digital transmission in parallel with analogue, nine carrying
out pilot transmissions and twenty eight having apparently done
nothing at all, it seems as if the majority of African countries will
not make this date. christophe Limmer, senior Manager Market
development Africa at satellite provider sEs, and Guillaume pierre,
directeur Afrique at canal +, examine the state of preparation and
the consequences of missing the date.
To begin on a positive note Christophe
Limmer, Senior Manager Market Deve-
lopment Africa at satellite provider SES,
points out that, At this stage no African
country has offcially declared that it
wont achieve the June 2015 deadline
set down by the ITU, although he is
quick to qualify that apparent optimism
by acknowledging, Progress is slow
in the majority of countries, which indi-
cates that many will struggle to achieve
digital migration on time. Although he
does point out that some countries will
make it, Ghana, he says, has deve-
loped a clear road map to follow and
is working hard to achieve its self-
imposed deadline of 2013, and both
South Africa and Kenya have claimed
that they might make digital migration
before 2015. Indeed Kenya, which is
phasing in digital migration, is hoping
that Nairobi will have the analogue
signal switched off by the end of this
year.
Guillaume Pierre, Directeur Afrique at
Canal +, agrees with that assessment,
declaring, There are a few African
countries which will make the June
2015 deadline for the switch to digital,
but not that many. Ghana, he believes,
is looking good for that date, or close
to it, and maybe one or two in East
Africa, but thats about it. The fact is,
continues Pierre, that date is already
slipping, with some countries talking
about a switch in 2017, and some a
switch as late as 2020. So I think the
reality is that Africa will go digital on a
progressive basis between 2015 and
2020. If this is the case, then two
questions immediately arisewhy is
it that so many African countries seem
unlikely to meet the deadline, and se-
condly, what will be the consequences
for those that miss it?
One of the main challenges to digital
migration identifed by Limmer is that,
Digital terrestrial television cannot pro-
vide the required reach and bandwidth
on its own. Other challenges identifed
by Limmer include: A decision regarding
the technical standard and the com-
pression standard. A decision whether
or not to encrypt, and if so, what will
be the conditional access. A deci-
sion regarding receiver specifcations.
Whether the new services which digital
will allow for will be supplied by existing
broadcasters or by new players. Who
will produce the new content? What will
be the business model on which this
new content is supplied to the consu-
mer? The cost of set top boxes. Can all
consumers afford them, and, if not, will
they be subsidised? Frequency issues,
especially at national borders. Crea-
tion of communication campaigns. The
availability and distribution of equip-
ment.
Pierre agrees with many of Limmers
points, although some, such as the is-
sue of frequencies at the border, he does
not see as a major problem in reality,
although he does agree that, Superf-
cially, it is the main issue. Pierre goes
on to explain, At the moment, the ITU
guarantees each countrys frequencies
in analogue. This prevents disputes,
especially around borders, and stops
countries from trying to use the same
frequencies and therefore interfering
with each other. After the agreed date
for digital switchover, these guarantees
will be for digital frequencies only, and
114 115
no protection will be given for analogue
frequencies. In reality, however, this will
not be as big a problem in Africa as it
has been in Western Europe, because
in Europe the countries are much smal-
ler, and therefore the borders are much
closer together, and also Europe was
using far more frequencies than are
deployed in Africa, where the countries
are also much larger, and therefore the
borders much further apart. So in Afri-
ca these implications are not really that
big an issue.
Whatever the challenges and re-
gardless of the actual date the switch
is fnally made, it is clear that Africa will
move from analogue to digital transmis-
sions, and so it is worth asking what will
be the implications of this move, and
also what might the possible conse-
quences be for those countries lagging
behind?
Limmer is very upbeat as to the bene-
fts that will come from the digital swit-
chover. There will be opportunities for
both the public and private sectors, he
declares. These include higher band-
width effciency at a lower cost, a plat-
form of new services and programmes
such as HD, 3D, VOD, catch-up and
interactive applications. The content
industry will beneft from the creation
of new channels, and the consumer will
enjoy an increase in the availability of
quality programming.
This may well be the case, but Pierre
believes that a number of key ques-
tions need to be addressed frst. It is
very important, he insists, that African
governments and regulators unders-
tand that the move to digital is not,
essentially, a technical issue, but an
issue of how their television landscape
will change after the movebut that is
not usually the frst question they ask.
Pierre goes on to outline the issues he
is concerned with that are not being
properly addressed. At the moment,
he points out, most African countries
have one or two public channels, and
between four and six private channels.
After the switchover, each country will
have between twenty and ffty chan-
nels, and the question is: Who will
provide them? Will they be locally pro-
duced channels or will they be inter-
national channels? If they are locally
produced, how will they be funded
and how will the cake be sliced up? If
they are international channels, how
will local production be protected, and
what will be the fnal offer to the public?
Digitalisation will redistribute the cards,
and it is still an open question as to
whether or not African businesses will
understand the model of a television
bouquet, or if everyone understands
the change in direction this process
represents for the television landscape
in their country.
But however well or otherwise this
is understood, African governments,
regulators and businesses are for the
digital switchover, Pierre is clear that
there also a number of benefts. One
of the more signifcant implications is,
he insists, that, post digital switchover
there will be companies running the
transmission services and companies
responsible for producing the chan-
nels, and they will be entirely separate
entities. The signifcance of this is that,
as Pierre explains, Currently most
African broadcasters own and operate
their own transmission facilities, and
this represents a signifcant fnancial
commitment. In the future, when each
transmitter will be capable of transmit-
ting ten different channels, each chan-
nel will only need to rent one tenth of a
transmitterrepresenting a signifcant
savings. And what does the future
hold for those countries lagging behind
in the race to go digital? Limmer sug-
gests, It is possible that the ITU may
extend the deadline for a limited period
if the majority of countries are not close
to ready by June 2015. But, he cau-
tions, eventually analogue will be swit-
ched off and, simply put, people will not
be able to watch television any more on
this spectrum. The most affected, he
believes, will be those consumers who
do not live in areas covered by the ter-
restrial network, or who cannot afford
to by a digital set top box.
Pierre, however, can think of others
who might also be affected, specula-
ting that, In some countries, espe-
cially in Central Africa, it is possible
that public broadcasting will disappear
altogether. As an example of where
this might happen, Pierre points to the
DRC, noting, The public channels in
the DRC are already totally dependent
on state fnancing, and already have
very small audiences even though
there are only fve or six channels avai-
lable in the country. Whether the state
will go on supporting them when, in an
environment with, say, thirty channels,
their audience shrinks even further is
an open question.
Two things are clearanalogue is
going to be switched off, and the impli-
cations are profound. The only ques-
tion still to be resolved is, when will all
this actually happen?
115
116 117
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117
Intelsats epic
With three new satellites launching this year
intelsat 22, which was launched in March,
intelsat 20, which was launched in August, and
intelsat 23, which is scheduled for later this year
- Intelsat has a feet of 25 satellites servicing
Africa, representing a multi-billion dollar
investment. disBooK Africa caught up with
Jon osler, intelsats Managing director for
Africa and asked about the companys plans
for the future in the region.
Intelsat, says Managing Director for
Africa, Jon Osler, has a proud African
heritage on which to build an exciting
African future. In 1965, we were the
frst company, along with Telkom SA,
to introduce satellite services in the re-
gion, and in 2003 we were again frst
this time to launch pan-regional broad-
band networks in Africa. We now cover
the continent with more capacity than
any other operator, offering over 800
television channels and carrying the
state broadcast channels for 25 African
nations.
The companys future in Sub-Saha-
ran Africa also looks impressive. In
addition to its feet of 25 satellites,
Intelsat boasts fve shared Digital Vi-
deo Broadcasting (DVB) platforms on
four satellites, and the fexibility to set
up customised IntelsatONE Network
Broadband VSAT services. These
broadband platforms provide direct
access to Intelsats Internet backbone
and global IntelsatONE fbre network.
This network provides customers with a
single source for converged data, voice
and video solutions, enabling them
to cost effectively extend their reach
around the globe.
Intelsat can also offer customers ac-
cess to a multi-channel per carrier
(MCPC) platform, giving them the abi-
lity to offer a cost-effective solution for
both regional and international media
programmers wishing to expand their
distribution to cable and DTH platforms
across Sub-Saharan Africa. Customers
can contribute content to the platform
from anywhere in the world, and the
platform, based on DVB-S2 modulation
and MPEG-4 compression technology,
can be received with sub 1 meter an-
tennas in much of its coverage area.
The partnership with BT, announced in
2011, has greatly expanded the reach
of the IntelsatONE terrestrial network,
adding new locations across the globe,
including Nigeria and South Africa. BTs
MPLS-based Global Media Network
has PoPs and gateways in more than
20 cities worldwide, and, says Osler,
Having access to those strategic lo-
cations enables Intelsat to extend the
reach of IntelsatONE to media com-
panies operating in new locations in
Africa.
Intelsats Video Neighbourhood hosted
by Intelsat 10 is, insists Osler, The
top choice for programmers wishing
to distribute their programming across
Africa. That this is so, is underlined by
Multichoice Africasthe regions pre-
mier PAY-TV operator and programme
distributorchoice of capacity on Intel-
sat 7. Although he points out that, In-
telsat 20, launched in August this year,
is scheduled to replace both Intelsat 7
and Intelsat 10, continuing video distri-
bution for major broadcasters and hos-
ting Multichoice Africas DTH platform.
Africa, reports Osler, is also seeing
growth in DTH, and Intelsat offers cus-
tomers a number of different technical
approaches to DTH distribution based
on individual needs and circumstances.
For instance, he continues, our satel-
lite capacity can distribute DTT signals
from multiplexing facilities to broadcast
towers, which can then send over the
air signals to homes. The basic back-
bone architecture can also be compli-
mented with a DTH overlay, allowing
nations and license holders to reach up
to 100 percent of the population without
incurring the expense of constructing
and powering new broadcast towers
and laying new fbre connections.
All of these impressive assets are pul-
led together by the announcement, in
June this year, of the latest Intelsat
Epic Platform, a new series of satellites
based on a high performance, open
architecture design. A complimentary
overlay, Intelsat Epic will be deployed
for wireless and fxed telecommunica-
tions, enterprise, mobility, video and
government applications requiring
broadband infrastructure across the
major continents. Combining Intelsats
spectral rights in the C-, Ku- and Ka-
bands with the technical advantages of
high throughput technology, the Intelsat
Epic platform will be fully open archi-
tecture, which integrates with Intelsats
existing satellite feet and global Intel-
satONE terrestrial network.
118 119
China in Africa
Since the very frst DISCOP AFRICA market took place in Dakar
senegal in february 2009, the market has always attracted loyal
and enthusiastic Chinese delegations. This year, for the frst time,
the market will host a chinese pavilion. Here, in a Q&A, Mr.
cao Yin, deputy director General, international co-operation
department, state Administration of radio, film and TV of china
(AsrfT) tells disBooK why discop AfricA has been so well
supported by chinese delegations and what great programming
will be available at the chinese pavilion.
Question: How many Chinese orga-
nizations will participate in DISCOP
AFRICA this year? What activities
will be held there?

Answer: Since 2009, DISCOP AFRICA
has been held for six consecutive edi-
tions. DISCOP AFRICA has been an
important platform linking major TV sta-
tions, media organizations and channel
operators in Sub-Saharan countries
with the rest of the world. Over the
years, Chinese TV broadcasters have
taken part in DISCOP, helping to pro-
mote cultural exchanges in terms of
flm and TV between China and Africa.
This years DISCOP AFRICA will have
a Chinese Pavilion, which is repre-
sented by ten well-qualifed Chinese
TV broadcasting and production orga-
nizations. They are China International
TV Corporation, China Movie Channel,
Jiangsu Broadcasting Corporation,
Shanghai WingsMedia Co., StarTimes
Media Co., Zhejiang Huace Film & TV
Co., Jiangsu SMXD ACG Co., Ltd.,
Sansang Media Co., Zhejiang Zhon-
gnan Animation Co., and Lafeng Enter-
tainment Co. We are going to screen
a fne selection of Chinese TV dramas,
documentaries and animations, such
as A BITE OF CHINA, THE HAPPY
ERA OF DAUGHTERS-IN-LAW and
RUBI EDUTAINMENT. In addition, the
State Administration of Radio Film and
Television of China (SARFT) will host a
Feeling China cocktail party on October
31 in the Foyer Terrace of the Sandton
Convention Center, to showcase high-
caliber Chinese programs to DISCOP
participants. With such events, we
hope to allow African friends to better
understand China and the Chinese
programs, so as to increase interest in
strengthening long-term cooperation
with Chinese broadcasters and produ-
cers.
Q: How important is the market in
Sub-Saharan Africa for the Chinese
audio-visual industry?
A: China is the largest developing
country, while Africa is home to the
largest number of developing countries.
China and African countries share tra-
ditional friendship and a common de-
sire for development, which laid a solid
foundation for cooperation between the
two sides.
We see Sub-Saharan Africa as a fast
growing content market. In recent years,
Chinese programs have made marked
progress in terms of quantity, quality
and technical standard. In 2011, China
produced 558 flms, 469 TV series with
around 15,000 episodes, and 435 TV
animations, totaling 260,000 minutes.
Each year, CCTV and Chinese regional
television stations conduct many pro-
gram cooperation projects with broad-
casters in South Africa, Kenya, Tan-
zania, Congo, Ethiopia, Mauritius, etc.
An increasing number of Chinese flms
and television programs have attracted
attention of African people. In 2011,
the Chinese TV drama THE HAPPY
ERA OF DAUGHTERS-IN-LAW dub-
bed in Swahili was broadcast in Tanza-
nia with great appreciation from local
audiences. We welcome dialogue and
The TV drama, A Beautiful daughter in Law, was dubbed in
swahili and broadcasted in Tanzania with a great success from
local viewers a good example of the dialogue and cooperation
between china and Africans broadcasters.
119
cooperation with African broadcasters.
SARFT will continue its efforts to pro-
mote exchange and cooperation in ra-
dio, flm and television between China
and Africa, and to cultivate more favo-
rable conditions to serve this end.
Q: What are the major areas for de-
velopment in the Chinese broadcas-
ting industry?
A: There are two major areas. One is
new content. We are strengthening
creativity of our production in flm, TV
drama, animation and other genres.
We are focusing on improving quality
while steadily increasing quantity. We
will continue to combine government
guidance with market orientation, and
to encourage cooperation with inter-
national counterparts. We will try to
enhance the visibility of Chinese flm
and television products in the world
and meet the diversifed needs of the
audience both at home and abroad. All
in all, we welcome co-production, pro-
gram exchange and broadcast rights
trade with international partners.
The other area is new technology. We
are working to accelerate the develop-
ment of Internet TV and CMMB, and to
speed up the transition from traditional
broadcasting with limited service, to
a converged broadcasting with abun-
dant choices. Moreover, we will conti-
nue to implement our go digital plan,
while paying attention to technological
upgrades and cable network construc-
tion, so as to build a fully digitalized
and internet-based modern broadcas-
ting industry.
Q: In your opinion, what areas in
Africa have the greatest potential
for cooperation regarding business
model, technology and platform?
A: Exchange, cooperation and win-
win is a shared aspiration for televi-
sion professionals worldwide. There is
ample space for cooperation pertaining
to business models, technology and
platforms for both Chinese and African
operators.
The number of households owning
a TV set in Sub-Saharan countries
is growing at an annual rate of 40
percent, and digitalization is expected
to be completed in 2015. Pay-TV cus-
tomers are increasing rapidly. Triple-
play and Internet TV will be the future
direction. African countries are basi-
cally at an early stage of the transition
from analogue to digital. The digitiza-
tion in China, however, is characterized
by high quality and low cost, whether
it concerns technology, equipment or
service. Therefore China is willing to
provide assistance and support within
our capability on the way to digitiza-
tion in Africa. Recent years have seen
a Chinese company, StarTimes, suc-
cessfully establish business relations
in some 10 African countries, such as
Rwanda, Burundi, Uganda, Guinea, Ni-
geria, Tanzania, Mozambique and Se-
negal. StarTimes has set up joint ven-
tures with the locals to push forward
digitization.
I believe by establishing a long-term
cooperative mechanism on the basis
of equality, mutual beneft and common
development, both Chinese and African
countries can fully share their interests
in program and technology. We can
turn our abundant resources into a dri-
ving force for mutually benefcial coo-
peration and development.
in 2011, totaling 260,000 minutes of programs, china produced
558 flms, 469 TV series with around 15,000 episodes, and 435
TV animations - among them the animation program rubi.
A Bite of china is a unique new program (7x52) introducing
the audience to many aspects of chinese food through its
spiritual and ritual infuence on peoples lives.
120 121
121
Zee is Indias leading TV operator with
around 500 million viewers globally,
and a programme library in excess
of 100,00 hours, including over 3,000
movies. Zee TV is a major player, ope-
rating channels such as Zee TV, Zee
Cinema, Zee Sports, Zee Bangla, Zee
News, Zee Business, and the music
channel Zing. It began its opera-
tions in Africa, initially operating only
as a content supplier, but in 1996, it
launched its frst channel on South Afri-
cas DStv platform. This was followed
in December 2006 by a launch on Ca-
nal Plus Indian Ocean Island, and in
January 2008 by a launch on My TV.
Further debuts occurred in May 2010
on Top TV, and on Zuku in July 2011.
General Manager Deepak Jain recalls
that, At the time of our initial launch
we were the only Indian channel opera-
ting anywhere in Africa, and it was not
long before we began selling channels
on our own behalf, taking responsibi-
lity for the necessary infrastructure
ourselves, but, he adds, these were
diffcult times because costs were very
high then.
Initially, the service was only offered
in either Hindi or Punjabi, but, as Jain
points out, one of the features of the
Indian Diaspora in Africa, and especial-
ly in South Africa, is that many of these
people left India a long time ago, often
several generations ago. This means
that they have largely lost touch with
the language, and so, in 2000 we be-
gan offering content with English sub-
titles. In 2002, we launched a separate
feed for Zee, and then we launched our
Bollywood channel and also our music
Zee: from a to z
Part of the Essel Group, valued at US $12 billion and employing
over 8,000 people, Zee TV has been a major player in the African
television market since 1996. disBooK AfricA talks to Territory
Head, Africa and indian ocean islands, deepak Jain, and discovers
the companys plans for future expansion in the discop region.
channel. Now one or more of the Zee
channels are available on all the major
DTH platforms across the region.
In Africa, Zee currently operates a total
of six channels, but they are not the
same channels everywhere. In East
Africa, for example, the company has
a Punjabi language channel, but this is
not available anywhere else in Africa.
The offer, in addition to Zee TV, also
includes the Bollywood channel, Zee
Cinema, the music channel Zing and
others. Zee also offers services com-
plete with French subtitles in Reunion.
Jain believes that, The model for our
future expansion in Africa will be simi-
lar to the models we have used in the
Middle East, Indonesia and Russia.
Where, not only have we established
a separate Zee feed, but we have also
introduced Bollywood for the masses.
In order to achieve this, it is absolutely
necessary to be very keenly aware of
local sensibilities, as well, of course, as
offering local language versions. Jain
is also convinced that, There is a big
gap in the market for this in Africa. But
he is adamant that, It is very important
to be aware of local sensibilities, not
only in terms of the content that is ap-
propriate for that country or region, but
also in terms of the story lines that will
be popular with the local population.
The development of this strategy for
Africa, Jain reveals, will be the focus
of our expansion in the immediate fu-
ture. We are still at the research stage
at the moment and so it is too early to
say what services we might launch and
at which regions they might be targe-
indian actress and singer Mitali Nag, has become synonymous as Krishna in Zee TVs AfsAr BiTiYA. she plays the lead role in the
Indian soap opera of a lower middle class girl in a small town called Bhagalpur in Bihar. Krishna is a confdent girl always immersed
in the world of books. Though her family has not been very supportive towards her higher education, her zeal to continue studying
eventually makes her a successful government offcer.
122 123
ted. It is possible that we might look
at a split along the lines of the Fran-
cophone regions and the Anglophone
regions, or we might start on a partially
regional basis and gradually scale up
from there. As I say, we are still at the
research stage and so it is too early to
say anything with any certainty.
Important as Africa clearly is to the
overall Zee operations, Jain is happy
to acknowledge that, At the present
time, the contribution of our African
operations to Zees overall internatio-
nal revenue is relatively small. But, he
insists, as I said earlier, I am sure that
from this relatively small base, the im-
portance of the African business to our
overall international business can only
grow. I say this, not only because of the
economic development of Africa, which,
as the Economist, for example, regu-
larly points out, in a number of African
countries is well ahead of the norms for
growth in emerging markets, but also
because of the changes that are co-
ming about in the regulatory framework
of many African countries. More and
more African governments are seeing
the value of running a more liberal li-
censing regime and, thereby creating
much greater choice for their popula-
tion. Also, we have seen huge growth,
not only in the mobile business but also
in advertising, and I see no reason why
Pay TV should be any different.
This is not just wishful thinking on the
part of Jain, because, as he makes
clear, It seems to me inevitable that
the digital switchover will accelerate
this process. When you look at key
players such as Canal, Multichoice and
Startime, it is diffcult to argue that the
future will belong to anyone other than
those that are able to offer the widest
choice of popular bouquets at the most
competitive price. Despite this convic-
tion, Jain is enough of a realist to ac-
knowledge that, I very much doubt that
very many countries will make the June
2015 deadline for the switchover
although some will, and I think it is a
mistake to lump all African countries
into a single basket. But the enormity
of the task, and the costs associated
with the switch, such as the cost of the
boxes and the necessary subsidies,
should not be underestimated. Even in
India we struggled to meet the dates,
and four of main cities had the dates
pushed back more than once.
Earlier, Jain referred to the growth of
mobile in Africa, and there is no ques-
tion that this has been impressive,
but, while acknowledging that Zee has
launched a mobile service in India cal-
led Ditto, Jain is not sure that in Africa
mobile yet offers that degree of poten-
tial to content suppliers, insisting that,
I see the immediate future for our com-
pany in Africa as being frmly rooted in
traditional media and especially TV.
The main reason I say this is that, at
the moment, the costs associated with
mobile in Africa are prohibitive, and
so it is vital for the growth of mobile,
especially as a content platform, that
these costs come down. When they
do, then I am sure that it will become
a very important platform, but with the
costs as they are, and the potential I
have already described for Pay TV in
the region, I am sure that has to be the
future.
Whatever the future holds in Africa, it
seems clear that Indias Zee is here to
stay and destined to play a major role
in the evolution of the continents au-
diovisual content business.
AFRICA: THE LAST FRONTIER OF PAY TV IN THE WORLD
Deepak Jain, Zee TVs Territory Head, Africa and Indian Ocean Islands, is ada-
mant that, The potential for growth in our African business is huge, insisting,
It may sound like a bit of a clich, but it is true that Africa is the last frontier for
Pay TV in the world. You only have to look at the last Balancing Act Report on
African Pay TV in order to understand its potential. Pay has almost doubled in
Africa over the past four years, but overall the numbers are, in absolute terms,
still very low and there is big potential for growth. In many ways, the launch of
the DISCOP market is a good example of that potential, as are all the many
changes we see going on around us right now.
INDIAN IN AFRICA
The Indian diaspora in Africa consists of approximately 1.5 million people of Indian origin living in Africa. Most of this
diaspora arrived in the 19th century, when British indentured labourers came to work on the sugar cane plantations or
the Kenya-Uganda railway, while others had arrived earlier by sea as traders. This was followed by a second wave of
immigration, the passenger Indians, middle class professionals who came to take advantage of opportunities in this
new land. Many Indians continue to retain an attachment with home. This is partly because of Indias emergence as a
world power and cultural infuence, and partly because the Indian government has offered overseas Indians the status of
Non-Resident Indian (NRI), which allows them to invest in the country and enjoy the benefts of Indian citizenship. Indians
in Africa are unique in many waysthey do, after all, have a piece of their hearts on each of two separate continents.
Although Indian languages are seldom spoken or understood by younger Indians, English-subtitled Bollywood flms and
television programmes remain popular among South African Indians.
123
124 125
The Brazilians
are
coming!
For the frst time in the history of DISCOP
AfricA, the market will be graced by the
presence of Brazilian independent producers
organized by Brazils main association acting
as their trade body. They will showcase the very
best of Brazils booming audiovisual sector -
and there is a lot to showcase. Bob Jenkins gets
the story.
125
WHEN FRENCHS FAILED TO
CONQUER RIOS COAST IN THE
16TH CENTURY
Rouge Bresil is an adaptation
of Award-winning best-seller by
French writer Jean-Christophe Ru-
fn, and one of the biggest interna-
tional made-for-TV co-productions
ever attempted in Brazil. Rouge
Bresil is not only a 5 x 40 episode
series, but also a feature flm soon
to be released in South Africa and
Portuguese-speaking Africa (areas
targeted by Brazilian producers). It
narrates the failed attempt made by
the French, led by Nicolas de Ville-
gagnon, of conquering Rios coast
from the Portuguese in the 16th
Century.
Brazilian TV Producers, explains Exe-
cutive Manager Rachel Do Valle, is an
audiovisual export programme created
by the Brazilian Independent TV Pro-
ducers Association in partnership with
Apex-Brasil, the Ministry of Cultures
Audiovisual Secretariat and TV Bra-
zil. Do Valle further explains, why her
organization has chosen now to make
its debut at DISCOP AFRICA and to do
so in such a high profle manner. Apex
Brasil, she continues, has the res-
ponsibility of working to improve Brazi-
lian exports, not just in the audiovisual
sector, but right across all commercial
sectors. In 2004 we worked with Apex
to identify new markets that we should
target, and we identifed Canada, the
US and France. In May this year we
repeated the exercise, and as a result,
we identifed eight areas that we should
target, on fve of which it was decided
to place a special focus, and Africa,
and in particular South Africa and Por-
tuguese-speaking Africa, was one of
the fve areas on which a special focus
will be placed.
This method of working has encoura-
ging precedent. The 2004 decision to
place such a special emphasis on Ca-
nada, the US and France, has produced
a steady stream of very successful co-
productions culminating in Rouge Bre-
sil, a major mini-series co-produced by
Globo, France Television, and V Tele
Canada, and telling the story of a failed
sixteenth century attempt by France
to wrest Brazil from the hands of the
Portuguese. Scheduled for delivery in
2013, Rouge Bresil will also have a
theatrical release.
Of course Brazilian programming has
been sold in Africa for a number of
years, and especially its telenovelas.
But, as Do Valle explains, in Brazil,
only the broadcasters produce teleno-
velas it is a format none of our mem-
bers, all of whom are independents,
would ever produce. Our members
have had great success over the years
with documentaries, drama and, since
the focus on Canada of 2004, anima-
tion.
If it is true that, when it comes to Bra-
zilian telenovelas, Globo dominates
the genre, Head of International Sales,
Raphael Correa is keen to stress that
there is much more than just the teleno-
vela to Globos relationship with Africa.
Weve always had a great relationship
with the African market, insists Correa,
continuing, we have been working for
decades with the Portuguese-speaking
countries such as Angola, Mozambique
and Cape Verde, and the economic
growth in these countries over the past
few years, especially Angola, have
made all our content from telenovelas,
through drama series, documentaries
and Brazilian soccer very much sought
after. And Correa goes on to highlight
Globo TV International, which he des-
cribes as, a premium digital quality,
a la carte channel, which is broadcast
24/7 via satellite, cable and IPTV, and
which, he reports, currently has over
620 thousand subscribers worldwide,
with 210,000 in Africa, of which 170,000
are in Angola alone!
This long relationship with Africa is be-
coming increasingly important to Glo-
bo, Correa reveals that, in the past few
years we have seen signifcant expan-
sion of our activities in Africa, as well
as other emerging regions, such as the
Middle East. In addition to our strong
presence in Portuguese-speaking mar-
kets, we have recently seen a consi-
derable expansion of sales to both
English and French speaking markets.
The English language sales began, he
recalls, in 2008 with Shades of Sin,
since when we have sold countless te-
lenovelas, series and documentaries.
Until very recently, however, Globos
success in Africa was not matched by
any other Brazilian company Do Valle
admits that, to date, there has only
been one offcial feature flm co-pro-
duction with Africa, and nothing that is
offcially classed as a co-production in
television, although, she adds, SABC
has bought some programming from
our members. But then again thats
why were going to DISCOP AFRICA!
But, even before the Brazilian com-
panies arrive at the their Pavilion in
SHADES OF SIN
Brazilian Globo TVs Shades of Sin is recorded in Portuguese, but dubbed
versions are available in English, Spanish and French. There is also a Portu-
guese version with English subtitles. The soap opera is very popular in Africa,
especially Nigeria, where it has a large following on social networking sites
such as Facebook and MySpace.
Shades of Sin follows twin brothers who were separated during their early
childhood and grow up without knowing about each others existence. Time
passes and as adults they, through a quirk of fate, suffer an accident in the
same place, at the same time. One twin disappears into the ocean with the
other deciding to assume his identity. Years later he fnds out that he has a
son. He also discovers that the woman whom he loves had not betrayed him
in the past as he had previously thought. He decides it is time to reclaim his
true identity.
126 127
Johannesburg, Globos position as the
countrys only real player in the Bra-
zilian market has already come under
threat from one of Brazilian TV Produ-
cers members. In 2009, independent
producer Cinevideo opened an offce
in Mozambiques capital Maputo, ope-
rating a subsidiary company Cine In-
ternacional. The story of Cinevideos
involvement in Africa, recalls Execu-
tive Producer Leandro Estrela, began
in Cannes at MIPCOM 2007 when we
met with a Mozambican broadcaster.
As a result of the conversation that
was started there, the following year
we were asked to build a team of qua-
lifed professionals in Mozambique. We
decided that the best way of doing this
was to provide practical experience, so
we created a team of 25 Brazilian pro-
fessionals, and more than one hundred
Mozambicans and together we pro-
duced Mozambiques frst ever soap
opera, NTxuva Lives at Stake, which
was a great success, not only with the
public, but also with opinion leaders as
the series dealt with many public health
issues.
Cinevideo decided to set up shop per-
manently, and in 2009 they opened
their offce in Maputo. The offce, says
Estrela, is staffed with a team of highly
qualifed, expert, Mozambican pro-
fessionals. That this is both true and
valued is evidenced by the fact that
currently Cine Internacional is produ-
cing for NGOs, governmental organi-
zations, and multinational companies,
and during the last soccer World Cup in
South Africa the company integrated a
team of production professionals from
Mozambique, Brazil and South Africa
to produce a package of content that
included a TV series, a documentary
and a radio programming. The com-
panys production activities are no lon-
ger confned to Mozambique, Estrela
notes, as they are currently producing
a ffteen-part series called African Pre-
sidents. That will feature a portrait of
ffteen different African presidents from
ffteen different African countries, and in
addition we are producing a documen-
tary about Malawi, which will showcase
its culture, history, natural beauty and
cuisine. In fact, he reveals, we expect
shortly to be opening a second African
offce in Malawi!
It really does seem as if this is a cusp, a
real turning point for Brazils interaction
with the African audiovisual sector. Do
Valle is confdent that, with soccers
World Cup coming up in 2014, and
South Americas frst ever Olympics
two years later, we have already seen
an explosion of interest in content from
and about Brazil, and interest from pro-
ducers and broadcasters from all over
the world in working with Brazilian par-
tners, and she is confdent that, the
World Cup in particular will have a very
benefcial effect on the export of Brazi-
lian programming to Africa, and also on
the demand for co-productions.
This is a view shared by Globos Cor-
rea, who believes, with the 2014 World
Cup and the 2016 Olympics in Rio,
were already seeing a growing inte-
rest worldwide, including from Africa
in viewers interest in Brazil, and this,
in turn is leading programmers to seek
out Brazilian content.
Cinevideos Estrela is also confdent,
describing the outlook for Brazilian
producers in Africa as, promising,
and adding, for us, who live the life of
the African audiovisual market every
single day, we see DISCOP AFRICA as
an incredible opportunity to seek new
opportunities and partnerships across
the whole of Africa, adding, it is, after
all the only meeting place of the Pan-
African audiovisual industry dedicated
to the production of audiovisual content
on multi-platforms, matching different
opportunities to market existing content
as well as fostering the opportunity to
meet with other African audiovisual
professionals and experts, leading to
the possibility of co-productions.
In the past, Brazilian interaction with
Africa may have been relatively small,
and limited to a handful of companies,
but it seems clear all that is about to
change, and that change starts at DIS-
COP AFRICA 2012!
127
128 129
Against all odds
As curiosity about the Nigerian flm industry and its popular
offshoot, Nollywood spreads across the world, news of international
co-productions continues to pop up. And from the least-expected
places. As the Ukrainian capital of Kiev is set to become more famous
in Nigeria for a different reason.
Featuring in more recent news about
Nollywood in outer space is Fea-
thered Dreams, a Nigerian/Ukrainian
movie touted as the frst flm collabo-
ration between both countries and in
the whole of Eastern Europe. The mo-
vie is produced by Ukrainian company
Highlight Pictures and stars Nollywood
actress Omoni Oboli as its female lead.
Andrew Rozhen plays the male lead
and directs the flm, which is based
on the true-life story of a young Nige-
rian girl, who is forced to abandon her
dreams of a musical career to study
Medicine in Ukraine after her fathers
death.
Phillip Rozhen, the flms co-producer
and brother to Andrew, talked about
Highlight Pictures and its involvement
in the Nigerian flm market.
Highlight Pictures was founded in
2010, he begins. By now, it has
already invested in the production of
three full-length flms for theatrical dis-
tribution. Even large players on the
Ukrainian flm production market can
be envious of the development level
like that! he says proudly. There is
valid reason for his boasts as his com-
pany also produced Synevir, Ukraines
frst 3D horror feature flm, which is also
the countrys second-ever 3D flm.
The collaboration between the Nigerian
and Ukrainian flm industries in produ-
cing Feathered Dreams is another fea-
ther (no pun intended) in the cap that
Highlight Pictures wears with pride.
In fact, there is no precedent for the
Ukrainian and Nigerian co-production,
therefore the flm Feathered Dreams
should be regarded as the pioneer.
Speaking further, Rozhen reveals that
the flms investment cuts across not
just two but three countries: Ukraine,
Nigeria and the USA.
For the international flm producers,
Feathered Dreams is their frst encoun-
ter with African/Nigerian flm. It is inte-
resting to fnd out how the relationship
emerged. As Rozhen tells it, the idea
for the flm was borne out of his bro-
thers encounter with Phillipa Peter,
the young Nigerian whose true story is
central to the flms plot and whose cha-
racter is played by Omoni Oboli.
The African culture aroused Andrews
deep interest. We started hanging out
with the Kiev-based Nigerians and got
inspired by their ideology. The stories
from their life sparked our interest.
Rozhen also credits Peters great help
in contacting other Nigerians in Kiev to-
ward the storys overall essence. Peter
herself is part of the flms cast.
While the story is largely from a Nige-
rian in Ukraines perspective, the flms
funding came from a Ukrainian with
businesses in Nigeria. In December
2010, me and my brother Andrew met
Igor Maron [a Ukrainian impresario]. In
conversation over a cup of coffee, Igor
mentioned his business interests in
Nigeria and told [us] about the activity
of the Ukrainian public organization,
Africa House Ukraine.
It turned out to be an auspicious mo-
ment for Andrew to pitch his long-
held idea for the flm to Maron. Once
the deal was fnalized, a trip to Lagos
swiftly materialized for Maron and the
Rozhen brothers. Aside from negotia-
tions with colleagues in Nollywood and
the industrys other practitioners, part
of their mission to Lagos was to fnd
a ftting talent for the role of the lead
female.
Already on ground were representa-
tives of the projects Nigerian arm: flm
producer Austeen Eboka and Alexis
Opara, vice-chairman of African House
Ukraine. Based on their advice to do an
audition, many had the chance to fght
for the role that could only go to one
person.
Omoni Oboli was the best for us,
says Rozhen. Not only because of her
beautiful and emotional acting, but also
her life experience. She has visited
many foreign countries and lived there
as a representative of Nigerian Dias-
pora just as our flm character went to
Ukraine to make her dream come true.
Although African flms are relatively
new in the Ukrainian market, the pro-
ducers do not anticipate a cold recep-
tion. Rather they hope that the storys
universality will resonate with their au-
dience around the world as it did with
them. We consider Feathered Dreams
as a universal story that is clear to a
wide range of audience regardless
their nationality or race. We endeavou-
red to make our flm interesting and
high-quality and we hope the Ukrainian
audience will appreciate our efforts,
despite the exotic flm subject, Rozhen
says.
129
The same is expected of their Nige-
rian audience. We hope the Nigerian
audience will appreciate the quality of
our flm and its extraordinary idea as its
true value, after all, as far as we know,
nothing of the kind was done before
us.
Since venturing into the Nigerian flm
sector, Highlight Pictures has seen a
windfall of scripts for Nigerian flms.
