Broadcasting
True financial inclusion calls for smaller markets to receive equal attention to larger ones
By John Ngari, Director, Africa MNOs at Onafriq
The potential for mobile money and digital payments to drive financial inclusion is immense. We can see this potential being unlocked on the African continent as it accounts for 70% of the world’s $1 trillion mobile money value and registered a 12% growth in mobile money accounts to 1.75 billion in 2023.
John Ngari,
This is opening a number of new opportunities for economic growth and development as more robust and connected payment networks are breaking down geographical barriers, opening up access to new markets and enabling anyone to send and receive payments quickly and easily from and to anywhere in the world.
However, these significant benefits are largely being realised and felt in Africa’s larger, and key, markets such as Nigeria, South Africa, and of course Kenya- where mobile money was first launched and popularised on the continent. While these markets have reached greater levels of digital payments maturity, smaller and more underdeveloped markets are often passed over, leaving many still excluded from economic participation and financial freedom.
And yet, the truly transformative power of mobile money and digital payments can be most realised in these overlooked economies where the reliance on cash, a lack of traditional bank accounts due to limited infrastructure and access, and the substantial penetration of smartphones and increasing internet connectivity has created the ideal confluence of circumstances that will pave the way for a more inclusive and resilient financial future.
Realising the enabling power of digital payments
The biggest drivers of mobile money adoption in Africa is its accessibility and ease of use. Unlike traditional financial services, there’s largely no need for extensive paperwork, a credit and financial history, or a physical presence within a brick-and-mortar branch in order to gain access to these services.
This low barrier to entry, along with mobile money’s ability to enable economies beyond just transactions and empower both individuals and enterprises, makes it particularly impactful for underserved markets. Within these regions, mobile money and the digital payments ecosystem has the power to serve as catalysts for economic growth, poverty reduction, and enable marginalised communities with the financial freedom to manage their day-to-day lives, start or expand their businesses, and invest in their futures.
A concerted effort towards a single goal
It’s important that all levels of an economy work towards achieving the crucial objective of financial inclusion. Collaboration is a key component in creating and maintaining an environment that creates more opportunities for inclusive growth and ensures economic resilience.
Not only do governments play a pivotal role in developing and implementing the policies and regulations that foster a supportive framework for financial services, but investment from both the public and private sectors are essential to building the necessary digital payments infrastructure that will underpin financial inclusion on the continent. Meanwhile, fintech firms can continue to drive innovation in this space that will achieve the desired convenience, speed and accessibility within the payments space.
We can see this value already starting to be realised across smaller markets like Eswatini where the Central Bank established a FinTech unit to spearhead the development of digital payments in the country in 2018, in South Sudan where the introduction of mobile money in 2017 has enabled development organisations to distribute cash assistance securely, and Somalia which recently enabled digital payments to be made between the country’s banks, making payments easier.
And, in Ethiopia, non-banks were enabled to provide mobile money services in 2020 as mobile money services could lift 700 000 people out of poverty, add $5.3 billion to the country’s economy, increase tax revenue by $300 million, and essentially position the country to adapt to economic downturns according to the GSMA’s 2023 Mobile Money in Ethiopia report. Recognising this period as a key moment in the country’s transformation into a financially inclusive economic powerhouse, Onafriq has also strengthened its presence in Ethiopia through a number of partnerships with financial institutions, mobile network operators, and other key decision makers. This includes partnerships with Ethio telecom and M-PESA Safaricom to enhance and streamline remittance flows and address the shortage of forex while providing customers with much-needed funds.
It’s clear then that when all these elements work in harmony, they can break down barriers to financial access, enabling people and businesses to participate more fully in the economy, thus driving sustainable development and economic growth in these underserved regions. And, investing in these smaller, underserved markets – which represent a significant portion of the continent’s population – is simply integral to realising true financial inclusion across Africa.
When everyone is able to access financial services we can foster inclusive growth, stimulate local economies and open up access to new markets and opportunities, connecting the continent through sustainable economic development.
