Quote Boards (Twitter Post)

From Madiba To The Pan-Africanist: Playing His Part For The Continent

A look at the never-say-die Nigerian film industry’s emerging money-spinning trends.



POPULARLY KNOWN AS Nollywood, Nigeria’s film industry is the world’s second-largest producer of commercial cinema, and also accounts for 5% of Nigeria’s GDP. It is estimated that over 2,500 movies are produced each year in Nollywood with the industry employing more than a million people. Ingenuity and resourcefulness have always been a trademark of Nollywood, from homemade movies to ground-breaking blockbusters over the past decade. But the industry is not without its share of controversies. On the one hand, you have the never-say-die attitude of Nigerians combined with the glitzy and glamorous red-carpet events with celebrities attracting multi-million-naira brand endorsements. But underneath, the industry is characterized by a lack of funding and piracy, which has consistently robbed filmmakers of their revenues. But Covid-19 has led to a halt in Nollywood production decimating millions of dollars in earnings for the industry. The pandemic’s arrival has led to producers looking at new ways of staying afloat as well as focusing on higher-quality movies for streaming giants like Netflix and Amazon who are hoping to take a slice of the 200-million content market. FORBES AFRICA spoke with three of the key players in Nollywood to find out about the current state of the industry and what trends will affect its future. 



<hr class="wp-block-separator"/>



<h3 class="has-text-align-center wp-block-heading">‘Nollywood Offers A Gateway To A New Opportunity In Africa’</h3>



<h4 class="has-text-align-center wp-block-heading">Mo Abudu, CEO, EbonyLife Media</h4>



<div class="wp-block-image is-style-default"><figure class="alignleft size-large is-resized"><img decoding="async" loading="lazy" src="https://www.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-703x1024.jpg" alt="" class="wp-image-48273" width="323" height="470" srcset="https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-703x1024.jpg 703w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-206x300.jpg 206w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-768x1118.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-1055x1536.jpg 1055w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-1407x2048.jpg 1407w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-300x437.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-600x873.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Mo-Abudu-1-scaled.jpg 1759w" sizes="(max-width: 323px) 100vw, 323px" /></figure></div>



Abudu began EbonyLife in 2013 by launching a premium TV channel and in the same year, the company announced its first international partnership with Disney Media Distribution EMEA on the iconic hit series Desperate Housewives, bringing a new take on the series’ darkly comic view of suburbia to African audiences. In 2018, Sony Pictures Television announced a three-year deal with EbonyLife TV, In January this year, AMC Networks (USA) announced its partnership with EbonyLife to produce Nigeria 2099, an Afro-futuristic crime-drama created by EbonyLife and in June, Netflix signed a multi-title deal with EbonyLife to create two original series and multiple branded films and a series. Abudu shares more:



How has Nollywood evolved over the years?



The Nigerian entertainment industry is currently going through a renaissance. While historically, Nigeria has been dependent on oil and agriculture to subsidize its economy, Nollywood is rapidly taking over this role, not just in terms of content creation, but also in terms of distribution within Africa and the rest of the world. It’s inspiring to see more stories out of Nollywood told by Nigerian creators, and using resources found in Nigeria.&nbsp;



As a result, there is an international desire to invest in Nollywood stories, to make investments in productions within the nation’s borders, and hence elevate the quality of output to make it more appealing to a global audience. For example, among the highlights of our partnership with Netflix will be a film adaptation of Death and the King’s Horseman, a play by Nobel Prize winner Wole Soyinka, and a series based on Lola Shoneyin’s best-selling debut novel, The Secret Lives of Baba Segi’s Wives. Nigerian entertainment is no longer just for Nigeria, but also the world.



How far can Nollywood go in the global content marketplace?



The new interest in black culture and the questioning of colonialization’s legacy has resulted in international interest in Nollywood. Nollywood can draw upon the rising momentum in the United States and the United Kingdom in particular and offer viewers a wide array of works by black creators. Global streaming services are now offering more curated content to subscribers than ever before. Now, millions of people have access to content from Nollywood. EbonyLife’s first feature film Fifty, the only film selected from Nigeria, and one of only five films from the entire continent of Africa from 238 films selected globally for screening at the 2015 BFI London Film Festival, became the first Nigerian film to stream on Netflix in 2015. Our other film projects licensed by Netflix include The Wedding Party 1 and 2, Chief Daddy, and The Royal Hibiscus Hotel. Recently, Netflix acquired EbonyLife’s most popular drama series: Castle &amp; Castle, Fifty: The Series, Sons of the Caliphate, and On The Real, amongst others.&nbsp;



What are the current trends you are noticing in the content space and how is Nollywood adjusting to those trends? 