The screenwriters from Nigeria re-
fer to us and offer their scripts all the
time. We are sure there are a lot of
interesting African stories in Ukraine,
which are possible to release at the big
screen. However, we got upon the idea
of Feathered Dreams long before it tur-
ned into the serious commercial flm
project, and opened prospects for the
international co-production.
Feathered Dreams is set to premiere in
Lagos early next year.
While Rozhen speaks with confdence
on how far Feathered Dreams will go
globally, similar co-productions will be
consequent on the flms commercial
success.
We can say without false modesty, that
Feathered Dreams is the frst Ukrainian
full-length flm in English. Therefore,
we expect not only the wide distribution
of the flm all over the world but also
the interest of the international flm fes-
tivals. [Future co-productions] depend
on the commercial success of Feathe-
red Dreams very much. It goes without
saying that not only our creative efforts
were put into this flm, but also the
considerable sum of money, which we
have to give back to the investor.
According to Rozhen, available data
shows that flmmaking is cheaper in
Nigeria compared to Ukraine and Hi-
ghlight Pictures might just shoot its next
flm in Nigeria. It is rather early to tell
about any specifc project. I suppose
our following flm wont be less original
than Feathered Dreams. It is quite pos-
sible that we will create something in
a mocumentary genre or the frst Nol-
lywood flm in 3D, he enthuses.
Feathered Dreams is scheduled for
premieres across the US, UK and Ni-
geria between the end of this year and
early 2013. While Nollywood enthu-
siasts can look forward to what the flm
will offer, there is already a highpoint
for Highlight Pictures regarding the
joint project.
The modern tendencies in cinema,
as well as in other art forms, are the
evidence of the removal of geographi-
cal boundaries and the association of
international cultural currents. The flm
Feathered Dreams is one of the frst
signs. Rozhen concludes by descri-
bing the coproduction as a positive
trend that has no doubt opened doors
for continued collaborations between
both countries and beyond, like good
cinema should.
130 131
Smooth Promotions at Discop 2012 -
visit us at viewing box stand 9
www. hi pt v. t v
131
Discover Discovery in Africa
at Discop Africa
for about the last six years, discovery has been intent, in partnership
with DStv, on building signifcant business in Africa. Here, Phillip
Luff, country Manager for Emerging Business at discovery
Networks in central and Eastern Europe, Middle East and Europe,
and former cEo at XYZ Australia, tells disBooK Africa, why
the continent is so important to his company.
Luff is a man with a great deal of res-
ponsibility, having overall control of all
Discovery channels in Africa, Turkey
and the Middle East. But he is clear
on one point, My special focus at the
moment, he insists, is Africa. There
are a number of reasons for this. One is
that Discovery believes that its access
to both content and talent will allow it to
grow signifcantly in what is fast beco-
ming a very important market for the
audiovisual content business.
Currently, Discovery operates six chan-
nels across Sub-Saharan Africa on
DStv and Top TV, although the channels
on Top TV are only available in South
Africa. However, Luff is clear that he is
determined to grow beyond this reach,
saying, There are gaps in the market,
and I think we have the scale to grow
across the continent, even if that means
that some channels might be offered on
a non-exclusive basis. One example
of this planned growth is the presence
of Discovery channels on Star Times in
Uganda, Kenya, Tanzania, Rwanda and
Burundi. In fact, the company now ope-
rates a Pay TV business available in
47 African countries, supplying content
to cable, satellite and IPTV operators
across the region. TLC has become the
number one lifestyle channel for wo-
men in South Africa, where it has a par-
ticular appeal to young black women.
Luff believes this is because, It is an
inspirational channel with an emphasis
on self improvement, and it also shows
women in vital roles such as mothers
and doctors
Discoverys growth to date has been im-
pressive since its launch in South Africa
in 1996, with just Discovery and Animal
planet. The portfolio expansion was un-
dertaken in 2010, when Africas largest
satellite operator, DStv, launched Dis-
covery HD Showcase and Discovery
World, increasing the groups presence
in Africa to four channels. The groups
offer in Africa increased to six channels
in October last year when TLC and Dis-
covery Investigation launched on DStv.
However, Luff is clear that, This is by no
means the totality of our business in the
region. We also have a sales team that
is very active in selling across the conti-
nent, and we are increasingly active in
the area of merchandising, although I
must admit this is a business that is still
in its early stages of development.
But this is not the only opportunity that
Discovery is building for itself in Africa.
It is also looking to launch many more of
its premiere channels such as Science,
which currently is available in 68 million
homes outside of the US, and ID: Inves-
tigation Discovery, which is currently in
27 million households outside of Ame-
rica.
Luff is convinced that, One of the rea-
sons we have become the leading fac-
tual entertainment broadcaster in Africa
is because we offer a fexible operation
with a strong ability to adapt to the fast
changing dynamics of the new markets
and local platform developments.
This is a view backed up by the fact that
in 2010, Discovery was voted the num-
ber one factual broadcaster in Kenya
and Nigeria, and earlier this year was
also voted Broadcaster of the Year at
the SatCom awards.
But Discoverys operations in Africa
are not just about sales and channel
launches; they also shoot a number of
their fagship series on the continent,
such as RIVER MONSTERS, presented
by Jeremy Wade, and also INTO THE
DRAGONS LAIR. All in all, it is clear
that Discoverys presence in Africa is
growing and permanentand that the
company has very good reasons for
ensuring it stays that way.
132 133
NATPE||Content First: January 28-30, 2013
Fontainebleau Resort, Miami Beach
Use promo code DISCOP for a $650 registration rate
(does not include membership)
www.natpemarket.com
2012 NATPE. All rights reserved
MARKET OF
THE YEAR!
133
A detailed look at educational
television
Lord reith, the founder of the BBc, stated the corporations aim
should be to entertain, inform and educate. It is arguable that the
most important of these three missions is to educate. The discop
Africa session TV with a Purpose will examine the importance of
television that educates through the work of the sABcs educational
department. Moderated by che che Mazoka, sABcs Head of
funding, the session will present three case studies, two of which
were funded by donors. Here, pontsho Makhetha, Acting General
Manager, sABc Education, tells disBooK Africa about the
structure and work of this important department of south Africas
state broadcaster.
SABC Education is, says Acting Ge-
neral Manager Pontsho Makhetha,
premised on two main pillars, which
are Curriculum Development Support
and Growth, and Supporting Nation
Building and Development. Founded
in 1996, the SABC educational depart-
ment operates in the widest possible
sense, operating through TV, radio,
print, web, outreach and other digital
media.
Employing a staff compliment of ap-
proximately 28, the department has fve
distinct content units supplying content
to SABC 1 and SABC 2. They are:
- The Formal Educations Unit, which
produces programming designed to
support the national curriculum from
reception year to tertiary age.
- The Public Information and Social
Development Unit, which produces
programming designed to mobilise the
public through social action campaigns
and enhance sustainable development
for individuals, families, communities
and the nation.
- The Tweens and Youth Unit, which
is charged with the production of pro-
gramming that is developmental and
which assists youth in their personal
journey of empowerment, community
development and well being.
- The Outreach Unit, which ensures
educational impact beyond broadcas-
ting by extending content into web,
mobile, social network platforms and
print, as well as providing project-
based interactive activities that extend
content into meaningful practice. The
Outreach Unit also facilitates interest
group access to educational content
by developing and maintaining social
media networks for varied targets on
all social media platforms; developing
and maintaining partnerships and inte-
ractive clubs in under-resourced com-
munities; developing and maintaining
the SABC Education Wed Portal and
Mobisite; creating public discussion
platforms and Educational Develop-
ment Networks; and unpacking and
interpreting content via face-to-face
viewing sessions, interactive activities
and training.
- The Marketing Unit, which positions
SABC Education as the main source
of delivering the Public Broadcasting
Mandate in a more holistic manner by
informing, educating and entertaining.
In the immediate future the department
plans to tackle womens issues; drive
content that addresses National/Spe-
cial days, with big initiatives and calls
to social action campaigns; extend
TV and radio content into new media,
print and face to face through outreach
into the three pilot communities; drive
social network debates around focus
areas and national initiatives.
Makhetha believes that, SABC Educa-
tion is single most crucial entity within
the SABC that contributes to the cre-
dibility and stature of the SABC as a
meaningful, empowering and inspira-
tional partner in peoples lives through
the delivery of quality public service
broadcasting content.
This important work, and the way in
which the SABC educational depart-
ment successfully delivers on its man-
date, will be illustrated by the three
134 135
cases studies, all of which are examples
of successful educational broadcast
initiatives that have made positive
changes in the lives of viewers and lis-
teners, and which will be highlighted in
the Television with a Purpose session
moderated by Che Che Mazoka.
The frst of these is InterSEXions, a mul-
timedia, general public education effort
on HIV/AIDS, designed to raise awa-
reness and work towards prevention.
The second will be an examination of
TAKALANI SESAME, a parent focused
multimedia initiative, which is the locally
produced South African version of the
famous childrens educational series
SESAME STREET. The third and fnal
case study of the TV with a Purpose
session will take a look at Mindset, a
not-for-proft, continental, multimedia
educational initiative, although not one
that is associated with the SABC.
TAKALANI SESAME
During the DISCOP AFRICA 2012 Conference, moderated by SABCs educational department, Thursday, November 1
at 10:30 / 01:00 pm, there will be a special focus on the program TAKALANI SESAME, a uniquely South African interpre-
tation of the SESAME STREET childrens television program, engaging children and their parents and promoting basic
school readiness, literacy, numeracy and health and hygiene. The Takalani series also includes a popular radio program,
a newspaper and magazine comic strip series, and a national Talk to ME Campaign which encourages adults to talk to
their children about HIV/AIDS and related issues.
TSHA TSHA
TSHA TSHA is a multi-part entertainment education television drama series commissioned by SABC Education and
produced by CADRE and Curious Pictures. The series focuses on young people living in a world affected by HIV/AIDS
and other social problems. HIV/AIDS issues dealt with in the frst 13 episodes include: the plight of young people having
to care for sick and dying parents, including the fnancial and social risks associated with this and the burden of res-
ponsibility for younger siblings; confronting the possibility of being HIV positive and undergoing Voluntary Counseling
and Testing (VCT) and the attendant personal and social challenges of discovering that one is HIV positive; dealing with
HIV-related stigma as a community; the challenges of adopting HIV risk avoidance behaviors including condom use,
secondary abstinence, faithfulness and use of alternative forms of sexual expression; and recognizing the risks of sexual
violence. In addition to these specifc themes, the series has as an underlying concern, namely the choices which young
people exercise in choosing and shaping relationships.
July 2012, pontsho Makhetha, Acting General Manager
at sABc Education, spent time visiting the childrens
home usindiso Ministries in central Johannesburg
135
136 137
137
One of the crucial requirements for suc-
cessful product placement is balance:
if the audience has the product and
glowing references to it hurled at them
for every second of the show, they will
soon turn off or over, never turn back
on, and the product concerned will have
been damaged in their eyes.
This is what makes GENERATIONS is
a near-perfect vehicle for product pla-
cement. GENERATIONS is the most
popular soap opera on South Africa
Television. Running continuously since
1994, it plays Monday to Friday at 8pm
and regularly takes an audience share
of between 60% and 65%. Thats very
impressive and would attract any brand,
but what makes GENERATIONS such a
great property for product placement is
its setting; the show is set against the
backdrop of the advertising business,
and all the plots, scheming and hap-
penings of one particular agency. It is
also perfect for brand integration and
paid for product placement, as it offers
brands the opportunity of crafting an
ongoing dialogue with consumers in a
living brand environment. One of the
main brands using GENERATIONS is
South African bank Captcipc, and the
show offers them a chance of emotio-
nal engagement with the public, as well
as multiple ways to present their brand.
The next evolution from product pla-
cement is advertiser-funded shows, of
which TROPIKA ISLAND OF TREA-
SURE is a successful example. Tropika
as a brand in South Africa has always
had a strong association with youth
and the easy life of the beach, and this
has been very successfully refected in
a series that combines hot celebrities
with local consumers on a beautiful tro-
pical island setting with lots of money
at stake. The audience responded on
Twitter, asking for a longer show, which
prompted an increase from 8 half-hour
episodes in season 4, to 10 one-hour
episodes in season 5, which is currently
in production.
Branded entertainment is a very gene-
ric term that defnes all forms of brand
inclusion, and development of brand-
inspired entertainment content, inclu-
ding, but not limited to, sports, music
video, theatre, books, graphic novels
and gaming platforms, and which,
over time, morphs and extends as the
landscape evolves to include all exis-
ting and new communication platforms.
The basic concept is to allow the brand,
through its storytelling to engage the
consumer/viewer on their own terms,
allowing them to co-create the chosen
piece of entertainment. The best type of
brand integrations within existing enter-
tainment properties are those that are
seamless and naturally integrate into
storytelling which ultimately portrays a
slice of life.
There is no doubt that all new ways of
reaching an audience with a brand mes-
sage, are important; the proliferation
of new social platforms, as well as the
emergence of new technologies such
as TiVo and the PVR mean that viewers
are increasingly consuming content on
their own terms, often bypassing the
traditional 30-second ad, and upsetting
the traditional model of linear television.
This means that branded entertainment
has moved from being a nice to have
element in a brands marketing strate-
gy, to become a must-have element.
Branded
Entertainment
sneak preview of discop africas 2012 session on product placement
and branded entertainment, moderated by Grazyna Koscielska,
director of stimulii group
On Thursday, November 1st during
DISCOP AFRICA, Grazyna Kos-
cielska, Director of South Africas
Stimulii Group moderates a session
on Product placement and Branded
Entertainment; divided into two
separate sections, one devoted to
each topic. There will be a 10-mi-
nute Q&A at the end of each topic
examination. Koscielska will center
each discussion on one show her
company has been closely associa-
ted to: GENERATIONS in the case
of Product Placement, and TROPI-
KA ISLAND in the case of Branded
Entertainment.
Tropika island of Treasure is a south African reality
competition television series created and executive produced by
stimulii in which celebrities and ordinary people compete in
remote, exotic locations in a variety of daily challenges to win a
r1-million prize. perfect example of a successful branded show,
it has been named after the Tropika, the south Africas no. 1
dairy fruit Mix.
138 139 we deliver new markets
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139
Hot docs-Blue ice, a unique
opportunity for African
documentary makers
In July of this year, six African documentary flmmakers attended the
durban international film festival as part of the newly launched
Hot Docs-Blue Ice initiative. They are the frst to beneft from a new
and exciting initiative for African documentary makers.
Hot Docs Canadian International Docu-
mentary Festival, the largest documen-
tary festival, conference and market in
North America, is held annually in the
Canadian city of Toronto, and under its
new scheme, run in association with
Blue Ice, plans to give C$ 1 million over
fve years to support African documen-
tary makers.
This years frst winners totalled six
projects, selected from over 140 sub-
missions from 29 African countries re-
ceiving a total of C$ 115,000 in grants.
Four of the projects received grants
towards the cost of production, and two
were awarded grants towards develop-
ment.
Development grants range from C$
3,000C$ 8,000, and production grants
from C$ 5,000C$ 40,000. Develop-
ment grants are permitted to cover up to
100 percent of a projects development
budget. Grant money must be spent
in continental Africa and may include
such items as research, development
of a script and story proposal and pro-
duction of a teaser or trailer. Other eli-
gible costs may include production of a
pitch and marketing materials, commu-
nity engagement strategy research, as
well as distribution strategy research.
Production grants may not cover more
than 50 percent of the entire production
budget, and eligible costs include those
that are standard in the industry during
production and post-production.
Attending the Hot Docs Festival is
another signifcant beneft. The Fes-
tival, which runs from late April into
early May, presents more than 190
Canadian and international flms to
audiences in excess of 150,000. It also
attracts senior documentary executives
from around the world who come to
attend the market for its full roster of
conference sessions and networking
occasions, as well as the screenings
themselves, providing an invaluable
opportunity to make contacts and forge
friendships with key players from all
parts of the globe. During the festi-
val, winners also attend an intensive
two day lab made up of people with
a wide range of expertise, which may
be accessed according to the needs of
the flmmaker and the project, whether
that be with story editing or developing
their pitchwhatever they, as a flmma-
ker, and their project, can most beneft
from.
The funds stated aim, per Hot Docs
Forum and Market Director Elizabeth
Radshaw, is to enable more African
documentary flmmakers to tell their
own stories and contribute to a new
generation of the African documen-
tary community. Which is why, she
explains, applicants must be a citizen
of a country in continental Africa, with
at least one professional credit to their
name, and, of course be the primary
rights holder of the project, and be
either its director or producer or both.
Additionally, the flm does have to be
shot in Africa. Although she goes on
to explain that, the requirement that
the flm be shot in Africa does not mean
that it necessarily has to be an African
story. What we are looking for, she
continues, is creative excellence and
innovation. The strength, style and ori-
ginality of the subject, the experience,
vision and ability of the creative team,
as well as the feasibility of the project
with respect to its budget, fnancing,
schedule and scope, and, of course,
we are also looking for a project that
honours the documentary tradition.
However, she continues, there are no
restrictions by genre.
At the time of writing, no dates for the
2013 applications and awards had
been announced. However, in 2012,
applications were accepted from June
25 to August 20, and it is anticipated
that the dates for applications in 2013
will be similar. The organisers stress
that it is highly advisable to carefully
study both the application guidelines
and the Frequently Asked Questions
before submitting an application.
Application guidelines can be found at
www.hotdocs.ca/funds/hot_focs_blue_
i ce_fi l m_documentary_fund_gui de-
lines, and the Frequently asked Ques-
tions can be found at www.hotdocs.ca/
funds/hot_docs_blue_ice_group_docu-
mentary_funds_faq.
140 141
www.venevisioninternational.com
www.cisneros.com
Childrens Series
Action Series
Formats
Telenovelas
Candid Camera Shows
Telenovelas
Extreme Video Clips
Telenovelas
Documentaries
Teen Series
See us at DISCOP AFRICA, meeting table VO4
141
A solution to Africas thorny
problem of dubbing costs
As any distributor will tell you, one of the key challenges of
distributing in Africa, including North Africa, is the mismatch
between license fees paid by often stretched broadcasters and the cost
of a quality dub. This discrepancy can mean that it is necessary to
line up several sales in the same language area before the arithmetic
works. But Europa dubbing Group believes it has the answer. Here,
co-founder and General Manager Lila Lokmane tells Bob Jenkins
what services her company offers, and how she and her team can
achieve savings on dubbing of up to 50 percent.
Founded in Paris in 1999, Europa Dub-
bing Group now operates on a world-
wide basis via affliates on four conti-
nents, covering languages including
French, from its studios in Paris, Bel-
gium French from its studios in Brus-
sels, English, Spanish and Portuguese
via Europa Dubbing America, based in
Miami, while their studios in Morocco
offer services in dialectical Arabic, and
through Jordanian partners, classical
Arabic. They will also be shortly an-
nouncing new partnerships, allowing
them to add German and Swahili to this
impressive list.
All the usual services in the areas of
dubbing, voice-over, audio-description
and subtitling are offered, and all with
highly-respected voice artists operating
state of the art equipment. But what
is unusual about Europa Dubbing is
the prices at which these services are
available. Lila Lokmane, Europas Co-
Founder and General Manager, says,
We work with our clients at rates that
are around 50 percent lower than those
of our competitors, which makes us the
number one low-cost dubbing studio for
Europe, Africa and the Middle East.
The obvious question is, how do they
do it? Lokmane offers a number of ex-
planations. First of all, she suggests,
we fully understand the economic im-
peratives of our clients who often come
from developing countries where bud-
gets for dubbing remain limited. In fact,
she goes on, the frst thing you have
to understand about Africa is that the
majority of distributors and TV stations
fear the word dubbing because of its
association with the need to pay high
prices in order to achieve high quality.
But, paradoxically, high quality is what
everyone wants, and it is important for
broadcasters to understand that the
viewer needs to be able to follow the
story of a series and understand its
characters or they will lose interest.
This level of interest and understanding
is always best achieved in their own
language.
But, understanding a problem is a long
way from solving it, and Lokmane attri-
butes Europas ability to cut this par-
ticular Gordian Knot to the way we
work. Firstly, she explains, all our
equipment is state of the art digital
equipment. We have been totally digital
for six years now, creating great cost ef-
fciencies, which we are happy to pass
on to our clients. But it is also because
we have put together a dedicated group
of voice artists, with whom we work
closely over a long period of time. This
combination of state of the art equip-
ment and a small, highly-skilled group
of voice artists and translators, means
we can dub very quicklyup to sixty
episodes a month.
But she is also keen to stress the com-
panys attention to detail, as well as to
budgets. We have, she insists, some
of the best translators available, well
able to adapt to the many local dialects
in the language concerned, adding,
This is especially important in many
Arab or African dialects as it helps to
convey the same dynamic and thrust of
the original meaning of the words.
If all of this sound like it might be a little
bit too good to be true, Europa counts
among its clients an impressive list of
Africas content heavyweights, inclu-
ding, Cote Ouest, Zee TV, Outlook En-
tertainment and Shree International.
Europa dubbing co-founder
and General Manager Lila
Lokmane
142 143
www.telemundointernacional.com
Telenovela HD 130 x 1 Hr
Worldwide Distribution by
DISCOP AFRICA 2012
October 31-November 2
Stand 514
Sandton Convention Center
Johannesburg, South Africa
143
Mission statement
Basic Lead, the organizer of discop AfricA, thought it would
examine how sales-centric industry events need to evolve in the
future to meet the dramatically changing business networking needs
of veteran content producers and distributors, as well as those who
are still in their freshman year. Heres what they were told.
For NATPE President and CEO, Rod
Perth, The recent story of international
content business has been about the
exploitation of content across an ever-
growing variety of platforms. Even in
markets where for years there were just
one or two state-run broadcasters, we
are now witnessing a plethora of new
platforms. And Perth is clear that one
of the key impacts this is having on the
worldwide content industry is to, Signi-
fcantly complicate widowing, adding,
Each buyer is protective of their own
interests, and they all want a degree of
exclusivity. This explosion of platforms
is undoubtedly great for the viewer, but
it has made the international television
business a very challenging one.
Yeow Hui Leng, Project Director of
Reed Exhibitions, the organizer of the
Asia Television Forum & Market, which
takes place in Singapore in December,
agrees with Perths analysis, obser-
ving, The rise of Internet entertain-
ment is, and will continue to be, a major
theme. With the coming of digital dis-
tribution, the entertainment and media
industry has changed dramatically.
Of course, the development of mobile
content and services is much more ad-
vanced in Asia than in some other parts
of the world, and Leng believes as a
result of this, another evolution in the
content business is taking place in Asia,
remarking, The changes brought about
by mobile mean that consumers are
increasingly in control of their content-
viewing decisions, and are no longer
passive recipients of information. The
effect of this she believes, Is a new era
of content consumption which does not
stop at distribution, but which requires
simultaneous development of strate-
gies on platforms, such as social me-
dia platforms, where viewers are given
their say.
It is likely that few would disagree with
any of these observations, but what are
the implications for organizers of televi-
sion content markets? Both Perth and
Leng agree that there are some funda-
mentals which have not changed, chief
amongst which is listening to their cus-
tomer base. As Perth puts it, Our job is
to listen to our clients, which is what I
was doing at NATPE Budapest, as this
allows us to stay ahead of changes in
the industry, instead of reacting to them
when it is too late. Leng agrees, com-
menting, It is important for markets to
stay adaptable and committed to ser-
ving our attendees needs, and able to
move quickly in this fast-changing envi-
ronment and to remain relevant.
Some divergence occurs, however, over
the role of forums and other events that
are not strictly a market. While Leng
is pleased that ATFM has, expanded
our conference offering to include more
learning and networking opportunities,
Perth believes that, There is an in-
creasing need for real markets such as
NATPE Miami and NATPE Budapest.
This is a view taken by Basic Lead,
the organizers of the DISCOP events.
General Manager Patrick Jucaud-Zu-
chowicki commented, Many internatio-
nal content distributors are increasingly
looking for new business in emerging
markets. The regions we cover are
made up of 84 countries which, collec-
tively, represent roughly 25 percent of
the worlds population and for the time
being, no more than 2 percent of all
global content licensing sales. Howe-
ver, the volume of these sales grows by
30 percent every year. The challenge,
as Jucaud-Zuchowicki points out, is to
provide sales executives with maxi-
mum back-offce assistance in advance
of our markets. The name of the game
is not the number of attendees, but the
number of productive meetings held
over two or three days. Not always easy
when the number of potential clients
grows exponentially over multiple time
zones and languages.
Upgrading their advance meetings or-
ganization services still being the top
priority for DISCOP organizers, focu-
sing on intra-regional business and on
co-production partnerships are the two
new drivers of DISCOPs development
strategy for its two annual events targe-
ting Africa and Western Asia.
According
to NATpE
president and
cEo rod perth,
The explosion
of platforms is
undoubtedly
great for the
viewer, but it
has made the
international
television
business a very
challenging one.
144 144
We look forward
to seeing you at
the formats day
sessions:
Nov 1
ST
2012
The Format People Group is a
worldwide consultancy practice of
industry professionals. We oer a
comprehensive range of services:
Diagnosis and original creation
Development
Sales and distribution strategy
Ground-up network infrastructure
Studio design and brand identity
In-house training and workshops
International market &
conference development and
implementation.
Our client base spans the globe,
including Canada, the USA, UK
and Northern Ireland, South Africa,
Mongolia, China, Malaysia, Ukraine,
Norway, Netherlands and many
more territories.
www.theformatpeople.com
THE FORMAT PEOPLE
ARE PROUD TO BE
ASSOCIATED WITH
DISCOP SOUTH AFRICA
INCLUDING THE
PITCHING COMPETITION
FORMATS FROM AFRICA
Count ry report - Disbook AfricA 2012
145
Country
Report
country per country, the
television mArketplAce in
AfricA, the importAnt DAtA &
the mAjor plAyers
Africa is not a monolithic continent,
and it must be viewed as separate and
distinct television marketplaces with
a wide array of political, economic,
geographical, cultural and social fea-
tures. There is no substitute for local
knowledge and any enterprise entering
the African market must address its
diversity. This section includes country
per country, an overview of Africas 54
countries and practical information on
each local television and advertising
marketplace.
Disbook AfricA 2012 - Count ry report Count ry report - Disbook AfricA 2012
146 147
TELEVISION MARKETPLACE
The advertising market is rising thanks to economys constant development and a strong competition, especially in the
telecommunication market. The state remains the main player in audiovisual sector; the public company Radio-Televi-
sion Algerienne owns and operates EPTV channel and the many local radio stations. Satellite television is widespread in
Algeria and it is estimated that more than 60% of households across the country have access to European and other Arab
channels via satellite. The country is investing heavily in the expansion of its fber optic infrastructure; Internet has become
quickly one of the most popular media platform and ADSL prices are among the most affordable in the region. Fixed-line
incumbent Algeria Telecom (AT) has launched the frst IPTV service in 2010. Digital migration process and digital broad-
casting should be fully implementevd by 2015.
MARCH DE LA TLVISION
Le march de la publicit est en plein essor grce un dveloppement conomique continu et une trs forte concurrence,
en particulier dans le secteur des tlcommunications. Ltat Algrien reste le principal acteur sur la scne audiovisuelle;
la Radio Tlvision Algrienne publique possde et exploite la chane EPTV et un grand nombre de stations de radio
locales. La tlvision par satellite est trs rpandue en Algrie et on estime que plus de 60% des foyers algriens ont
accs aux chanes europennes et aux autres chanes arabes via le satellite. Le pays investit massivement dans lexten-
sion de son infrastructure en fbre optique ; lInternet est trs vite devenu lune des plus populaires plateformes mdia et
les prix daccs lADSL sont parmi les plus abordables de la rgion. Algeria Telecom (AT) qui est loprateur historique
de tlphonie fxe, a lanc en 2010 son premier service de IPTV. Le passage au numrique devrait tre compltement
termin dici 2015.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : ENTREPRISE PUBLIQUE DE TELEVISION (EPTV)
PLATFORM OPERATORS / OPRATEURS DU CABLE : ART, OSN, ALGERIE TELECOM/SAFIR, CANAL+ HORIZONS
MAIN ADVERTISING AGENCIES MCCANN ERICKSON, PUBLICIS GROUPE, MEMAC OGILVY, KAROUI & KAROUI
MAIN TV ADVERTISERS :ORASCOM TELECOM HOLDING, CEVITAL, ALGERIE TELECOM, WATANIYA TELECOM,
HENKEL, DANONE, UNILEVER, PROCTER & GAMBLE
populAtion: 38,4 million
urbAn populAtion: 67%
cApitAl city AlGiers - populAtion: 19 780 000
GpD per cApitA: $4 500
mobile cellulAr penetrAtion: 92,4%
internet users: 4 700 000
fAcebook users: 1million
number tv householDs: 7 millions
pAy tv suscribers: n/A
AlgeRiA
147
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC :TELEVISAO PUBLICA DE ANGOLA (TPA1 and TPA2)
COMMERCIAL BRADCASTER / CHANE COMMERCIALE : TV ZIMBO
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE, TV CABO, ZAP TV
MOBILE OPERATORS / OPRATEURS DU MOBILE : UNITEL
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT : RIMAGUS MARKETING
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX : UNITEL MOVICEL NOSSO SUPER, BAI (BANCO
AFRICANO DE INVESTIMENTOS), BPC, BLUE
Since 2002, Angola quickly advanced to have one of the fastest growing economies in the world, offering a vast feld of
business opportunities. The audiovisual market is still largely in the state domain but new media legislation offers hope
to provide greater possibilities for private broadcasting. The frst private television station, TV Zimbo, was established in
2008 and is competing for viewers and a share of the growing advertising market with state-owned TPA, along with several
Portuguese and Brazilian TV channels which are also available available across the country. Despite relatively low market
penetrations of TV sets (estimated at 40%) more than 60% of television households have access to Portuguese-language
pay TV services.
Depuis 2002, lAngola est devenu lun des pays avec la plus forte croissance conomique au monde offrant aujourdhui
un vaste champ dopportunits commerciales. Le march de laudiovisuel appartient encore largement au domaine public,
mais une nouvelle lgislation sur les mdias permet desprer de plus grandes possibilits de diffusion prive. La premire
station de tlvision prive, TV Zimbo, a t fonde en 2008 et se bat pour gagner des tlspectateurs et une part du mar-
ch publicitaire croissante face la Tlvision publique dAngola (TPA), et face plusieurs chanes portugaises et brsi-
liennes, galement accessibles en clair. Malgr lune des pntrations de march les plus faibles en postes de tlvisions
(estime 40%), plus de 60 % des foyers quips ont accs aux services de la tlvision payante en portugais.
populAtion 18 000 000
urbAn populAtion 59 %
lAnGuAGes portuGuese, bAntu AnD other locAl
lAnGuAGes
cApitAl city luAnDA
GDp per cApitA $5 900
mobile cellulAr penetrAtion 64%
internet users 819 000
fAcebook users 362 000
pAy tv subscribers 200 000
number tv householDs 500 000
pAy tv suscribers: n/A
ANgOlA
148 149
BeNiN
Benin is a small country with a population of approximately nine million located on the coast of West Africa, between Togo
and Nigeria. Benin achieved its independence from France in 1960 and today is considered as one of most stable demo-
cracies in Africa. The national public television station started broadcasting in 1978. Liberal media laws enacted in 1997
opened the broadcasting services to new players; the Higher Broadcasting and Communication Authority (HAAC) is the
independent regulatory body in charge of all broadcasting licences and guarantor of freedom of expression. The democra-
tic structure of the national media sector has become a model for many French-speaking African countries. The current
media landscape consists of the public service ORTB and 6 commercial TV channels, 73 radio stations and over 1000 of
newspapers and periodicals.
La station de tlvision publique nationale a commenc diffuser en 1978. Des lois librales sur les mdias ont, en 1997,
ouvert les services de diffusion de nouveaux acteurs. Lorganisme de rgulation indpendant est la Haute Autorit de
lAudio visuel et de la Communication (HAAC), celui-ci est en charge de toutes les licences de radiodiffusion. La structure
dmocratique du secteur des mdias est devenue un modle pour de nombreux pays africains francophones. Le paysage
audiovisuel comprend le service publique ORTB et 6 chanes commerciales, 73 chanes de radio et plus de 1000 publica-
tions de journaux et priodiques.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : CANAL 3 TV
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES : CARREFOUR TV, GOLFE TV, IMANLE AFRICA TE-
LEVISION, LC2 LA CHAINE 2
MOBILE OPERATORS / OPRATEURS DU MOBILE : TELECEL BENIN
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET : FIRSTNET BENIN
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT:
AG PARTNERS BENIN, BG COMMUNICATION
lAnGuAGes french, fongb, yoruba
cApitAl city porto novo
mobile cellulAr penetrAtion 71 %
pAy tv subscribers n/A
149
BOTSWANA
The public broadcasting service in Botswana was launched as recently as 2000 and although the media sector is still
quite small, it is active. The 1998 Broadcasting Act opened up the airwaves to new broadcasters, principally radio stations.
The Botswana Telecommunications Authority (BTA) supervises broadcasting and telecommunication activities. Radio and
newspapers still take the majority of advertising revenue.
Le service de radiodiffusion public du Botswana a t lanc rcemment, en 2000, et malgr la taille encore rduite du
secteur des mdias, il est actif. La loi de 1998 sur la radiodiffusion a ouvert les ondes de nouveaux organismes de
radiodiffusion, essentiellement des stations de radio. LAutorit de Tlcommunication du Botswana (BTA) supervise les
activits de radiodiffusion et de tlcommunication. La radio et les journaux se partagent encore la majorit des recettes
publicitaires.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : BTV - BOTSWANA TV
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: E. BOTSWANA
PLATFORM OPERATORS / OPRATEURS DU CABLE: MABC TV - MUNHUMUTAPE PAY TV
MOBILE OPERATORS / OPRATEURS DU MOBILE : MASCOM
INTERNET : BROADBAND BOTSWANA INTERNET, OPQ NET
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT : ALLIANCE MEDIA BOTSWANA, INTER
AFRICA/ COPCOM OUTDOOR
lAnGuAGes english, setswana
cApitAl city Gaborone
150 151
BURKiNA FASO
The media sector is relatively free and is looking to grow. As the host of the world-renowned FESPACO flm festival, local
flm production and viewing is strong in the country. Private broadcasters are also building their popularity alongside the
still dominant public broadcaster. In spite of the fact that radio remains the most popular and accessible broadcast me-
dium in Burkina Faso, there are several private TV channels gaining popularity and the number of pay-TV subscribers is
increasing.
Le secteur des media est relativement libre et ne cherche qu saccrotre. En tant que pays daccueil du festival du
flm mondialement connu FESPACO, la production et la consommation cinmatographique locale y sont fortes. Les
radiodiffuseurs privs construisent galement leur popularit paralllement la radiotlvision publique encore dominante.
Malgr le fait que la radio reste le support de diffusion le plus apprci et le plus accessible au Burkina Faso, plusieurs
chanes TV prives voient leur succs augmenter et le nombre dabonns la tlvision payante est en croissance
constante.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TELEVISION NATIONALE DU BURKINA (TNB)
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: CANAL 3, CANAL VIIM KOEEGA (CVK TV), SPORT MU-
SIQUE (SMTV), TVZ AFRICA, IMPACT TV, EL BETHEL TV, RADIO TELEVISION DU BURKINA (RTB)
PLATFORM OPERATORS / OPRATEURS DU CABLE: CANALSAT HORIZONS, MULTICHOICE, NEERWAYA MULTIVISION
MOBILE OPERATORS / OPRATEURS DU MOBILE : AIRTEL BURKINA, ONATEL, HYPERLINK
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: CENATRIN
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: OCEAN BURKINA FASO, EDIFICE
MCCANN ERICKSON, SYNERGIE, MEDIA 2000, AG PARTNERS
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: TELECEL, LA CAMEG, SGBB, BANZAI, TOTAL, COCA COLA,
FANTA-SPRITE, WESTERN UNION, CNSS
lAnGuAGes french, local languages
cApitAl city ouagadougou
151
BURUNDi
The audiovisual market is still dominated by the state-owned broadcaster, Burundi National Radio and Television (BNRT)
but there are also a few local stations as well as the Christian network, Heritage TV.