Afro-pop star Joeboy takes centre stage this week as he features on the Easter edition of African Voices, the Globacom-sponsored magazine programme on CNN.
In this episode, the Nigeria-born singer sits down with show anchor, Larry Madowo, in Lagos, where he shares the story of his journey from a young university student with big dreams to becoming one of Afrobeats’ most recognised voices.
Long before global attention, Joeboy, born Joseph Akinwale Akinfenwa-Donus, started out experimenting with music and sharing covers online. His 2017 cover of Ed Sheeran’s “Shape of You” marked a turning point, helping him transition fully into singing and setting the stage for what was to come.
That moment soon opened new doors, including a connection with Mr. Eazi, who brought him into the emPawa Africa talent programme. This provided support and exposure for his music to reach a wider audience, laying the foundation for his professional career. The alliance also birth “Fààjí,” which featured Mr. Eazi in 2018, after which he was signed to Warner Music Africa.
Under this partnership, Joeboy released his hit single “Baby” in 2019, followed by “Beginning,” which has 23 million views on YouTube. He also released “Love & Light” the same year and featured Mayorkun in the tracks “Don’t Call Me” and “All for You”
Since then, the 29-year-old has gone on to release two albums, Somewhere Between Beauty & Magic in February 2021 and Body & Soul in 2023, while earning recognition across the continent, including awards for his contributions to African pop music. He won Best Artist in African Pop at the 2019 All Africa Music Awards and Best Pop at the 2020 Soundcity MVP Awards Festival.
The programme will air on Saturday at 7.30 a.m., with several repeat broadcasts scheduled across the weekend and into the following week. 11 a.m. on Saturday; on Sunday at 3.30 a.m. and 6 p.m. This continues on Monday at 3 a.m. and 5.45 p.m, and on Tuesday at 5.45 p.m. The schedule will be repeated next week until 3 a.m. on Monday.
The Court of Appeal sitting in Abuja has dismissed an appeal filed by the National Broadcasting Commission (NBC), seeking to overturn a Federal High Court judgement that restrained it from imposing fines on radio and television stations across the country.
NBC
Delivering the lead judgement, Justice Oyebiola Oyewumi, on behalf of a three-member panel, upheld the earlier ruling and set aside the fines imposed by the NBC on 45 broadcast stations on March 1, 2019, for alleged breaches of the Nigeria Broadcasting Code.
The panel was presided over by Justice Abba Mohammed, with Justice Donatus Okorowo as the third member.
According to a statement issued by Idowu Adewale, Communications Officer of Media Rights Agenda (MRA), the unanimous decision of the Court of Appeal stemmed from a suit filed by the non-governmental organisation in November 2021, challenging the NBC’s powers to impose fines on broadcasters.
The Federal High Court, in its judgement delivered on May 10, 2023, by Justice James Omotosho, ruled in favour of MRA after the NBC failed to defend the suit.
The court held that fines are sanctions imposed on persons found guilty of criminal offences and, under Nigerian law, only courts of law have the authority to impose such penalties.
Setting aside the fines of ₦500,000 each imposed on the affected stations, Justice Omotosho stated that the NBC “is neither a court nor a judicial tribunal to make pronouncements on the guilt of broadcast stations, notwithstanding what the NBC Code says.”
He added that the Commission’s actions violated the Constitution.
Dissatisfied with the ruling, the NBC filed a motion in July 2023, urging the same court to set aside the judgement on the grounds that it lacked jurisdiction and had reached its decision without considering relevant facts.
However, in November 2023, Justice Omotosho dismissed the application, describing it as futile and an afterthought, noting that available evidence showed the Commission had been duly served but failed to appear in court to defend the case.
The NBC subsequently approached the Court of Appeal in July 2024, seeking to overturn the judgement.
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At the hearing on February 4, 2026, Mr Victor Ogude (SAN), leading Mr Kehinde Wilkey for the NBC, adopted his brief of argument and made additional submissions.