Nollywood offers a gateway to a new opportunity in Africa – in light of the recent racial tensions around the world, broadcasters are now more committed to commissioning relevant and authentic content reflecting the lives of global black audiences on an ongoing basis. There is a new desire, in short, for authenticity, or people speaking from their own experiences, telling stories from their unique perspectives. Nigeria has a historic tradition of exhibiting emotional, dramatic, and dynamic, rich content. Nigerian audiences have always been unafraid to see social issues mixed even into otherwise escapist entertainment. New media and the craving for new ideas has made Nollywood creators interested in exploring new formats for storytelling. Nigerian creators are also seeking outside training and resources to produce films that meet high international standards of visual and artistic interest. To meet this demand, EbonyLife is setting up a creative academy to build a bridge to the sub-Saharan African film and television industry, towards a value chain based on international best practices.&nbsp;



How has Covid-19 affected the Nigerian entertainment industry? 



In light of Covid-19, many international film festivals and global conferences have gone online, which has enabled more Nigerian creators to gain access to new audiences through live streams and virtual spaces rather than physical sessions that are more costly to attend. As a result, the online move has opened doors for virtual networking and building opportunities with Nigerian creatives in the industry. The pandemic also forced Nollywood to work differently, to become more technology-driven in a manner that reaches more specific niches, including black audiences all over the world.&nbsp;



There are now more reasons than ever to connect people around the world via the internet. The fact that more people are watching content on the small screen versus movie theaters has, in particular, caused this shift. Despite the halted production and gradual move back with increased health insecurity and insurance costs, interest in film-making remains high in Nigeria. The loss of jobs has balanced with opportunities for innovation. There has been a greater focus on pre-production, story development, writing and post-production work virtually.



<h3 class="has-text-align-center wp-block-heading">‘We Have Stories The World Hasn’t Heard’</h3>



<h4 class="has-text-align-center wp-block-heading">Omoni Oboli, Actress, Producer and Director</h4>



<div class="wp-block-image is-style-default"><figure class="aligncenter size-large is-resized"><img decoding="async" loading="lazy" src="https://www.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-746x1024.jpg" alt="" class="wp-image-48276" width="413" height="567" srcset="https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-746x1024.jpg 746w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-219x300.jpg 219w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-768x1054.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-1120x1536.jpg 1120w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-1493x2048.jpg 1493w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-300x412.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868-600x823.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Omoni-Oboli-2-scaled-e1602166800868.jpg 1707w" sizes="(max-width: 413px) 100vw, 413px" /></figure></div>



Oboli began her career in 1996. Her company, Dioni Visions Entertainment, has produced blockbusters in Nigerian cinema, with such films as Being Mrs Elliott, Wives On Strike and Okafor’s Law which was an official selection at the 2016 Toronto International Film Festival. Her movies are on Netflix, Amazon Prime, Iroko, and other streaming platforms. Her views on the movie business:



How would you describe the current state of the Nigerian entertainment industry?



The Nigerian movie industry needs a major boost to spark the flames that are clearly unwilling to be put out. Unlike other forms of entertainment, movie producers have only the sales and release of their movies to make their money back. With no serious checks and curtailing of the nature of piracy and no aggressive protection of intellectual property, we’re pretty much left to our own individual means of getting our money back from our work.&nbsp;



While all areas of entertainment are touched, I’m more specific about the movie business. We’ve been able to push our products far and wide with little resources, so it’s clear we have what it takes to break the ceiling given the talent that abounds, but without the structured means of having good returns on our investment, it’s hard for so many who are in the industry, especially those who are not at the top of the food chain, to make ends meet. There’s hope, and that’s the hope many hold on to.&nbsp;



What factors would you say have contributed to the global demand for Nollywood?



The first would be the obvious one: migration. With Africans everywhere in the diaspora, our movies, music and brand of comedy, and stage performances, are being demanded by them first, and then by others who see the infectious frenzy around our work by Africans everywhere. Our movies and entertainment bring a nostalgic feeling. The next is our unique stories. We have stories that the world hasn’t heard, or nuances to the same stories that breaks the monotony of the often-recycled stories.&nbsp;



What we may lack in production value, [compared to the likes of Hollywood and Bollywood], we are able to hold our audiences with the storylines, which are different, but resonate with everyone who watches them. Also, with the internet and social media, we can see the cross-cultural advantages that come with the global village and the growing yearning for inclusion and diversity. Whatever the reason, we love what we see with the popularity of our work.&nbsp;



Do you think Nollywood has what it takes to compete in the global content market? 