Le march de laudiovisuel est encore domin par lorganisme de radiodiffusion dtenu par ltat, la Burundi National Ra-
dio and Television (BNRT), mais il existe galement quelques stations locales, ainsi que le rseau chrtien, Heritage TV.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RTNB - RADIODIFFUSION ET TELEVISION NATIONALE
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: HERITAGE TV RTR - RADIOTELE
PLATFORM OPERATORS / OPRATEURS DU CABLE: TELE 10 BURUNDI
MOBILE OPERATORS / OPRATEURS DU MOBILE: ONATEL- OFFICE NATIONAL DES TELECOMMUNICATIONS, SPA-
CETEL BURUNDI, LEO BURUNDI-UCOM
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: USAN BURUNDI, ONATEL
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: BAC BURUNDI
lAnGuAGes kirundi, french, swahili
cApitAl city bujumbura
GDp per cApitA $400
mobile cellulAr penetrAtion 13.72 %
152 153
CABO VeRDe
The broadcasting market is relatively limited with several community radio stations and the state owned Televisao De Cabo
Verde (TCV), which remains the sole local TV network. Individuals also have access to the pay TV services provided by
Multichoice and Zap TV. In addition, some Portuguese and Brazilian free-to-air TV stations are also relayed across the
country. Media freedom is guaranteed by law and is generally respected.
Le principal acteur du secteur audiovisuel reste la TCV, dtenue par ltat. Le radiodiffuseur public Televisao est le seul
organisme de radiodiffusion local sur ce petit groupe dles. La population a galement accs la tlvision payante four-
nie par Multichoice et Zap TV. La tlvision publique portugaise est galement relaye dans le pays. La libert des mdias
est garantie par la loi et elle est en gnral respecte.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TCV - TELEVISAO DE CABO VERDE
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: OPAL
populAtion 523 600
lAnGuAGes portuguese, creole
cApitAl city praia
153
CAMeROON
The liberalization of telecommunications in 2000 ended the state television monopoly. The frst private TV station was
launched in 2001. Dozens of private radio stations and television channels operate today in Cameroon including the strong
private operator STV. The 1990 Freedom of Communication Law and the new 1996 constitution guarantee freedom of the
press. As French and English are both offcial languages in Cameroon, TV programs can be found in these as well as other
local languages.
La libralisation des tlcommunications en 2000 a mis fn au monopole de la tlvision dtat. La premire station de tl-
vision prive a t lance en 2001. Des dizaines de stations de radio et de chanes de tlvision prives sont aujourdhui
en exploitation au Cameroun, notamment avec le grand oprateur priv STV. La loi de 1990 sur la Libert de Communi-
cation et la nouvelle constitution de 1996 garantissent la libert de la presse. Comme le franais et langlais sont les deux
langues offcielles du Cameroun, il existe des programmes TV dans ces deux langues, ainsi que dans dautres langues
locales.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: CRTV - CAMEROON RADIO TELEVISION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: CANAL 2 INTERNATIONAL, ETV, TV EQUINOXE,
KCBS TV, LTM TV, LA LOVE TOM AND MARTHE TELEVISION, NEW TV AMPLITUDE FM, ALPHA TL, STV, SPEC-
TRUM TELEVISION, VISION 4
PLATFORM OPERATORS / OPRATEURS DU CABLE: CANAL HORIZONS CAMEROUN
MOBILE OPERATORS / OPRATEURS DU MOBILE: CAMTEL
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: RINGO S.A., YOOMEE, CAMTEL
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: AG PARTNERS, MEKIS, OPTI MEDIA
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: ORANGE, SABC, MTN, PMUC, CAMTEL, MAGGI, TV+, GUINESS
lAnGuAGes english, french, hausa
cApitAl city yaounde
154 155
CeNTRAl AFRiCAN RePUBliC
The media sector still remains under government control. The authorities operate the state-run channel Tlvision Centra-
fricaine (TVCA), run by Radiodiffusion-Television Centrafricaine. There are two private channels, Tropic RTV and Kamach
TV. For the moment, further development in the TV sector seems distant.
Le secteur des mdias reste encore sous le contrle du gouvernement. Les autorits exploitent la chane publique Tl-
vision Centrafricaine (TVCA), dirige par Radiodiffusion-Tlvision Centrafricaine. Il existe deux chanes prives, Tropic
RTV et Kamach TV. Le dveloppement du secteur de la tlvision nest pas envisag court terme.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TVCA - TELEVISION CENTRAFRICAINE
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: REGICA- REGIS CENTRAFRICAINE
lAnGuAGes french, sangho
cApitAl city bangui
GDp per cApitA $800
155
CHAD
The audiovisual sector is dominated by the state-owned broadcaster, Teletchad, which was launched in 1987 and is
controlled by Radiodiffusion Nationale Tchadienne; there is also one private channel, NDjamena TV. Radio remains the
dominant medium of mass communication. The development of the television sector appears to be limited in the imme-
diate future.
Le secteur audiovisuel est domin par lorganisme de radiodiffusion public, Tltchad, lanc en 1987 et contrl par la
Radiodiffusion Nationale Tchadienne. Sil existe galement une chane prive, NDjamena TV, la radio reste le moyen de
communication de masse dominant. Le dveloppement du secteur de la tlvision semble limit dans un futur immdiat.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TELE TCHAD - ONRTV
MOBILE OPERATORS / OPRATEURS DU MOBILE : TIGO CHAD / MILLICOM TCHAD

lAnGuAGes french, Arabic, sara
cApitAl city nDjamena
156 157
COMOROS
In the broadcasting sector, radio is the dominant medium. The state-owned television station is operated by the Offce
de la Radio et de la Television des Comores (ORTC); private media is relatively diverse with several private and regional
radio stations and weekly newspapers, as well as a number of private TV stations.
Dans le secteur de la diffusion, la radio est le mdia dominant. La station de tlvision publique est exploite par lOffce
de la Radio et de la Tlvision des Comores (ORTC), mais les mdias privs sont relativement diversifs avec plusieurs
stations de radio et journaux hebdomadaires privs et rgionaux, ainsi quun certain nombre de stations TV prives.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TELEVISION NATIONALE COMORIENNE (ORTC)
COMMERCIAL BROADCASTERS / CHANE COMMERCIALE: RADIO TELEVISION ANJOUAN
populAtion 795 000
lAnGuAGes Arabic, french, shikomoro
cApitAl city moroni
157
DeMOCRATiC RePUBliC OF
CONgO
There is a slightly chaotic TV landscape, with many channels operating at the edge of legality, but growth and potential are
strong. In addition to the state-run channel, Radio- Tlvision Nationale Congolaise (RTNC) with near-national coverage,
several daily newspapers, numerous private TV stations and more than 100 private radio stations cover the country. While
there has been a rapid increase in the number of commercial TV channels, radio remains the dominant form of communi-
cation. The Ministry of Press and Communications is responsible for media regulation.
Le paysage tlvisuel est lgrement chaotique, de nombreuses chanes fonctionnent la limite de la lgalit, mais la
croissance et le potentiel sont forts. Outre la chane publique, Radio-Tlvision Nationale Congolaise (RTNC), qui assure
une couverture nationale presque complte, plusieurs quotidiens, de nombreuses stations de tlvision prives et plus de
100 stations de radio prives sont en exploitation dans tout le pays. Si lon a observ une croissance rapide du nombre
des chanes TV commerciales, la radio reste la forme de communication dominante. La responsabilit de la rgulation des
mdias incombe au Ministre de la Presse et des Communications.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RTNC - RADIO TELEVISION NATIONALE CONGOLAISE
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: RTGA - RADIO TELEVISION GROUPE LAVENIR,
CNTV - CANAL NUMERIQUE TV, ANTENNE A, CONGOWEB TV, RAGA TV
MOBILE OPERATORS / OPRATEURS DU MOBILE : TIGO CONGO DRC, VODACOM DEMOCRATIC REPUBLIC OF
CONGO
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: MICROCOM, ORIONCOM
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: CREATIN, OPTIMUM
lAnGuAGes french, lingala, kingwana,kikongo, tshiluba
cApitAl city kinshasa
GDp per cApitA $300
number tv householDs n/A
158 159
DJiBOUTi
The media market is relatively small. Internet is developing especially quickly. Broadcasting services are restricted to
state-owned Radiodiffusion Tlvision de Djibouti. The government maintains frm control over all broadcast and electronic
media.
Le march audiovisuel est restreint. LInternet sest dvelopp trs rapidement. Les services de diffusion sont exclusive-
ment exploits par la Radiodiffusion Tlvision publique de Djibouti. Le gouvernement maintient un contrle ferme sur tous
les mdias lectroniques et de radiodiffusion.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RTD - RADIODIFFUSION TELEVISION DE DJIBOUTI
populAtion 774 000
lAnGuAGes french, lingala, monokutuba
cApitAl city Djibouti
mobile cellulAr penetrAtion n/A
159
egYPT
The media landscape is rich and diverse, consisting of the state broadcaster, Egypt Radio Television Union (ERTU) with
its Nile TV channels, dozens of private satellite TV stations and over 70 radio stations. The broadcasting market opened
up in the early 2000 and new private networks started challenging historically dominant broadcaster. Today, three major
private Egyptian broadcasters, Dream, Al Hayat Network and Melody are emerging as top media groups for the whole Arab
world. Advertising spending is high, notably from soft drink companies and mobile phone operators. Through its investment
in production facilities at Media Production City, Egypt is a major player in TV production services for North Africa and the
Arab world and traditionally one of the biggest suppliers of Arabic TV series.
Le paysage mdiatique est riche et diversif avec le service public la ERTU (Egypt Radio Television Union) et ses chanes
Nile TV, des dizaines de chanes de tlvision prives par satellite et plus de 70 stations de radio. Le march de la Tl-
vision sest ouvert au dbut des annes 2000 et de nouveaux rseaux privs ont commenc se confronter au diffuseur
historique dominant. Aujourdhui, trois principaux diffuseurs privs gyptiens, Dream, Al Hayat Network et Melody sortent
du lot en tant que groupes de mdias de premier plan dans tout le monde Arabe. Les dpenses publicitaires sont trs
leves, notamment provenant de socits de vente de boissons non alcoolises et doprateurs de tlphonie mobile.
LEgypte joue un rle majeur comme prestataire de services pour la production tlvisuelle dAfrique du Nord et du monde
Arabe par le biais de son investissement dans des quipements de tournage Media Production City et elle est tradition-
nellement lun des plus importants pourvoyeurs en sries tlvises arabes.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: EGYPT RADIO & TELEVISION UNION (ERTU)
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: DREAM TV, AL HAYAT, MELODY, MAZZIKA, EL-
MEHWAR TV, OTV, ALLORD TV, NILE TV
PLATFORM OPERATORS / OPRATEURS DU CABLE: ART, OSN, MULTICHOICE EGYPT
MAIN ADVERTISING AGENCIES/PRINCIPALES AGENCES DE PUBLICIT: MCCANN ERICKSON, DDB/TAREK NOUR
COMMUNICATIONS GROUP, LOOK LINTAS, IMPACT (BBDO), TMI (JWT), TEAM (J&R), MEMAC (O&M)
MAIN TV ADVERTISERS/PRINCIPAUX ANNONCEURS: VODAFONE, MOBINIL, PEPSI, COCA-COLA
populAtion 84,5 millions
urbAn populAtion 43%
cApitAl city cAiro-population 11 887 500
GpD per cApitA $5 400
internet users 12,5 millions
fAcebook users 9 millions
tv householDs 12 800 000
pAy tv suscribers 850 000
160 161
eQUATORiAl gUiNeA
There are two providers of television broadcasts: the state broadcaster, Television Naional, operated by Television Gui-
nea Ecuatorial (TVGE) and a private TV station Radio Tlvision Asonga. Although TV growth seems distant, abundance
of natural resources and newly discovered oil reserves are changing the political and economic dynamics of the country.
Il y a 2 fournisseurs de tldiffusion : le diffuseur dtat, Television National, gr par Television Guinea Ecuatorial (TVGE)
ainsi que la chane prive Radio Tlvision Asonga. Bien que la croissance de la tlvision ne semble pas tre la priorit,
labondance de ressources naturelles et les rserves de ptrole dcouvertes rcemment changent la dynamique politique
et conomique du pays.
PUBLIC BROADCASTER/DIFFUSEUR PUBLIC:TELEVISION GUINEA ECUATORIAL (TGVE)
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: RADIO TELEVISION ASONGA
PLATFORM OPERATORS / OPRATEURS DU CABLE: CAMIRICAN (DSTV)
MOBILE OPERATORS / OPRATEURS DU MOBILE: HITS GUINEA EQUATORIAL S.A
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: GETESA
populAtion 686 000
lAnGuAGes spanish, french, fang, bubi
cApitAl city malabo
161
eRiTReA
The audiovisual sector is dominated by state-owned broadcaster ERI TV which is the sole TV broadcaster in the country,
operating since 1993 and covering 40% of the country.
Le secteur audiovisuel est domin par le radiodiffuseur public ERI TV qui est le seul organisme de radiodiffusion du pays
en exploitation depuis 1993, il couvre 40 % du territoire.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: ERITREAN TELEVISION - ERI TV
populAtion 6 100 00
lAnGuAGes Arabic, english
cApitAl city Asmara
GDp per cApitA $700
162 163
eTHiOPiA
The media sector is entirely urban based and dominated by the state-run outlets. The public TV service ETV initiated in
the early 1960 broadcasts in three vernacular languages and English. As of yet, they have no private broadcast or inde-
pendent production sector. The 1999 Broadcasting Proclamation, backed up by the Ethiopian Broadcasting Authority, calls
for accuracy, balance and plurality of broadcasters.
Le secteur audiovisuel est domin par le service de tlvision public ETV qui exploite une chane nationale et rgionale
pour la capitale Addis Abeba. Il nexiste pas ce jour de secteur de radiodiffusion priv ou de production indpendant. La
Proclamation de Radiodiffusion de 1999, soutenue par lAgence thiopienne de radiotlvision, demande cependant la
fabilit, lquilibre et la pluralit des radiodiffuseurs.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : ETHIOPIAN TELEVISION (ETV)
PLATFORM OPERATORS / OPRATEURS DU CABLE : MULTICHOICE
MOBILE OPERATORS / OPRATEURS DU MOBILE : ETHIOPIAN TELECOMMUNICATIONS CORPORATION (ETC)
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: ADWEST DIGITAL ADVERTISING, ASTAR
ADVERTISING
lAnGuAGes Amharic,oromo, tigrinya, english
cApitAl city Addis Abeba
163
gABON
The audiovisual landscape remains dominated by state owned broadcasting. Two national television channels are opera-
ted by Radio Tlvision Gabonaise. There are several private TV stations. With a small and predominantly urban popula-
tion, Internet penetration and TV viewership are relatively strong. Digital Terrestrial Television has been available in Gabon
since October 2009.
Le paysage audiovisuel est domin par la radiotlvision publique. Deux chanes de tlvision nationales sont exploites
par la Radio Tlvision Gabonaise. Il existe plusieurs stations de tlvision prives. Avec une faible population de 1,5
million dhabitants dont la prdominance est urbaine, la pntration Internet et le nombre de tlspectateurs sont relative-
ment importants. La tlvision numrique terrestre est disponible depuis octobre 2009.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RTG - RADIODIFFUSION TELEVISION GABONAISE
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: RTN - RADIO TELEVISION NAZARETH, TELE AFRICA
(TV SAT), TV+ GABON
MOBILE OPERATORS / OPRATEURS DU MOBILE : GABON TELECOM, AZUR
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: SOLSI GABON: IPI 9 STORE
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: ACC (AFRICA COMMUNICATION &
CONSEIL): DCOM
lAnGuAGes french, bantu
cApitAl city libreville
164 165
gAMBiA
The Gambia is one of Africas smallest countries, penetrating more than 320 km into Senegal, with an economy based on
agriculture. Since gaining independence from the United Kingdom in 1965, the country enjoys relative stability. The state-
run broadcaster, Gambia Radio and Television Service, GRTS, operating since 1995, remains the sole television provider.
Due to expensive license fees and strict government control over the media, growth prospects for the TV industry remain
limited.
Le radiodiffuseur public, Gambia Radio and Television Service, GRTS, en exploitation depuis 1995, est le seul fournisseur
de programmes tlviss. En raison de droits de licence importants et dun contrle gouvernemental strict sur les mdias,
les perspectives de croissance dans lindustrie de la tlvision restent limites.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: GRTS - GAMBIA RADIO AND TELEVISION SERVICE
MOBILE OPERATORS / OPRATEURS DU MOBILE: QCELL
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: AMRACORP GAMBIA CO. LTD
lAnGuAGes english, mandinka, Wolof, fula
cApitAl city banjul
165
gHANA
The media landscape is marked by the emergence of a number of private TV channels. Radio and mobile phones are the
most universally widespread media. Nevertheless, television is beginning to challenge radios traditional dominance in the
broadcasting sector and already accounts for 58 percent of the total advertising spend. The public broadcaster, GTV ope-
rates 5 TV channels and there are a number of thriving private broadcasters, the most popular being TV3, Metro TV, TV
Africa and Viasat 1. There are also a number of pay-TV services available in the country, including international operators
such as Multichoice, My TV and the recently established NGB, as well as national companies Multi TV and Skyy. Ghana
started the digitalization process in 2008 and plans to complete its migration from analogue to digital TV by 2013. The
media climate is conducive to continued development in the TV sector.
Le paysage audiovisuel est marqu par lmergence dun certain nombre de chanes de tlvision prives. La radio et la
tlphonie mobile sont les supports mdiatiques les plus rpandus, mais la tlvision commence dfer la dominance
traditionnelle de la radio et compte dj prs de 58% du total des dpenses publicitaires. Loprateur publique GTV diffuse
5 chanes de tlvision, il y a aussi un nombre forissant de chanes prives, les plus populaires tant TV3, Metro TV,
TV Africa et Viasat 1. Un certain nombre de services de tlvisions payantes sont galement disponibles dans le pays, y
compris les oprateurs internationaux tel que Multichoice et My TV ainsi que des socits nationales, Multi TV et Skyy. Le
Ghana a commenc sa migration vers le systme numrique en 2008 et compte terminer en 2013. Le climat mdiatique
incite davantage de dveloppement dans le secteur de la tlvision.
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: CRYSTAL TV, E. TV GHANA HOMEBASE TV (AFRI-
MUS), METRO TV - OPTIMUM MEDIA PRIME NET2 TV, TV AFRICA, TV3 NETWORK LIMITED
PLATFORM OPERATORS / OPRATEURS DU CABLE :MULTI TV - MULTIMEDIA GROUP LIMITED SKYY DIGITAL
MOBILE OPERATORS / OPRATEURS DU MOBILE : AIRTEL, VODAFONE GHANA
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: PUBLICIS GHANA, GMA - GLOBAL MEDIA
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: GT ONETOUCH, SCANCOM, MILLICOM, KINAPHARMA, KASAPA
TELECOM, DIAGEO, UNILEVER
lAnGuAGes english, twi, ewe
cApitAl city Accra
internet users 2 500 000
fAcebook users 1 300 000
number tv householDs 3 000 000
166 167
gUiNeA BiSSAU
The media sector is dominated by state-owned companies. The state-run television station Radio Televisao de Guin-
Bissau (RTGB) and the locally managed RTP Africa, from the Portuguese public broadcaster, are available nation-wide.
Today, an infusion of funds to run new TV channels could greatly transform the media landscape as fnancing appears to
be the biggest barrier to growth.
Le secteur des mdias est domin par les socits publiques. La station de tlvision publique Radio Televisao de Gui-
ne-Bissau (RTGB) et la RTP Africa, gre localement, de la radiotlvision publique portugaise, sont disponibles
lchelle nationale. Une arrive de capitaux destins lexploitation de nouvelles chanes TV pourrait transformer sensi-
blement le paysage mdiatique, car il apparat que laspect fnancier reste le plus gros frein la croissance.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RADIO TELEVISAO DE GUINEA-BISSAU
lAnGuAGes portugese, creole
cApitAl city bissau
mobile cellulAr penetrAtion 39.21%
fAcebook users n/A
167
gUiNeA CONAKRY
The media sector is dominated by state owned companies and he government still keeps a strong hold on all media. Public
television service was launched in 1977 and is operated by Radiodiffusion- Tlvision Guinenne (RTG).
Le secteur des mdias est domin par les socits publiques et le gouvernement a une forte emprise sur tous les mdias.
Le service de tlvision public a t lanc en 1977 et il est exploit par Radio-Diffusion-Tlvision Guinenne (RTG).
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : RTG - RADIO TELEVISION GUINEENNE
lAnGuAGes french, local languages
cApitAl city conakry
168 169
iVORY COAST / CTe DiVOiRe
The media sector is going through a restructuring process, namely within the public broadcasting service, and there are
currently two public operators: Radiodiffusion Tlvision Ivoirienne (RTI) existing since 1963 and Television Cote dIvoire
(TCI) that has been launched in 2011 to compete with the RTI under Gbagbos control. There are a few private channels
launched recently, including TAM TAM TV, Source TV and LMTV. Pay-TV services are provided by Canalsat Horizons.
Cote dIvoire has a lively production industry, with popular series distributed across Western Africa.
La tlvision publique est en cours de restructuration et actuellement le service publique est assur par la Radiodiffusion
Tlvision Ivoirienne (RTI) qui existe depuis 1963 et par Tlvision Cte dIvoire (TCI), cre en 2011 pour concurrencer
la RTI, pro-Gbagbo. Il y a aussi quelques chanes de tlvision prive lances rcemment comme TAM TAM TV, Source
TV and LMTV. Les services de tlvision payante sont fournis par Canalsat Horizons. La production en Cote dIvoire est
dynamique, avec notamment des sries trs populaires distribues travers lAfrique de lOuest.
PUBLIC BROADCASTER/DIFFUSEUR PUBLIC: RTI - RADIODIFFUSION TELEVISION IVOIRIENNE ( RTI1 et RTI2 )
PLATFORM OPERATORS / OPRATEURS DU CABLE: CANAL+ COTE DIVOIRE
MOBILE OPERATORS / OPRATEURS DU MOBILE : MTN COTE DIVOIRE, ORANGE COTE DIVOIRE, MOOV COTE
DIVOIRE KOZ
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: GREENN
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: RTI PUBLICITE, SA MC CANN ERICKSON
COTE DIVOIRE
lAnGuAGes french, Dioula, other dialects
cApitAl city Abidjan
GDp per cApitA 1 600$
fAcebook users n/A
169
KeNYA
Kenya has a developed and vibrant media scene, with a large middle class providing a base for substantial advertising
revenue. The media landscape consists of the state-run broadcaster Kenya Broadcasting Corporation and a dozen private
television stations. KTN, Nation TV and Citizen TV are the most popular television channels. Kenya is now also going digi-
tal. The transition from analogue TV to the full digital switchover is set for this year. DTT was successfully launched and
will expand broadcasting space, resulting in new TV and radio licenses, with 600 operating channels predicted in the near
future. The Kenyan audiovisual landscape is already strongly infuenced by a fast growth of internet and mobile phone
users.
La scne mdiatique du Kenya est diverse et dveloppe. Sa forte classe moyenne assurant la base de recettes publi-
citaires substantielles. Le paysage audiovisuel est constitu du radiodiffuseur public Kenya Broadcasting Corporation,
diffusant lchelle nationale et une dizaine de tlvisions prives. Nation TV (NTV), KTN et Citizen TV sont les chanes
de tlvisions les plus apprcies et diffusent une grande quantit de contenus produits localement. Le Kenya passe la
transmission numrique. Le passage de la diffusion analogique lanalogique doit se terminer cette anne. La TNT a t
lance avec succs et devrait stendre tout lespace audiovisuel en permettant la cration de nouvelles chanes de tl-
vision et la cration de nouvelles licences de radio. 600 chanes sont dj prvues court terme. Le paysage audiovisuel
Kenyan est fortement infuenc par une croissance rapide des utilisateurs dinternet et de tlphonie mobile.
PUBLIC BROADCASTER/DIFFUSEUR PUBLIC: KBC - KENYA BROADCASTING CORPORATION, KIE - KENYA INSTI-
TUTE OF EDUCATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: AFRICAN BUSINESS NEWS, GBS- GOOD NEW
BROADCASTING SYSTEM, KTN BARAZA NATION TV / NATION MEDIA GROUP
PLATFORM OPERATORS / OPRATEREUS DU CABLE: SMART TV - NEXT GENERATION BROADCASTING, RTV
-REMEMBER TV AFRICA WANANCHI PROGRAMMING GROUP / ZUKU
MOBILE OPERATORS / OPRATEURS DU MOBILE: SAFARICOM LIMITED
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: ALTECH KENYA DATA NETWORKS
LIMITED (KDN)
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: EXPAGENCY KENYA, ACCESS LEO BUR-
NETT, MCCANN ERICKSON
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: SAFARICOM, TELKOM KENYA, CELTEL, EAST AFRICA BREWE-
RIES, BIDCO, COCA COLA, COLGATE PALMOLIVE
lAnGuAGes english, swahili
cApitAl city nairobi
170 171
leSOTHO
Lesotho has quite a small local media industry. While the state-run LTV remains the sole national TV provider, many TV
channels can be accessed via overspill from South Africa.
Le Lesotho a une industrie mdiatique locale relativement peu dveloppe. Si la chane publique LTV reste le seul fournis-
seur national de programmes tlviss, de nombreuses chanes TV sont disponibles en captant les missions dAfrique du
Sud.

PUBLIC BROADCASTER / DIFFUSEUR PUBLIC LESOTHO NATIONAL BROADCASTING CORPORATION (LTV)
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE
MOBILE OPERATORS / OPRATEURS DU MOBILE: ECONET TELECOM LESOTHO, VODACOM LESOTHO
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: LEO LTD
lAnGuAGes sesotho, english, local languages
cApitAl city maseru
GDp per cApitA $1300
171
liBeRiA
The media sector is dominated by the state-run broadcaster, Liberia Broadcasting System (ELTV) which operates radio
and television services. Several private newspapers and a few television channels have appeared recently in the capital.
International television channels are also accessible by satellite Pay TV service.
Le secteur des mdias est domin par le radiodiffuseur public Liberia Broadcasting System (ELTV) qui exploite des ser-
vices de radio et de tlvision. Plusieurs journaux privs et quelques chanes de tlvision sont apparus rcemment dans
la capitale. Les chanes de tlvision internationales sont galement accessibles par le service de tlvision payante par
satellite.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: LIBERIA BROADCASTING SYSTEM (ELTV)
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: CLAR TV, REAL TV, POWER TV
MOBILE OPERATORS / OPRATEURS DU MOBILE: CELLCOM LIBERIA, COMIUM SERVICES BVI (LIBERIA), LONES-
TAR COMMUNICATIONS
lAnGuAGes english, some 20 ethnic languages
cApitAl city monrovia
GDp per cApitA $405
fAcebook users n/A
172 173
lYBiA
Nearly all media in Libya are government controlled; state-owned frms are also the sole providers of telecommunications
and Internet services. The major player in the audiovisual sector is the Libyan Jamahiriyah Broadcasting Corporation
(LJBC) operating several TV channels across the country. The only private channel Al-Libiyah, which was launched in
2007, was nationalized through a government media reform from mid-2009.
Presque tous les mdias en Libye sont contrls par le gouvernement ; des socits dtat sont les seuls fournisseurs
daccs aux tlcommunications et aux services Internet. Le principal acteur du secteur audiovisuel est tenu par le LJBC
(Libyan Jamahiriyah Broadcasting Corporation) exploitant plusieurs chanes de tlvision dans tout le pays. La seule
chane prive Al-Libiyah qui avait t lance en 2007, a t nationalise par une rforme gouvernementale des mdias de
mi-2009.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: LIBYAN JAMAHIRIYA BROADCASTING CORPORATION (LJBC)
PLATFORM OPERATORS / OPRATEURS DU CABLE: ART, OSN
opulAtion 6,5 millions
cApitAl city: tripoli-population 1,8 millions
GpD per cApitA $13 800 (2010)
tv householDs 730 000
pAy-tv suscribers
173
MADAgASCAR
The Malagasy media landscape is characterized by wide diversity. The state television channel, Television Malagasy, is the
only service with national coverage. Nevertheless, around a dozen private radio and television channels have been esta-
blished since a law concerning press freedom was introduced in the nineties. Internet access has been progressing rapi-
dly, with more than 355 000 users in the country. With a comprehensive media industry there is great potential for further
growth of television in this country of over 20 million.
Le paysage mdiatique malgache se caractrise par une large diversit. La chane de tlvision publique, Television Mala-
gasy, est la seule dont la couverture est nationale. Toutefois, prs dune dizaine de chanes de radio et tlvision prives
ont t cres depuis lavnement dune loi relative la libert de la presse dans les annes 1990. Laccs internet pro-
gresse rapidement, avec 355 000 internautes dans le pays. Lindustrie des mdias diversife reprsente un grand poten-
tiel de croissance supplmentaire pour la tlvision dans ce pays de plus de 20 millions dhabitants.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TVM - TELEVISION MALAGASY
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: RTA - RADIO TELEVISION ANALAMANGA, MATV
MADAGASCAR TELEVISION, VIVA TV MADAGASCAR
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE, CANALSAT HORIZONS
MOBILE OPERATORS / OPRATEURS DU MOBILE: TELECOM MALAGASY SA (TELMA), ORANGE MADAGASCAR
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: BLUELINE (GULFSAT)
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: FACTO SAATCHI & SAATCHI, NOVO-
COMM OGILVY, GRAND ANGLE
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: ORANGE, ZAIN (MADACOM), STAR, COURTS, TELMA MOBILE
lAnGuAGes malagasy, french, english
cApitAl city Antananarivo
GDp per cApitA $900
174 175
MAlAWi
Television was frst introduced to Malawi in 1999 and since then the Malawi Broadcasting Corporation remains the main TV
operator. The broadcasting sector has become more open to private investment: the Malawi Communications Regulatory
Authority (MACRA) granted several new TV licences in 2010 and new TV and radio channels are emerging. At present,
radio remains the most popular form of media and the chief source of information.
La tlvision a t introduite pour la premire fois au Malawi en 1999 et depuis, loprateur public MBC reste le principal
oprateur tlvision. Le secteur de la radiodiffusion est devenue plus ouvert linvestissement priv: lautorit de rgu-
lation de la communication du Malawi (MACRA) a accord plusieurs licences de TV en 2010 et de nouvelles stations de
radio et chanes de tlvision voient le jour. Il existe plusieurs chanes mais la radio reste la source principale dinforma-
tions.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: MBC- MALAWI BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: LUNTHA TV / MONTFORT MEDIA, AFJ TELEVISION
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE MALAWI
MOBILE OPERATORS / OPRATEURS DU MOBILE: TELEKOM NETWORKS MALAWI (TNM)
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: SKYBAND CORPORATION LIMITED,
GLOBEHYPERLINK, WWW.MALAWI.NET
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: ALLIANCE MEDIA MALAWI
lAnGuAGes english, chichewa
cApitAl city lilongwe
GDp per cApitA $860
175
MAli
In the media sector, Malis national public broadcaster, Offce de la Radio et Television du Mali, provides public radio and
TV services. Private broadcasting has been legal since 1993. As broadcasting is no longer a state monopoly, broadcast
and print media are free of state interference and, by many standards, are the freest in Africa.
Dans le secteur des mdias, le diffuseur public, lOffce de la Radio et Tlvision du Mali, fournit les services publics de
radio et de tlvision. La radiodiffusion prive est lgale depuis 1993. La radiodiffusion ntant plus un monopole public,
les mdias de radiodiffusion et la presse crite sont dgags de lintervention de ltat et sont, selon de nombreux critres,
les plus libres dAfrique.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : ORTM - OFFICE DE RADIODIFFUSION TELEVISION DU MALI
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: AFRICABLE TELEVISION
PLATFORM OPERATORS / OPRATEURS DU CABLE: CANALSAT HORIZONS, MULTICANAL MALI
MOBILE OPERATORS / OPRATEURS DU MOBILE: ORANGE MALI
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: SOTELMA
lAnGuAGes french, bambara, berber, Arabic
cApitAl city bamako
GDp per cApitA $ 1 300
176 177
MAURiTANiA
Broadcast media is state-owned. The only one TV station, Television de Mauritanie, has an additional 6 regional TV sta-
tions that provide local programming.In 2010, MPs passed a law to liberalise broadcasting, paving the way for private radio
and TV stations.
Les medias en Mauritanie sont contrls par ltat. La seule tlvision du pays possde galement six autres chanes
rgionales avec une programmation locale. En 2010 les membres du parlement ont promulgus une loi libralisant les
mdias, ouvrant la voie aux radios et chanes de tlvision prives.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : TVM - TELEVISION DE MAURITANIE
PLATFORM OPERATORS / CHANES DU CABLE : MULTICHOICE, CANALSAT HORIZONS
MOBILE OPERATORS / OPRATEURS DU MOBILE: MATTEL, MAURITEL
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: TOP TECHNOLOGY
lAnGuAGes Arabic, french, pulaar, Wolof, soninke
cApitAl city nouakchott
177
MAURiTiUS
Theres a diverse media industry in Mauritius. The publicly-owned radio and television service is operated by Mauritius
Broadcasting Corporation, who is fnanced by license fees as well as private advertising. Television is the most-popular
medium and freedom of expression and of the press is guaranteed by the constitution.
Lindustrie des mdias est diversife Maurice. Le service public de radio et tlvision est exploit par la Mauritius Broad-
casting Corporation, qui est fnance par les droits de licence, ainsi que par la publicit prive. La tlvision est le mdia le
plus apprci et la libert dexpression ainsi que la libert de la presse sont garanties par la constitution.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: MAURITIUS BROADCASTING CORPORATION (MBC)
PLATFORM OPERATORS / CHANES DU CABLE: CANALSAT HORIZONS, MAURITIUS TELECOM
MOBILE OPERATORS / OPRATEURS DU MOBILE: MAURITIUS TELECOM LTD, EMTEL
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: P & P LINK SAATCHI & SAATCHI, MAU-
RICE PUBLICITE LTD / OGILVY
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: MAURITIUS TELECOM, ORANGE
lAnGuAGes french, english, creole, bhojpuri
cApitAl city port louis
178 179
MOROCCO
The audiovisual media remain dominated by the state-owned Radiodiffusion Television Marocaine (SNRT) operating a
number of TV channels. An other important broadcaster is 2M; the station attracts more and more interest in the region
and has the potential to become signifcant pan-Arab player. Satellite dishes are widely utilized, making pan-Arab and
foreign channels increasingly popular. Television is the most powerful media and dominant platform for advertising, which
accounts for over 60% share of total advertising spend in the country. IPTV service operated by Ma- roc Telecom is avai-
lable since 2006, and pay-TV penetration remains very low, similar to other North African countries. The government owns,
or has a stake in Moroccos main TV networks, RTM, 2M and Medi 1 Sat, nevertheless, over the last year, Moroccos
media landscape has witnessed the emergence of more private media outlets. With progressing digitalization and favo-
rable licensing regulation, an expansion of private TV and radio services is under way.
Les mdias audiovisuels restent domins par le service public, la Radiodiffusion Tlvision Marocaine (SNRT), qui ex-
ploite un certain nombre de chanes de tlvision. Lautre oprateur important est 2M ; la chane suscite de plus en plus
lintrt dans la rgion et elle a le potentiel pour devenir un acteur cl dans le monde Arabe. Les paraboles qui se gnra-
lisent, popularisent toujours plus les chanes arabes et trangres. La tlvision est le mdia le plus puissant et le support
prpondrant pour la publicit avec une part de march de plus de 60% de lensemble des dpenses publicitaires du pays.
Le service IPTV est disponible via Maroc Telecom depuis 2006 et de mme que dans les autres pays dAfrique du nord, le
taux de pntration de la tlvision payante est assez bas. Ltat est propritaire, ou a des participations dans les princi-
paux groupes de mdias marocains tels que RTM, 2M et MEDI 1 Sat. Cependant, depuis lanne dernire, on a pu assis-
ter lmergence de groupes entirement privs dans le paysage audiovisuel marocain. Avec la progression du num-
rique et une rglementation plus favorable doctroi de licence, le dveloppement de la tlvision et des radios prives est
en route.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SOCIT NATIONALE DE RADIODIFFUSION ET DE TLVISION
(SNRT), 2M
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: MEDI 1 SAT
PLATFORM OPERATORS / OPRATEURS DU CABLE: ART, OSN, CANAL+ HORIZONS, MAROC TELECOM
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: HAVAS, RSCG, ADAM, KAROUI & KA-
ROUI, PUBLICIS, MCCANN ERICKSON
MAIN TV ADVERTISERS / PRINCIPAUX ANNONCEURS: MAROC TELECOM, MEDI TELECOM, WANA, MAROC
CONNECT, PROCTER & GAMBLE, UNILEVER, DANONE
MOBILE OPERATORS / OPRATEURS DU MOBILE: MAROC TELECOM
cApitAl city rAbAt-population 1 754 425
GpD per cApitA $4 900
179
MOZAMBiQUe
Mozambique has emerged as a rapidly growing economy since 1992 and offers a rapidly developing media sector. The
state-run service Televisao de Mozambique (TVM) was launched in 1980. Numerous local commercial stations are mainly
located in the capital Maputo, Beira and Nampula. TV ownership is quite high, with over 80 per cent of urban households
owning a set. Commercial TV stations are mostly owned by Mozambicans as Press Law restricts foreign investment in
media companies to 20 percent. Rapid growth and the evolution of a new entrepreneurial media industry bode well for TV.