Counsel to MRA, Ezenwa Anumnu, also adopted his brief and responded accordingly.
In its ruling, the appellate court agreed with MRA’s position that the NBC, having failed to contest the suit at the Federal High Court, could not raise fresh challenges at the appellate level.
Justice Oyewumi held that the appeal lacked merit and accordingly dismissed it.
With this decision, MRA has secured victory in the first of two appeals involving the NBC over separate Federal High Court judgements barring the Commission from imposing fines on broadcast stations.
The second appeal, filed by the NBC against a similar judgement delivered on January 17, 2024 by Justice Rita Ofili-Ajumogobia of the Federal High Court, Abuja, is still pending. The Court of Appeal heard arguments in that matter on March 25, 2026 and has reserved judgement.
In that case, the NBC is challenging a ruling arising from a suit filed by MRA after the Commission imposed fines of ₦5 million each on a television station and three pay-TV platforms in 2022 for allegedly undermining national security through the broadcast of documentaries on banditry in Nigeria.
Dr.Shaibu Husseini, the Executive Director/Chief Executive Officer of the National Film and Video Censors Board (NFVCB), has called for stronger distribution frameworks within Nigeria’s film industry to ensure that locally produced content achieves global visibility.
He urged film festivals across the country to evolve beyond networking platforms into active marketplaces where filmmakers could secure distribution deals. He stressed that festivals must attract distributors, exhibitors, streaming platforms, and marketers to create tangible opportunities for filmmakers.
Husseini made this call while delivering the keynote address at the opening ceremony of the 2026 edition of the Coal City Film Festival held in Enugu.
“Film festivals must become gateways to distribution where filmmakers leave not just with applause, but with real opportunities,” he said.
Husseini expressed personal delight at hosting the event in Enugu, his birth state, noting the city’s rich cultural heritage and longstanding contribution to Nigeria’s creative landscape.
He commended the festival organisers, particularly the Festival Director, Uche Agbo, for their resilience and commitment in sustaining the
initiative. According to him, the Coal City Film Festival has grown into a significant cultural platform and a must-attend cinematic event in South East Nigeria.
Speaking on the festival’s theme, “Local Stories, Global Screens,” Husseini emphasised the importance of authenticity in storytelling. He noted that films rooted in local realities, languages, and cultural truth often resonate more strongly with global audiences.
He cited notable Nigerian productions such as King of Boys by Kemi Adetiba, The Wedding Party by Mo Abudu, Anikulapo by Kunle Afolayan,
“Black Book” by Editi Effiong, and “Lionheart” by Genevieve Nnaji as examples of culturally grounded stories that have gained international recognition on platforms such as Netflix and at global film festivals.
While acknowledging the growth in film production across Nigeria, the NFVCB boss identified distribution as a major bottleneck in the industry. He observed that many high-quality films struggle to reach audiences both locally and internationally due to limited distribution channels.
Reaffirming the Board’s commitment to industry development, Husseini stated that the NFVCB has continued to reposition itself as a partner in progress by engaging stakeholders, improving classification processes, and promoting a balance between creative freedom and social responsibility.
However, he raised concerns over increasing non-compliance with regulatory requirements, noting that some filmmakers bypass the Board by releasing unclassified films or operating without proper licensing.
He said all films and video works must be submitted to the NFVCB for classification and registration before being released on any platform, including digital platforms such as YouTube.
“This is a legal obligation, and the Board will not hesitate to take decisive action against defaulters,” he warned, adding that regulation is essential for protecting the industry, audiences, and national values.
Looking ahead, Husseini assured stakeholders of the Board’s continued collaboration with filmmakers and festival organisers to build a structured, sustainable, and globally competitive Nigerian film industry.
He concluded by commending the organisers of the Coal City Film Festival for their vision and contribution to Nigeria’s cultural economy, urging filmmakers to continue telling authentic stories that can resonate across global screens.
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