There are so few new TV sporting opportunities and even fewer football opportunities. Cote Ouest, the largest distributor of TV programmes across the African continent has sealed a new agreement with Brazil's TV Globo allowing African TV broadcasters to relay the most spectacular Brazilian football matches all year round. Rights are available for both Pay TV and Free-To-Air. Sylvain Béletre, Senior Analyst at Balancing Act interviewed Nicolas Lacassagne, Cote Ouest’s new Marketing and Programmes’ Director to find out what the deal is all about.
The African broadcasting market has been growing rapidly. New players have sprung up in liberalised markets and there is growing international interest from external investors. Tracking this growth is far from easy but Balancing Act has taken 10 months to produce what is almost certainly the most detailed report on the African broadcast market. Russell Southwood outline what’s in this “monster-size” report.
Africa has begun to join in the fun on crowdsourcing some of the funding for feature films. Crowdsourcing is getting lots of small contributions from individuals that taken together can make up a good chunk of change. Furthermore it connects the film to the audience at pre-production stage. Russell Southwood and Sylvain Beletre look at how it might improve film finance and speculate on whether it could do the same for local TV programmes.
The rational version of how advertisers and advertising agencies buy airtime is through using media planning based on audience research. Africa’s reality is very different with only a few countries having continuous research. Very little of the existing research is focused on programme audiences on an overnight timeline that will allow agencies to adjust their choices. But for the majority of countries on the continent, there is only blissful ignorance and “gut feel”. Russell Southwood looks at how this lack of audience research holds Africa’s broadcast industries back.
Two events at the end of last year highlighted that Africa has now reached a crossroads in terms of how its broadcast sectors operate. 35% of countries in Africa now have TV stations other than a sole Government broadcaster: others are joining this list but far too slowly. A report for the African Telecommunications Union which was presented at an event in Nairobi just before Christmas identified that with the exception of a dozen states, almost all other African countries have considerable spectrum resources to expand their TV markets.
Dear Readers, Contributors and Advertisers
The broadcast and film sectors had a good year in 2011 with higher levels of foreign investment interest and some signs that some of the distribution blockages are beginning to be unlocked. Nevertheless in a highly competitive field, there were casualties and there may be more along the way in 2012.
Key developments we’ve noted this year include:
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Trace Africa joins Channel O and MTV Base Africa in offering Africans the chance to see their own music on TV. Trace is going through a growth spurt with Trace Urban, Trace Tropical and Trace Sports expanding its brand, both in Africa and elsewhere. But Trace Africa will also raise the profile of the continent’s music globally. Balancing Act Senior Analyst Sylvain Beletre talks to Nadeige Tubiana, VP Africa at Trace on the new channel's deployment and how Africans can benefit from it.
Q. How can people get to watch Trace Africa?
Headquartered in Kigali, Rwanda's capital city, TV company Tele10 started in one of Africa’s smallest countries, Burundi, but it has ambitions to change how television is delivered and to become an East African player. Its CEO Eugene Nyagahene announced his intentions over the broadcast stream of AfricaCom, 'AfricaCast' held in November 2011. Nyagahene says he’s been “watching the way kids watch TV” and wants to introduce hybrid TV, delivered on any device and both Pay and Free-To-Air.
The African diaspora is one of the keys to changing the financial circumstances of both African TV and film. It represents a niche audience that will pay hard currency for content from “back home” and diaspora content often leaks out into the host society. Witness the trajectory of reggae and Bollywood out of diaspora communities. Sylvain Beletre looks at the scale and potential of this opportunity and gets insights from to Pierre Gaillardon, Director of Audience Studies at Qualiquanti in Paris.