Le Mozambique a merg comme un pays croissance rapide depuis 1992 et le secteur des mdias est en plein dve-
loppement. Le service public Televisao de Mozambique (TVM) a t lanc en 1980. Il existe de nombreuses stations
commerciales locales situes principalement dans la capitale Maputo, Beira et Nampula. Lquipement des mnages
en tlviseurs est lev et, en ville, 80% dentre eux en disposent. Les stations de tlvision commerciales sont principale-
ment dtenues par des Mozambicains, car la Loi relative la presse limite les investissements trangers dans les socits
de mdia 20%. La croissance rapide et lvolution dune nouvelle industrie entrepreneuriale des medias seraient de bon
augure pour la tlvision.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: STV - SOICO TELEVISAO, TIM - TELEVISAO INDEPENDENTE DE
MOZAMBIQUE
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: TVM - TELEVISAO DE MOZAMBIQUE
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE MOZAMBIQUE
MOBILE OPERATORS / OPRATEURS DU MOBILE: TDM, MOZAMBIQUE TELECOMMUNICATIONS COMPANY, MCEL,
VODACOM MOZAMBIQUE
lAnGuAGes portuguese, emakhuwa, Xichanga
cApitAl city maputo
180 181
NAMiBiA
As a large country with a diverse population, the media industry is relatively developed. The state-run TV service is
Namibian Broadcasting Corporation (NBC) and the private local station, Desert TV, is available in the capital, Windhoek.
Foreign channels from neighbouring South Africa and international channels are available on cable. Media freedom, gua-
ranteed by the constitution, is honoured by the government. Development of the TV sector is only limited by its topography
and small population of 2 million.
Grand pays la population diverse, son industrie des mdias est en consquence relativement dveloppe. Le service de
tlvision public est la Namibian Broadcasting Corporation (NBC) et la station locale prive, Desert TV, est disponible dans
la capitale Windhoek. Les chanes trangres de lAfrique du Sud voisine et les chanes internationales sont disponibles
sur le cble. La libert des mdias, garantie par la constitution, est respecte par le gouvernement. Le dveloppement du
secteur de la tlvision nest limit que par la topographie et la faible population de 2 millions dhabitants.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: NBC - NAMIBIAN BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHAZNES COMMERCIALES: ONE AFRICA TELEVISION, TRINITY BROADCAS-
TING NETWORK
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE NAMIBIA
MOBILE OPERATORS / OPRATEURS DU MOBILE : LEO, MOBILE TELECOMMUNICATIONS CO. LTD (MTC)
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: AFRICA ONLINE NAMIBIA, TELECOM
NAMIBIA LTD
lAnGuAGes english, Afrikaans, German
cApitAl city Windhoek
181
NigeR
The audiovisual sector remains dominated by the state-run service Tele-Sahel, nonetheless, private TV channels such as
Tenere TV or Telestar are available in the capital, Niamey. Radio remains the most important source for news and infor-
mation. Long term development in the media sector now depends on creating a climate of security and predictability for
investments.
Le principal acteur dans le secteur des mdias reste le service public Tl-Sahel, exploit par lOffce de Radiodiffusion
Tlvision du Niger. Les chanes prives, Tenere TV et Telestar, sont disponibles dans la capitale, Niamey. La radio reste
la plus importante source dinformations. Les futurs dveloppements du secteur de mdias dpendent de la prvisibilit et
de la stabilit du systme politique.
PUBLIC BROADCASTER/DIFFUSEUR PUBLIC: TAL TELE ORTN, TELE SAHEL - ORTN
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: RTD - RADIO TELEVISION DOUNIA, RTT - RADIO
TELEVISION TENERE
PLATFORM OPERATORS / OPRATEURS DU CABLE : CANALSAT HORIZONS, TELE STAR (DSTV)
MOBILE OPERATORS / OPRATEURS DU MOBILE : ORANGE NIGER GROUPE ATLANTIQUE TELECOM, MOOV
NIGER
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: CONNECTEO NIGER, LIPTINFOR
NIGER SA
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: DIGITECH, AGENCE REGIE PUB,
AGENCE TALLA
lAnGuAGes french, hausa, Djerma
cApitAl city niamey
GDp per cApitA $800
182 183
NigeRiA
Nigeria has also one of the most vibrant media markets with about 100 newspapers and 150 radio and television stations.
The number of TV stations has boomed in Nigeria since 2000, and many have been launched by the state. The state-
controlled Nigerian Television Authority is the only TV operator with near national coverage, while private free-to-air TV
stations are organized on a city or local basis in order to reach the dense urban population. Television is by far the most
popular medium and accounts for 42.2% of all advertising spending in the country. Nollywood has also made Nigeria the
main hub for African productions and their industry is soaring, creating major competition for South Africa. Nigeria began
their Digital Broadcast Migration in 2008 and they expect to complete the switchover in 2015. Nigerias TV production
industry is already soaring, creating major competition for the South African giants in terms of television content and pay-
TV platforms. The switchover will allow the country to offer even more TV channels to the largest population in Africa - over
170 million. The public broadcaster has taken the lead in bringing about the switchover and is already offering a digital
pay-TV service to large Nigerian cities.
Le Nigeria possde lun des marchs mdiatiques les plus dynamiques avec plus de 100 publications quotidiennes et
150 chanes de radio et de tlvision. Le nombre de stations de tlvision a explos au Nigeria depuis 2000 et beaucoup
dentre elles ont t lances par ltat. LAutorit nigriane de la Tlvision, contrle par lEtat, est le seul oprateur TV
disposant dune couverture quasi nationale, alors que les chanes de tlvision prives diffuses en clair sont organi-
ses autour des villes et des communes afn datteindre essentiellement une population urbaine. La tlvision est de loin
le mdia le plus populaire et reprsente prs de 42,2% des dpenses publicitaires du pays. Le phnomne de produc-
tion Nollywood a galement merg comme la principale plaque tournante pour les productions africaines. Le Nigeria a
amorc son passage la diffusion numrique en 2008 et le pays espre avoir termin sa migration en 2015. La fambe
du nombre de tlvisions et de la production audiovisuelle au Nigria est dj en srieuse concurrence avec lAfrique du
Sud. La transition vers le numrique permettra de continuer dvelopper le grand nombre de chanes de tlvision pour
satisfaire le pays le plus peupl dAfrique : 170 million dhabitants.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: NTA - NIGE-
RIAN TELEVISION AUTHORITY
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES:
CMA - CONSOLIDATED MEDIA ASSOCIATES, GALAXY TE-
LEVISION, AIT - AFRICA INDEPENDENT TELEVISION, DBN
INTERNATIONAL, SILVERBIRD TV, LOVEWORLD CHRISTIAN
NETWORK, SUPERSCREEN TV / GLOABAL PLUS MEDIA
WORLD DOVE MEDIA
lAnGuAGes english, hausa, yoruba
cApitAl city Abuja
pAy tv subscribers 1 500 000
PLATFORM OPERATORS / OPRATEURS DU
CABLE: BRADTECH LIMITED, DELTA CABLES
HITV NIGERIA, INFINITY TV, MULTIMESH BROAD-
CASTING COMPANY, MY TV AFRICA, TREND TV /
CLT AFRIC
MOBILE OPERATORS / OPRATEURS DU MO-
BILE: GLOBACOM / GLO ONE NIGERIA
INTERNET SERVICE PROVIDERS / FOURNIS-
SEURS DACCS INTERNET: GATEWAY TELE-
COMS INTEGRATED SERVICES LTD
MAIN ADVERTISING AGENCIES / PRINCIPALES
AGENCES DE PUBLICIT: INSIGHT GREY, LOWE
LINTAS, PRIMA GARNET OGILVY, STB MCCANN,
SO&U SAATCHI & SAATCHI
MAIN ADVERTISERS / ANNONCEURS PRINCI-
PAUX: MTN, UNILEVER, DIAGEO, COCA-COLA,
INDOMIE NOODLES, NIGERIAN BREWERIES,
CADBURY NIGERIA, GUINESS, ZAIN
183
RePUBliC OF THe CONgO
(CONgO BRAZZAVille)
The media sector remains under government control. The state-run channel is TV Congo which is operated by Radiodiffu-
sion Tlvision Congolaise. There was some easing of media laws in 2001 and there are a few privately owned TV chan-
nels such as DRTV, MN TV, Top TV and Canal Benediction Plus but due to economic and political uncertainty, the media
sector remains fragile.
Le secteur des mdias reste sous le contrle du gouvernement. La chane publique, TV Congo, est exploite par Radiodif-
fusion Tlvision Congolaise. La loi de 2001 relative aux mdias a apport un peu de libert et quelques chanes prives
ont vu le jour, noter DRTV, MN TV, Top TV ou Canal Bndiction Plus, mais en raison de lincertitude conomique et poli-
tique, le secteur des mdias reste fragile.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RADIODIFFUSION TELEVISION CONGOLAISE (TELE CONGO)
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: DRTV, MN TV, TOP TV, CB PLUS
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE, CANALSAT HORIZONS
MOBILE OPERATORS / OPRATEURS DU MOBILE: MTN CONGOCOBAM, WARID CONGO SA
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: AIR NET, CONGO TELECOM
, GSI CONGO
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: CONGO WEB AGENCY, PONTON
CONNEXION, WTM ENTREPRISES
lAnGuAGes french, lingala, monokutuba
cApitAl city brazzaville
184 185
RWANDA
The media sector is dominated by the state-run Rwanda Broadcasting Service operating since 1990; subscription TV ser-
vices are also available. The country leads East Africa in progress toward digital television and is expected to switch from
analogue terrestrial broadcasting system to DVB-T by 2012. As the economy is rapidly recovering, local broadcasters are
beginning to diversify their content.
Le secteur des mdias est domin par le service public de Tlvision Rwandaise (TVR) qui a t lanc en 1990, les ser-
vices de la tlvision payante sont aussi disponibles. La transition vers le numrique progresse rapidement et larrt dfni-
tif de la diffusion analogique est prvu pour la fn 2012 ce qui fera du Rwanda un des premiers pays africain fnaliser son
passage la TNT. Avec la reprise de lconomie, la tlvision publique commence diversifer son contenu.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: RTV - RWANDA TELEVISION
PLATFORM OPERATORS / CHANES DU CABLE: STAR AFRICA MEDIA
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: TELE 10 GROUP
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: RWANDATEL
lAnGuAGes kinyarwanda, french, english, swahili
cApitAl city kigali
185
SAO TOMe AND PRiNCiPe
The media sector is dominated by state owned outlets. The leading radio network is state owned and the state-run Televi-
sao Saotomense (TVS) remains the sole television broadcaster. Freedom of expression is guaranteed by the constitution.
Prospects for private TV development are limited by population of only 180 000.
Le secteur des mdias est domin par les socits publiques : le principal rseau radio est dtenu par ltat et la Televisao
Saotomense (TVS) publique reste le seul tldiffuseur. La libert dexpression est garantie par la constitution. Les pers-
pectives de dveloppement de la tlvision prive sont limites par une population de seulement 180 000 habitants.

PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TVS - TELEVISAO SAO TOME ET PRINCIPE
MOBILE OPERATORS / OPRATEURS DU MOBILE: COMPANHIA SANTOMENSE DE TELECOMUNICAES (CST)
populAtion 183 000
lAnGuAGes portuguese
cApitAl city sao tome
186 187
SieRRA leONe
Since 2002, the state-run TV service, Sierra Leone Broadcasting Service (SLBS), has managed to pick itself up; the pri-
vate channel ABC-TV was set up in 2005 and is accessible in most of Freetown. An Independent Media Commission was
set up in 2000 to regulate the media, grant licenses and prevent state interference in the media.
Depuis 2002 le service public de la radiotlvision de Sierra Leone (SLBS) a russi se construire. La chane de tlvi-
sion ABC TV a t lance en 2005 et est disponible sur la majorit de la capitale Freetown. Une commission indpendante
des mdias a t cre en 2000, pour rguler les medias, loctroi des licences, et empcher lingrence de ltat dans le
secteur.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SIERRA LEONE BROADCASTING COORPERATION
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: INTER TROPIC HOLDINGS
lAnGuAGes english, mende, krio
cApitAl city freetown
GDp per cApitA $900
187
SeNegAl
The media sector in Senegal is particularly dynamic and diversifed with many press titles and the emergence of privately
owned radio and television stations. The Telecommunications Regulation Agency (ART) was set up in 2001 and ended
the state monopoly on television. The audiovisual landscape consists of a dozen of nationwide TV channels: the state-run
television service Radiodiffusion Tlvision Senegalaise broadcasts RTS1 and SN2 and there are other private, commer-
cially driven stations. The competitive landscape driven by available ratings and audience data contribute to quality TV.
Foreign channels are obtainable by satellite, IPTV or by the countrys MMDS system.
Le secteur des mdias au Sngal est particulirement dynamique et diversif avec de nombreux organes de presse et
lmergence de stations de radio et de tlvision prives. Lagence des rglementations des tlcommunications (ART) a
t fond en 2001 et a mis fn au monopole de la tlvision dtat. Le paysage audiovisuel est constitu dune douzaine
de stations de tlvision nationales : le service de tlvision public de la Radiodiffusion Tlvision Sngalaise, qui diffuse
RTS1 et SN2 et des stations commerciales prives. Le contexte concurrentiel, favoris par la disponibilit dvaluation des
donnes et daudience, contribue la qualit de la TV. Les chanes trangres peuvent tre reues par satellite, IPTV ou
par le systme hertzien national.
PUBLIC BROADCASTER /DIFFUSEUR PUBLIC: RTS - RADIODIFFUSION TELEVISION SENEGALAISE
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: 2STV, AFRICA 7 CANAL INFO NEWS, RDV - RADIOS
DUNYAA VISIONS, TFM, FUTUR MEDIAS, WALF TV
PLATFORM OPERATORS / OPRATERUS DU CABLE: CANAL+ HORIZONS SENEGAL, DELTANET, EXCAF TELECOM,
SONATEL MULTIMEDIA
MOBILE OPERATORS / OPRATEURS DU MOBILE: ORANGE SONATEL, TIGO SENEGAL, EXPRESSO SENEGAL
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: ORANGE
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: MCCANN ERICKSON, OCEAN OGILVY,
VOODOO, AG PARTNERS, OPTIMA CONSORTIUM, CARACTERE, LEO BURNETT SENEGAL, DAKCOR
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX : ORANGE, EXPRESSO, VASYLISS, WESTERN UNION, LA VACHE
QUI RIT, JUMBO, TIGO, PRIMO, CANALSAT HORIZONS
lAnGuAGes french, Wolof
cApitAl city Dakar
188 189
SeYCHelleS
The media sector is dominated by the state-run Seychelles Broadcasting Corporation and although there are no private
channels, multi-channel cable and satellite TV services are widely available. Prohibitive licensing fees restrict growth but
the size of the media industry is proportional to its small population.
Le secteur des mdias est domin par lorganisme public Seychelles Broadcasting Corporation et, bien quil nexiste
aucune chane prive, les services de tlvision par cble et par satellite sont largement disponibles. Des droits de licence
prohibitifs restreignent la croissance, mais la taille de lindustrie des mdias est proportionnelle la faible population.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC : SBC SEYCHELLES BROADCASTING CORPORATION
PLATFORM OPERATORS / OPRATEURS DU CABLE : MULTICHOICE
MOBILE OPERATORS / OPRATEURS DU MOBILE: AIRTEL TELECOM LIMITED, CABLE & WIRELESSS (CWS)
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: INTELVISION
populAtion 90 000
lAnGuAGes portuguese, other local languages
cApitAl city victoria
189
SOMAliA
Radio remains the dominant medium, followed by the state-run TV channel, Somaliland National Television (SLNTV).
There are also a few private television services serving different regions: the capital, Mogadishu, Somaliland and Puntland.
La radio reste le mdia dominant, suivi de la chane de tlvision publique, Somaliland National Television (SLNTV). Il
existe galement quelques services de tlvision privs desservant diffrentes rgions : la capitale, Mogadiscio, le Somali-
land et le Puntland.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SLNTV - SOMALILAND NATIONAL TELEVISION, SBC - SOMALI
BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: SHABELLE MEDIA
lAnGuAGes somali, Arabic, italian, english
cApitAl city mogadishu
GDp per cApitA $600
190 191
SOUTH AFRiCA
South Africa, with a strong fnancial and manufacturing background, has the largest economy on the continent and one
of the most developed media and communication sectors. The public service broadcaster, South African Broadcasting
Corporation, boasts 3 popular channels and is facing more and more competition from the private sector. A large num-
ber of private companies offer radio and television channels, including the pan-African satellite platform DSTV, operated
by Multichoice. Television audiences are growing, local programmes are hugely popular and are consistently among the
most-watched programmes across the board. The availability of ratings and audience data has contributed to TV being
the strongest advertising medium in South Africa, accounting for 44 percent of the total national advertising spend. South
Africa is entering a new era of broadcasting with the digital switchover and new channels.
LAfrique du Sud, bnfciant dun contexte fnancier et industriel fort, a la plus grande conomie du continent et lun des
secteurs des mdias et des communications les plus dvelopps. Le puissant diffuseur public, la South African Broadcas-
ting Corporation, possde 3 chanes trs apprcies et connat une concurrence de plus en plus importante du secteur
priv. Un grand nombre de socits prives proposent des chanes de radio et de tlvision, ainsi que des plateformes
de tlvision payante, notamment la DSTV panafricaine dirige par Multichoice. Les tlspectateurs sont de plus en plus
nombreux, les programmes locaux sont extrmement apprcis et fgurent rgulirement parmi les plus regards du
pays. La disponibilit des donnes de mesure daudience a contribu faire de la tlvision le plus fort mdia publicitaire
dAfrique du Sud, reprsentant 44 pour cent du total des dpenses de publicit. LAfrique du Sud est entr dans une nou-
velle re de diffusion avec le passage la diffusion numrique et lapparition de nouvelles chanes TV.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SABC - SOUTH AFRICAN BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: AFRICAN BUSINESS CHANNEL, CHRISTIAN
BROADCASTING NETWORK SOUTH AFRICA, CNBC AFRICA, E.TV, M-NET ELECTRONIC MEDIA NETWORK, MTV
NETWORKS AFRICA (MTVNA), M-NET AFRICA, SETANTA SPORTS AFRICA, SUPERSPORT INTERNATIONAL
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE / DSTV, ON DIGITAL MEDIA / TOP TV
MOBILE OPERATORS / OPRATEURS DU MOBILE: CELL C, MTN SOUTH AFRICA, VODACOM
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: AFRIHOST, AXXESS, WEB AFRICA
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: SAATCHI & SAATCHI, TBWA HUNT LASCARIS
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: MTN, VODACOM, COCA COLA, STANDARD BANK, UNILEVER,
PICKNPAY
lAnGuAGes english, Afrikaans, sesotho, Zulu
cApitAl city pretoria
pAy tv subscribers 4 200 000
191
SOUTH SUDAN
South Sudan declared its independence on July 9th, 2011 becoming the worlds newest nation with its acceptance as the
193rd member of the United Nations on July 14th. In the media sector, radio is the most popular platform for news and
entertainment with a strong position by Miraya FM and BBC World Service. TV broadcasting remains state-owned; there
are several private radio and newspapers, some with foreign funding.
Le Soudan du Sud est n offciellement le 9 juillet 2011 en devenant la plus jeune nation au monde et le 193e tat
membre des Nations Unies le 14 juillet. Dans le secteur des mdias, la radio est la plate-forme la plus populaire pour les
informations et le divertissement avec une position forte de Miraya FM et de BBC World Service, la diffusion tl demeure
tatique. Il existe plusieurs chanes de radio et journaux privs, certains bnfciant dun fnancement tranger.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SSTV-SOUTHERN SUDAN TELEVISION
MOBILE OPERATORS / OPRATEURS DU MOBILE: VIVACELL SOUTHERN SUDAN
lAnGuAGes english, Arabic
cApitAl city juba
mobile cellulAr penetrAtion n/A
internet users n/A
fAcebook users n/A
192 193
SUDAN
The broadcasting sector is dominated by public TV operator Sudan National Broadcasting Corporation (SNBC). It broad-
casts two national channels also available via satellite. In addition, pan-Arab TV channels can be watched via satellite.
Cellular communications started in 1996 and have been developing quickly. It is estimated that Sudan will have 30 million
mobile subscribers by 2014.
La Sudan National Broadcasting Corporation (SNBC) publique diffuse deux chanes nationales galement disponibles par
satellite. Un service de tlvision par cble dtenu conjointement par le gouvernement et des investisseurs privs est ga-
lement disponible. Les chanes TV Pan arabes peuvent tre regardes via satellite. La tlphonie mobile est arrive sur le
march en 1996 et a connu un grand succs, il est estim quil y aura 30 millions dutilisateurs dici 2014.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SUDAN TV - SNBC
MOBILE OPERATORS / OPRATEURS DU MOBILE: CANAR TELECOMMUNICATION
lAnGuAGes Arabic, english
cApitAl city khartoum
fAcebook users n/A
193
SWAZilAND
The state-run broadcaster Swazi TV is government controlled, as well as all radio stations with the exception of one Chris-
tian radio station. There is one strong private channel, Channel Swazi. Swazis can receive television stations broadcast
from South Africa, which surrounds the country.
La radiotlvision publique Swazi TV est contrle par le gouvernement, de mme que toutes les stations de radio
lexception dune station de radio chrtienne. Il existe une chane prive puissante, Channel Swazi. Les Swazis peuvent
recevoir les missions des stations de tlvision dAfrique du Sud.

PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: SWAZI TV (SWAZILAND TELEVISION AUTHORITY)
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: CHANNEL SWAZI
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE SWAZILAND
MOBILE OPERATORS / OPRATEURS DU MOBILE: MTN SWAZILAND
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: AFRICA ONLINE SWAZILAND (PTY) LIMITED
lAnGuAGes english, siswati
cApitAl city mbabane
194 195
TANZANiA
The media sector in Tanzania has developed rapidly since 1995. Television in Tanzania was unknown before and the frst
private station began broadcasting late in 1994. Now there are 16 TV channels in Tanzania. State TV was a latecomer
(TBC did not launch until 2001) but even so, has quickly become the dominant broadcaster, both with viewers and adver-
tisers. Tanzania began the transition from analogue to digital terrestrial television on July 2010, and plans to achieve the
process before the year 2015. Television is beginning to impact the traditional dominance of radio in Tanzania, and it is
continuing to grow with new channels in the pipeline.
Le secteur des mdias en Tanzanie sest dvelopp rapidement depuis 1995. La tlvision tait auparavant inconnue
en Tanzanie et la premire station prive a commenc mettre la fn de lanne 1994. Il existe dsormais 16 chanes
TV en Tanzanie. La tlvision publique est arrive tardivement (TBC na pas t lance avant 2001), mais malgr cela,
elle est rapidement devenue un diffuseur dominant tant en nombre de tlspectateurs que dannonceurs. La Tanzanie a
commenc sa mutation vers la diffusion numrique en juillet 2010, et prvoit de terminer cette transition avant 2015. La
tlvision commence aujourdhui avoir un impact sur la dominance traditionnelle de la radio en Tanzanie et continue se
dvelopper avec le lancement prvu de nouvelles chanes.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC :TBC - TANZANIAN BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: ITV - INDEPENDENT TELEVISION LIMITED, AFRICA
MEDIA GROUP (CHANNEL 10), EATV - EAST AFRICA TELEVISION, ATN - AGAPE TELEVISION NETWORK,
STAR TV TANZANIA
PLATFORM OPERATORS / OPRATEURS DU CABLE : MULTICHOICE TANZANIA
MOBILE OPERATORS / OPRATEURS DU MOBILE: VODACOM TANZANIA LIMITED, AIRTEL TANZANIA, TIGO TANZA-
NIA / MIC TANZANIA LTD, ZANTEL
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: TANZANIA TELECOMMUNICATIONS
COMPANY LIMITED, BENSON ONLINE (BOL), SIMBANET LTD
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: YOUNG & RUBICAM BRANDS AFRICA,
AYTON Y&R GROUP TANZANIA, STEADMAN, ZK MCCANN
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX VODACOM, COCA-COLA, MIC TANZANIA, TANZANIA BREWE-
RIES UNILEVER
lAnGuAGes english, swahili
cApitAl city Dodoma
195
TOgO
The frst player in media sector remains the state-run Tlvision Togolaise, which includes a specialised sports and culture
channel, Telesports TV. However, in the last ten years, there has been a boom in all types of private media, and several
private television channels have been established as well as the pay-TV service, Media Plus.
Le premier acteur du secteur des mdias reste la Tlvision Togolaise publique qui comprend une chane spcialise dans
le sport et la culture, Tlsports TV. Toutefois, au cours des dix dernires annes, on a observ une explosion de tous les
types de mdia privs et plusieurs chanes de tlvision prives ont t cres, ainsi que le service de tlvision payante,
Media Plus.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TVT - TELEVISION TOGOLAISE
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES:TV7 TOGO / INTER CANAL, RTJ - RADIO TELEVISION JA-
BAL NOUR , LCF - LA CHAINE DU FUTUR, RTDS - RADIO TELEVISION DELTA SANTE, TLS - TELESPORTS TV, TV SPES, TV2
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE, MEDIA PLUS
MOBILE OPERATORS / OPRATEURS DU MOBILE: MOOV TOGO (ATLANTIQUE TLCOM TOGO)
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: TOGO TELECOM
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: AGENCE IMI, MEDIA PLUS TOGO / CA-
RING INTERNATIONAL
lAnGuAGes french, ewe, mina
cApitAl city lom
GDp per cApitA $900
196 197
TUNiSiA
The media sector is dominated by the state run Tunisian Radio and Television Establishment (ERTT) which broadcasts
a number of radio stations and two of most popular TV channels in the country: Tunis 7 and Tunis 21. The frst private
radio broadcasting license was signed in 2003 and the frst audiovisual license for the private sector was accorded to
Hannibal TV two years later. The second commercial TV channel, Nessma TV, was launched in 2009. Satellite-provi-
ded channels from other Arab countries and foreign television channels are also viewed. Increasing competition in the
telecommunications and TV market drives growth in advertising spending; mobile operators, the biggest ad spenders
in Tunisia, invest mainly in TV advertising which accounts for over 50% of total ad spend in the country. Following the
recent uprising and former President Ben Alis departure, the media market will soon go through a period of readjustment
and is expected to move towards more openness and transparency.
Le secteur des mdias est domin par lorganisme dtat ERTT (Etablissement de Radiodiffusion Tlvision Tunisienne)
qui diffuse un certain nombre de stations de radio et deux des chanes de tlvision les plus populaires du pays, Tunis
7 et Tunis 21. La premire licence radiophonique attribue un diffuseur priv a t signe en 2003 et deux ans plus
tard, Hannibal TV a obtenu la premire licence avoir t accorde laudiovisuel priv. La deuxime chane com-
merciale, Nessma TV, a t lance en 2009. Sont aussi trs regardes les chanes provenant des autres pays arabes
et de ltranger via le satellite. La concurrence toujours plus grande observe dans les tlcommunications et la tlvi-
sion conduit un accroissement des dpenses publicitaires ; les oprateurs de tlphonie mobile qui ont les plus gros
budgets publicitaires de Tunisie, investissent en priorit en spots TV, ce qui reprsente plus de 50% de lensemble des
dpenses publicitaires du pays. A la suite du soulvement conduisant la Rvolution de Jasmin et au dpart de
lancien prsident Ben Ali, le secteur des mdias va entrer dans une phase dadaptation et on en attend un virage vers
plus douverture et de transparence.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: TABLISSEMENT DE RADIO ET DE LA TLVISION TUNISIENNE
(ERTT): TUNIS 1, TUNIS 21
COMMERCIAL BROADCASTERS/CHANES COMMERCIALES: HANNIBAL TV, NESSMA TV
PLATFORM OPERATORS / OPRATEURS DU CABLE: ART, OSN, CANAL+ HORIZONS
MAIN ADVERTISING AGENCIES / AGENCES DE PUBLICIT PRINCIPALES: UNIVERSAL MEDIA, MINDSHARE, MED
MEDIA, KAROUI & KAROUI, MMC DDB, FP7 MCCAAN ERICKSON, LABEL (OGILVY), GREY, JWT
MAIN TV ADVERTISERS / ANNONCEURS PRINCIPAUX: TUNISIANA, TUNISIE TELECOM, STIAL/ DANONE, UNILE-
VER, HENKEL, SOTUBI/LU, GIAS, IAT
cApitAl city: tunis-populAtion 1,7 million
197
UgANDA
The Republic of Uganda achieved its independence from United Kingdom in 1962. Since the 1990s, as a result of econo-
mic reforms, Uganda has experienced relatively high economic growth. The broadcast media are diverse: commercial and
community stations have mushroomed since the government relaxed controls in 1993. There were 40 television stations
licensed in 2009, the state owned Uganda Broadcasting Corporation (UBC-TV) with near-national coverage remains the
most popular TV channel. Uganda started its transition to digital and plans to complete its conversion from analogue to
digital broadcasting by December 2012. With a population of 35 million and dynamic audiovisual sector, Uganda is a
potentially lucrative television market.
Le secteur des mdias est diversif: des tlvisions commerciales et publiques se sont crs depuis que le gouvernement
a assoupli ses contrles en 1993. Il y avait 40 chanes de tlvision avec licence en 2009. Le radiodiffuseur public Uganda
Broadcasting Corporation (UBC-TV) reste la chane de tlvision disposer dune couverture quasi nationale et reste la
chane de tlvision la plus populaire. LOuganda a commenc sa transition vers la transmission numrique et prvoit de
terminer la migration rapidement. Avec une population de 35 millions dhabitants et un secteur audiovisuel dynamique,
lOuganda est un march de tlvision potentiellement lucratif.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: UBC - UGANDA BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: AFRICA BROADCASTING, NTV UGANDA (NATION
MEDIA GROUP), EATV - EAST AFRICA TV (IPP), BTN TV - BORN FREE TECHNOLOGIES NETWORK, BUKEDDE TV,
WBS - WAVAH BROADCASTING COMPANY, NBS - NILE BROADCASTING SERVICE
PLATFORM OPERATORS / OPRATEURS DU CABLE: MULTICHOICE UGANDA, NEXT GENERATION BROADCAS-
TING UGANDA, SMART TV, PEARL DIGITAL TV, SITI CABLE / TV NXT
MOBILE OPERATORS / OPRATEURS DU MOBILE: AIRTEL, ORANGE UGANDA LTD, I-TEL, MTN UGANDA, UGANDA
TELECOM, WARID TELECOM UGANDA LIMITED
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: UGANDA TELECOM, MTN, ORANGE
MAIN ADVERTISING AGENCIES / PRINCIPALES AGENCES DE PUBLICIT: SCANGROUP, RED SKY, QG SATCHI &
SATCHI, ZK ADVERTISING AGENCY, MORINGA OGILVY, CLEAR CHANNEL
MAIN ADVERTISERS / ANNONCEURS PRINCIPAUX: CELTEL (ZAIN), MTN GROUP, EAST AFRICAN BREWERIES,
SABMILLER, UGANDA TELCOM, UNILEVER UGANDA
lAnGuAGes english, swahili, luganda
cApitAl city kampala
198 199
ZAMBiA
Zambias audiovisual landscape includes the state-run TV service, Zambian National Broadcasting Corporation (ZNBC)
with one channel and several privately owned television channels. The Independent Broadcasting Authority Act of 2002
ensures media quality and freedom and requires impartiality and an increased quota for local productions for both the
private and public sectors.
Le paysage audiovisuel de la Zambie comprend le service public de tlvision, la Zambian National Broadcasting Corpora-
tion (ZNBC) qui possde une chane publique, et plusieurs chanes de tlvision prives. La Loi sur lAutorit de Radiodif-
fusion Indpendante de 2002 garantit la qualit et la libert des mdias et exige limpartialit et un quota accru de produc-
tions locales tant pour le secteur priv que public.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: ZNBC- ZAMBIA NATIONAL BROADCASTING CORPORATION
COMMERCIAL BROADCASTERS / CHANES COMMERCIALES: AUTV - AFRICA UNITE TV, MOBI TV, MUVI TELEVI-
SION, NGOMA TV
INTERNET SERVICE PROVIDERS / FOURNISSEURS DACCS INTERNET: ZAMNET
lAnGuAGes english, bemba, lozi
cApitAl city lusaka
199
ZiMBABWe
The media sector is dominated by public outlets: the only television channel, ZTV, and radio station are operated by Zim-
babwe Broadcasting Holdings. The newly created regulatory body, Zimbabwe Media Commission (ZMC), started to grant
new licenses to private media houses.
Le secteur des media est domin par le secteur public: la seule chane de tlvision, ZTV, et lunique station de radio sont
diriges par la Zimbabwe Broadcasting Holdings. Lorganisme de rglementation, Zimbabwe Media Commission (ZMC),
commence accorder de nouvelles licences des mdias privs.
PUBLIC BROADCASTER / DIFFUSEUR PUBLIC: ZTV- ZIMBABWE TV
PLATFORM OPERATORS / OPRATEUR DU CABLE: MULTICHOICE ZIMBABWE
MOBILE OPERATORS / OPRATEURS DU MOBILE: ECONET WIRELESS ZIMBABWE, NET ONE CELLULAR, TELECEL
ZIMBABWE
lAnGuAGes english, sbhona, sindebele
cApitAl city harare
GDp per cApitA $500
200 201
For further information and bookings
please visit istanbul.intercontinental.com.tr,
call +90 212 368 44 44
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IN THE HEART OF ISTANBUL
DISBOOK_200x265mm.indd 1 10/3/12 10:53 AM
Speakers - Disbook AfricA 2012
201
this list of speakers is updated to october 1, 2012. final list of speakers will be available at the opening of discop africa 2012
Speakers
Close to 60 international, expert spea-
kers and panelists will be featured in
the CONFERENCE PROGRAM. Cho-
sen for their unique experience
and ability to share ground breaking
ideas and insightful views with others,
this select group of key players, actively
involved in Africas multiplatform televi-
sion ecosystems, will be available during
the course of DISCOP AFRICA 2012.
THIS LIST OF SPEAKERS IS UPDA-
TED TO OCTOBER 1, 2012. FINAL
LIST OF SPEAKERS WILL BE AVAI-
LABLE AT THE OPENING OF DIS-
COP AFRICA 2012
Disbook AfricA 2012 - Speakers Speakers - Disbook AfricA 2012
202 203
Speakers / Confrenciers
DISCOP AFRICA 2012
Carol ABADE
cEo
EXP Agency SOUTH AFRICA
Carol Abade is a seasoned marketing
executive with more than 18 years ex-
perience in the industry, Carol is cur-
rently the CEO of EXP, whose African
footprint spans more than 15 offces.
Having founded many of those offces,
her experience around the continent al-
lows her to share her intricate knowle-
dge of the markets from an experiential
marketing viewpoint, providing insights
to companies and brands wanting to
successfully build capture a particular
market or build a Pan-African footprint
across the continent.
Carol ABADE
PDG
Agence EXP AFRIQUE DU SUD
Avec 18 annes dexprience son actif
dans lindustrie, Carole Abade est une
responsable marketing chevronne.
Elle est actuellement la directrice gn-
rale du groupe africain EXP qui possde
plus de 15 bureaux sur le continent. Son
exprience professionnelle en Afrique lui
permet de partager ses connaissances
techniques du march dun point de
vue marketing exprientiel, en appor-
tant ides et conseils aux entreprises
qui voudraient russir leur implantation
dans ce march trs spcifque ou bien
construire une marque panafricaine.
Oladapo ADEFOLAJU
Head Media Planning and Management
ETISALAT NIGERIA
Oladapo held strategic positions in ma-
jor aspects of Media Strategy, Planning
and Buying, for Troyka Holding and Ca-
rat Media Perspectives Ltd: leading the
team that created strategic sponsorship
of entertainment news on TV for Star
Lager Beer; managing media relations
to blue chips brands across all major
media across Nigeria, Africa, Europe
and Middle East. Currently Head of Me-
dia Planning and Management at ETI-
SALAT Nigeria, Oladapo is responsible
for implementing a roadblock strategy
on radio and strategic sponsorship on
TV (News, Drama and Music segment).
Oladapo holds an MBA (University of
Calabra, Nigeria), and a SMP (Lagos
Business School, Nigeria).
