In 2016, Nollywood movies surpassed Hollywood and Bollywood in cinema earnings and share of customer engagement, in Nigeria.
Nigerian music finally went global, riding on the back of our peculiar pop music, and nomadic musicians like Wizkid, Davido, Yemi Alade and Tekno.
The world’s attention has understandably shifted here, with funders, labels, producers, and awards looking to now play big in the region.
Nigeria is at the fore of this new wave, but places like Kenya, South Africa, Tanzania and Ghana are as well positioned. Has the time come for Africa to provide entertainment for the huge chunk of the world’s 7 billion people?
They say we tell a different kind of story, they say we have a rare, peculiar sound. And they’re buying it- from America to London and Singapore. Back home, the booming youth population is also more interested in local content like never before. From iROKO to Mavin and Africa Magic, the numbers show audiences on the continent are increasingly embracing our creativity; millions are choosing their own local entertainment over the imported.
But the industries are still nothing to write home about. The structures to rip the dividend of the boom continue to lie comatose. From government policies to business models, it appears we have plenty work to do, if we are to benefit from what’s coming in significant ways.
It could indeed be time for Africa. But what does this mean for the industry players? What do we need to know? To do? How can we make sure we do not miss this opportunity?
This post first appeared on NET.