Sure it does. Nollywood started as the outlier; the great stories (product) with a poor wrapping, but has metamorphosed into the more presentable work we see today, and improving and competing with contemporaries the world over. We may not have arrived where we’re going, but where and what we are right now is far from, and better than, where we used to be. We have the stories, and with new stories to tell, the world has come to appreciate what we’re saying, and with time, has grown to appreciate and celebrate how we’re delivering it. With better returns on our investment, we can see more and more works of great art with each year and each producer pushing the envelope to give our stories more life and present our stories in its raw yet easy-to-watch format that resonates with all audiences. With the growing love the world has for our music, and its expression by us through our movies, we have seen more foreigners beginning to appreciate our candid presentations that are closer to our reality than if they were shot by a foreigner who may have the means to do justice to the production value, yet lose the essence that makes it authentically Nigerian. You can’t separate our stories from our mannerisms and language and culture.



<h3 class="has-text-align-center wp-block-heading">‘The Progress Of Nollywood Is In Leaps And Bounds Now’</h3>



<h4 class="has-text-align-center wp-block-heading">Richard Mofe-Damijo, Actor and Producer</h4>



<div class="wp-block-image is-style-default"><figure class="alignright size-large is-resized"><img decoding="async" loading="lazy" src="https://www.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833-822x1024.jpg" alt="" class="wp-image-48275" width="369" height="459" srcset="https://cms.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833-822x1024.jpg 822w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833-241x300.jpg 241w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833-768x956.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833-300x374.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833-600x747.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2020/10/Richard-Mofe-Damijo-e1602166644833.jpg 853w" sizes="(max-width: 369px) 100vw, 369px" /></figure></div>



Mofe-Damijo, popularly known by the moniker ‘RMD’ is one of the most successful actors in Nollywood. At 59 years old, the veteran actor has starred in over 75 movies and is also a qualified lawyer specializing in Intellectual Property. Over his acting career, which spans a period of 37 years, he has won every best actor award there is as well as is the only actor who has won the prestigious African Movie Academy Awards twice for best actor along with receiving a lifetime achievement award. He is the founder of RMD Productions which produces content for DSTV as well as is currently developing a slate of docu series in Nigeria. He is also starring in a lead role in Netflix’s first original Nigerian series.



How far has Nollywood come over the years?



The progress of Nollywood is in leaps and bounds now and there is a lot of collaboration with other film-making countries in the world. The streaming services have been very kind to us in Nigeria, so Nigerian movies have a very strong presence on the Netflix and Amazon platforms&#8230; So, in terms of impact, they usually say we are the second-largest film production industry in the world or the third, always between Hollywood or Bollywood and the good thing is we are in contention.&nbsp;



Covid-19 has been a major threat to the industry but just like the never-die spirit of Nigeria, we are all back again and making sure we keep producing movies.



What factors have led to the proliferation of Nollywood on the global market?



The authenticity of our stories means we tell our stories in the best way we can. We don’t have access to funds as most Hollywood or Bollywood movies will have. What we do here is like performing bypass surgery with forks and knives because of the limited funds. Technology has improved so we have embraced technology in production. So at least the standard of production has increased significantly. This has accounted for the big box office movies we have and created the cinema-going culture.&nbsp;



Nigerians are also getting cast in international movies now and we have more or less affected the whole of the West African region and African continent and a lot of them are now also looking inward to tell their own stories. Nigerians in the diaspora are constantly looking for ways to connect back home so our movies have become a tool for them to connect. The reason Netflix is here is because they know we can compete; our films are beginning to speak for themselves.



What new trends are shaping the stories being told in Nollywood?



Producers are looking to get their movies to the point where we can get our movies to be judged for international awards now and this means we are going to get more authentic stories from Nigeria.&nbsp;



This is something that will help boost our movies globally.