Oladapo ADEFOLAJU
Directeur de la Division Media
Planning et Management
ETISALAT NIGERIA
Oladapo a occup plusieurs positions
stratgiques dans les domaines de la
stratgie mdia du media planning et
lachat mdia chez Carat Mdia pers-
pectives LTD et Troyka Holding. Il a
notamment dirig lquipe lorigine
du sponsoring entre la marque de bire
Star Lager et les journaux tlviss,
il sest galement occup des rela-
tions mdias en Afrique, en Europe et
au Moyen Orient pour la marque Blue
Chips. Oladapo Adefolaju est actuelle-
ment le directeur de la Division Media
Solomon Adedamola
ALADEYELU
Executive Director
REAL MARKETING GROUP UGANDA
Nigerian born Solomon has an expe-
rience of brand management, corpo-
rate communications and advertising in
many different consumer oriented sec-
tors: insurance, food, beverages, bank,
cars, Currently Executive Director
at Uganda-based REAL MARKETING
GROUP, Solomon oversees strategic
brand management, marketing and
communications, as well as strategy
and business development.

Solomon Adedamola
ALADEYELU
Directeur Executif
REAL MARKETING GROUP OUGANDA
Salomon est n au Nigria, o il a ac-
quis son exprience dans la gestion de
marques, la communication interne et
la publicit, dans plusieurs secteurs de
consommation notamment: les assu-
Planning et Management pour ETISA-
LAT au Nigeria ; il est aussi responsable
de la mise en uvre de la stratgie de
blocage la radio et de sponsoring la
TV. Olapado a un MBA (Universit de
Calabra au Nigeria) et un SMP (Ecole
de commerce de Lagos).
203
Salim AMIN
co-founder and chairman
A24 MEDIA KENYA
Salim is the Chairman of CAMERAPIX,
founder and Chairman of THE MOHA-
MED AMIN FOUNDATION and co-
founder and Chairman of A24 MEDIA.
Camerapix was launched in 1963 by
world-renowned photographer, came-
raman and publisher Mohamed Mo
Amin, and is home to 4 million and
over 8000 hours of unique and historic
video footage. As Executive Producer
and Presenter, Salim fnished a docu-
mentary chronicling his father Moha-
med Amins life in March 2006 entitled
MO & ME, which has won 15 Awards
for Best Documentary in the United
States, Canada, and India and on the
African Continent, including the Grand
Jury Award at the New York Internatio-
nal Film Festival. In 2007, MO & ME
was screened at the prestigious British
Academy of Film and Television Arts
(BAFTA) and the Cannes Film Festival.
In September 2008, Salim launched
AFRICA 24 MEDIA, Africas frst online
Agency for video and stills content.
Salim was titled young global leader
by the World Economic Forum in Da-
Yolanda ARENDSE
rances, lalimentaire, les banques, lau-
tomobile. Actuellement PDG du groupe
REAL MARKETING GROUP en Ou-
ganda, Adedamola Solomon supervise
les stratgies de gestion des marques,
de marketing, de communication, et de
dveloppement.
vos and, was one of only 150 people
around the world invited by President
Obama to the Presidential Entrepre-
neurship Summit in Washington, DC.
Salim AMIN
co-fondateur et PDG
A24 MEDIA KENYA
Salim est le PDG de CAMERAPIX, il
est aussi le fondateur, co-fondateur et
PDG de la fondation Mohamed Amin
et de lentreprise A24MEDIA. Lentre-
prise CAMERAPIX a t lance par le
photographe de renomme internatio-
nale, cameraman et diteur, Mohamed
Mo Hamin. En tant que producteur
excutif et prsentateur, Salim Amin a
achev le documentaire sur la vie de
son pre, Mohamed Amin, en Mars
2006 : MO & ME . Le documentaire
a reu 15 rcompenses aux Etats-Unis
dont le prix du grand jury au Festival
International du Film de New York, au
Canada, en Inde et sur le continent afri-
cain. En 2007, le documentaire MO &
ME a t diffus lors de la crmonie
de la prestigieuse Academy of Film and
Television Arts (BAFTA) et au Festival
de Cannes. En Septembre 2008, Il a
lanc AFRICA 24 MEDIA, la premire
agence africaine dimages et de capta-
tions vidos. Il a t lu Young global
leader par le Forum conomique de
Davos et a t choisi parmi 150 person-
nalits dans le monde, par le prsident
Obama, au Presidential Entrepreu-
neurship Summit Washington DC.
Chief Marketing Offcer
EXP AGENCY SOUTH AFRICA
Yolanda has specialised in Brand PR
for the past 17 years of communica-
tions career, developing and implemen-
ting uniquely tailored communications
strategies for big brands or campaigns,
both across South Africa and key Pan-
African markets. With a strong focus on
profling, driving relevant content and
maximizing the benefts of social me-
dia, EXP PR uses a network of industry
relationships to build strong awareness
for clients and their brand campaigns.
Yolanda ARENDSE
Directeur du Marketing
AGENCE EXP AFRIQUE DU SUD
Avec 17 ans de carrire dans la com-
munication, Yolanda est spciali-
se dans les relations publiques de
marques. Son savoir-faire : dvelopper
et mettre en uvre des stratgies de
communication adaptes aux grandes
enseignes et leurs campagnes de
communication, travers lAfrique du
Sud et pour le march Panafricain.
Avec une relle concentration sur le
proflage, la recherche de contenus
pertinents et la rentabilisation des b-
nfces des mdia sociaux, EXP dis-
pose dun large rseau de spcialistes
dans lindustrie afn de crer une forte
sensibilisation pour les clients et leurs
campagnes de communication.
204 205
Bernard AZRIA
chairman and cEo
CTE OUEST IVORY COAST
Azria built in 1983 and managed until
1998 the frst network of consulting
agencies in the felds of marketing and
advertising in the French speaking
African countries. His key customers
operated within the food, cosmetics,
tobacco and telephony sectors. Du-
ring this period, Azria also acquired
rich experience in print media and
event management. He set up CTE
OUEST in 1997 and has since deve-
loped business to become an indis-
pensable global reference in the feld
of distribution of audiovisual rights in
French-speaking Africa. Many indus-
try professionals regard CTE OUEST
as the unrivalled leader in the region,
and its current activities also extend
to English-speaking Africa and France
(mainland and overseas territories).
Bernard AZRIA
Prsident Directeur Gnral
COTE OUEST COTE DIVOIRE
Azria a cr en 1983 et dirig jusquen
1998 le premier rseau dagences de
consulting dans les flires du marke-
ting et de la publicit, dans les pays
francophones dAfrique. Ses cibles
principales: lalimentaire, les cosm-
tiques, le tabac et le secteur de la tl-
phonie. Pendant cette priode, Azria a
acquis une riche et solide exprience
dans les campagnes de presse et
lvnementiel. Il a cr COTE OUEST
en 1997 et a depuis dvelopp une
entreprise globale dans les secteurs de
la distribution des droits audiovisuels
pour les pays francophones africains.
Beaucoup de professionnels de lindus-
trie considrent COTE OUEST comme
le leader incontest de la rgion, avec
des activits qui stendent galement
sur les pays anglophones dAfrique.
Pierre BARROT
Head of Audiovisual cooperation
International Organization
of La Francophonie
Pierre is the head of audiovisual coope-
ration at the INTERNATIONAL ORGA-
NIZATION OF LA FRANCOPHONIE.
He worked from 1995 to 2002 as a TV
producer in Republic of Benin and Bur-
kina Faso, before joining the Embassy of
France in Nigeria as a Regional audio-
visual attach between 2002 and 2006.
He also worked as a cultural attach in
Algeria.
Pierre BARROT
chef de la coopration Audiovisuelle
Organisation internationale
de la Francophonie
Pierre est le chef de la coopration au-
diovisuelle lORGANISATION INTER-
NATIONALE DE LA FRANCOPHONIE. Il
a t producteur TV de 1995 2002 au
Bnin et au Burkina Faso, avant de re-
joindre lambassade de France au Nige-
ria comme attach audiovisuel rgional
en Algrie.
Nassima BOUDI
international business Manager
EURODATA TV WORLDWIDE FRANCE
French Nassima is a specialist in tai-
lor-made research solutions provided
to networks, production and distribution
companies, as well as any other frms
tackling TV related issues, helping to po-
sition brands and optimize TV program-
ming strategies. Her experience is a mix
of international as well as local TV mar-
kets across all continents. Graduated in
Political Sciences in International Media,
Nassima has been online media planning
at CARAT, media and political analyst for
the French Embassy in Libya, and Media
consultant and Business Manager for
MELTWATER NEWS. Her current posi-
tion as International Business Manager
for EURODATA TV WORLDWIDE en-
larges her experience of television and
broadens her overview TV trends inter-
nationally
Nassima BOUDI
responsable international
EURODATA TV WORLDWIDE FRANCE
Nassima Boudi est une spcialiste de la
recherche de solutions sur-mesure four-
nies aux chanes de tlvision, aux soci-
ts de production et de distribution, ainsi
quaux autres entreprises lies la TV,
en aidant positionner les marques et
laborer des stratgies de programmes
TV. Son exprience est au carrefour des
marchs locaux et internationaux de la
TV. Diplme en Sciences Politiques
dans les mdias internationaux, Nassi-
ma a exerc en tant que media planer au
sein de lentreprise CARAT, elle a ga-
lement t analyste mdia et politique
pour lAmbassade de France en Libye,
responsable commercial et consultante
mdia pour MELTWATER NEWS. Elle
est actuellement responsable du com-
205
merce international au sein de EURO-
DATA TV WORLDWIDE largissant son
exprience de la tlvision et sa connais-
sance des tendances TV international
Antoine CORMERY
Jounalist
ACADEMIE FRANCE 24 FRANCE
Antoine Cormery has been a journalist
at FRANCE 24 since the channel was
launched. His prior experiences include
FRANCE 2, EUROPE 1 and FRANCE
INFO, where he presented the morning
news, chaired the Debate program and
hosted the evening talk show. He cur-
rently presents Reporters, FRANCE
24s weekly program dedicated to in-
depth news coverage. A graduate of the
Centre de Formation des Journalistes de
Paris, and director of CFPJs audiovisual
department from 2003 to 2006, he has
taught courses in Belgium, Switzerland,
Mali, Tunisia, Algeria and French over-
seas departments. Antoine Cormery also
currently lectures at Sciences Pos school
of journalism.
Antoine CORMERY
Jounaliste
ACADEMIE FRANCE 24 FRANCE
Antoine Cormery est journaliste
FRANCE 24 depuis le lancement de la
chane. Ses expriences antrieures
incluent FRANCE 2, EUROPE 1 et
FRANCE INFO o il prsentait le journal
du matin, lmission de dbat et animait
le talk show du soir. FRANCE 24, il
prsente Reporters, un programme
hebdomadaire de reportages dactualit.
Diplm du Centre de Formation des
Journalistes de Paris et Directeur du D-
partement Audiovisuel du CFPJ de 2003
2006, il a donn des cours en Belgique,
Suisse, Mali, Tunisie, Algrie et dans les
dpartements franais dOutre-Mer. Il est
galement charg dtudes lcole de
Journalisme et Sciences Politiques.
Raphal CORREA NETTO
Head of internationals
business Division
TV GLOBO BRASIL
Raphael is currently Head of Interna-
tional Business Divison at TV GLOBO,
the main tv production house/network
in Brazil. He is responsible for mana-
ging Globos worldwide content sales,
coproduction agreements, internatio-
nal channels and sports rights. He also
leads the companys efforts on the de-
velopment of new business ventures.
Raphael assumed this role in 2006
after spending 1 year based in Madrid
as an international Sales Manager for
TV GLOBO.
Raphal CORREA NETTO
responsable de la Division
internationale
TV GLOBO BRESIL
Raphal dirige la Division Interna-
tionale de TV GLOBO, la plus impor-
tante socit de production et chane
de tlvision au Brsil. Raphal est
responsable de la gestion des ventes
de contenus pour GLOBO Worldwide,
des accords de co-production, des
chanes internationales et des ventes
de droits sportifs. Il supervise gale-
ment le dveloppement de de lentre-
prise. Raphal est ce poste depuis
2006 aprs avoir t Directeur Inter-
national des Ventes pour TV GLOBO
Madrid.
Asheen DAYA
Group brand Manager
CLOVER SA (Pty) Ltd SOUTH AFRICA
Asheen is a passionate and professio-
nal marketer with extensive African and
South African experience. Looking after
the CLOVER Beverage Portfolio, he
has honed extensive above and below
the line strategic insights, coupled with
intense daily operations required of
such position within highly contested
African beverage market. His bold drive
ensured a successful launch for Tropika
within Nigeria, Botswana and Nami-
bia. His understanding of South African
future consumer trends within the pop
culture plus a required fresh approach
within the brands communication stra-
tegy resulted in Tropika being the only
brand to have successfully grown over
a fve-year period. On the back of ever-
growing sales results, Tropika has now
become one of the most anticipated
entertainment franchises. Asheen holds
a Bachelor of Commerce from the Uni-
versity of Unisa and is studying towards
his Masters in Business Administration
Asheen DAYAL
responsable des Marques
SA CLOVER (PTY)
Ltd SOUTH AFRICA
Asheen est un professionnel marketing
passionn avec une trs vaste exp-
206 207
rience de lAfrique et de lAfrique du
Sud. Cest en soccupant du portefeuille
de CLOVER Boissons quil a p affter
des stratgies pertinentes, accompa-
gnes doprations quotidiennes inten-
sives indispensables pour le march de
la boisson africaine. Sa conduite auda-
cieuse lui a garanti un franc succs lors
du lancement de la sortie de Tropika au
Nigeria, au Botswana et en Namibie. Sa
connaissance des tendances pop fu-
tures en Afrique du Sud associs une
approche jeune et nouvelle de la stra-
tgie de communication de la marque
permettent Tropika dtre la seule
marque sud africaine connatre ce
succs depuis 5 ans. A linstar des r-
sultats des ventes qui ne cessent daug-
menter, Tropika est devenue lune des
franchises de divertissement les plus
attendues. Asheen dtient un Bachelor
en commerce (Universit de Unisa) et il
prpare actuellement son MBA.
Michael DEARHAM
senior Vice President,
General Manager of the Mauritian Offce
Mike started his career in radio commu-
nications and political science. Formerly
head of the M-NET Sales and Library
Acquisition Department, Mike is a flm
industry veteran, credited with a string
of leadership positions within various
Pan-African media initiatives. In 2005
he received the prestigious Prince Claus
Award for outstanding contribution to
the growth and development of the Afri-
can flm industry. His principal mandate
at CTE OUEST is to oversee with full
authority the English Programming part
of the business, and to shape the stra-
tegic growth and development of the
Group as a whole. He also oversees all
of CTE OUEST production and copro-
duction activities. He says that CTE
OUEST offers a unique opportunity to
apply his experience toward the further
growth and development of the African
flm and television sector.
Michael DEARHAM
Vice President Directeeur Gnral
responsable du bureau Mauricien
COTE OUEST COTE DIVOIRE
Michael Dearham a commenc sa car-
rire dans la radio et les sciences poli-
tiques. Il a t prcdemment Directeur
des Ventes et du dpartement de conte-
nus de MNET. Dearham est un vtran
dans lindustrie cinmatographique,
avec plusieurs positions dans diverses
structures de mdias panafricains. En
2005 il a reu le trs prestigieux Prince
Claus Award pour sa remarquable
contribution laccroissement et au
dveloppement de lindustrie cinmato-
graphique en Afrique. Sa mission princi-
pale COTE OUEST est de superviser
mticuleusement la partie anglophone
de lentreprise et de mettre sur pied une
stratgie de dveloppement du groupe.
Il soccupe galement de toute la par-
tie production et coproduction de COTE
OUEST. Il dfnit COTE OUEST comme
une opportunit unique de mettre son ex-
prience en pratique afn damliorer lvo-
lution du flm et de la tlvision africaine.
Richard DELATE
country Program Director
JOHN HOPKINS HEALTH AND EDU-
CATION (JHHESA) SOUTH AFRICA
Prior to joining JHHESA, Richard served
as the Global HIV Prevention Adviser at
UNAIDS and has twice served as the Ad-
vocacy and Communication Advisor for
the UNAIDS Regional Support Team for
Eastern and Southern Africa. He has es-
tablished and coordinated the JournAids
network of journalists in South Africa and
worked with UNFPA to support the deve-
lopment of a population policy for South
Africa. He was responsible for organi-
zing and coordinating the UN50 cele-
brations in South Africa. As Managing
Director of JHHESA, Richard oversees
the development and implementation
of strategic communication campaigns
aimed at improving the health of South
Africans. Programs developed include
the popular drama series Intersexions,
4Play Sex Tips for Girls and the national
campaigns Brothers for Life and Scruti-
nize. Richard holds a Masters Degree in
Cultural and Media Studies from the Uni-
versity of KwaZulu-Natal, and has written
extensively on HIV prevention, strategic
communication, epidemiology and pre-
vention.
Richard DELATE
Directeur des Programmes Nationaux
JOHN HOPKINS HEALTH AND EDU-
CATION (JHHESA) AFRIQUE DU SUD
Avant de rejoindre JHHESA, Richard
Delate a t conseiller global pour la
prvention contre le SIda UNAIDS
et a galement travaill deux fois en
tant que Conseiller en Communica-
tion et Avocat de la division rgionale
de UNAIDS pour les pays dAfrique de
lOuest et ceux dAfrique du Sud. Il a
cr et coordonn le rseau de journa-
207
listes dAfrique du Sud JournAids et a
travaill en parallle avec lUNFPA afn
daider la politique des populations sud
africaines. Il a t en charge dorgani-
ser et de coordonner la fte du UN50
en Afrique du Sud. En tant que direc-
teur du JHHESA, Richard supervise le
dveloppement et la mise en uvre de
campagnes de communication strat-
giques visant amliorer la sant des
Sud Africains. Des programmes TV ont
t dvelopps avec des sries telles
que : Intersexions, 4play Sex Tips for
Girls et des campagnes nationales
comme Brothers for life et Scrutinize.
Richard Delate a obtenu un Master
en Mdiation Culturelle (Universit de
KwaZulu-Natal) et a crit sans relche
sur : la prvention du VIH, les stratgies
de communication sur lpidmiologie et
ses prventions.
Rachel Do VALLE
Executive Manager
BRAZILIAN TV PRODUCERS
ASSOCIATION BRAZIL
Rachel has been part of the Brazilian TV
Producers team since 2009, where she
currently serves as Executive Director
for BTVP (Brazilian TV Producers audio-
visual content export programming), an
international project created by the Inde-
pendent TV Producers Association (AB-
PITV) in partnership with TV Brazil, the
Brazilian Trade and Investment Promo-
tion Agency (APEX) and the Audiovisual
Secretariat of the Ministry of Culture. Ra-
chel holds a Bachelors degree in Journa-
lism and a graduate degree in Audiovi-
sual Production and Administration.
Rachel DO VALLE
responsable Excutif
ASSOCIATION DES PRODUCTEURS
TV BRESILIENS BRESIL
Rachel Do Valle fait partie de lAssocia-
tion depuis 2009 o elle occupe le poste
de Directrice Excutive pour BTVP (Bra-
zilian TV producers audiovisual content
export programming), un projet inter-
national cr par lassociation des pro-
ducteurs TV indpendants en partenariat
avec TV Brazil, lAPEX et le Secrtariat
Audiovisuel du Ministre de la Culture.
Rachel possde un Bachelor en journa-
lisme et un Master en production audio-
visuelle et administration.
Sumantra DUTTA
country Head Middle
East Africa Pakistan
STAR TV
MIDDLE EAST/AFRICA/PAKISTAN
Sumantra Dutta, more popularly known
as Sumo, has successfully built busi-
nesses and brands across his 23 year
professional career and more recently
driving the growth of STAR TV in the
Middle East. Being one of the original
members of the team that started STAR
TV in India in 1993, he has helped
shape the satellite TV business in India.
Post successes across TV & Radio in
India, Sumo moved to Dubai in 2008
to take charge of STARs International
business across Middle East, Pakistan
& Africa. Sumantra has been with STAR
for over 17 years and is a member of the
initial core team that launched the onset
of Cable & Satellite TV in India.
Sumantra DUTTA
Directeur pour le Moyen orient
Afrique et Pakistan
STAR TV MOYEN ORIENT/AFRIQUE/
PAKISTAN
Sumantra Dutta est connu plus particu-
lirement sous le nom de Sumo. Il a,
durant ses 23 ans de carrire profes-
sionnelle, su dvelopper avec succs
des entreprises et des marques. Plus
rcemment il a t trs actif dans le d-
veloppement de la chane STAR TV au
Moyen Orient. Il est lun des membres
les plus anciens de lquipe fondatrice
de STAR TV en Inde, pour laquelle il a
mis en place la TV par satellite. Aprs
beaucoup de succs la TV et la
Radio Indiennes, Sumo sest install
Dubai en 2008 afn de prendre en
charge le dveloppement international
de STAR au Moyen Orient, au Pakis-
tan et en Afrique. Cela fait maintenant
17 ans que Sumatra travaille pour
STAR.
Yasmeen ENGELBRECHT
Local Project Director
TAKALANI SESAME SOUTH AFRICA
Yasmeen Engelbrecht is a Psychologist
and Coach. She has spent ffteen years
in the feld of communications, leading
projects in the public, corporate and
media industries in the EMEA region
(Europe, Middle East and Africa). A
board member of African Development
Institute (ADI) based in New York, she
is currently the Project Director for Ta-
kalani Sesame in South Africa and the
SADC region.
208 209
Yasmeen ENGELBRECHT
Directrice de Projets Nationaux
TAKALANI SESAME
AFRIQUE DU SUD
Yasmeen ENGELBRECHT est la fois
Docteur en Psychologie et coach. Elle
a pass quinze ans dans le domaine
de la Communication, superviser
des projets dans le secteur de lindus-
trie des mdias, publics et privs pour
lEurope, le Moyen Orient et lAfrique.
Membre de lADI (African Development
Institute) bas New York, elle est ac-
tuellement la Directrice de Projet pour
Takalani Sesane en Afrique du Sud et
pour la SADC (South African Develop-
ment Community).
Hayleigh EVANS
brand Manager
THE MABONENG PRECINT
SOUTH AFRICA
Hayleigh Evans has been Brand Ma-
nager for the Maboneng Precinct in
2010. Since she joined the company,
the neighborhood has grown to include
20 developments, six of which have
been completed in the immediate area.
Hayleigh manages the press, PR and
special projects, such as Made in Ma-
boneng. She also owns the POP ART
THEATRE AND PERFORMING ARTS
CENTRE based at Main Street Life.
Hayleigh EVANS
responsable de Marques
MABONENG PRECINCT AFRIQUE
DU SUD
Hayleigh Evans est responsable de
marque au sein de Maboneng Precinct
depuis 2010. Depuis quelle a rejoint
lentreprise, le quartier sest nettement
amlior, il en rsulte 20 nouvelles
infrastructures dont 6 dj ralises.
Hayleigh soccupe galement des rela-
tions presse, des relations publiques et
des projets spcifques tels que : Made
in Maboneng. Elle est propritaire du
POP ART THEATRE AND PERFOR-
MING ARTS CENTRE situ Main
street Life.
Kof FALCONER
Manager, business Development
and strategy
MINDSET SOUTH AFRICA
Kofs extensive experience in social
development initiatives and the appli-
cation of innovative solutions for the
beneft of communities are of great
interest to MINDSET NETWORK, Afri-
cas leading educational NGO. Prior
work experiences include Londons
SMALL BUSINESS GROWTH INITIA-
TIVES, a not-for-proft organization
focused on entrepreneurship develop-
ment in the United Kingdom, and MIL-
LICOM INTERNATIONAL CELLULAR,
a multinational mobile phone company
in Ghana. Kof holds a Bachelor of Arts
degree with honors in Law and Socio-
logy from Kwame Nkrumah University
of Science and Technology in Ghana,
as well as an MBA from the University
of Leicester, in the United Kingdom.
Kof FALCONER
responsable du Dveloppement et
de la stratgie
MINDSET AFRIQUE DU SUD
La grande exprience de Kof dans les
initiatives de dveloppement social et
lapplication de solutions innovantes
aux bnfces des communauts,
sont dun grand intrt pour MINDSET
NETWORK, le leader de lducation
en Afrique. Kof a notamment travaill
pour : le SMALL BUSINESS GROWTH
INITIATIVES Londres, une organi-
sation but non lucratif centre sur le
dveloppement de lentreprenariat au
Royaume Uni, et MILICOM INTERNA-
TIONAL CELLULAR, une multinatio-
nale de tlphonie mobile au Ghana.
Kof dtient un Bachelor en Arts avec
les honneurs en droit et sociologie,
(Universit de Science et Technologie
Kwame Nkrumah au Ghana). Il a ga-
lement un MBA (Universit de Leices-
ter du Royaume Uni).
Djamil FAYE
Adviser
ANOCA (ASSOCIATION OF NATIO-
NAL OLYMPIC COMMITTEES OF
AFRICA)
Djamil is the leading sports administra-
tor in Africa. He has initiated the annual
Africa International Sports Convention
(CISA), whose 6th edition took place
in Mali in 2012. Since 1993 he has
had extensive experience within the
Olympic movement. After contributing
to bring back Cambodia to the Atlanta
1996 Summer Olympics, he worked
as a Manager for the organizing com-
mittees for Sydney 2000 and Athens
2004 Summer Games. He also served
as Senior Expert for the Beijing 2008
209
Summer Olympics, and the Singapore
2010 Youth Olympic Games. Djamil
also counts, amongst other internatio-
nal projects, the New York bid for the
2012 Olympic Games, the Sochi bid for
the Winter Olympics Games in 2014,
and the Abuja bid to host the Com-
monwealth Games in 2014, project for
which he coordinated the planning and
the production of the Technical bid fle.
Currently an Adviser to the Association
of National Olympic Committees of Afri-
ca (ANOCA) and the owner and Pre-
sident of a frst division Football Team
in Senegal, Diamil has initiated several
other major projects in Africa such as
the Africa Sports Hall of Fame, the an-
nual JAPPO Awards, the Africa Sports
Directory and an important children
Sports and Education program in Se-
negal (CISA KIDS).
Djamil FAYE
conseiller
ANOCA (ASSOCIATION OF NATIO-
NAL OLYMPIC COMITEE OF AFRICA)
Djamil Faye est le leader dans ladmi-
nistration sportive en Afrique. Il a ini-
ti la Convention annuelle des sports
internationaux en Afrique (CISA) dont
la 6me dition sest tenue au Mali
en 2012. Depuis 1993 il a acquis une
exprience considrable dans le milieu
Olympique. Aprs avoir contribu a
la venue du Cambodge lors des Jeux
Olympiques dAtlanta en 1996, il a t
nomm responsable auprs du comit
dorganisation aux jeux de Sydney en
2000 et ceux dAthnes lt 2004. Il a
galement servi dexpert senior durant
les Jeux Olympiques dt de Beijing
en 2008 et Singapour en 2010 lors
des Jeux Olympiques de la jeunesse.
Parmi les autres projets de Djamil : une
offre de New York pour les J.O de 2012,
une offre de Sochi pour les J.O dhiver
de 2014 et loffre dAbudja pour ac-
cueillir les Jeux du Commonwealth de
2014 pour lesquels il devra coordonner
le planning et la production doffre de
documents techniques. Actuellement,
Djamil Faye est conseiller dans le cadre
de lassociation du Comit Olympique
National dAfrique (ANOCA), il est ga-
lement propritaire et PDG de la pre-
mire quipe de football sngalaise
dans le classement du championnat de
premire division du Sngal. Djamil a
galement t lorigine de beaucoup
de projets majeurs en Afrique, tels que:
le Africa Sports Hall of Fame, les JAP-
PO awards, lAfrica Sport directory
et un important programme ducatif et
sportif au Sngal (CISA KIDS).
Daniel FURNAD
coo A24 MEDiA
Executive Producer,
AFRICA JOURNAL KENYA
Daniel began his journalistic career
in 1985 at CNN, where he covered
various stories such as the 1991 Gulf
war, the OJ Simpson trial, the fall of
the Berlin wall, and the 1988 and 1992
US Presidential elections. He went on
to join ASSOCIATED PRESS TELEVI-
SION in 1994 as Deputy Editor for Asia,
running the entire region. Notable sto-
ries he covered: the fall of the Suharto
regime in Indonesia, East Timors Inde-
pendence, the 2000 Sydney Olympics,
the 2001 Afghan war, the end of the
monarchy in Nepal and the 2005 Indian
Ocean tsunami. Later Daniel was the
Head of Intake at ABU DHABI TELEVI-
SION before moving to Africa. At A24
MEDIA, he spearheads major produc-
tions such as the 20 documentaries for
the CCTV NEWS FACES OF AFRICA
series. Daniel is currently working on
ideas for new programs that aimed at
furthering the A24 MEDIA mission of
showcasing the best of this continent.
Daniel FURNAD
Directeur des oprations
A24 MEDIA AFRICA JOURNAL KENYA
Daniel a dbut sa carrire de journa-
liste en 1985 CNN, o il couvrait dif-
frents vnements tels que la Guerre
du Golfe de 1991, le procs dO.J
Simpson, la Chute du mur de Berlin,
et les lections prsidentielles am-
ricaines de 1988 et 1992. Il a ensuite
rejoint ASSOCIATED PRESS TELEVI-
SION en 1994, comme rdacteur en
chef adjoint, pour couvrir toute la zone
Asie. Les remarquables histoires quil a
couvertes : la chute du rgime Suharto
en Indonsie, lindpendance du Timor
Oriental, les JO de Sydney en 2000, la
Guerre dAfghanistan en 2001, la fn de
la monarchie au Npal et le Tsunami de
lOcan Indien en 2005. Plus tard, Da-
niel a t Directeur des Programmes
dABU DHABI TELEVISION, avant de
partir en Afrique. Au sein dA24 ME-
DIA, il est le fer de lance dimportantes
productions telles que 20 documen-
taires pour les sries de CCTV NEWS
FACES OF AFRICA. Daniel dveloppe
actuellement des programmes destins
promouvoir le continent africain dans
le cadre de la mission de FRANCE
24. Daniel travaille galement sur des
ides de nouveaux programmes visant
promouvoir le meilleur du continent
africain travers la mission dA24 ME-
DIA.
210 211
Ashraf GARDA
Journalist TV
SABC SOUTH AFRICA
Ashraf Garda is the host of Special
Assignment, the investigative journa-
lism TV show on SABC 3. He is also
the host of the sunday morning show,
Media@safm, the signature media and
marketing show on national radio in
South Africa and the daily talk show
host on Afternoon Talk, on SAfm. Pre-
viously he was the morning sports
anchor on SAfm, also serving as the
2010 World Cup analyst for CNN, Al
Jazeera and CBC TV Canada. Ashraf
received the Turquoise Harmony Insti-
tute Media Award in March 2012, and
the awards for Best Day Time Show
and Best Night Time Presenter at the
MTN Radio Awards in April 2012. He
was a facilitator at the National Cohe-
sion Summit, the Discovery Health
Journalism Awards, the African Expe-
riential Marketing Summit, the Topco
Business Awards, the annual Albert Lu-
thuli Foundation lecture, and the Awqaf
Foundation Banquet. Ashraf has also
been a judge of the Virgin Active Sport
Industry Awards, the Prism awards and
the Advantage AdMag Awards.
Ashraf GARDA
Journaliste TV
SABC SOUTH AFRICA
Ashraf Garda est lanimateur vedette
de lmission dinvestigation de SABC
3. Le dimanche matin, il prsente Me-
dia@safm show sur la radio nationale
dAfrique du Sud. Il est lanimateur du
show Afternoon Talk sur SAfm. Il
a t galement le journaliste spor-
tif dune mission matinale de sport
sur SAfm, chroniqueur pour CNN, Al
Jazeera et CBC TV Canada lors de la
Coupe du Monde 2010. Ashraf a reu
le Turquoise Harmony Institute Media
Award en mars 2012, et le prix de la
meilleure mission diffuse en jour-
ne et celui du meilleur prsentateur
en prime-time pour MTN Radio en avril
2012. Il a t animateur au sommet de
la Cohsion National, et le Matre de
Crmonie du PR industrys PRISM
Awards, du prix de Dcouverte du re-
portage sur la sant, des Prix dentre-
prise TOPCO, et de la soire pour la
Fondation Awqat. Ashraf a aussi t
juge, pour la remise des prix de la So-
cit Virgin Active Sport, pour le Prism
Awards et lAdvantage AdMag Awards.
Michael GOLDMAN
senior Lecturer
GORDON INSTITUTE OF BUSINESS
SCIENCE SOUTH AFRICA
Michael Goldman is a full-time Senior
Lecturer at the University of Pretorias
Gordon Institute of Business Science
in Johannesburg. He lectures, re-
searches and consults in the area of
Marketing, including topics such as
Marketing Strategy & Management,
Customer Centricity and Strategy, and
Sports & Arts Marketing and Spon-
sorship. Since 2005 Michael has desi-
gned, delivered and assessed post-
graduate management courses on a
number of academic and executive
programmes, to managers from a wide
range of companies, including PEP-
SICO, SABMILLER, STANDARD Bank,
BARCLAYS and COMAIR. Since 2009,
Michael has also held the appointment
as Adjunct Faculty with the Strathmore
Business School in Kenya. Michael is a
regular commentator on marketing-re-
lated issues in the popular press and
media, including CNBC Africa, Talk Ra-
dio 702, SABC, the Sunday Times, Bu-
siness Report, . As part of this role at
GIBS, he hosts the Business of Sport
podcast series with Moneyweb. Mi-
chael joined the Gordon Institute of Bu-
siness Science in early 2000 to launch
the GIBS Forum and Executive Confe-
rences until transitioning across to an
academic role. Prior to joining GIBS,
Michael served as National President
of AIESEC in South Africa, the worlds
largest student-run leadership and de-
velopment organisation.
Michael GOLDMAN
Matre de confrences
GORDON INSTITUTE OF BUSINESS
SCIENCE AFRIQUE DU SUD
Michael est Maitre de confrences
la Pretoria Gordon Institute of Business
Science Johannesburg. Il donne des
confrences, fait des recherches et du
consulting sur les stratgies de marke-
ting et de management, les stratgies
clients, les sports et le marketing et le
sponsoring. Depuis 2005, Michael a
conu des programmes de manage-
ment postuniversitaires dans un cer-
tain nombre dacadmies, pour les diri-
geants de diverses entreprises telles
que PEPSICO, SABMILLER, STAN-
DARD Bank, BARCLAYS et COMAIR.
Depuis 2009, Michael a galement oc-
cup le poste de professeur auxiliaire
la Strathmore Business School au
Kenya. Michael est un commentateur
rgulier sur les questions de marketing
dans les mdias comme; CNBC Afri-
ca, Talk Radio 702, SABC, The
Sunday Times, Business Report,
Au sein du GIBS, il prsente des pod-
casts sur lindustrie du sport, avec
Moneyweb. Michael a rejoint le Gordon
Institute of Business Science en 2000
pour lancer le Forum GIBS avant doc-
cuper un poste acadmique. Michael
a prsid lAIESEC en Afrique du Sud,
la plus grande organisation universi-
taire dans le monde consacre au ma-
nagement.
211
Corne GULDENPFENNIG
cEo
SAFACT
(SOUTHERN AFRICAN FEDERA-
TION AGAINST COPYRIGHT THEFT)
SOUTH AFRICA
Corne holds college degrees in Com-
mercial and Intellectual Property
Rights, and is an admitted attorney
and notary public in South Africa. For
16 years, South African-born Core has
been involved in all enforcement and
legal aspects pertaining to intellec-
tual property right infringements and
enforcement of various commodities,
including the entertainment and inte-
ractive games industries. She has held
various executive positions at SAFACT
and has served as the Legal Counsel
and Anti-Piracy Manager at STER-KI-
NEKOR (Pty), a division of PRIMEDIA,
since 2003.
Corne GULDENPFENNIG
PDG
SAFACT (SOUTHERN AFRICAN
FEDERATION AGAINST COPYRIGHT
THEFT) AFRIQUE DU SUD
Avocate et notaire en Afrique du Sud,
Corne est titulaire dun diplme uni-
versitaire en droit de proprits com-
merciales et intellectuelles. Depuis 16
ans, Corne, dorigine sud-africaine, a
t implique dans tous les aspects r-
pressifs et juridiques relatifs aux droits
de proprits intellectuelles y compris
dans les industries de divertissement
et jeux interactifs. Elle a occup divers
postes de direction chez SAFACT et a
t conseillre juridique et responsable
anti-piratage chez STER-KINEKOR
(Pty), une division de PRIMEDIA de-
puis 2003.
