Refining talent: Developing Africa’s rich creative resources

Africa’s greatest global competitive advantage may lie in the artistic abilities of its people. To turn this untapped resource into real human benefits and economic growth, the continent must develop its talented young people. In doing so, the continent will find its authentic voice.

Africa is a rich frontier of creative ideas – innovative stories, fresh approaches to timeless themes and imaginative angles on universal human issues. Whether by necessity, inclination or natural ability, Africa’s people have long been known for their unique ways of approaching the world.

However, when it comes to building careers, businesses and industries on these creative ideas, there remains work to be done. The continent and its creators have suffered from a lack of access to global markets, and when they do reach these markets, they seldom get to benefit fully, and to define how their ideas will be developed.

Correcting this imbalance requires several very intentional interventions. Fortunately, there are initiatives in place to empower the continent’s young creators to reach their full potential.

Skills development

Artists and creators cannot succeed solely on their own talent and creativity. It must be refined, channeled, and amplified to meet the needs of the industry they hope to enter. This requires formalised training – courses and institutions that are directly aligned to the requirements of creative sectors – be they television, film, music, publishing or live performance.

Tanzanian producer, writer and script supervisor Everbright Everready Nkya recalls the difficulty she experienced trying to get into her current industry. She had a world of creative ideas, but no practical ideal of how to penetrate the creative sector and translate her ideas into profitable work.

“My biggest challenge was breaking into the film and TV industry without any formal training or prior experience,” she says.

“I was passionate about storytelling, but I had no professional roadmap – just a dream and the willingness to wing it.”

This is where industry-built training institutions can make a material difference. Nkya is a graduate of the MultiChoice Talent Factory (MTF) Academy in Nairobi, Kenya, where she trained in the practicalities of filmmaking – writing, producing, directing, editing, sound production etc.

She also had the chance to apply those skills on top-flight productions for broadcast on MultiChoice channels – one of Africa’s leading entertainment platforms.

“I often felt unsure about how to navigate the space, find opportunities, or even present myself confidently as a filmmaker,” she says. “Joining MTF changed everything. It not only gave me hands-on training in film and television production but also allowed me to build a portfolio of work I’m proud of.”

The success of the MTF Academies – industry-integrated training schools in Lagos, Nairobi and Lusaka – shows the value of such training institutions. The academies graduate 50+ qualified film professionals every year, almost all of whom go on to work in the industry.

There remains scope for investment in even more such programmes.

Professional networks

Beyond the practical skills involved in filmmaking, an indispensable element of success as an emerging African creative is networking. Every film and TV professional can only be as successful as their personal network, and how well they are integrated into the industry ecosystem.

“Getting hands-on training in film and television allowed me to build a portfolio of work I’m proud of,” says Nkya “Most importantly, I got to collaborate on real projects, connect with both emerging and established industry professionals, and to truly understand the business side of filmmaking.”

Another young African filmmaker – Angolan writer, director and actor Nazaré Pedro Gaspar – agrees about the importance of building a professional network.

“Besides training and essential practical experience, my training gave me a continental network, which prepared me to lead projects, collaborate with international producers and to develop a vision for cinema in Africa.”

Gaspar says this last point is crucial if Africa – and its creators – are to play a meaningful role on the global scene. African must develop its own vision, says Gaspar. In her eyes, this vision should be one that reflects true African values.

“I see a more autonomous African industry, bold and committed to authentic narratives, made by Africans for the world,” says Gaspar.

African voices

Nigerian director and TV producer Isaac Effiong is similarly enthusiastic about developing an African aesthetic, but he emphasises that converting a visual language into industry impact requires a true understanding of modern technology opportunities.

“With our stories, languages, and cultures, we have the potential to reshape how the world views Africa,” says Effiong.

“I see myself contributing to this by creating platforms and content that reflect authentic African experiences while leveraging digital tools and innovation to reach wider audiences.”

Africa’s young creators express a growing appreciation for the value of African culture – likely an approach gleaned from the hyperlocal MultiChoice approach. The platform has amassed an impressive local-content library.

That resource comprises around 84 000 hours of local content, and is growing every year, thanks to ongoing productions on channels like Zambezi Magic, Africa Magic, Maisha Magic and Pearl Magic as well as Showmax.

This “local content first” approach is based on the conviction that African audiences want to see themselves in the content they watch. Effiong tells how his training helped him understand that African culture itself was a rich source of dramatic material – for audiences on the continent and the rest of the world.

“As students, we were once challenged to reinterpret a classic African folktale in a modern urban context. That exercise revealed how rich and adaptable our cultural narratives are,” says Effiong.

“That shifted my perspective from trying to mimic Western formats to embracing and elevating African stories through our unique voice and context. That moment affirmed for me that African stories don’t need validation. What they really need are platforms!”