Screenshot 2020-10-08 at 16.13.58

The Blockbuster Named NOLLYWOOD

When Arianna Huffington was 20, living in London, and constantly being rejected by publishers, she never knew that one day she would appear on FORBES’ list of the World’s Most
Powerful Women, alongside Michelle Obama, Angela Merkel, Oprah Winfrey and Queen Elizabeth II.
Huffington’s success with, online publication, the Huffington Post has made her one of the most sought-after speakers in the world.
In October 2013, Huffington, dressed in a power grey-suit and yellow blouse, addressed a crowd of young leaders at the One Young World Summit in
<img decoding="async" loading="lazy" class="alignleft size-medium wp-image-5912" src="/wp-content/uploads/2017/05/FWA-2013-Dec-Jan-048-049-CA-Media-001-200x300.jpg" alt="" width="200" height="300" />
Johannesburg, South Africa. The 1,200 delegates from around the world sat on the edge of their seats, wide-eyed, waiting for Huffington to reveal the  ultimate secret to success.
“I want to recommend to everyone here that they sleep their way to the top,” she pronounced.
Huffington’s ironic humor had the crowd in stitches. How were they, the generation of tweeting, blogging, mixing, hashtags and serious FOMO (fear of missing out), meant to find time to sleep?
She went on to tell the story of when this revelation hit her, literally.
“In 2007, in the middle of building the Huffington Post, I fainted from exhaustion. I hit my head on my desk; I broke my cheekbone and got four stitches on my right eye. That was the beginning of my journey. But you don’t have to wait until you have a rude awakening like I had.”
This was the inspiration for Huffington’s concept, the ‘Third Metric’. It calls for the traditional definition of success to be changed beyond money and power. Instead of climbing the corporate ladder, Huffington argues, success should be determined by personal happiness and health.
Since the Huffington Post’s launch in 2005, it has become one of the most successful online publishing platforms in the world. The content is a combination of news stories by journalists and personal opinion blogs by politicians, celebrities and academics.
The Huffington Post is quickly making its way around the world, with a strong presence in nine countries so far. Although Huffington has taken great interest in Africa, she has no plans to bring the publication to the continent just yet.
Here in Africa, there are many women who are not afraid to take on media corporations. And contrary to the belief that it’s a man’s world, they did it in heels.
In 1960, a bright-eyed Jane Raphaely moved to South Africa. A few years later, at the age of 30, she was appointed the founding editor of Fairlady magazine.
She used the platform to discuss controversial topics such as sex and politics. She was also a key player in the movement to revive the Domestic Workers’ Union.
“At that stage white women in South Africa did not have careers. Some of them had jobs but their careers, as they saw them, was finding the right man and bringing up a family… Black women worked because they had to. So the huge division was between women who didn’t have to work and women who did have to work. And they were very often in the same house because that one woman was working for the other woman,” says Raphaely in an interview with  2 Oceans Vibe.
The issue of gender inequality was one that Raphaely consistently fought. In her book, Jane Raphaely Unedited: True Tales of a Fun Fearless Female, Raphaely says it was better for households if women stayed out of the workforce.
“…At the time a married woman’s salary was added to her husband’s income, putting him in a higher tax bracket without taking account or any extra costs incurred by having her work outside the home.”
In 1982, the Raphaely family launched Associated Media Publishing (AMP), which would later become one of the most successful publishing houses in South Africa. AMP also manages the South African wing of international magazines such as Cosmopolitan and Marie Claire.
Raphaely has been the company’s managing editor since AMP was born, and she continues to be one of the biggest influences on South African media.
Further north in Nigeria, one of Africa’s favorite television personalities is also making history.
Mo Abudu, the woman behind one of the continent’s most successful TV shows, Moments with Mo, has been dubbed ‘Africa’s Oprah’. Following in the footsteps of the Queen of Talk, Abudu has gone from talk show host to network owner. In July, Abudu launched Africa’s first global black multi-broadcast entertainment network, EbonyLife TV.
Recalling how it all began, Abudu says that after seven years of interviewing celebrities and presidents on Moments with Mo, it was time for her next adventure. The idea came in 2008, while she was in London.
“I asked people: ‘When you hear the name Africa, what is the first thing that comes to mind?’ I heard: ‘Famine, poverty, HIV, safari, giraffes’”.
The images of war and famine in Africa shown across the world never give a true reflection of the continent, Abudu says emphatically.
“I don’t think Africans celebrate themselves enough and I think that has a ripple effect of the fact that the world doesn’t really have an understanding of who we are as Africans,” she explains.
Abudu hopes EbonyLife TV will change that. It is due to be broadcast across the continent and Abudu has set her sights on appealing to a global black audience.
<img decoding="async" loading="lazy" class="alignleft size-medium wp-image-5911" src="/wp-content/uploads/2017/05/FWA-2013-Dec-Jan-048-049-CA-Media-003-200x300.jpg" alt="" width="200" height="300" />
She readily admits that there are many challenges in maintaining a 24-hour television channel in Nigeria, including power, infrastructure, bandwidth and financing. She also points out that not many people understand the business of media, but that does not deter her.
“I see those challenges as opportunities because that means although we don’t have certain resources it gives some people an opportunity to provide that service,” Abudu says.
Here in Africa we may have a long way to go, but the potential is rife as this is the land of opportunity.
Historically, a women’s place in mass media was in front of the camera and on the covers of magazines. They were objectified as eye candy, and their sole purpose was to entertain.
Now, more and more women are trying their hand at the business behind the cameras and glossy publications. Huffington, Raphaely and Abudu are proving that the glass box in which women in the media industry are often placed is no longer adequate. Women are now in the real pound seats as media moguls and network owners.

Tag: Mo Abudu

FORBES AFRICA SOCIAL MEDIA

From Madiba To The Pan-Africanist: Playing His Part For The Continent

The Blockbuster Named NOLLYWOOD

Sleep your way to the top