Richard JOFFO
President
AUDIVISUAL ACADEMY IN PARIS
FRANCE
Bringing his extensive knowledge in
writing, journalism, political communi-
cation, media and television, Richard
developed the Africa French Speaking
countries TV Action Plan for Competi-
vity, with the support of French Ministry
of Culture. He also advised many
Heads of broadcasting companies in
France and abroad, such as public
SFP and private DIRECT 8. He created
many TV programs, and launched me-
dia networks in Africa French-speaking
countries. As the President of AUDIO-
VISUAL ACADEMY IN PARIS, Richard
coaches and provides team of journa-
lists and producers for many French
and foreign TV channels
Richard JOFFO
Prsident
ACADEMIE AUDIOVISUELLE
A PARIS FRANCE
Richard Joffo, crivain et journaliste,
spcialiste en communication (no-
tamment politique), en mdias et en
tlvision, a cr le PLAN DACTION
COMPTITIVIT POUR LES TLVI-
SIONS DES PAYS DAFRIQUE FRAN-
COPHONE (Sous le haut patronage
du Ministre de la Culture - France). Il
fut entre autres, conseiller de Philippe
Guilhaume, Prsident de la SFP, puis
de Vincent Bollor pendant la cra-
tion et le dmarrage de DIRECT 8. Il
a produit de nombreuses missions de
tlvision et a lanc des chanes de
tlvision en Afrique francophone.. Il
est Prsident de lACADEMIE AUDIO-
VISUELLE (Paris) qui forme des jour-
nalistes audiovisuels et des program-
mateurs pour nombre de tlvisions
franaises et internationales.
Nolan JONATHAN
Music Producer, Entrepreneur
REAL MENACE ENTERTAINMENT
SOUTH AFRICA
Nolan is a South African musician and
composer, well known as the winner
and South Africas newest Millionaire
of the fourth season of reality TV game
show Tropika Island Of Treasure, in
2012. Jonathan currently owns and
runs REAL MENACE ENTERTAIN-
MENT, a music production company,
which has produced works for nume-
rous South African artists and televi-
sion shows. Involved in music since
childhood, Jonathan envisions creating
a music academy for underprivileged
children, providing musical and acade-
mic education and training at no fnan-
cial cost to the student or his/her family.
212 213
Nolan JONATHAN
Producteur de Musique,
Entrepreneur
AFRIQUE DU SUD
Nolan est un musicien et compositeur
sud-africain, connu comme vainqueur
(et le plus rcent millionnaire sud-afri-
cain) de la quatrime saison de lmis-
sion de Tv-ralit: Tropika Island Of
Treasure, en 2012. Jonathan possde
et gre actuellement REAL MENACE
ENTERTAINMENT, une socit de
production musicale, qui a produit des
uvres de nombreux artistes sud-afri-
cains et des missions de tlvision.
Engag dans la musique depuis son
enfance, Jonathan envisage la cra-
tion dune acadmie de musique pour
les enfants dfavoriss, assurant du-
cation et formation musicale sans cot
fnancier pour ltudiant ou sa famille.
Craig JOHNSON
Managing Director Media south Africa
NIELSEN WATCH BUSINESS
With more than 20 years experience
in the commercial television industry,
Craig has spent the last 15 years fo-
cused on television audience research.
Prior to May 2006 when Craig joined
corporate support for AGB NIELSEN
MEDIA RESEARCH in Switzerland
as Marketing Director, Craig was Re-
search Director for the Nine Network
Australia. In February 2009 Craig was
promoted to the position of Managing
Director of Nielsen Audience Measu-
rement Turkey. In April 2012 he com-
menced as Managing Director of the
Yvonne KGAME
Executive Manager,
innovation and Editorial
SABC SOUTH AFRICA
Yvonne has 28 years experience as a
leader and senior executive in local and
international print publishing and public
broadcasting at the South African Broad-
casting Corporation (SABC). A teacher,
chief examiner, mentor, inspirational
speaker and researcher, she currently
serves as SABCs Executive Mana-
ger, Innovation & Editorial. During the
period South Africa transitioned to demo-
cracy, Yvonne provided insightful lea-
dership in educational broadcasting. She
and her team have led the development
of strategic partnerships resulting in a
Nielsen Watch business South Africa.
Craig JOHNSON
Directeur Gnral des Mdias pour
lAfrique du Sud
NIELSEN WATCH BUSINESS
Avec plus de 20 annes dexprience
dans lindustrie audiovisuelle, Craig
a consacr les 15 dernires annes
sur les tudes daudiences TV. Pr-
cdemment, Craig a t Directeur
Marketing pour AGB NIELSEN MEDIA
RESEARCH en Suisse, et Directeur
de Recherche pour Nine Network en
Australie. En fvrier 2009 Craig a t
promu au poste de Directeur Gnral
de Nielsen Audience Mesurement en
Turquie. En Avril 2012, il a dbut en
tant que Directeur Gnral de lentre-
prise Nielsen Watch en Afrique du Sud.
number of co-productions. They have
been recognized with 150 international
and local awards, such as the Peabody
Award, the CBA Broadcasting Award for
Outstanding Childrens programs, and
four Awards in Italy including the Grand
Jury Prize. In her current role as Execu-
tive Manager, Yvonne aims to inspire the
innovation and enthuse the co-creation
of frst-class groundbreaking, globally
competitive, cost effective content which
expresses, refects, celebrates and af-
frms South Africas history, heritage, va-
lues, identities, cultures, languages and
aspirations, bringing SABC to tell African
stories in a synergistic and integrated
manner.
Yvonne KGAME
Directrice Excutive de lInnovation
et de lEditorial
SABC AFRIQUE DU SUD
Yvonne a 28 ans dexprience en tant
que chef de fle et cadre suprieur dans
la presse nationale et internationale,
la radio et la tlvision publiques, la
South African Broadcasting Corporation
(SABC). Yvonne est professeur et ins-
pectrice, et elle est une confrencire
et une chercheuse de talent. Au sein
de SABC, elle dirige les secteurs de
lInnovation et de lditorial. Durant la
priode de transition vers la dmocra-
tie en Afrique du Sud, Yvonne a apport
une vision plus que perspicace de la dif-
fusion ducative dans le domaine des
programmes ducatifs tlviss. Avec
son quipe elle a men des partena-
riats stratgiques qui ont donn lieu un
grand nombre de co-productions rcom-
penses par 150 Prix au niveau national
et international. En tant que Directrice
Excutive la SABC, Yvonne cherche
favoriser linnovation et la cration plu-
sieurs avec des ides avant-gardistes et
comptitives, peu chres et qui reftent
et clbrent lhistoire de lAfrique du Sud,
de son hritage, de ses valeurs, de son
identit, de ses cultures, de ses langues
et de ses aspirations.
213
George KIMANI
business Development Director
CDD AFRICA KENYA
As co-founder and Business Develop-
ment Director for CDD AFRICA, George
has offered content strategy, as well as
audience and revenue generation advice
to various TV stations in Africa. George
has 12 years of experience in the Ke-
nyan and East African TV industry, in the
area of sales and marketing, broadcast
consultancy, revenue streams and deve-
lopment. He also partners with internatio-
nal content producers in order to select
the best content solutions for African
broadcasters. George says digital migra-
tion is a unique opportunity for African
broadcasters, as soon as they are able
to align their marketing, scheduling, pro-
moting and content strategies altogether.
George KIMANI
Directeur Dveloppement commercial
CDD AFRICA KENYA
En tant que Co-fondateur et directeur
du dveloppement commercial de CDD
AFRICA George a conseill plusieurs
chanes de tlvision africaines sur leur
politique de contenus, ainsi que sur les
mesures daudience et le dveloppe-
ment de chiffres daffaires. Il est aussi
partenaire de producteurs de programme
TV ce qui lui permet de slectionner les
meilleurs programmes pour les diffuseurs
africains. Georges croit au passage au
digital. Pour lui cest une opportunit
unique pour les diffuseurs africains ds
quils seront capables daligner marke-
ting/planification/promotion/stratgie
commerciale.
Grazyna KOSCIELSKA
Director
STIMULII LICENSING LTD AND
STIMULII MEDIA (PTY) LTD SOUTH
AFRICA
Grazyna is a television executive pro-
ducer and format co-creator, currently
producing Tropika Island Of Treasure,
for the South African market. In the
entertainment industry she specializes
in the commercialization of content;
from serving as a licensing represen-
tative and local custodian of Hollywood
blockbusters from the likes of Dream-
Works, Nickelodeon and Paramount,
to implementing the frst ever paid-for
product placement for the South Afri-
can national broadcaster. Evolving the
paid-for product placement platform,
she has been instrumental in creating
a successful Advertiser Funded Pro-
gramme (AFP) model for the South
African market, which she is currently
adapting for international television:
Grazyna currently has two unique reali-
ty TV concepts, with proof of concept,
in the market, and is developing more.
Grazyna KOLSCIELSKA
Directrice
STIMULII LICENSING LTD AND STI-
MULII MEDIA (PTY) LTD AFRIQUE DU
SUD
Grazyna est co-cratrice et produc-
trice excutive de programme TV et de
formats. Elle produit Tropika Island Of
Treasure pour le march sud africain.
Dans le divertissement, elle est spcia-
lise dans la vente de contenus. De la
conception de licences pour flms hol-
lywoodiens gros budget en passant
par les grandes maisons de production
comme Dreamworks, Nickelodeon et
Paramount, Grazyna met tout en uvre
pour trouver des fnancements pour le
placement-produit destin aux diffu-
seurs nationaux dAfrique du Sud. En
dveloppant une plateforme payante
de placement de produit, elle a russi
crer un programme dinvestissement
pour publicitaires (AFP), vritable atout
pour le march sud africain et adapt
la tlvision internationale. Grazyna
a dailleurs dvelopp deux concepts
indits de tl ralit ayant fait leurs
preuves et a dautres projets en dve-
loppement.
Ramanou KOUFERIDJI
PDG
S.A AFRICONCEPT BROADCAST
TELECOM,AFRICONCEPT BROAD-
CAST TELECOM
Ramanou is an active company in the
audio visual domain and in the technolo-
gies of information and communication.
The company owns a radio station and
a privatized TV channel. (Radio Afrique
Espoir F.M and Imanl Africa Tlvi-
sion respectively, who won an African
Information Society Initiative award
in 2003). Because it promotes joint
ventures between the public and pri-
vate sector in order to develop the
media industry in Africa, Ramadou is
a member of a number of regional and
international institutions. (NEPAD BU-
SINESS GROUP-BENIN,African Media
Leaders Forum, AMLF Tunis 2011, Pri-
vate Sector Forum for the Technologies
of Information and Communication, In-
ternational Academy of Television, NE-
PAD BUSINESS GROUP-WEST AFRI-
CA). Ramadou is 100% committed to
214 215
the development and promotion of the
audiovisual industry and of the future
of African television. It is actually orga-
nizing the 1st international forum on
African Television in 2013. Ramanou
has an advanced studies diploma in
marketing and management, a master
in engineering and cost control, and is
an accredited auditor from the Center
of Diplomatic and Strategic Studies in
Dakar.
Ramanou KOUFERIDJI
PDG
S.A AFRICONCEPT BROADCAST
TELECOM AFRICONCEPT
BROADCAST TELECOM
Ramanou exerce des activits dans
le domaine des TIC et des Tl-
coms, de laudiovisuel, de ling-
nierie de linformation et de conseil.
Lentreprise possde une chane de
radio et une chane de tlvision pri-
ves commerciales: Radio Afrique
Espoir F.M et Imanl Africa Tlvi-
sion (prix AISI 2003). Du fait de son
engagement panafricain pour le dve-
loppement de lindustrie des mdias et
pour la promotion du partenariat public-
priv, Ramadou est membre et anime
un grand nombre dorganisations et
dinstitutions rgionales, panafricaines
et internationales (NEPAD BUSINESS
GROUP-BENIN, African Media Lea-
ders Forum, AMLF Tunis 2011, Forum
du Secteur Priv pour les TIC, Interna-
tional Academy of Television, NEPAD
BUSINESS GROUP-WEST AFRICA).
Ramadou est engag 100% dans la
promotion de lindustrie audiovisuelle
et de la tlvision africaine du futur.
Il prpare actuellement le 1er Forum
International sur la Tlvision Africaine
de 2013. Ramanou a un Diplme de
3me Cycle en Marketing et Manage-
ment, un DESS en Ingnierie et Ges-
tion des Systmes de Formation, et il
est Auditeur diplm du CEDS (Centre
dEtude Diplomatique et Stratgique,
Dakar).
Hussein KURJI
Producer
XEINIUM KENYA
Kenyan-born Kurji is the co-founder
and producer at a XEINIUM Produc-
tions, a young digital media house in
Kenya. XEINIUM provides digital me-
dia services to a broad range of clients.
The core products on offer are 3D/2D
Animation, Motion Graphics, Film/
Video and Interactive Media Design.
The company has worked with NGOs,
public and private sector companies
such as Advertising Agencies, Brand
Specialists, Production Companies to
name a few. Most recently XEINIUM
has focused its attention to TV and
Film production, aiming to harness the
best of the African narrative and tells.
The Samaritans is currently in develop-
ment phase with several other TV and
Film narratives aimed to produce in the
coming months and years. Along with
live-action shoots, XEINIUM is embar-
king on an ambitious TV series in the
form of 2D/3D Animation with The
Druids Watch an epic tale.
Hussein KURJI
Producteur
XEINIUM KENYA
Hussein Kurji est n au Kenya. Il est
le co-fondateur et producteur Xei-
nium productions, une jeune entreprise
de mdia numrique base au Kenya.
Xeinium est un fournisseur de supports
numriques un large panel de clients.
Les produits principaux de lentreprise
sont les animations 3D/2D, graphic
motion, flm vidos et support design
interactif. Lentreprise a dj travaill
avec des ONG et des entreprises du
secteur public et priv telles que : des
agences de publicits, des spcialistes
de marques et des maisons de produc-
tion Mais plus rcemment, XEINUM
a concentr son attention sur la pro-
duction audiovisuelle, visant ainsi ex-
ploiter les meilleurs scnarios africains.
The Samaritans est actuellement en
criture en mme temps que dautres
flms et sries, comme The Druids
Watch, un flm fantastique danimation
en 2D/3D.
Barry LAMBERT
co-founder
SETANTA AFRICA SOUTH AFRICA
With over 40 years of TV and radio
experience in the UK and Africa, Barry
Lambert entered into a joint venture
with SETANTA SPORTS in 2007 to form
a 24/7 AFRICAN SPORT NETWORK.
As an award winning sports presenter
for radio and TV, Lambert also foun-
ded the frst truly independent radio
station in Africa, CAPITAL RADIO in
South Africa. At SABC he negotiated
and presented World Cup Italia 90, the
frst time the FIFA event was aired in
Africa. Lambert was also a member of
the management team that created SU-
PERTSPORT and negotiated all their
sports content. Later with CSI, now
Octagon, he negotiated representation
deals with numerous African rugby and
cricket teams and created the weekly
World of Rugby show for the IRB. He
was also co-founder of TV AFRICA and
LIM AFRICA, for whom he negotiated,
planned and produced major sporting
events and created local sports pro-
gramming.
215
Barry LAMBERT
co-fondateur
SETANTA AFRICA AFRIQUE DU SUD
Fort de plus 40 ans dexprience dans
la TV et la radio, au R.U et en Afrique,
Barry Lambert sest associ SETAN-
TA SPORTS en 2007, pour crer 24/7
African Sports Network. Prsentateur
sportif radio et TV prim, Barry Lam-
bert a galement cr la premire
vraie station de radio indpendante
dAfrique, CAPITAL RADIO en Afrique
du Sud. Il a russi ngocier avec la
FIFA, pour la premire fois en Afrique,
les droits de diffusion de la Coupe du
Monde de Football dItalie 1990, quil
a prsent, pour la SABC. Lambert a
galement fait partie de lquipe lori-
gine de la cration de SUPERSPORT
et de ses programmes. Plus tard avec
CSI, devenu OCTAGON, il a ngoci
les droits avec les quipes de rugby et
de cricket africaines ; il a cr la Se-
maine du Monde du Rugby pour IRB. Il
est aussi le co-fondateur de TV AFRI-
CA et de LIM AFRICA pour lesquels il
a ngoci les contrats, planif et pro-
duit la majeure partie des vnements
sportifs et cr un programme local de
sport.
Lila LOKMANE
co-founder
EUROPA DUBBING GROUP FRANCE
With college degrees in business and
communication, international marke-
ting and e-business, Lila is the co-foun-
der of Paris-Brussels-Geneva and Ca-
sablanca-based successful EUROPA
DUBBING GROUP. Created less than
ten years ago and with 55 collabora-
tors as of today, EUROPA DUBBING
GROUP has been growing into one of
the dubbing industry leaders in Europe,
Middle East and Africa countries.
Lila LOKMANE
co-fondatrice
GROUPE EUROPA DUBBING
FRANCE
Avec des diplmes en business et
communication, en marketing interna-
tional et e-business, Lila Lokmane est
la co-fondatrice du GROUPE EUROPA
DUBBING, situ Paris, Bruxelles, Ge-
nve et Casablanca. Le groupe a t
cr il y a moins de 15 ans et possde
aujourdhui 55 collaborateurs. EURO-
PA DUBBING na cess de crotre et
est devenu leader dans lindustrie du
doublage en Europe, au Moyen Orient
et en Afrique.
Hans-Christian MAHNKE
founder and Director
Namibian section
AFRICAVENIR WINDOHOEK,
NAMIBIA
Nami bi an-based,German-Ameri can
born cineaste Mahnke is a leading voice
in the preservations and development
of the Pan-African flm industry. As the
founder and head of the Namibian Sec-
tion of ARICAVENIR WINDHOEK and
of the German section of AFRICAVE-
NIR, an NGO originating from Came-
roon whose mission is to support the
drive of African flm renaissance. Mah-
nke manages African Perspectives, a
monthly flm series in Germany, and
he has screened good quality African
movies in Windhoek, Namibia, creating
a general movie culture and engaging
the Namibian audience in a pan-African
approach. With visits of African flmma-
kers from all over Africa, Mahnke suc-
ceeded in fostering regional integration
of national flm industries, creating offs-
pring projects, linking artists and indus-
try, and promoting projects across na-
tional borders. Mahnke co-created the
NAMIBIAN MOVIE COLLECTION, to
store, showcase, promote and distribute
Namibian flms in and outside Namibia.
He is hoping for other countries to fol-
low suit and preserve their flm heritage.
Mahnke served on juries in Windhoek,
Harare, Ismailia, & Cape Winelands
and recently attended the Durban Talent
Campus 2012 as invited expert.
Hans-Christian MAHNKE
fondatrice et directeur
de la division Namibie
AFRICAVENIR WINDOHOEK,
NAMIBIE
Install en Namibie, le cinaste ger-
mano-amricain Hans Manhke est
le porte parole de la prservation et
du dveloppent de lindustrie du flm
panafricain. Il est fondateur et PDG
de la Division namibienne dAFRICA-
VENIR WINDHOEK et de la division
allemande dAFRICAVENIR une ONG
originaire du Cameroun dont la mis-
sion est daider remettre sur pied la
renaissance du flm africain. Mahnke
soccupe dAfrican Perspectives, une
srie allemande, il diffuse des flms
africains de bonne qualit Windhoek,
en Namibie, ce qui a permis de crer
une culture gnrale du flm et douvrir
le public namibien au cinma pana-
fricain. Avec la visite des ralisateurs
africains venus de tout le continent,
Mahnke a russi dvelopper lindus-
trie du flm, en crant des mini projets
et promouvoir des projets au del des
frontires. Mahnke a co-cr la NAMI-
BIAN MOVIE COLLECTION, pour stoc-
ker, promouvoir et distribuer des flms
namibiens ltranger. Hans espre
que les autres pays vont persvrer et
prserver leur hritage flmographique.
216 217
Il est jury pour Windhoek, Harare, Is-
mailia et Cape Winelands et il a rcem-
ment assist au Campus de Talent du
Durban 2012 en tant quexpert.
Pontsho MAKHETA
Acting General Manager
SABC EDUCATION SOUTH AFRICA
Makhetha is an educator at heart with
a passion for media. She received her
Junior Secondary Teachers Diploma in
1973, a BA in Sesotho and Education
from UNISA, an MDP certifcate from
the University of the Free State. She
has also studied African Media Issues
at Rhodes University, and New Media
Platforms at the Witwatersrand School
of Business. In 1986, Ms. Makhetha
started her career at SABC as an on-air
presenter on LESEDI FM (Radio Seso-
tho at the time), and as a producer and
translator of Women and Educational
programs. In 2004, she joined SABC
EDUCATION as an Editor, heading the
biggest unit - Adult and Public Educa-
tion - which commissions and executes
educational media projects that reach
the public via TV, radio, new media and
community engagement platforms. As
the Acting General Manager of SABC
EDUCATION, Makheta weekly over-
sees the production of 10 hours of edu-
cational TV content, and over 300 mi-
nutes per station of Educational radio
content on 11 PBS stations in addition
to producing content for digital media
platforms and community outreach ac-
tivities. Makhetha currently serves as
a board member of PANSALB, EWET
and AFRICOMNET.
Pontsho MAKHETA
Directrice Gnrale
SABC EDUCATION AFRIQUE DU SUD
Makheta est enseignante au plus pro-
fond delle-mme avec une grande
passion pour laudiovisuel. Elle a reu
lquivalent du CAPES en 1973, un
baccalaurat de langue Sesotho et
dducation lUNISA, et un MDP de
lUniversit de lEtat Libre. Elle a ga-
lement tudi les mdias africains et
leurs problmatiques lUniversit de
Rhodes et les plateformes de nouveaux
mdias lcole de commerce de Wit-
waterstand. Makheta a commenc sa
carrire la SABC en 1986 en tant que
prsentatrice radio sur LEDISI FM (ra-
dio Sesotho lpoque), et en tant que
productrice et traductrice pour les pro-
grammes ducatifs pour femmes. En
2004, elle rejoint SABC EDUCATION
au poste de monteuse puis a rejoint la
plus grande unit de lentreprise ldu-
cation des adultes et des enfants qui
commande et ralise des programmes
ducatif la porte du public via la TV,
radio, nouveaux mdias et plateformes
communautaires. En tant que directrice
gnrale, Makheta supervise chaque
semaine la production dun programme
TV ducatif de 10 heures et plus de
300 minutes de programmes ducatifs
par station de radio, en plus de pro-
duire des plateformes de programmes
numriques et de programme de proxi-
mit. Makheta est membre du conseil
dadministration de PANSALB, EWET
et AFRICOMNET
Macenje Che Che MAZOKA
Head funding and Partnerships
SABC SOUTH AFRICA
Prior to her arrival at the SABC, Che
Che worked for WNET-New York (PBS)
the fagship public broadcasting station
in New York City. WNET provides the
U.S. PBS network with approximately
40% of its content. Che Che worked
the areas of Fundraising, Education,
Stakeholder Management, TV Produc-
tion and as a presenter during her 11-
year tenure. Parallel to these activities,
she also served as adjunct lecturer at
The New School University, teaching
graduate-level courses in the area of
Media Literacy and Media Ethics. As
the Head of Funding and Partnerships
for the South African Broadcasting Cor-
poration (SABC) since 2006, she has
secured non-commercial funding to
offset production costs from domestic,
international foundations/corporations
and/or government departments, in
addition to executing other cost-sa-
ving efforts, such as trade exchanges
and negotiating strategic partnerships
for the content houses and platforms.
Che Che holds a B.A. in Broadcast
Journalism from Howard University in
Washington DC, and a Masters in Me-
dia Management from New York Citys,
New School University.
Macenje Che Che MAZOKA
responsable des financements
et Partenariats
SABC AFRIQUE DU SUD
Avant son arrive la SABC, Che Che
a travaill pour WNET New York, le
sige de la station. WNET fournit
peu prs 40% des contenus au rseau
amricain PBS. Che Che a travaill
dans les domaines de la collecte de
fonds, de lducation, de lactionna-
217
Farid MERABET
Head of commercial Distribution Au-
dio and Video contents
AFRIKA.COM GROUP
Ten years of professional activity at
the crossroads between Culture,Music,
Production and the Media and Tele-
coms business have given Farid strong
skills in the felds of artistic production
(conception and implementation of a
cultural project), communication (deve-
lopment of a multimedia communication
plan) and lobbying (networking, setting
up exclusive partnerships between ins-
titutional and private stakeholders). He
is Head of commercial distribution for
audio and video contents for AFRIK.
COM GROUP (Afrik.com, Afrik.TV
Agency, Afrik-foot.com).
Farid MERABET
Directeur de la Distribution
contenus Videos et Audios
GROUPE AFRIK.COM
Farid Merabet a travaill pendant 10
ans au carrefour des secteurs de la
Culture, de la Musique, de la Produc-
tion, des Mdias et de la Tlcommu-
nication, ce qui lui a permis dacqu-
rir une grande connaissance dans la
production artistique (conception et
mise en uvre de projets culturels), la
communication (dveloppement multi-
mdia , plan de communication) et le
lobbying (mise en rseaux,partenariats
entre institutions et acteurs privs). Il
est responsable de distribution pour les
programmes audio et vido, au sein du
riat, de la production audiovisuelle.
Elle est galement prsentatrice TV
depuis maintenant 11 ans. Parallle-
ment ses activits, elle a aussi t
Matre de Confrences lUniversit
New School, enseignant ltude et
lthique des mdias. En tant que res-
ponsable des fnacements et partena-
riats depuis 2006 pour la South African
Broadcasting Corporation (SABC), elle
a runi les fonds provenant dentre-
prises prives et de gouvernements
internationaux pour couvrir les cots de
production. Elle dveloppe des parte-
nariats stratgiques de ngociation et
dchange pour des socits audiovi-
suelles. Che Che possde un Bachelor
en Journalisme (Universit de Howard
Washington DC), et un Master en
Management des medias (New School
New York).
Emeka N. X. MBA
Director General
NATIONAL FILM & VIDEO CENSORS
BOARD NIGERIA
With over 22 years cross functional
experiences in the converged felds
of media & broadcasting, communica-
tions technology, and regulatory policy
management, Emeka is considered by
many of his peers as a leading visio-
nary in the converged felds of media,
entertainment and technology. He was
managing director of PHILLIPS MEDIA
ENTERTAINMENT LTD, and served
for eight years as Regulatory Affairs
Manager for MULTICHOICE NIGERIA,
where he was responsible for Regula-
tory strategy and Policy, and for Deve-
lopment of Local Programming Policy,
and helped conceive the launch of the
continents frst satellite movie channel
AFRICA MAGIC, on the DStv bouquet.
Emeka then established QUESTECH
MEDIA, a media technology and enter-
tainment-consulting frm based in La-
gos for Nigerian and African companies
engaged in digital media technology,
and media and entertainment sectors.
He helped them digitize and monetize
their new and archived content library,
what many regard as the progenitor of
online media distribution platforms in
Nigeria, and Africa. Emeka currently
serves his second term as the Director-
General of the NATIONAL FILM AND
VIDEO CENSORS BOARD.
EMEKA N. X MBA
Directeur Gnral
NATIONAL FILM & VIDEO CENSORS
BOARD NIGERIA
Avec 22 ans dexprience dans les
mdias et la diffusion, la communica-
tion et le management des normes de
rgulations, Emeka Mba est considr
par beaucoup de ses confrres comme
une visionnaire dans les mdias, le
divertissement et la technologie. Il a
t Directeur Gnral pour PHILLIPS
MEDIA ENTERTAINEMENT LTD, et a
t pendant huit ans responsable des
affaires rglementaires au sein de
MULTICHOICE NIGERIA, o il tait
responsable des stratgies rglemen-
taires et des normes, mais galement
du dveloppent des politiques locales
de programmation. Il a aid conce-
voir et lancer la premire chane satel-
lite AFRICA MAGIC pour le continent
sur le bouquet DSTV. Emeka a ensuite
cr QUESTACH MEDIA, une socit
de multimdia et de consulting en di-
vertissement, visant numriser et
montiser les nouveaux contenus et
contenus archivs, ce que beaucoup
considrent comme le prcurseur des
plateformes de distribution de mdias
on-line au Nigeria et mme en Afrique.
Emeka Mba est actuellement directeur
gnral pour la 2me anne la NA-
TIONAL FILM AND VIDEO CENSORS
BOARD.
218 219
groupe AFRIK.COM (Afrik.com, Afrik
TV Agency, Afrik-Foot.COM).
Alain MODOT
Vice President
DIFFA FRANCE
Modot began his career teaching So-
cial and Economic Sciences.In 1988,
he founded the USPA (the Independent
Producers Association),serving as
chief representative. From 1993 to
1995, he chaired the European In-
dependent Producers Association
(CEPI). In 1995, he created TVFI, an
active body in promoting and expor-
ting French audiovisual programmes
(today one of the major French stake-
holders on the TV international mar-
ket). Since January 2001, Alain Modot
is the cofounder and Vice President
of MEDIA CONSULTING GROUP, a
strategic consultancy company advi-
sing for companies and public bodies
involved in the audiovisual, media and
cinema felds. He developed MCGs
European as a consultant for the EU
new Member States and companies
acting on the global market. Alain Mo-
dot has developed an in-depth know-
ledge of EU and national policies with
regards to the audiovisual sector. He
launched MCGs sales department in
2009, representing the most important
Italian library of rights (flms and TV) in
French speaking territories. Together
with Jean Hubert Nankam CEO of Mar-
tika (Ivory Coast), and with the support
of the Organisation Internationale de la
Francophonie, Modot launched DIFFA,
the frst community platform to promote
and sell African fction in Africa and in-
ternational markets. Alain Modot holds
a Bachelors degree in Economics, a
postgraduate degree inManagement
and Economics (Sorbonne, Paris), and
a degree in Sociology.
Alain MODOT
Vice-Prsident
DIFFA FRANCE
Alain Modot a dbut sa carrire en
tant que professeur en Sciences co-
nomiques et Sociales. En 1988, Alain
MODOT fonde lUSPA (Association des
Producteurs Indpendants), titre de
principal reprsentant jusquen 1995.
De 1993 1995, il a prsid lAssocia-
tion Europenne des Producteurs Ind-
pendants (CEPI). En 1995, il cre TVFI,
pour la promotion et lexportation des
programmes audiovisuels franais (au-
jourdhui acteur franais majeur sur le
march international de la tlvision).
Depuis janvier 2001, Alain MODOT est
le co-fondateur et Vice-prsident de
MEDIA CONSULTING GROUP, une so-
cit de conseils pour les entreprises et
les organismes publics impliqus dans
laudiovisuel, les mdias et le cinma. Il
a t consultant pour plusieurs tudes
et valuations pour la Commission
Europenne et a particip plusieurs
missions de conseil pour des nouveaux
membres de lUnion Europenne. Alain
matrise parfaitement les politiques
nationales en Europe pour le secteur
de laudiovisuel. En 2009, il a lanc le
dpartement de vente de MCG avec la
plus importante bibliothque italienne
de contenus (flms et TV) pour les terri-
toires francophones. Avec Jean Hubert
NANKA de Martika (Cte dIvoire), et le
support de lorganisation Internationale
de la Francophonie, MODOT a rcem-
ment lanc DIFFA, la premire plate-
forme communautaire qui aide pro-
mouvoir et vendre les fctions africaines
en Afrique et dans le monde entier. Alain
Modot est titulaire dun troisime cycle
en Management et Economie, et un di-
plme de Sociologie.
Monica MONTEIRO
cEo
CINEVIDEO BRAZIL
Monica has worked in the audiovisual
market for over sixteen years. Gradua-
ted in Pedagogy and Marketing, she
saw an opportunity to produce educa-
tional series for TV Channels in Brazil,
her starting point into the audiovisual
market. In 1997, she founded CINE-
VIDEO PRODUCTIONS, specialized
in production of educational videos,
television series, advertising and docu-
mentaries. Her experience with the Afri-
can continent began in 2007, when she
contacted for the frst time a TV Station
from Mozambique. The following year,
the TV Station invited her to head a spe-
cial project: to build a team of qualifed
professionals in the country. She led a
team of 25 Brazilian and 100+ Mozam-
bican professionals to produce NTxu-
va - Lives at Stake, the frst telenovela
of Mozambique. Critical acclaim and
commercial success quickly followed,
as it addressed issues of public health
in Mozambique, aiming to sensitize the
population on themes such as mala-
ria, cholera, HIV/Aids, among other
relevant topics to the country. CINEVI-
DEOs offce in Mozambique is specia-
lized mainly in capacity building videos
and documentaries, short and feature
flm productions. Monteiro has now
produced in Africa in over 30 countries.
Her frst African feature-length docu-
mentary, Mama Africa The daily life
of a continent through the eyes of its
people, shot in 10 African countries, is
a portrait of Africa by African people. In
2011, she produced the documentary
Drums in partnership with TV Aljazee-
ra for 43 countries of the Middle East
and Africa This year, she produced
the documentary feature flm African
219
Women - The invisible Web. Monteiro
also began production of a striking new
TV series that will introduce the lives of
15 African presidents, to be launched
in 2013.
Monica MONTEIRO
Prsident Directeur Gnral,
CINEVIDEO BRSIL
Monica Monteiro a travaill dans le
secteur de laudiovisuel pendant plus
de 16 ans. Diplme en Pdagogie et
Marketing, elle a trs tt saisi loppor-
tunit de produire des sries duca-
tives pour la tlvision brsilienne. En
1997, elle fonde CINEVIDEO PRO-
DUCTIONS, spcialise dans la pro-
duction de vidos ducatives, sries
TV, publicits et documentaires. Son
exprience avec lAfrique dbute en
2007 lorsquelle contacte une TV du
Mozambique. Lanne daprs il lui est
demand de former une quipe de pro-
fessionnels dans le pays. Elle a dirige
alors une quipe de 25 brsiliens et
100 mozambicains en vue de produire
la premire tlnova au Mozambique,
Ntxuva-Lives at stake , qui remporte
un succs critique et commercial. Les
sujets voqus visent sensibiliser
la population sur des maladies telles
que la malaria, le cholra, le sida,
parmi dautres sujets sensibles dans
le pays. CINEVIDEO au Mozambique
est principalement spcialis dans la
cration de vidos, de documentaires,
de longs et courts mtrages. Monteiro
produit aujourdhui des documentaires,
sries TV et sries ducatives dans
plus de 30 pays dAfrique. Son premier
flm documentaire, Mama Africa - La
ralit du continent travers les yeux
de son peuple, tourn dans 10 pays
dAfrique, est un portrait du continent
africain par des Africains. En 2011 elle
produit le flm documentaire African
Women the invisible web. En paral-
lle, Monteiro dbute la production
dune nouvelle srie TV pour 2013 sur
la vie de 15 prsidents africains.
Colman MURRAY
commercial Director
AFP SOUTH AFRICA
Dublin-born Murray is a media specia-
list. He was Publisher for Time Inc titles
in Europe, Middle East and Africa for
10 years. Later he published his own
magazine on the fashion industry, OB-
JEKT, currently printed in 7 languages
and with a circulation of 200,000. He
moved to South Africa in 2005, buying
Hot Mustard Publishing, which specia-
lised in music and leisure magazines,
before joining AFP in 2007. Murray will
keep his current post as AFPs Direc-
tor for Sales and Marketing in Africa.
In May 2011, Colman Murray appoin-
ted Global Brand Director of AFP-Re-
laxnews. South Africa-based Murray,
46, will be responsible for coordina-
ting and promoting the business de-
velopment and marketing of AFP-Re-
laxnews within AFP. AFP-Relaxnews
is the worlds frst newswire dedicated
to lifestyle and leisure, the result of a
strategic partnership between the two
agencies. Murray has a BA in english
Literary (classics) and Contemporary
from Trinity College, Dublin. He holds
also a diploma in Marketing and Gra-
phic Design from the Dublin College of
Marketing.
Colman MURRAY
Directeur commercial
AFP AFRIQUE DU SUD
N Dublin, Colman Murray est un
professionnel reconnu des mdias. Il a
t diteur de Time Inc pour la rgion
Europe-Moyen Orient-Afrique pendant
dix ans. Il a ensuite dit en sept lan-
gues son propre magazine de mode
Objekt, vendu 200 000 exemplaires.
En Afrique du Sud, il a fait lacquisition
de Hot Mustard Publishing, une maison
ddition spcialise dans la musique
et les loisirs avant de rejoindre lAFP
en 2007. En Mai 2011, Colman Murray
est nomm Global Brand Director
du service AFP-Relaxnews. Bas en
Afrique du Sud, Colman Murray, 46
ans, aura pour mission de coordonner
et impulser au sein de lAFP le dve-
loppement commercial et marketing
du service AFP-Relaxnews qui sest
impos comme le premier fl mondial
dinfo loisirs. Murray a un Bachelor en
anglais littraire ( Universit de Trinity,
Dublin) et un diplme en Marketing et
Communication Visuelle (Universit de
Marketing, Dublin)
Peter MUTIE
Chief Executive Offcer
KENYA FILM COMMISSION
Peter Mutie, is the CEO of the Kenya
FilmCommission, and the President of
the Africa Public Relations Association.
With over 15 years experience as a
communication specialist, Peter Mutie
has worked in strategic management,
communication and public affairs (The
Daily Nation Newspapers, Kenya Elec-
tricity Generating Company Ltd, East
African Development Brand, National
AIDS Control Council.) Peter Mutie has
been awarded the Golden Honours, in
2006 by the Public Relations Society of
Kenya; he has spoken in many natio-
nal and international forums such as
The Broadcast, Film and Music Africa
Conference and The International Pu-
blic Relations Congress.He holds a BA
in Economics (University of Nairobi),
an MBA and a Postgraduate degree
in Mass communication, as well as an
220 221
advanced degree in strategic Public
Relations (UKs International School of
Management).
