{"id":1804,"date":"2017-10-24T11:29:21","date_gmt":"2017-10-24T15:29:21","guid":{"rendered":"http:\/\/worldscreen.com\/tvmiddleeastafrica\/special-report-selling-africa\/"},"modified":"2017-10-25T15:32:01","modified_gmt":"2017-10-25T19:32:01","slug":"special-report-selling-to-africa","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvmiddleeastafrica\/special-report-selling-to-africa\/","title":{"rendered":"New Frontiers"},"content":{"rendered":"

Surveys a range of content distributors about the wealth of opportunity they\u2019re finding across the African continent.<\/em><\/p>\n

If there was any doubt about the current health of the television market in Africa, the fact that Basic Lead is launching two new DISCOP markets on the continent is a clear indication that business is good. Over the summer, the event organizer announced its plans to kick off DISCOP Zanzibar, which will concentrate on East Africa, in 2018, and the Nigeria-focused DISCOP Lagos the following year.<\/p>\n

These events will complement the two DISCOP markets that are already held in Africa: DISCOP Abidjan, which takes place in the spring, and DISCOP Johannesburg in the fall. The Sandton Convention Center is hosting this year\u2019s edition of DISCOP Johannesburg from October 25 to 27. During those three days, more than 1,000 acquisition, development and distribution execs from 70-plus countries will gather for deal-making and networking opportunities. The event will be attended by more than 250 public and commercial broadcasters, cable, satellite and mobile pay-TV operators, as well as VOD platforms and regional distributors serving Sub-Saharan Africa.<\/p>\n

According to Digital TV Research\u2019s Sub-Saharan Africa OTT TV & Video Forecasts<\/em> report, OTT movie and TV episode revenues are forecast to reach $640 million from 35 countries across the region in 2022, up from $52 million last year. South Africa will generate about 40 percent of revenues, followed by Nigeria with 21 percent. SVOD will remain the primary driver, reaching $475 million\u201474 percent of revenues\u2014in 2022, followed by download-to-own, AVOD and then rentals. The SVOD base is forecast to hit 10.12 million, with South Africa (2.7 million) and Nigeria (2.64 million) again the largest markets.<\/p>\n

DEMANDING TIMES<\/strong>
\nRealizing the power of OTT in the region, SVOD services like iflix are rolling out across Africa, with a new headquarters in Cape Town and launches planned for Nigeria, Ghana, Kenya, Tanzania and Zimbabwe.<\/p>\n

\u201cAs WiFi and the internet get stronger, there are going to be more and more nonlinear platforms\u201d in Africa, says Liz Levenson, the VP of international acquisitions and sales at GRB Entertainment. \u201cWe\u2019ve done some deals with Netflix, which has a feed in South Africa, and we\u2019ve been in talks with iflix and Afrostream about content for them.\u201d<\/p>\n

Levenson adds: \u201cWhat\u2019s happened in the U.S. with the emergence of nonlinear platforms is that high-end scripted programming is starting to really take off for shows that can be completely bingeable. To that end, we\u2019re bringing two brand-new scripted series to DISCOP this year, Day 5<\/em> and Crunch Time<\/em>, which I think could be a really good fit in that space.\u201d<\/p>\n

\u201cWe are currently in talks with a number of new SVOD platforms and operators in Africa about our content,\u201d says Paula Cohen McHarg, senior sales manager for Iberia, Italy, CEE, CIS, Africa and the Middle East at Keshet International (KI). \u201cOur youth-skewed scripted series from digital entertainment studio New Form could work well, particularly the high school comedy Mr. Student Body President <\/em>and chilling thriller Cold<\/em>, both of which have been sold to other SVOD platforms across the world.\u201d<\/p>\n

Caracol Internacional first started securing nonlinear sales in Africa more than a year ago. \u201cWe are committed and want to increase our presence with [SVOD services],\u201d says Paloma Garc\u00eda, the company\u2019s international sales executive for Europe and Africa.<\/p>\n

