This article is written by Benjamin Pius (Publisher @ BMA) as part of the forthcoming Broadcasters Convention – East Africa, 26–28 May 2026, Nairobi, Kenya. Register and view the full programme →
Africa’s broadcasters are being forced to answer a question they can no longer defer: where does their content actually come from, and on whose terms?
With broadcast networks and platforms under constant pressure to source authentic, locally relevant content that genuinely resonates with their audiences, a fundamental question persists: should broadcasters license, co-produce, commission, or simply sell their airtime to the highest bidder and air whatever comes with it?
In this article, I review the pros and cons of each approach — and the combinations — available to broadcast professionals and executives across the continent.
LICENSING
Licensing content has long been a favoured option in markets where established production houses generate a steady flow of films and television series. It allows platforms to expand their content libraries quickly without the high costs of original production.
However, it carries real limitations. Because licensed content is typically sold to multiple buyers, platforms struggle to offer anything exclusive, making it harder to build a distinct brand identity. Licensing deals are also inherently temporary: once the rights expire, the content disappears unless renewed, usually at a higher price.
CO-PRODUCTION
Co-producing content has gained significant traction as an acquisition strategy in recent years, particularly among international platforms seeking to tap into Africa’s rich storytelling traditions. Co-productions offer a balance between cost-sharing and creative input, giving local producers access to better resources while allowing platforms to shape content for their audiences.
But co-productions bring their own complications. With multiple parties involved, negotiations over revenue-sharing, rights ownership, and creative direction can be protracted and complex. The involvement of international stakeholders can also lead to creative compromise — producers find themselves catering to broader audiences, sometimes at the cost of staying true to local narratives. Timelines suffer too, as aligning teams across borders is rarely straightforward.
COMMISSIONING
Commissioning original content gives platforms the greatest control, resulting in unique, platform-owned work that cannot be found elsewhere. This is a powerful lever for audience retention and brand differentiation.
The trade-off is well understood: commissioning is the most expensive route, requiring substantial financial investment upfront. And unlike licensing, where content has already been tested in the market, commissioned productions carry inherent risk — there is no guarantee that audiences will embrace the finished product.
THE RIGHT MIX
The most effective strategy for broadcasters in Africa involves a calibrated combination of all three approaches. The right balance will vary by market, budget, and strategic objective — but the underlying principle holds: licensing for breadth, co-production for reach, commissioning for depth.
What should be firmly off the table is the practice of selling airtime to the highest bidder — an approach that trades editorial integrity and brand identity for short-term revenue. It is not a content strategy. It is the absence of one.
This article is written by Benjamin Pius (Publisher @ BMA) as part of the forthcoming Broadcasters Convention – East Africa, 26–28 May 2026, Nairobi, Kenya. Register and view the full programme →