Peter MUTIE
Directeur Excutif
Peter Mutie est le Directeur Excutif de
la KENYA FILM COMMISSION et
le Prsident de lAssociation Africaine
de Relations Publiques. Peter a 15 ans
dexprience dans la communication,
en gestion stratgique, communication
et Affaires Publiques (DAILY NATION
NEWSPAPERS, Kenya Electricity Ge-
nerating Company Ltd, East African
Development Brand, The National AIDS
Control Council). En 2006, il a reu le
Prix de The Public Relations Society
of Kenya. Il participe de nombreux
forums nationaux et internationaux
(The Broadcast, Film and Music Africa
Conference, The International Public
Relations Congress).Il est titulaire dun
Bachelor en conomie (Universit de
Nairobi), dun MBA et dun troisime
cycle en communication, et est diplm
dtudes suprieures en stratgie de
Relations Publiques (cole Internatio-
nale de Management, Royaume-Uni).
Leticia NCHO
General Manager for West Africa
Leticia joined CTE OUEST group in
2010 as sales and Marketing Director for
Francophone Sub-Saharan Africa, pri-
vate and public TV, and pan-African ad-
vertisers. Now serving as General Mana-
ger, her responsibilities include oversight
of all aspects of CTE OUESTs Abidjan
offce management, and product support
functions (including marketing, commu-
nication, sales, content sourcing and
production.) Before the sector of televi-
sion, Leticia started her career in the f-
nance and in the world of communication
and events, between France and USA.
She holds a Post Graduate Diploma in
Finance and Accounting (DESCF) as
well as a Masters in International Rela-
tions and Political Science.
Leticia NCHO
Directrice Gnrale
Afrique de lOuest
COTE OUEST, COTE DIVOIRE
Leticia a rejoint le groupe COTE OUEST
en 2010 en tant que Directrice des
Ventes et du Marketing pour lAfrique
francophone et sub-saharienne, pour la
TV publique et prive et les publicitaires
panafricains. Elle supervise le bureau
COTE OUEST Abidjan et notamment
le marketing, les ventes, la recherche de
contenus et la production. Avant dtre
dans le secteur de la tlvision, Leticia
a commenc sa carrire professionnelle
dans la fnance et dans le monde de
la communication et de lvnementiel
entre la France et les Etats-Unis. Elle
dtient un diplme de troisime cycle
en Finance et Comptabilit (DESCF), et
un Master en Relations Internationales
et Sciences Politiques.
Zandile NDZIMANDE
Head of sales
SABC SOUTH AFRICA
Zandile Ndzimande is currently a televi-
sion Sales Champion for the South Afri-
can Broadcast Corporation responsible
for both classic and sponsorship sales
and making targets of SABC1. Zandile
Ndzimande is a proven achiever with
over 10 years experience in media
(Advertising Industry) and three years
in Production. She possesses exten-
sive knowledge of the channels of
communication, and is well-known by a
signifcant number of key people in the
industry. She has been instrumental in
securing new business and exceeding
her targets. Ndzimande has exceptio-
nal organizational capabilities, strong
technical knowledge and outstanding
interpersonal skills. In the past years,
she has received several awards at
SABC, such as the Top Sales Executive
and Top Channel Champion of 2008.
Zandile NDZIMANDE
Directrice des Ventes
SABC AFRIQUE DU SUD
Zandile Ndzimande est la vendeuse
N1 de programmes pour la chane
SABC. Elle est la fois responsable
des ventes, du sponsoring et des ob-
jectifs pour SABC1. Zandile est une
travailleuse acharne avec plus de dix
ans dexprience dans les mdias, la
publicit et la production. Elle a une
connaissance approfondie des rseaux
de communication, et des personnes-
cl de cette industrie. Elle a contribu
dvelopper de nouveaux projets tout
en dpassant ses objectifs. Ndzimande
est dote dexceptionnelles capacits
dorganisation, de solides connais-
sances techniques et des aptitudes
intrinsques exceptionnelles. Au cours
221
des dernires annes, elle a reu plu-
sieurs prix chez SABC, tel que Top
Sales Executive et Top Channel
Champion en 2008.
Guillaume PIERRE
Director of Africa
CFI FRANCE
Guillaume Pierre started out as a
journalist at Tlrama and Cambo-
dia (special adviser to the Cambo-
dian television, launch of newspaper
Le Mekong). He went on to become a
producer/director of television, and has
authored numerous reports and maga-
zines for various channels and produc-
tion companies, including the television
series Les Ptits reporters du Monde
(The Little World reporters), ITHEME
in 1999. From 2001 to 2007, Pierre
chained two positions cooperation of
the media on behalf of the Ministry
of Foreign Affairs, frst the Democra-
tic Republic of Congo (recovery of a
school of audiovisual training), then in
Istanbul (as regional audiovisual atta-
ch to Turkey, the Caucasus and Cen-
tral Asia). In 2007 he was recruited as
Africa director of Canal France Inter-
national. He graduated from IEP Paris
and holds a postgraduate degree in
International Relations.
Guillaume PIERRE
Directeur de la Division Afrique
CFI FRANCE
Aprs des dbuts comme journaliste,
Tlrama, puis au Cambodge (char-
g de mission auprs de la tlvision
Albert PRIMO
Journalist-Producer
EYWITNESS NEWS USA
Albert T. Primo is recognized worldwide
as the creator of the Eyewitness News
concept, which revolutionized the way
television news is presented and has
become the standard format for the in-
dustry. He developed the frst beat sys-
tem for local TV news and initiated the
use of minority reporters and women in
prominent roles on news programs. He
currently produces the weekly program
Teen Kids News, syndicated to 200+TV
Stations, seen in 1,000 locations in 175
countries and all the Navy ships at sea
via American Forces Network and sent
by PBS satellite to 8,880 schools each
week. Primo founded Eyewitness New-
service, Inc. after 10 years with ABC
as Vice President of News. He conti-
nues to provide production and stra-
tegic advisory services for networks,
local stations, Internet, cable organi-
zations, newspapers and corporations.
He assembled the team and developed
the Investigative News series, Now
It Can Be Told. Primo received the
Peabody award as Executive Producer
for Willowbrook: The Last Great Dis-
grace. He was recently inducted into
the Silver Circle of the National Aca-
demy of Arts and Sciences for lifetime
achievement, the Ellis Island Medal of
Honor and numerous other awards. He
published The Village Gazette. news-
paper in Greenwich, CT for eight years
and also owned and operated radio
station WNVR, Waterbury, CT for an
equal period of time. He Co-Founded
IA Global, Inc. a public company that
represents media properties. Its listed
on the American Stock Exchange,
AMEX (IAO). He was also a founding
partner of Medialink, Inc. a public rela-
tions company and USNewswire, Inc.
which was recently acquired by Warren
Buffetts Berkshire Hathaway company.
Albert T. Primo served for 10 years on
the Board of Trustees of the University
of Pittsburgh, where he earned a BA de-
gree and funded the Eyewitness News
Electronic Journalism Center. Served
on the Purchase College Foundation,
State University of New York (SUNY).
Newbury College in Boston conferred
the Honorary Doctorate of Humane
Letters degree on Mr. Primo in May.
He is also a member of the Presidents
Advisory Board of Roger Williams Uni-
versity in Rhode Island.
Albert PRIMO
Journaliste-Producteur
EYWITNESS NEWS USA
Albert Primo est un illustre journa-
liste, mondialement connu pour avoir
notamment cr le Eyewitness News,
un concept qui a rvolutionn la faon
de prsenter le journal tlvis, devenu
cambodgienne, lancement du journal
Le Mkong), Guillaume PIERRE est
devenu producteur/ralisateur de tl-
vision et a sign de nombreux repor-
tages et magazines pour diverses
chanes et socits de production, dont
la srie tlvise Les Ptits reporters
du Monde et ITHEME en 1999. De
2001 2007, il a enchan deux postes
de coopration dans le domaine des
mdias pour le compte du Ministre
des Affaires trangres, dabord en
Rpublique Dmocratique du Congo
(relance dune cole de formation
laudiovisuel), puis Istanbul (comme
attach audiovisuel rgional pour la
Turquie, le Caucase et lAsie Centrale).
En 2007, il est recrut comme directeur
Afrique de Canal France International.
Il est diplm de lIEP Paris et titulaire
dun DEA en Relations Internationales.
222 223
un standard de lindustrie. Primo a d-
velopp le premier Beat System pour
les news tlvises locales. Il a favo-
ris le rle des femmes des postes
de responsabilit au sein des journaux
tlviss et celle des minorits pour la
ralisation des reportages. Il produit
actuellement un programme hebdoma-
daire pour adolescents, diffus sur plus
de 200 chanes de tlvision, dans 175
pays, et reu par 8 880 coles chaque
semaine via le satellite PBS. Primo a
fond Eyewitness Newservices, Inc,
aprs 10 ans chez ABC en tant que
Vice Prsident des News. Il continue
fournir des conseils en production et
stratgie pour des chaines nationales
et locales, Internet, les rseaux cbls,
la presse et les grandes entreprises.
Primo a t lorigine des sries din-
formation et dinvestigation, comme
notamment Now It Can Be Told. Il a
reu le Peabody Award comme produc-
teur excutif de Willowbrook: The Last
Great Disgrace, ainsi que de multiples
rcompenses et prix prestigieux (Silver
Circle of the National Academy of Arts
and Sciences pour lensemble de sa
carrire, Ellis Island Medal of Honor,
). Il a cofond IA Global Inc, une en-
treprise de mdias cote en bourse. Il a
galement cofond Medialink, Inc, une
entreprise de relations publiques, et
USNewswire, Inc (rcemment rachete
par Warren Buffett).
Gary RATHBONE
Head
TOUCHSKY MEDIA AND PRODUC-
TION UNITED KINGDOM
South African and Kenya-based Ra-
thbone has been involved in African
football in multiple ways since the mid
90s. In the past 12 years, Rathbone
has interviewed most of the top African
players, coaches and administrators
involved with the sport on the African
continent, and covered a wide range
of events and matches across Africa,
Europe and Asia relating to the Afri-
can football experience. Among many
shows and magazines he created/
produced/directed and co-created are
The African Soccer Show (broadcasted
weekly), and the annual African Foot-
ball Player of the year Awards cere-
mony, from 2001 to 2005. Rathbone
was also a regular contributing writer
to various publications in South Africa,
and a member of the CAF Awards se-
lection committee. From 2008 to 2012,
as head of Head of Africa, SUPERS-
PORT INTERNATIONAL, Rathbone
was charged with managing all aspects
of the networks business in sport and
broadcasting outside South Africa, and
development of all newly acquired pro-
perties, revitalizing in the mean time
the Kenyan, Nigerian, Zambian, Ugan-
dan, Angolan Girabola and Ghanaian
football leagues. Rathbone won the
SAB Sports Journalist of the Year for
Best TV Insert in 2007 for his piece on
football and reconciliation in Rwanda:
Futbol Africa.
GARY RATHBONE
PDG
TOUCHSKY MEDIA AND
PRODUCTION ROYAUME UNI
Bas en Afrique du Sud et au Kenya,
Rathbone est impliqu multiple ni-
veaux dans le football africain depuis
la deuxime moiti des annes 90.
Rathbone a interview les meilleurs
joueurs, coachs, et reprsentants afri-
cains engags dans le sport sur le
continent, il a galement couvert les
plus grands vnements et matchs en
Afrique, en Europe et en Asie. Parmi de
nombreuses missions et magazines,
il a cr / produit / dirig et co-cr le
African Soccer Show (diffus chaque
semaine) et lAnnuelle crmonie de
lAfrican Football Player of The year de
2001 2005. Rathbone contribue rgu-
lirement lcriture de nombreuses
publications en Afrique du Sud, et est
galement membre du comit de s-
lection de la CAF Awards. De 2008
2012, en tant que PDG de SUPERS-
PORT INTERNATIONAL Afrique, Rath-
bone supervisait tous les aspects de
production, de diffusion et dacquisition
dans le domaine du sport de la chane.
Il dveloppait les programmes achets
tout en revitalisant les ligues de football
du Kenya, du Nigeria, de la Zambi, de
lOuganda, de lAngola et du Ghana.
Rathbone sest vu rcompens du SAB
Sports Journalist of the Year dans la
catgorie du meilleur prsentateur TV
de lanne 2007, pour son documen-
taire sur le football et la rconciliation
au Rwanda : Futbol Africa.
223
Michel RODRIGUE
intellectual Advisor and broker
THE FORMAT PEOPLE GROUP
FRANCE
Deemed by the press as the Father
of Formats and widely viewed as the
driving force behind the establishment
of the format industry, Michel in-depth
knowledge of the format business
and the TV production in general is
unique. In 1997, French-Canada-born
Rodrigue founded DISTRACTION
FORMATS, the frst-ever independent
company to specialize in format dis-
tribution, and was the instigator of the
frst ever Television Format Market at
the Monte Carlo Television Festival in
1999. Formerly writer, cameraman,
director and producer of variety pro-
gramming, Michel was appointed VP of
Programming and Production at Cana-
dian TL-CAPITALE, before founding
his own independent production house
and producing TV formats in France
and Quebec. Honoured as a Chevalier
de lOrdre des Arts ET des Lettres by
the French Minister of Cultural Affairs,
Michel is an active member of the Inter-
national Television community. He was
a member of the International Academy
of Television Arts & Sciences (Interna-
tional Emmys), as well as the Enter-
tainment Master Class (EMC) advisory
board and is an attendee at the major
international television markets in ad-
dition to being a regular conference
speaker and founding Vice Chairman
of FRAPA, the Format Recognition and
Protection Association. Michel is cur-
rently a Los Angeles-based Intellectual
Advisor & Broker with THE FORMAT
PEOPLE GROUP.
MICHEL RODRIGUE
conseiller et Ngociateur
GROUPE THE FORMAT PEOPLE
FRANCE
Surnomm par la presse comme le
pre des formats et le plus infuent
dans le domaine des formats, Michel a
une connaissance unique de cette in-
dustrie et de la production TV en gn-
ral. En 1997, le franco canadien Michel
Rodrigue a fond DISTRACTION FOR-
MATS, premire entreprise tre sp-
cialise dans la distribution de formats
et a t lorigine du premier march
de format au Festival de Tlvision de
Monte Carlo en 1999. crivain, came-
raman, ralisateur et producteur de
de programmes de varits, Michel a
t nomm vice-prsident de la pro-
grammation et de la production sur la
chane canadienne TELE CAPITALE,
avant de fonder sa propre structure
indpendante de production et de pro-
duire des formats TV en France et au
Qubec. Michel a reu la distinction de
Chevalier de lOrdre des Arts et des
Lettres, par le Ministre Franais de la
Culture, il est aussi un membre actif de
la communaut Internationale de la Te-
levision. Il a t jury des International
Emmys et de lEntertainement Master
Class (EMC) en tant que consultant. Il
est un confrencier rgulier dans lin-
dustrie de la tlvision et il est le vice
PDG associ de FRAPA (Format Reco-
gnition and Protection Association). Mi-
chel Rodrigue est prsident fondateur
du groupe FORMAT PEOPLE.
Marie Louise SAMUELS (TBC)
Acting chief Director
curriculum implementation
and Monitoring
DEPARTMENT OF BASIC EDUCA-
TION SOUTH AFRICA
In her current position in the DEPART-
MENT OF BASIC EDUCATION, Sa-
muels manages the support and mo-
nitoring of curriculum implementation
for early childhood development, as
well as for learners with special needs.
She is also the chairperson of the Cur-
riculum Management Team for the
development of a curriculum for South
African Sign Language. As Director of
Early Childhood Development (ECD)
Samuels conceptualizes, develops and
manages the policy and procedures for
implementation of ECD programs in the
Department of Education and interde-
partmentally with other government de-
partments, organs of state, and NGOs.
In the 90s, Samuels developed edu-
cational programs for 150, 3 to 6 year-
olds from disadvantaged backgrounds.
She also piloted a language program
for the acquisition of an additional lan-
guage (focus on English and Xhosa)
in the early years, and also worked for
the Catholic Justice and Peace Com-
mittee, and assisted in the organization
of conferences and seminars on justice
related issues. Samuels has presented
several papers both nationally and in-
ternationally. She has a BA Degree in
Social Sciences from the University of
the Western Cape with majors in En-
glish and Psychology.
Marie Louise SAMUELS, (TBC),
Directrice Gnral, Mise en place et
veille du programme dtudes
MINISTERE DE LEDUCATION
AFRIQUE DU SUD
Michel RODRIGUE
CEO
THE FORMAT PEOPLE, USA
MICHEL RODRIGUE
Prsident
USA
224 225
Marie Louise est responsable de la
mise en place de programmes dtudes
pour le dveloppement de la petite
enfance et des enfants handicaps au
dpartement BASIC E, en Afrique du
Sud. Elle est galement responsable
de lquipe ddie au dveloppement
du programme dtudes du Langage
des Signes en Afrique du Sud. En tant
que directrice du dveloppement de la
petite enfance (ECD), Marie Samuels
conceptualise, dveloppe et gre les
procdures et politiques de cration
du programme au sein du Ministre
de lEducation et en parallle avec
dautres autorits gouvernementales,
organismes dEtat et ONG. Dans les
annes 90, Marie Louise Samuels a
dvelopp des programmes ducatifs
pour 150 enfants de milieux dfavo-
riss, ags de 3 6 ans. Elle a ga-
lement labor un programme lin-
guistique pour la connaissance des
langues (plus particulirement langlais
et le Xhosa), en travaillant pour le Ca-
tholic Justice and Peace Comitee, elle
a aid lorganisation des confrences
et sminaires sur les problmes judi-
ciaires. Samuels a prsent plusieurs
synthses lors de colloques nationales
et internationale. Elle possde un Ba-
chelor en Sciences Sociales (Univer-
sit de Western Cape).
Jahani SASS
Managing Director
ABS BROADCAST UNITED KINGDOM
Sass Jahani is a serial entrepreneur
and a qualifed broadcast engineer. He
holds a degree in Electronics Enginee-
ring (BEng) and a Masters in Business
Administration (MBA) from Imperial
College, London. He is a long standing
member of the Institute of Directors
(IoD) and also the Institute of Enginee-
ring and Technology (IET). Following a
successful post-graduation career with
the BBC in London, he incorporated
his own business in 1990 since when
he has been building, developing and
managing a series of businesses in the
broadcast technology space. Today
ABS is one of the largest independently
owned playout and television facilities
companies in Europe. The home of the
ABSolute Delivery Platform, ABS ma-
nages the transmission and technical
requirement of many major television
channels globally. 2013 will see the
launch of tvAfrika a new platform powe-
red by ABS. tvAfrika will broadcast a
bouquet of free-to-air DTTV channels
from the Amos 5 satellite bringing new
television programming to up to 50 mil-
lion households across 70% of the Afri-
can continent.
Jahani SASS
Directeur Gnral
ABS BROADCAST ROYAUME UNI
Sass Jahani est la fois un chef den-
treprise et un ingnieur spcialis dans
la diffusion. Il possde un Bachelor
en Ingnierie Electronique et un MBA
(Imperial College, Londres). Sass est
membre du Institute of Directors (IOD)
ainsi que du Institute of Engineering and
Technology (IET). Aprs ses tudes su-
prieures, Sass a poursuivi sa carrire
avec succs la BBC Londres, puis a
cr sa propre entreprise en 1990 qui a
cr et dvelopp des activits dans le
domaine de la diffusion technologique.
Aujourdhui, ABS (ABSolute Delivery
Platform) est la plus grande entreprise
indpendante dquipements audio-
visuels en Europe. Elle rpond aux
besoins techniques et de transmission
de nombreuses chanes de tlvision.
En 2013 une nouvelle plate-forme ABS
verra le jour : TvAfrica. Elle diffusera
depuis le satellite Amos 5, un bouquet
de chanes gratuites TNT, et de nou-
veaux programmes 50 millions de
foyers, sur 70% du continent africain.
Justin SCROGGIE
cEo
THE FORMAT PEOPLE
GROUP IRELAND
Justin is the CEO of The Format People
Group. Known in the industry as The
Format Doctor, he is in considerable
demand by international broadcasters
and production companies to diagnose
and solve issues with their formats, from
development to pilot to post-production.
Justin has expertise in many genres in-
cluding game shows, talent, talk, reality,
factual entertainment and lifestyle. As
well as an international speaker, Jus-
tin is an exclusive consultant on game
shows for Dick de Rijk Productions and
Visiting Tutor at UKs National Film & TV
School. He is on the Advisory Board of
South African School of Media Arts and
the Banff Media Festival, and a director
of Russian channel War & Peace.
Justin SCROGGIE
CCO
THE FORMAT PEOPLE,
UNITED KINGDOM
Sass JahanI
Sass JahanI
225
Mark SEFTEL
founder
OPEN and MABONENG BROAD-
BAND, SOUTH AFRICA
System architect across multiple indus-
tries and a mobile content provider.
Founder of OPEN - collaborative city
workspaces. Founder of MABONENG
Mactar SILLA
PDG
ACC (AFRICA COMMUNICATIONS &
CONSEIL)
Mactar Silla a 30 ans dexprience, dont
20 ans en tant que directeur dans les
secteurs publics et privs des mdias,
de la culture, de la tlcommunication
et des nouvelles technologies, entre la
France et lAfrique. Mactar a construit
son experience en travaillant pour la
RTS, TV5, AFRICAONLINE, WORLDS-
PACE et le groupe SPECTRUM. Il est
aujourdhui PDG POUR ACC (African
Communications & Conseil) et direc-
teur associ PMC (Performances
Management Consulting), leader en
consulting dans les pays africains.
Russel SOUTHWOOD
Chief Executive Offcer
BALANCING ACT KENYA
Southwood is a telecoms, Internet
and broadcasting consultant in Africa.
His consultancy work has included an
assessment of two different sectors in
the TV market in Africa: the transition to
digital broadcasting in over 20 African
countries, and a feasibility study for a
LEARNING CHANNEL in Kenya. Rus-
sel is currently conducting research
looking at the impact of the transition
to digital broadcasting in Africa. He is
the author of two Balancing Briefng
Papers: The digital transition - chan-
ging how broadcast functions and Pay
TV a growing competitive market.
Justin SCROGGIE
PDG
IRLANDE
Justin est le Directeur Gnral de The
Format People Group. Connu dans lin-
dustrie sous le nom de Docteur Format ,
il est trs sollicit par les diffuseurs in-
ternationaux et les socits de produc-
tion afn de les aider diagnostiquer et
rsoudre leurs problmes de formats,
depuis le dveloppement de leur pilote
jusqu la post-production. Justin a une
expertise dans de nombreux genres de
programme TV, comme les jeux, les
comptitions de talents, les dbats, les
divertissements, la tl-realit, docu
divertissantl, et le style de vie. Justin
est un confrencier international ; il est
consultant exclusif en matire de jeux
pour DICK de RIJK et il est Professeur
conseiller dducation lcole de Tl-
vision et Cinmatographie du Royaume-
Uni. Il est membre du Bureau du Conseil
consultatif de lcole Sud Africaine des
Arts et Mdias et du Festival des M-
dias de Banff. Il est galement Directeur
de la chane de tlvision russe Guerre
et Paix.
BROADBAND bringing world class f-
ber optic connectivity to drive develop-
ment within the inner city.
Mark SEFTEL
fondateur
OPEN et MABONENG BROADBAND,
AFRIQUE DU SUD
Spcialiste en architecture de sys-
tmes dinformations, notamment au-
prs des fournisseurs de programmes
dans la tlphonie mobile, Mark a
fond la socit OPEN en collabora-
tion avec la ville de Johannesburg, et
a fond MABONENG BROADBAND
qui fournit des connecteurs de fbres
optiques de premier choix, et participe
ainsi au dveloppement de ce quartier.
Mactar SILLA
cEo
ACC (AFRICA COMMUNICATIONS &
CONSEIL)
Mactar has a 30-year of professional
experience, among which 20 at top ma-
naging positions, nationally and inter-
nationally, in media, culture, telecoms,
and new technologies sectors, whether
public or private, across France and
Africa. Building on his experience at
RTS, TV5, AFRICAONLINE, WORLDS-
PACE, SPECTRUM GROUP, Mactar is
currently CEO for ACC (Africa Commu-
nications & Conseil), and Partner Ma-
nager at PMC (Performances Manage-
ment Consulting), a leading consulting
group in African countries.

Justin SCROGGIE
Co- Dirigeant
GROUPE THE FORMAT PEOPLE,
ROYAUME-UNI
226 227
Russel SOUTHWOOD
Directeur Gnral
BALANCING ACT KENYA
Russel Southwood est un consultant en
tlcommunication, internet et diffusion
en Afrique. Son cabinet de conseils
travaille sur deux secteurs de laudio-
visuel en Afrique: le passage la diffu-
sion numrique dans 20 pays africains,
et ltude de la possibilit de cration
dune chane ducative au Kenya. Rus-
sel mne actuellement des recherches
sur limpact de la diffusion numrique
en Afrique. Il est lauteur de: The digi-
tal transition - changing how broadcast
functions and pay tv - a growing com-
petitive market
Franois THIELLET
founder and cEo
THEMA FRANCE
After his studies at the French business
school HEC, Franois started his ca-
reer as Head of project at La Caisse
des Dpts et Consignations, conti-
nuing his professional experience as
an executive in media companies such
as TAM TAM Productions, MCM, MCM
International, FASHION TV. In 1996
he created MCM AFRICA, a new MCM
channel for Africa and for African
people. He founded THEMA in 2005,
a media company specialized in the
worldwide distribution and business
development of thematic, generalist
and ethnic TV channels. In 2007, as a
forerunner, THEMA launched the frst
bouquet of African television channels
on the French market. Exclusive prima-
Clmentine TUGENDHAT
VP business Development
and Marketing
THEMA FRANCE/SENEGAL
French-born Clmentine brings to
THEMA her previous professional ex-
periences in journalism (ENDEMOL,
RADIO MONTE CARLO INFO) and TV
show project development (COYOTTE
GROUP). As a forerunner, in 2007
THEMA launched the frst bouquet
of African television channels on the
French market. Exclusive primarily to
an Internet access provider, and origi-
nally comprising 6 channels (16 to 18
today), Le Bouquet Africain offers a
window exposure to African audiovisual
productions (from Senegal, Cameroon,
Mali, Burkina Faso, Ivory Coast). Cl-
mentines main responsibilities include
distribution and development of TV the-
matic and ethnic channels in French-
speaking territories.
Clmentine TUGENDHAT
Vice Prsidente business Dvelop-
pement et Marketing
THEMA, FRANCE//SENEGAL
Clmentine Tugendhat a beaucoup
apport THEMA grce ses exp-
riences professionnelles prcdentes
dans le journalisme (ENDEMOL, RA-
DIO MONTE CARLO, INFO) et dans
le dveloppement dmissions de TV
(GROUPE COYOTTE). Prcurseur,
THEMA a lanc en 2007 le premier
bouquet de chanes africaines en
France. lorigine, Le Bouquet Africain
tait rserv aux fournisseurs daccs
Internet et comprenait 6 chanes (16
18 maintenant). Le Bouquet Africain
offre une vritable ouverture aux pro-
ductions audiovisuelles africaines (du
Sngal, du Cameroun, du Mali en
passant par le Burkina Faso et la Cte
rily to an Internet access provider, this
very original pack offered 6 channels
from Senegal, Cameroon, Mali, Bur-
kina Faso and Ivory Coast. Two years
after the frst Bouquet Africain, Fran-
ois launched two new packs: le Bou-
quet Africain with 8 or 9 TV channels,
and le Bouquet Africain Premium with
14 or 15 TV channels. THEMA now has
offces in Moscow, Singapore and New
York.
Franois THIELLET
fondateur et PDG
THEMA FRANCE
Diplm dHEC (France), Franois d-
bute sa carrire en tant que Chef de
Projet la Caisse des Dpts et Consi-
gnations. Plus tard il enrichit son ex-
prience professionnelle en occupant
des postes responsabilit au sein
de grandes entreprises audiovisuelles
telles que TAM TAM Productions, MCM,
MCM International, FASHION TV. En
1996, il cr MCM AFRICA, une nou-
velle chane pour lAfrique et les afri-
cains. En 2005, il fonde THEMA une
entreprise audiovisuelle spcialise
dans la distribution internationale et
le dveloppement de chanes thma-
tiques, gnralistes et ethniques. THE-
MA lance le Bouquet Africain en 2008
sur le march franais, un pack original
compos de 6 chanes venant du S-
ngal, du Cameroun, du Mali, du Bur-
kina Faso et de la Cte dIvoire. Deux
ans aprs, THEMA dveloppe le Bou-
quet Africain avec 8 ou 9 chanes, et
le Bouquet Africain Premium avec 14
ou 15 chanes. THEMA a maintenant
des bureaux Moscou, Singapour et
New York
227
dIvoire). Clmentine est principale-
ment en charge de la distribution et du
dveloppement des chanes thma-
tiques et ethniques dans tous les pays
francophones.
Pierre VAN DER HOVEN
founder
TULUNTULU, SOUTH AFRICA
Pierre has spent his entire career in the
media industry. During his fve years
at the South African Broadcasting
Corporation (SABC), he occupied va-
rious fnancial and strategic positions.
Pierre was a founder and key player
in setting up a number of new media
companies including eTV (frst com-
mercial free-to-air television in SA),
YFM (largest regional radio station in
SA), YARONA FM (regional radio in
Botswana), SANHU (wildlife produc-
tion company), PHOENIX (documen-
tary production company) and THREE
BLIND MICE COMMUNICATIONS
(TBM digital signage). Pierre also
consulted to various local and interna-
tional media players including the then
IBA (Independent Broadcasting Autho-
rity). Pierre was a founder and CEO of
SOUTHERN AFRICA DIRECT, a multi
platform company marketing Southern
Africa using television (Channel 270 on
SKY in the UK), and online at HYPER-
LINK http://www.sadirect.com/www.
sadirect.com. In 2012 Pierre launched
TULUNTULU, whose unique techno-
logy enables video streaming to mobile
devices in congested or low bandwidth
environments. Pierre has delivered
papers at various conferences inclu-
ding AdFocus, African Telecommunica-
tions Summit, Convergence, Digital Si-
gnage (Chicago) eTourism Africa (JHB
& Nairobi), and the Broadcast, Film
& Convergence (Nairobi). He holds a
B.Comm, CTA (Rhodes), CA (SA), MBA
(Brunel - UK), CM (SA). His MBA the-
sis focused on the international media
business.
Pierre VAN DER HOVEN
fondateur
TULUNTULU, AFRIQUE DU SUD
Pierre Van der Hoven a effectu toute
sa carrire dans les mdias. Pendant
ses cinq ans la South African Broad-
casting Corporation (SABC), il a occup
des responsabilits fnancires et stra-
tgiques. Pierre a t le fondateur et un
acteur cl dans la cration de socits
de mdias telles que : eTV (premire
chane commerciale en Afrique du
Sud), YFM (la plus grande chane de
radio en Afrique du Sud), YARONA FM
(radio rgionale au Botswana), SANHU
(socits de production sur la faune et
la fore sauvages), PHOENIX (socit
de production de documentaires) et
THREE BLIND MICE COMMUNICA-
TIONS (TBM-signal digital). Pierre a
t consultant pour diffrents mdias
et institutions locaux et internationaux
y compris IBA (Independent Broadcas-
ting Authority). Il est galement le fonda-
teur et le PDG de SOUTHERN AFRICA
DIRECT, multiplateforme lattention
de lAfrique Australe (Channel 270 sur
SKY au RU) disponible la tlvision
et sur internet (www.sadirect.com.) En
2012, Pierre a lanc TULUNTULU dont
la technologie unique permet aux tl-
phones mobiles de lire les vidos en
streaming dans des zones encombres
ou faible bande passante. Il a gale-
ment crit des synthses pour de nom-
breuses confrences comme lAdfocus,
lAfrican Telecommunications Summit,
Convergence, Digital Signage Chica-
go, eTourism Africa Johannesburg et
Nairobi, et le Broadcast Film & Conver-
gence Nairobi. Pierre dtient un MBA
en communication avec une spcialit
sur les mdias internationaux.
202 202
Part i ci pant s - Disbook AfricA 2012
Thi s l i st of part i ci pant s i s updat ed t o oct ober 1, 2012. for an updat e l i st and more i nformat i on about t he part i ci pant s, pl ease vi si t www. di scopaf ri ca. com 229
Participants
The 2012 edition of the DISCOP
AFRICA multiplatform, television
content market and co-production
forum should welcome 1000+ non-
exhibiting an exhibiting delegates
representing 700+ companies from
85 countries. Participants will include
all of Africas major broadcasters,
Pay-TV platforms, mobile operators,
broadband-based TV services,
closed-circuit networks and territorial
distributors; international suppliers
of flm, TV and multiplatform content
and formats, live events and thematic
channels; the largest contingent of
prominent African content producers
and distributors ever available under
one roof; and companies representing
peripheral sectors of activity impacted
by the growth of multiscreen,
television content production and
distribution business Africa.
THIS LIST OF PARTICIPANTS
IS UPDATED TO OCTOBER 1,
2012. FOR AN UPDATE LIST AND
MORE INFORMATION ABOUT THE
PARTICIPANTS, PLEASE VISIT
www.discopafrica.com
Disbook AfricA 2012 - Part i ci pant s Part i ci pant s - Disbook AfricA 2012
230 Thi s l i st of part i ci pant s i s updat ed t o oct ober 1, 2012. for an updat e l i st and more i nformat i on about t he part i ci pant s, pl ease vi si t www. di scopaf ri ca. com Thi s l i st of part i ci pant s i s updat ed t o oct ober 1, 2012. for an updat e l i st and more i nformat i on about t he part i ci pant s, pl ease vi si t www. di scopaf ri ca. com 231
3CNET NIGERIA
NIGERIA
ASSOCIATED SERVICES,
TECHNICAL SOLUTIONS
www.3cnetworks.com
3VISION DISTRIBUTION
UNITED KINGDOM
CONTENT SUPPLIER, FINISHED PROGRAMS
www.3vision.tv
441 STUDIOS
NIGERIA
CONTENT ACQUISITIONS, INDEPENDENT BUYER
N/A
5/10 MEDIA LIMITED
NIGERIA
www.fivetenmedia.tv
A PLUS AFRICA
NIGERIA
CONTENT ACQUISITIONS, TV STATION
A24 MEDIA / AFRICAS VOICE
KENYA
www.a24media.com
ABN-AFRICAN BROADCAST
NETWORK
UNITED KINGDOM
www.abnafrica.tv
ABS-CBN CORPORATION
PHILIPPINES
www.abs-cbninternationalsales.com
ABSOLUTELY INDEPENDENT
NETHERLANDS
www.absolutely.nl
ACADEMIE AUDIOVISUELLE
FRANCE
ASSOCIATED SERVICES, PRESS
www.academie-audiovisuelle.com
ACB TV LIMITED
NIGERIA
www.acbtv.tv
ACC(AFRICA COMMUNICATION &
CONSEIL)
GABON
CONTENT ACQUISITIONS, ASSOCIATED SERVICES
www.africacomonline.com
ADVANCED BROADCAST
SERVICES LIMITED
UNITED KINGDOM
CONTENT SUPPLIER, ASSOCIATED SERVICES
www.abs.tv
AEROLINK GLOBAL CONCEPT
NIGERIA
AFM AFRIQUE FRANCE MEDIA
FRANCE
AFP - AGENCE FRANCE PRESSE
SOUTH AFRICA
SOUTH AFRICA
www.afp.com
AFRICA 7
SENEGAL
www.africa7.tv
AFRICA BROADCASTING / NTV
UGANDA
UGANDA
www.ntvuganda.co.ug
AFRICA MEDIA GROUP - AMG
TANZANIA
CONTENT ACQUISITIONS, TELEVISION GROUP
www.chten.tv
AFRICABLE TELEVISION
MALI
www.africabletelevision.com
AFRICAFILMS.TV
FRANCE
CONTENT ACQUISITIONS, TELEVISION SERVICES
PROVIDER
www.africafilms.tv
AFRICAN MOVIE CHANNEL / AMC
UNITED KINGDOM
www.africanmoviechannel.com
AFRICAN MOVIE STUDIO
NIGERIA
AFRICAN REALITY CHANNEL
LIMITED
NIGERIA
www.youthambassadorshow.com
AFRICAN VISUALS MEDIA
KENYA
www.africanvisuals.tv
AFRICAVENIR WINDHOEK
NAMIBIA
www.africavenir.org
AK MEDIA CONCEPTS LIMITED
NIGERIA
www.akmediaconcepts.tv
ALATI INTERNATIONAL
MARKETING
UNITED STATES (USA)
ALLIANCE FRANCAISE
SOUTH AFRICA
ASSOCIATED SERVICES, INTERNATIONAL
ORGANISATION
www.alliance.org.za
ALSHANA LIMITED
COTE DIVOIRE
AMAKA IGWE STUDIOS
NIGERIA
CONTENT ACQUISITIONS, CONTENT SUPPLIER
AMETHYST FILM DISTRIBUTION
UNITED KINGDOM
www.amethyst-distribution.co.uk
AMPERSAND
FRANCE
CONTENT ACQUISITIONS, INDEPENDENT
BUYER
www.ampersand.fr
ANFANTWI ENTERPRISE
GHANA
ANY SCREEN PRODUCTIONS
UNITED KINGDOM
ASSOCIATED SERVICES, DIRECT MARKETING
www.anyscreenproductions.com
APES IN SPACE
KENYA
www.apesinspace.net
APREEL VENTURES
NIGERIA
APRICOT AFRICA CONSULTING
AUSTRALIA
apricotconsulting.com.au/
ASPIRATIONS / AFRICA MEDIA
MANAGEMENT
SOUTH AFRICA
www.africamm.com
AVALON GROUP
SOUTH AFRICA
www.avalon-group.co.za
AYA DISTRIBUTION
UNITED KINGDOM
www.ayadistribution.org
BALANCING ACT
UNITED KINGDOM
www.balancingact-africa.com
BALOZI PRODUCTIONS LTD.