While on the rise, selling to nonlinear platforms in Africa is still an emerging area for many companies. \u201cWe have not closed any deals [yet] but are currently in negotiations with some nonlinear platforms for the sale of a number of our series and feature films,\u201d notes Can Okan, the founder and CEO of Inter Medya.<\/p>\n

GMA Worldwide also has yet to do business with nonlinear platforms on the continent. \u201cAll of our clients are free- and pay-TV channels in the English-speaking countries of Africa,\u201d notes Manuel Paolo Laurena, the company\u2019s senior sales manager.<\/p>\n

SCRIPTED SUCCESS<\/strong>
\nScripted shows, including novelas, continue to be very appealing in the region. \u201cFiction is the best-selling genre in Africa for us right now, and we produce it in two formats: telenovelas and super series,\u201d says Caracol\u2019s Garc\u00eda. \u201cFor both formats, the key element is the plot\u2019s perspective, which focuses on emotional stories, appealing characters and universal feelings. These are key for productions that perform well in prime time and have good results in the African television market, which is one of the toughest in the world.\u201d<\/p>\n

She continues: \u201cOur titles cover all types of genres, from the very classic female-targeting The<\/em> Sweetest Love<\/em>, to romantic comedy The Secretary<\/em>, family comedy Digging for Love<\/em>, sagas and musical bios such as Emeralds<\/em> and The<\/em> Voice of Freedom<\/em> and male titles with action and detective elements such as our well-known series Pablo Escobar, the Drug Lord<\/em>, The Cartel<\/em>, or the more recent Fugitives<\/em> and Made in Cartagena<\/em>.\u201d Garc\u00eda notes that Caracol is also enjoying success in the region with The White Slave<\/em>, River of Passions<\/em> and The Girl<\/em>.<\/p>\n

GMA Worldwide\u2019s family dramas and melodramas are currently what\u2019s selling best from the company\u2019s catalog in Africa. \u201cOur clients find that these kinds of dramas appeal to their audience,\u201d says Laurena. He highlights Carmela<\/em>, My Destiny<\/em> and My Faithful Husband<\/em>, which \u201cwere sold to at least four countries in Africa.\u201d<\/p>\n

The widespread demand for Turkish drama has also made its way to Africa. \u201cTurkish drama series have been extremely popular around the world because of their high-production qualities, intriguing and dramatic storylines and well-known casts,\u201d says Inter Medya\u2019s Okan. \u201cRecently, they have also started to attract a lot of interest from buyers throughout Africa.\u201d Among the company\u2019s best-selling titles on the continent are Ay Yapim\u2019s Black Money Love<\/em> and 20 Minutes<\/em>.<\/p>\n

HOT PICKS<\/strong>
\nGRB has been having scripted success in Africa with titles such as Tyler Perry\u2019s For Better or Worse<\/em>, Love Thy Neighbor<\/em> and The Haves and the Have Nots<\/em>. The company has also been seeing a significant increase in interest for unscripted programming to air in prime time in the region, according to Levenson. \u201cWe did a deal for a show called On the Case<\/em>, which is a very long-running crime series that GRB has with e.tv, and we\u2019re going to be launching some pretty big new crime properties at DISCOP, including a show called Exposed<\/em>.\u201d Also at the market in Johannesburg, GRB will be showcasing a number of newly acquired TV One titles, including the scripted series Born Again Virgin<\/em> and Here We Go Again<\/em>, and the factual programs For My Man<\/em>, For My Woman<\/em>, Justice by Any Means<\/em>, Thou Shalt Not<\/em>, #Murder<\/em>, Rickey Smiley for Real<\/em>, The Next 15<\/em>, Deceived<\/em> and Find Our Missing<\/em>.<\/p>\n

In addition, celebrity-driven docuseries have been strong performers for GRB in Africa. \u201cAnything with an aspirational spin seems to do quite well,\u201d says Levenson. \u201cThat\u2019s something that resonates with a lot of African viewers, the idea of building your own business, creating your own destiny, seeing how you can build a project or build a world with someone. A lot of our shows reflect that, like Tamar & Vince<\/em>, Braxton Family Values<\/em>, Cleveland Hustles <\/em>and Flex & Shanice<\/em>.\u201d<\/p>\n

KI, meanwhile, has noticed a growing appetite for entertainment formats. \u201cThere has been a recent resurgence of big entertainment formats across the region,\u201d says Cohen McHarg. \u201cWe have high hopes for our new format Masters of Dance<\/em>. It\u2019s such a big and vibrant studio-based show\u2014perfect for prime time.\u201d KI is also betting on #TheFeed<\/em>, a new cooking\/travel hybrid. Other successes for the company in Africa are the game shows BOOM! <\/em>and Trade Up<\/em>, the hidden-camera prank series Deal with It!<\/em> and the drama The A Word<\/em>.<\/p>\n

Although there is a limited amount of funding and space for kids\u2019 programming among African broadcasters, Mondo TV has managed to secure sales for such titles as YooHoo & Friends<\/em>, GON<\/em>, Gormiti<\/em> and Angel\u2019s Friends<\/em>, as well as back-catalog classics like Simba the King Lion<\/em>, Cinderella<\/em>, Robin Hood<\/em> and The Legend of<\/em> Snow White<\/em>. Hoping to boost the presence of children\u2019s content on the continent, the company is planning to establish its own kids\u2019 channel in Africa next year. \u201cThe idea has been well-received from a lot of platforms,\u201d says Micheline Azoury, Mondo TV\u2019s head of acquisitions and television sales. \u201cThey are looking for kids\u2019 channels because this area is lacking in Africa.\u201d<\/p>\n

Mondo TV has also inked a number of package deals for religious-themed content in the region. \u201cA lot of African countries have space for religion on their channels,\u201d notes Azoury. \u201cWe have a small catalog of nearly 200 hours of Christian [programming].\u201d<\/p>\n

According to KI\u2019s Cohen McHarg, \u201cSouth Africa and Nigeria pretty much dominate the African TV market, but different regions are starting to become bigger players.\u201d<\/p>\n

\u201cBroadcasters and aggregators in Kenya, Nigeria, Zambia, Ghana and Uganda are regular clients,\u201d says GMA Worldwide\u2019s Laurena. \u201cIn our experience, Kenya and Nigeria have developed TV markets. We have sold almost all of our available English-dubbed dramas in these territories. We foresee that Zambia and Ghana will also open up more.\u201d<\/p>\n

Inter Medya has been selling finished content to FOXlife, which broadcasts in South Africa. \u201cWe are currently finalizing a deal with Canal+, which is on air in many French-speaking territories,\u201d notes Okan. \u201cKana TV, based in Ethiopia, has also been one of our good clients in the region.\u201d<\/p>\n

ON THE MAP<\/strong>
\n\u201cMost of our deals are with South Africa-based pan-regional broadcasters,\u201d says GRB\u2019s Levenson. \u201cBut we\u2019re starting to see more interest from some other countries: Mauritius, Seychelles, Botswana, Nigeria.\u201d She adds: \u201cThere\u2019s also really strong production coming out of Nigeria and the same with Kenya…. There\u2019s a lot that\u2019s emerging, but South Africa, for sure, is the most developed.\u201d<\/p>\n

Mondo TV\u2019s Azoury echoes the sentiment that South Africa is one of the most important television markets on the continent, but says the company has also been signing small volume deals in Zambia, Kenya, Nigeria and Ghana, and has additionally conducted business in Senegal, Botswana and Namibia.<\/p>\n