KENYA
www.baloziproductions.co.ke
BAM BLACK ARABIAN MOBILE
FRANCE
PROVIDER
BASIC LEAD
UNITED STATES (USA)
ASSOCIATED SERVICES, TELEMARKETING
www.basiclead.com
BBC GLOBAL NEWS
UNITED KINGDOM
www.bbc.com/news
BBC WORLDWIDE
UNITED KINGDOM
www.bbcworldwidetv.com
BERSERK MEDIA LTD
INDIA
www.berserkmedia.net
BESPOKE MEDIA CONTENT
UNITED KINGDOM
www.bespokemediacontent.com
BIEF GLOBAL LINKS LIMITED
NIGERIA
BLACK MAGIC FILMS
KENYA
www.blackmagic.co.ke
BMD ENTERTAINMENT
SOUTH AFRICA
vimeo.com/bmdentertainment
BOB TV - BEST OF THE BEST TV
NIGERIA
www.bobtv.org
BOJANALA DISTRICT
MUNICIPALITY
SOUTH AFRICA
ASSOCIATED SERVICES, PUBLIC ORGANISATION
www.bojanala.co.za
BRAZILIAN TV PRODUCERS
BRAZIL
ASSOCIATED SERVICES, TRADE ASSOCIATION
www.braziliantvproducers.com
BRICO-FILMS
MALI
http://brico-films.com
CAKE ENTERTAINMENT
UNITED KINGDOM
www.cakeentertainment.com
CAMDEN CREATIVE
UNITED KINGDOM
www.camdencreative.com
CANAL 2 INTERNATIONAL
CAMEROON
www.canal2international.net
CANAL FRANCE INTERNATIONAL
CFI
FRANCE
www.cfi.fr
CANAL+ OVERSEAS
FRANCE
www.canal-overseas.com
CARACOL TELEVISION
COLOMBIA
www.caracolinternacional.com
CBS / CONTINENTAL
BROADCASTING SERVICE
NIGERIA
www.tvcontinental.tv
CCD AFRICA
KENYA
www.ccdafrica.com
CCTV-CHINA INTERNATIONAL TV
CORPORATION
CHINA
www.citvc.com
CELLCAST NIGERIA LIMITED
NIGERIA
PROVIDER
www.cellcast360.com
CEREBRAL CONSULT LTD
NIGERIA
ASSOCIATED SERVICES, CONSULTING
www.cerebralconsult.com
CHANNELS TELEVISION ABUJA
NIGERIA
www.channelstv.com
CHELLO ZONE
UNITED KINGDOM
www.chellozone.com
CHENGETAS BOY PRODUCTIONS
BOTSWANA
CHINA MOVIE CHANNEL
CHINA
www.cctv.com
CHRISTIAN BROADCASTING
NETWORK
UNITED STATES (USA)
www.cbn.com
CHRISTIAN BROADCASTING
NETWORK SOUTH AFRICA
SOUTH AFRICA
www.go-tell.org / http://www.cbn.com/
CINEFLIX RIGHTS
UNITED KINGDOM
www.cineflixrights.com
CINEVIDEO MOZAMBIQUE
MOZAMBIQUE
www.cinevideoproducoes.com.br
CINEVIDEO PRODUCOES
BRAZIL
www.cinevideoproducoes.com.br
CLICKBOOGIE MEDIA
SOUTH AFRICA
www.clickboogie.com
CLOVER
SOUTH AFRICA
ASSOCIATED SERVICES, ADVERTISING
www.clover.co.za
COLORBARMEDIA
NIGERIA
www.colorbarstudios.com
COMART FILMS
NETHERLANDS
CONCEPT E
GABON
CONNECT MARKETING SERVICES
NIGERIA
www.connectmarketingonline.com
CONSULATE GENERAL OF
NIGERIA IN JOHANNESBURG
SOUTH AFRICA
www.nigeria.co.za
CONVERGENT TECHNOLOGY
LIMITED
NIGERIA
ASSOCIATED SERVICES, PRODUCTION
COORDINATION
CORPORATE WORLD
ENTERTAINMENT
NIGERIA
www.ayshow.tv
COTE OUEST
COTE DIVOIRE
www.cotewest.com
CRTV - CAMEROON RADIO
TELEVISION
CAMEROON
www.crtv.cm
CULTUVISTA
SOUTH AFRICA
www.michaellee.tv
DAAR COMMUNICATIONS
/ AFRICA INDEPENDENT
TELEVISION (AIT)
NIGERIA
www.daargroup.com
DARGIE ADVERTISING AGENCY
BOTSWANA
www.dargiedigitalstudios.com
DEPARTMENT OF INFORMATION
SERVICES ZANZIBAR
TANZANIA
DEUTSCHE WELLE
GERMANY
www.dw-world.de
DFA - DOCUMENTARY
FILMMAKERS ASSOCIATION
SOUTH AFRICA
www.docfilmsa.com
DIFFA
FRANCE
www.diffa.eu
DIGITAL INTERACTIVE MEDIA
LTD
NIGERIA
www.thenextmoviestar.net
DISCOVERY GLOBAL EDUCATION
PARTNERSHIP
UNITED STATES (USA)
ASSOCIATED SERVICES
www.discoveryglobaled.org
DISCOVERY NETWORKS
CHANNEL
UNITED KINGDOM
www.discovery.com
DON PRINCE GLOBAL SYSTEMS
NIGERIA
ASSOCIATED SERVICES, SATELLITE
TRANSMISSIONS
DON-NKEMS INVESTMENTS LTD
NIGERIA
www.donnkems.com
DREAMCATCHER PRODUCTIONS
KENYA
www.dreamcatcher.co.ke
DRTV INTERNATIONAL
CONGO BRAZZAVILLE
www.drtvcongo.com
DV8 FILMS
SOUTH AFRICA
www.dv8.co.za
E&A FILM GMBH
AUSTRIA
www.eafilm.at
E.TV
SOUTH AFRICA
www.etv.co.za
ECHELON STUDIOS
UNITED STATES (USA)
www.echelonstudios.us
EL BETHEL TV RADIO
BURKINA FASO
www.mbiie.org
ELEMENT MEDIA LIMITED
NIGERIA
ENDEMOL.
SOUTH AFRICA
www.endemol.co.za
EROS INTERNATIONAL MEDIA
INDIA
www.erosentertainment.com
ETISALAT NIGERIA
NIGERIA
TRANSMISSIONS
ETV - TV EQUINOXE
CAMEROON
www.equinoxetv.com
EURONEWS
FRANCE
www.euronews.com
EUROPA DUBBING GROUP
FRANCE
www.europadubbing.com
EUTELSAT COMMUNICATIONS
FRANCE
PROVIDER
www.eutelsat.com
EXP AGENCY
SOUTH AFRICA
www.expagency.co.za
EXPRESS HANDLING SERVICES /
EHS
FRANCE
ASSOCIATED SERVICES, FREIGHT FORWARDER
www.ehs.fr
EYEWITNESS KIDS NEWS LLC
UNITED STATES (USA)
www.TeenKidsNews.com
FAIRMEAD CONSULTANCY/
SIMPLY BLACK ADVERTISING
SOUTH AFRICA
www.fairmeadcl.com
FAITH HISTORY PRODUCTIONS
SOUTH AFRICA
www.myfaithhistory.com
FARMSECURE
SOUTH AFRICA
www.farmsecure.co.za
FCCE DISTRIBUTION
NETHERLANDS
www.fcce.tv
FEISAL MALIK LTD
KENYA
FESTEL - BIMAC
CAMEROON
www.lefestel.com
FIBA AFRICA
COTE DIVOIRE
ASSOCIATED SERVICES, SPORTS LEAGUE /
FEDERATION
www.fiba-afrique.org
FILM & EVENT MEDIA
SOUTH AFRICA
www.thecallsheet.co.za
FILM KENYA MAGAZINE
KENYA
www.filmkenya.com
FILMS 21
BURKINA FASO
FIREWORX MEDIA
SOUTH AFRICA
www.fireworxmedia.co.za
FIRST CLASS ENTERTAINMENT
NIGERIA
FM PRODUCOES
BRAZIL
FOX INTERNATIONAL CHANNELS
AFRICA
SOUTH AFRICA
www.foxinternationalchannels.com
FOX INTERNATIONAL CHANNELS
UK
UNITED KINGDOM
www.fox.com
FRANCE 24
FRANCE
www.france24.com
FREE VOICE / KNN-KIDS NEWS
NETWORK
NETHERLANDS
www.freevoice.nl
FREEBAND TV
UNITED KINGDOM
PROVIDER
www.freeband.tv
FRENCH EMBASSY IN KENYA
KENYA
www.ambafrance-ke.org
FRENCH EMBASSY IN SA
SOUTH AFRICA
www.ambafrance-rsa.org
G3 MEDIA LIMITED
NIGERIA
GABRIEL GRACE CONSULTING
SOUTH AFRICA
ASSOCIATED SERVICES, LOCALIZATION
www.gabrielgrace.com
GALAXY TELEVISION
NIGERIA
www.galaxytvonline.com
GALLO IMAGES
SOUTH AFRICA
www.galloimages.co.za
GAUTENG CONVENTIONS &
EVENTS BUREAU
SOUTH AFRICA
www.gauteng.net
GAUTENG FILM COMMISSION
SOUTH AFRICA
www.gautengfilm.org.za
GBN COMMUNICATIONS LTD
NIGERIA
www.gbnmedia.com
GENESIS STUDIOS
NIGERIA
www.genesisstudios-ng.tv
GLOBAL AGENCY
TURKEY
www.theglobalagency.tv
GLOBAL LIFE DIAMOND LIMITED
NIGERIA
GLOBECAST
FRANCE
PROVIDER
www.globecast.com
GLOBO TV INTERNATIONAL
BRAZIL
www.globotvinternational.com
GMA WORLDWIDE INC / GMA
NETWORK
PHILIPPINES
TV STATION, INDEPENDENT BUYER
www.igma.tv
GRACE AND MERCY ASSOCIATE
LTD
NIGERIA
GREAT LIGHT ENTERTAINMENT
UNITED STATES (USA)
www.greatlightentertainment.org
GROUPE JEUNE AFRIQUE
FRANCE
www.groupeja.com
GRTS - GAMBIA RADIO AND
TELEVISION SERVICE
GAMBIA
www.grts.gm
GTV - GHANA BROADCASTING
CORPORATION
GHANA
www.gbcghana.com
HIGH IMPACT MEDIA
NIGERIA
HIP TV
NIGERIA
HITV UK
UNITED KINGDOM
www.hitvuk.com
HOMEBASE TV
GHANA
www.afrimus.com
HUNAN SHANMAO CARTOON
CHINA
IATAS - INTERNATIONAL
ACADEMY OF TELEVISION ARTS
& SCIENCES
UNITED STATES (USA)
ASSOCIATED SERVICES
www.iemmys.tv
IEC IN SPORTS
SWEDEN
www.iec.se
IFACTORYLIVE AFRICA
UNITED KINGDOM
www.ohtv.co.uk
IFE SERVICES SA
SOUTH AFRICA
IMANLE AFRICA TELEVISION
BENIN
IMG SOUTH AFRICA
SOUTH AFRICA
CONTENT ACQUISITIONS, CONTENT SUPPLIER
www.imgworld.com
IMPACT CHRISTIAN MEDIA
SOUTH AFRICA
INDEPENDENT NEWSPAPERS
NIGERIA
www.independentonline.com
INDIGENOUS FILM
DISTRIBUTION
SOUTH AFRICA
www.indigenousfilm.co.za
INFRASAT
ANGOLA
www.infrasat.co.ao
INSPIRE AFRICA
NIGERIA
www.inspire-africa.com
INTENCITI MEDIA
NIGERIA
IRIB MEDIA TRADE
IRAN
www.iribmediatrade.ir
ITN SOURCE SOUTH AFRICA
SOUTH AFRICA
www.itnsource.com
JAPPO / CISA
SENEGAL
ASSOCIATED SERVICES, EVENTS
www.cisaconvention.org
JASCOM PRODUCTION
SENEGAL
COORDINATION
JHHESA
SOUTH AFRICA
ASSOCIATED SERVICES, NON-GOVERNMENTAL
ORGANISATION
www.jhhesa.org
JIANGSU BROADCASTING
CORPORATION
CHINA
www.jsbc.com
JIGA TECH PRODUCTIONS
GHANA
www.fofafilm.com
JUST FOR LAUGHS / JUSTE POUR
RIRE
CANADA
www.justforlaughstv.com
KANAL D
TURKEY
www.kanald.com.tr
KCBS TV
CAMEROON
KENYA
www.filmingkenya.com
KIDSCO
UNITED KINGDOM
www.kidscotv.tv
KIE - KENYA INSTITUTE OF
EDUCATION
KENYA
www.kie.ac.ke
KNFA / KENYA NATIONAL FILM
ASSOCIATION
KENYA
KOREAN CREATIVE CONTENT
AGENCY / KOCCA
KOREA
www.kocca.or.kr
KRAFTMAN PRODUCTIONS
NIGERIA
www.mcmng.net
LAFENG ENTERTAINMENT
CHINA
www.lovefeng.com.cn
LAGOS STATE BROADCASTING
CORPORATION
NIGERIA
LANDFLOW MEDIA
BOTSWANA
LC2 - LA CHAINE 2
BENIN
www.lc2international.tv
LES FILMS DU DROMADAIRE
BURKINA FASO
CONTENT SUPPLIER
www.filmsdudromadaire.com/
LTM TV - LA LOVE TOM AND
MARTHE TELEVISION
CAMEROON
N/A
LUNTHA TV / MONTFORT MEDIA
MALAWI
www.lunthatv.com
LUWAK
FRANCE
COORDINATION
www.luwak.fr
M-NET - ELECTRONIC MEDIA
NETWORK
SOUTH AFRICA
www.mnetsales.com
M-NET AFRICA
SOUTH AFRICA
www.mnet.co.za
MABONENG BROADBAND/OPEN
SOUTH AFRICA
ASSOCIATED SERVICES, LOCALIZATION
www.theopen.co.za
MABONENG PRECINCT
SOUTH AFRICA
ASSOCIATED SERVICES, SUBSCRIBERS
MANAGEMENT / PROMOTION OFFICES
www.mabonengprecinct.com
MAINSTREAM NETWORKS
HOLDING
GERMANY
www.mainstream-media.ag
MARIE VERITE FILMS
SOUTH AFRICA
MARTIKA PRODUCTIONS
COTE DIVOIRE
COORDINATION
www.myteenager.tv
MAXI D PRODUCTIONS
SOUTH AFRICA
MAXIMA INTEGRATED MEDIA
NIGERIA
www.maximamediaworld.com
MBC - MALAWI BROADCASTING
CORPORATION (FORMERLY TVM)
MALAWI
MBC - MAURITIUS
MAURITIUS
www.mbcradio.tv
MC VISION
MAURITIUS
PROVIDER
www.canalplus-maurice.com
MEDIA CONSULTING GROUP
FRANCE
www.mediacg.tv
MEDIA VISION CAMEROUN
CAMEROON
MEDIAMETRIE / EURODATA TV
FRANCE
ASSOCIATED SERVICES, MEDIA RESEARCH
www.mediametrie.fr
MEGAMEDIA NETWORKS
LESOTHO
PROVIDER
www.megamedia.co.ls
MERCURY MEDIA
INTERNATIONAL
UNITED KINGDOM
www.mercurymedia.org
MGM NETWORKS
UNITED STATES (USA)
www.mgmchannel.com
MGM WORLDWIDE TELEVISION
GROUP (EUROPE)
UNITED KINGDOM
www.mgmtelevision.com
MICROMEDIA MARKETING
NIGERIA
www.micromedia.com.ng
MINDSET
SOUTH AFRICA
www.mindset.co.za
MINDSET NETWORK
SOUTH AFRICA
www.mindset.co.za/corporate
MINISTRY OF INFORMATION AND
BCASTING
SOUTH SUDAN
www.goss.org
MN TV
CONGO BRAZZAVILLE
MOBI TV
ZAMBIA
MODERN AFRICAN PRODUCTIONS
GHANA
www.maptv.tv
MODERN COMMUNICATIONS LTD
NIGERIA
www.mcltvnetwork.com
MOKOLO / GOETHE INSTITUT
SOUTH AFRICA
www.mokolo.net
MONDO TV
ITALY
www.mondotv.it
MOSQUITO PROJECT
BRAZIL
www.bando.us
MP & SILVA SINGAPORE
SINGAPORE
CONTENT SUPPLIER, SCRIPTED FORMATS
ww.mpsilva.com
MP & SILVA UK
UNITED KINGDOM
www.mpsilva.com
MTV STAYING ALIVE
UNITED KINGDOM
www.staying-alive.org
MULTICHOICE AFRICA
SOUTH AFRICA
www.multichoice.co.za
MULTIMESH BROADCASTING
COMPANY
NIGERIA
www.multimeshgroup.com
MUNHUMUTAPE PAY TV LIMITED
SEYCHELLES
MUVI TELEVISION
ZAMBIA
www.muvitv.com
NATION MEDIA GROUP
KENYA
www.nationmedia.com
NATIONAL MIRROR NEWSPAPERS
NIGERIA
www.nationalmirroronline.net
NATIONAL TELEVISION HAITI /
TNH
HAITI
NBC - NAMIBIAN BROADCASTING
CORPORATION
NAMIBIA
www.nbc.com.na
NBC UNIVERSAL FRANCE
FRANCE
www.nbcuni.com
NBC UNIVERSAL SOUTH AFRICA
SOUTH AFRICA
NBC UNIVERSAL TELEVISION
DISTRIBUTION
UNITED KINGDOM
www.nbcuni.com
NEW TV
CAMEROON
NFVCB - NATIONAL FILM AND
VIDEO CENSORS BOARD
NIGERIA
www.nfvcb.gov.ng
NFVF - NATIONAL FILM AND
VIDEO FOUNDATION
SOUTH AFRICA
www.nfvf.co.za
NHK ENTERPRISES INC.
JAPAN
pf.nhk-ep.co.jp/
NIELSEN SOUTH AFRICA
SOUTH AFRICA
en-za.nielsen.com
NOBLE PICTURES
SOUTH AFRICA
www.noblepictures.tv
NOLLYWOOD WORLDWIDE
ENTERTAINMENT
NIGERIA
NTA EDUCATIONAL CHANNEL
NIGERIA
www.nta-online.org
OCTAGON SOUTH AFRICA
SOUTH AFRICA
www.octagonsa.com
OFF THE FENCE
NETHERLANDS
www.offthefence.com
OH AFRICA
GHANA
OIF ORGANISATION
INTERNATIONALE DE LA
FRANCOPHONIE
FRANCE
CONTENT ACQUISITIONS, ASSOCIATED SERVICES
www.francophonie.org
OKUHLE MEDIA
SOUTH AFRICA
www.okuhle.co.za
OMNIVISION
UNITED STATES (USA)
PROVIDER
ON SCREEN PRODUCTIONS LTD
(K)
KENYA
www.getonscreen.com
ONE MUSIC NETWORKS LIMITED
NIGERIA
www.1musicnetworks.tv
ONRTV
CHAD
www.onrtv.org
ORTM - OFFICE DE
RADIODIFFUSION TELEVISION
DU MALI
MALI
www.ortm.ml
OSNOVA SOLUTIONS
UNITED KINGDOM
www.osnova.co.uk
PASSION DISTRIBUTION
UNITED KINGDOM
www.passiondistribution.com
PGS ENTERTAINMENT
FRANCE
www.pgsentertainment.com
PHILO YEM PRODUCTIONS
NIGERIA
PILIPINAS GLOBAL NETWORK
(TV5 INTERNATIONAL)
PHILIPPINES
www.tv5.com.ph
PLATEFORME PANAFRICAINE
CONTRE LES VIOLENCES FAITES
AUX FEMMES
SENEGAL
ASSOCIATED SERVICES, NON-GOVERNMENTAL
ORGANISATION
POINT BLANK MEDIA CONCEPTS
LTD
GHANA
www.pointblankmc.com
PRODUCTIONS RACINES
BURKINA FASO
PROFILMS LIMITED
NIGERIA
PROTEL STUDIOS
KENYA
www.protelstudios.tv
RADIO AFRICA GROUP/KISSTV
KENYA
www.kissfm.co.ke
RADIO BALAFON / BALAFON TV
CAMEROON
www.radiobalafon.com
RAGA TV
DEMOCRATIC REPUBLIC OF CONGO
www.raga.cd
RAPID BLUE
SOUTH AFRICA
www.rapidblue.com
REAL MARKETING GROUP
UGANDA
www.real-group.biz
SOUTH AFRICA
COORDINATION
REEL LAIF ENTERTAINMENT
LIMITED
NIGERIA
ROYAL MEDIA SERVICES
LIMITED / CITIZEN TELEVISION
KENYA
www.royalmedia.co.ke
ROYAL ROOTS- APREEL
VENTURES
NIGERIA
www.royalrootsng.com
RRSAT - GLOBAL
COMMUNICATIONS NETWORK
ISRAEL
TRANSMISSIONS
www.rrsat.com
RTA RADIO TELEVISION
ANALAMANGA
MADAGASCAR
www.rta.mg
RTG 1 - RADIODIFFUSION
TELEVISION GABONAISE
GABON
www.rtg1.org/RTG
RTGA - RADIO TELEVISION
GROUPE LAVENIR
www.groupelavenir.cd
RTI LA PREMIERE
COTE DIVOIRE
www.rti.ci
RTI TV2
COTE DIVOIRE
www.tv2.ci
RTNC1 - RADIO TELEVISION
NATIONALE CONGOLAISE
www.radiotele-rdc.net
SABC - SOUTH AFRICAN
SOUTH AFRICA
www.sabc.co.za
SABC EDUCATIONAL
PROGRAMMING (SOUTH AFRICAN
BROADCASTING CORPORATION)
SOUTH AFRICA
www.sabceducation.com
SAFACT- SOUTHERN AFRICAN
FEDERATION AGAINST
COPYRIGHT THEFT
SOUTH AFRICA
ASSOCIATED SERVICES, LEGAL
www.safact.co.za
SALAZAR MANAGEMENT AND
MARKETING CONSULTANTS
CHINA
www.momoking.com/english/index.php
SANSANG MEDIA
CHINA
SBC - SEYCHELLES
SEYCHELLES
www.sbc.sc/
SC COMUNICACOES LTD
BRAZIL
www.satoco.com.br
SCREEN AFRICA
SOUTH AFRICA
www.screenafrica.com
SEED ENTERTAINMENT
SOUTH AFRICA
SEGUN OSENI PRODUCTIONS
NIGERIA
SEMBA COMUNICACAO
ANGOLA
www.semna-c.com
SENEGAALTV
SENEGAL
ASSOCIATED SERVICES, MEDIA RESEARCH
www.senegaaltv.com
SES
LUXEMBOURG
PROVIDER
www.ses.com
SESAME WORKSHOP
UNITED STATES (USA)
www.sesameworkshop.org
SETANTA SPORTS AFRICA LTD
SOUTH AFRICA
www.setanta.com/africa
SHADOW FILMS
SOUTH AFRICA
www.shadowfilms.co.za
SHANGHAI WINGSMEDIA
CHINA
www.wingsmedia.com.cn
SIMBASAT
UNITED KINGDOM
SKY NEWS INTERNATIONAL
UNITED KINGDOM
CONTENT SUPPLIER, PACKAGED CHANNELS
SKY VISION
UNITED KINGDOM
www.parthenonentertainment.com
SMARSH ENTERTAINMENT
COTE DIVOIRE
SMTV - SPORT & MUSIC
TELEVISION/ SKY SARL
BURKINA FASO
SONY PICTURES TELEVISION
UNITED KINGDOM
www.sonypicturestelevision.com
SOURCE TV
COTE DIVOIRE
www.sourcetv.ci
SPARROW PRODUCTIONS
GHANA
www.sparrowproductions.net
SPORTFIVE FRANCE & AFRIQUE
FRANCE
www.sportfive.com
SPORTSBRAND MEDIA GROUP
UNITED KINGDOM
www.sportsbrand.tv
STAR INDIA PVT LTD
INDIA
www.startv.com
STAR MIDDLE EAST
UNITED ARAB EMIRATES
www.starselect.com
STAR TIMES COMMUNICATION
NETWORK TECHNOLOGY
CHINA
www.startimes.com.cn
STARCOM MEDIA
NIGERIA
ASSOCIATED SERVICES, TELCO
www.starcommedia.com
STATE ADMINISTRATION OF
RADIO FILM AND TV (SARFT)
CHINA
www.chinasarft.gov.cn
STIMULII
SOUTH AFRICA
CONTENT SUPPLIER, UNSCRIPTED FORMATS
www.stimulii.co.za
STRONG TECHNOLOGIES IIC
PROVIDER
www.strong-technologies.com
STV - SOICO TELEVISAO
MOZAMBIQUE
www.stv.co.mz
SUPERSPORT INTERNATIONAL
SOUTH AFRICA
www.supersport.co.za
SWITCH INTERNATIONAL
AUSTRALIA
www.switchint.com
SYNOVUS MEDIA
NIGERIA
www.synovusmedia.com
TAFSIRI ENTERTAINMENT GROUP
KENYA
www.tafsiri.com
TAL TELE (ORTN)
NIGER
www.ortn_niger.com
TANZANIA STANDART
NEWSPAPERS (TSN)
TANZANIA
ASSOCIATED SERVICES, PRINT PUBLISHING
www.habarileo.co.tz
TELE 10 GROUP
RWANDA
PROVIDER
www.tele-10.com
TELE SAHEL - OFFICE DE
RADIODIFFUSION TELEVISION
DU NIGER (ORTN)
NIGER
www.ortn_niger.com
TELEMUNDO INTERNACIONAL
UNITED STATES (USA)
www.telemundointernacional.com
TELEVISA INTERNACIONAL
UNITED STATES (USA)
www.televisainternacional.tv
TERRAPINN LIMITED
SOUTH AFRICA
ASSOCIATED SERVICES, EVENTS
www.terrapinn.com
THE BIOSCOPE
SOUTH AFRICA
ASSOCIATED SERVICES, TECHNICAL SOLUTIONS
THE BOLD AND THE BEAUTIFUL
UNITED STATES (USA)
www.boldandbeautiful.com
THE BOMB SHELTER FILM
COMPANY
SOUTH AFRICA
www.thebomb.co.za
THE FORMAT PEOPLE
IRELAND
CONTENT SUPPLIER
www.theformatpeople.com/
THE FORMAT PEOPLE GROUP/
ENGINE ENTERTAINMENT
UNITED STATES (USA)
www.engine-ent.com
THE FRENCH EMBASSY IN SOUTH
AFRICA
SOUTH AFRICA
ASSOCIATED SERVICES
http://www.ambafrance-rsa.org/
THE GUARDIAN NIGERIA
NIGERIA
www.ngrguardiannews.com
THE NEW VISION PRINTING &
PUBLISHING COMPANY
UGANDA
www.newvision.co.ug
THE SUN PUBLISHING LTD
NIGERIA
THE UNIVERSITY OF NORTH
CAROLINA AT CHAPEL HILL
UNITED STATES (USA)
www.unc.edu
THEMA
FRANCE
www.thematv.com
THOMSON REUTERS SOUTH
AFRICA
SOUTH AFRICA
TRANSMISSIONS
www.thomsonreuters.com
THOUSAND HUGS
SOUTH AFRICA
TIMES TELEVISION NETWORK
INDIA
www.timesnow.tv
TNC - TELEVISION NATIONALE
COMORIENNE (ORTC)
COMOROS
www.ortc.fr
TOP TV / ON DIGITAL MEDIA
(ODM)
SOUTH AFRICA
www.toptv.co.za
TOUCHSKY MEDIA LIMITED
UNITED KINGDOM
www.touchskymedia.com
TREND TV
NIGERIA
www.trendtv.tv
TV AZTECA
MEXICO
www.tvazteca.com.mx
TV4 AFRICA MEDIA
NIGERIA
www.tv4africa.tv
TV5 MONDE
FRANCE
www.tv5monde.com
TVDATA
UNITED KINGDOM
ASSOCIATED SERVICES, DIGITAL RIGHTS
MANAGEMENT
www.tvdata.tv
TVM - TELEVISION DE
MAURITANIE
MAURITANIA
www.tvm.mr/fr
TVM - TELEVISION MALAGASY
MADAGASCAR
N/A
TVT - TELEVISION TOGOLAISE
TOGO
www.tvt.tg
UFA SPORTS
GERMANY
www.ufasports.com
ULTIMA LIMITED
NIGERIA
www.ultimalimited.com
UNDERDOG PROD / MOKOLO
SOUTH AFRICA
www.underdog.co.za
UNION ASSOCIATES
NIGERIA
www.unionassociates.com
UNITED TELEVISION (UTV)
GHANA
www.utvghana.com
UNIVERSITY OF IBADAN MEDIA
CENTRE
NIGERIA
www.ui.edu.ng
URBAN BREW STUDIOS
SOUTH AFRICA
www.urbanbrew.tv
VANGUARD MEDIA LIMITED
NIGERIA
www.vanguardngr.com
VARIETY ARABIA MAGAZINE
www.varietyarabia.com
VENEVISION INTERNATIONAL
AND AFFILIATES
UNITED STATES (USA)
www.venevisioninternational.com
VENUS FILM PRODUCTION
GHANA
venusfilmsghana.com
VIACOM 18 MEDIA
INDIA
www.viacom18.com
VIASAT 1
GHANA
VIASAT BROADCASTING UK
UNITED KINGDOM
www.mtg.se
VISION GROUP
UGANDA
www.newvision.co.ug
VISION PRODUCTION LTD
NIGERIA
www.visionproductionltd.com
VISUAL AFRICA PRODUCTIONS
KENYA
www.visualafrica.tv
VOICE OF AMERICA SOUTH
AFRICA/IBB
SOUTH AFRICA
www.voanews.com
VOODOO COMMUNICATION
COTE DIVOIRE
www.voodoo-com.net
WANANCHI PROGRAMMING
GROUP LTD
KENYA
www.zuku.co.ke
WAP TV
NIGERIA
www.thewaptv.net
WBS - WAVAH BROADCASTING
COMPANY
UGANDA
www.wbs-tv.co.ug
WESTERN COMMUNICATION
SENEGAL
www.complement-sn.com
WHPALLIES LIMITED
NIGERIA
WORLD DOVE MEDIA
NIGERIA
www.dovevision.tv
WORLD WIDE ENTERTAINMENT
MEDYA
TURKEY
www.wwent.net
WORLDWIDE RIGHTS
CORPORATION / LATIN MEDIA
CORP
UNITED STATES (USA)
www.latinmediacorp.com
XEINIUM PRODUCTIONS
KENYA
www.xeinium.com
YMALE PRODUCTIONS
COTE DIVOIRE
ymaleproductions.com
ZEE NETWORK AFRICA
INDIA
www.zeetelevision.com
ZENHQ FILMS
SOUTH AFRICA
www.zen-hq.com
ZHEJIANG HUACE FILM & TV CO
LTD
CHINA
PROVIDER
www.huacemedia.com
ZHEJIANG ZHONGNAN
ANIMATION
CHINA
www.chinanimax.com
MONT RE UX
COME DY AWARDS
2011 WI NNE RS
BEST SITCOM
Friday Night Dinner
Popper Pictures / Big Talk /
Channel 4
United Kingdom
BEST SKETCH SHOW
Broken Comedy
RedSeven Entertainment
Germany
BEST COMEDY SPECIAL
Otis Lee Crenshaw Live
Open Mike Productions /
BBC Worldwide
United Kingdom
BEST ONLINE COMEDY
Web Therapy
Is or isn't Entertainment /
Showtime
USA
BEST NON VERBAL
LOL ;-)
Qubecomm TV /
Far More Distribution
Canada
BEST PRODUCTION COMPANY
Hat Trick
USA / United Kingdom
SPECIALS AWARDS
Le Grand Restaurant
Blue Red / Production du
Colonel / Ki m'aime me suive
France
Alain Kappauf
Producteur / Kabo Productions
The Bold Buddies
Globo TV
Brasil
Contact: Thomas Disch / festival@montreuxcomedy.ch
SAVE T HE DAT E F OR
23
r d
MONT RE UX COME DY F E ST I VAL
6 - 10 DE CE MBE R 2012
www. mont r euxc omedy. c h
THE ONLY INTERNATIONAL
COMEDY COMPETITION
FOR TV & NEW MEDIA PROGRAMS
7 DECEMBER 2012
Best Sitcom
Best Sketch Show
Best Comedy Special (Variety, Best Comedy Talk, Best Stand Up)
Best Online Comedy
Best Non Verbal
Best Production Company
CAT E GORI E S
EXE AP Discop Africa_Mise en page 1 26/09/12 15:11 Page1
Index advert i sers - Disbook AfricA 2012
251
Index
Advertisers
Disbook AfricA 2012 - Index advert i sers Index advert i sers - Disbook AfricA 2012
252 253
A24
ABC ENTERPRISE
AFRICAN EYES
BASIC LEAD
BCWW
BRAZILIAN PRODUCERS
CARACOL
CEYLAN HOTEL
CFI
CICA
COTE OUEST
DISCOP AFRICA 2013
DISCOP ISTANBUL
DISCOVERY EDUCATION
EMMY AWARDS
ETISALAT
EUROPA DUBBING
FCCE
FILM KENYA
FILMBIZAFRICA
FREEBAND TV
GAUTENG FILM COMMISSION
GAUTENG TOURISM
GMA
HOME MOVIE FACTORY
JEUNE AFRIQUE
Jiangsu Broadcasting Corporation
LATIN MEDIA CORPORATION
MABONENG
MARIE JEANNE WOLKMAN
MNET ELECTRONIC MEDIA
MONDO TV
MONTREUX FILM FESTIVAL
NATPE
NHK
NEXIM BANK
NOBLE PICTURES
PILIPINAS GLOBAL NETWORK
TV5
RAPID BLUE
SABC
SCREEN AFRICA
SES
SMOOTH PROMOTIONS
STAR TV MIDDLE EAST
TELEMUNDO
TELEVISA
THE FORMATS PEOPLE
THE REMAKES MARKET
THEMA
TIFFCOM
TREND TV
TV AZTECA
TV5MONDE
VENEVISION
VOICE OF AMERICA (VOA)
WANANCHI PROGRAMMING
WHOLLYWOOD
XO AFRICA
ZEE NETWORK
253
Disbook AfricA 2012 - Index advert i sers Index advert i sers - Disbook AfricA 2012
254 255
255
NEXIM
www.neximbank.com.ng
NIGERIAN EXPORT - IMPORT BANK
Agriculture
(Agro-allied processing)
Services
Solid mineral
Manufacturing
HEAD OFFICE
Nigerian Export-Import Bank
NEXIM HOUSE
Plot 975, Cadastral Zone AO,
Central Business District,
P.M.B. 276, Garki, Abuja, Nigeria.
Tel: +234 9 460 3649
Fax: 234 9 460 3638
Email: neximabj@neximbank.com.ng
LAGOS AREA OFFICE
NEXIM Bank
Old Niger House
163/165 Broad Street,
Ground Floor
P.M.B. 80004
Victoria Island, Lagos.
Nigeria.
CALABAR AREA OFFICE
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Infinite views and the absolute quiet in the Namib Desert evoke
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Mary Jane Volkmann
For more information: www.maryjanevolkmann.com/
From a Distance - Namibian landscape Oil on canvas, 40 x 30 (part of a diptych)
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