\u201cFor many years we have maintained good relationships with clients in Sub-Saharan English-speaking territories with pay-TV multi-territory operators,\u201d adds Caracol\u2019s Garc\u00eda. \u201cIn Portuguese-speaking territories, we are increasing our presence with TV channels in major markets such as Angola and Mozambique. We are also entering the French-speaking African territories.\u201d<\/p>\n

KI\u2019s Cohen McHarg says the biggest trend she has been noticing in Africa as of late is that broadcasters are \u201cmoving away from acquiring English-language content to focus on local content and local stories.\u201d She adds, \u201cBudgets are a major challenge as audiences want to see high-quality programming that reflects their tastes and stories. Scripted formats could be the answer, as they allow producers to save on development and localize according to their audience.\u201d<\/p>\n

\u201cHistorically, Africa has mainly been a finished-tape market; however, we have seen more and more formats being licensed across the region lately,\u201d adds Cohen McHarg. \u201cWe look to nurture more partnerships with local producers and broadcasters in Africa to co-develop our formats\u2014both scripted and non-scripted.\u201d<\/p>\n

LOOKING LOCAL<\/strong>
\nGRB\u2019s Levenson notes: \u201cThere\u2019s so much localized African production that I think there are a lot of partnerships to be made with Africa-based production companies, whether it\u2019s on the format side or potentially co-producing.\u201d<\/p>\n

Caracol\u2019s Garc\u00eda agrees that there is \u201cincreasing local production for all the programming slots\u201d in this market. She has also noticed a higher demand for sponsored programming on the continent.<\/p>\n

As a result of the transition from analog to digital TV signals in the region, Garc\u00eda says \u201cnetworks needed more programming hours,\u201d and new players arrived in the market. As a result, Garc\u00eda says, there have been greater demands for content and an increasing appetite for scripted series from outside of Latin America. She sees heightened interest in local productions as well.<\/p>\n

KI\u2019s Cohen McHarg notes that the digital migration has meant \u201ca lot more TV buyers and platforms are now looking for higher-quality content. Better access to viewers and the rapidly increasing number of TV households has also led to a much bigger audience base.\u201d<\/p>\n

\u201cSince the transition, households need to shoulder the cost of a new digital box,\u201d adds GMA Worldwide\u2019s Laurena. \u201cFurther, the high investment cost of producing HD content resulted in higher license fees.\u201d<\/p>\n

Looking ahead, Laurena foresees \u201cthe influx of more local and foreign content providers offering a wide array of content with best price offerings.\u201d He adds: \u201cIn the future, broadcasters will air more African telenovelas. This may affect our business in Africa. However, we think there will still be room for our dramas since our stories appeal to African audiences.\u201d<\/p>\n

\u201cI think we\u2019re going to see more bingeable, high-end scripted content coming out of Africa and going into Africa,\u201d notes GRB\u2019s Levenson.<\/p>\n

DOWN THE LINE<\/strong>
\nKI\u2019s Cohen McHarg says: \u201cThe growing appetite for scripted formats and adaptations across the region is a positive signal. This change in attitude will inevitably offer new, exciting opportunities for production companies and local broadcasters to provide more high-quality, universal content, but with localized stories and sensibilities that speak to their particular audiences. With the emergence of new markets, there will also be greater export opportunities.\u201d<\/p>\n

Inter Medya is hopeful that Africa will be receptive to the company\u2019s new formats slate. \u201cIn addition to distributing series and feature films, we have started to develop, produce and distribute reality and game-show formats in the past couple of years,\u201d notes Okan. \u201cAs our creative team is continuously working on fresh projects, we think the African region will prove to be very fruitful for our format business.\u201d<\/p>\n

Moving forward, Caracol will be bracing for increased rivalry in the African TV business, and it would probably be wise for other distributors to follow suit. \u201cEvery day there is going to be more competition in this territory, so we will have to reinforce the stability, constant success and innovation that our titles have,\u201d says Garc\u00eda. \u201cThe future is all about taking risks while maintaining strong stories.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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