Broadcasting
CNN’s Connecting Africa Explores Business Leadership Across the Continent
In the latest episode of Connecting Africa, CNN International’s Eleni Giokos looks at business leadership in Africa, meeting leaders from across the continent.
Giokos presents the show from the site of Expo 2020 in Dubai, where Africa will be very much in the spotlight. From October, every African nation will showcase their innovations and culture in designated country pavilions, for the first time in 170 years of World Expos.
While the site is still under construction, Giokos visits the Ghanaian, Egyptian, and Nigerian pavilions, using them as a backdrop as she profiles some of the continent’s most innovative leaders.
In South Africa, Giokos meets Fleetwood Grobler, the CEO of Sasol. Formed in 1950, Sasol describes itself as an integrated energy and chemical company and Grobler talks about their market reach, “We have quite a market presence in Africa, which we are growing. I’m remiss not to mention all the neighbouring countries in South Africa.
“So Botswana, Namibia, Lesotho, Mozambique, the SADC countries, Zimbabwe, Malawi, Zambia, they are all within reach by road, and we supply many, many products through that logistics systems into those countries as well, going broader than only the industrial solvents and polymers.”
Sasol has constantly transformed and innovated to keep up with market trends. Grobler speaks about how the company is adapting to be more sustainable, “We’ve sharpened our focus on sustainability, and climate change is a cornerstone of our strategy because we know it is an item that we can’t wish away. We have to address it head on. And that is the crux of the matter. And so, we are preparing ourselves to travel a pathway where we can have significant steps in our decarbonisation of our processes in terms of using different feedstocks and eventually through renewables.”
Grobler has been the CEO of Sasol since 2019. He describes his plan for the future of the company, “If we can use technologies and renewables and sources of carbon that’s sustainable, those would be the long-term areas that we should focus on to unlock value in Africa.”
Next, Giokos takes a look at the oil industry in Ghana. One of the key companies in the country’s burgeoning energy sector is the Springfield Group, the first Ghanaian owned company to produce oil in the country. CEO Kevin Okyere speaks about the importance of the company’s Ghanaian roots, “The most important thing about Springfield is us being Ghanaian and one would ask why? And I said because it gives hope. It gives hope that a Ghanaian, a black African, can dream big, and achieve that dream. It gives hope that we too can do it and do it better.”
Okyere is passionate about his company and his country, “Ghana is actually the gateway to Africa. Ghana is open for business and Ghana is welcoming Africans and foreign companies to come in and invest in Ghana. So, Ghana has so much potential, so much potential on tap, which gives room for Ghanaians and Africans and multinationals.”
The programme then visits a farm owned by the Egyptian Growers Organisation. Created in 2015, the company says it is the country’s first cooperative venture for farming and exporting produce. Managing partner Hussein Marei explains the idea, “The idea behind the cooperative venture is that, for the longest time now, exporting fresh fruits and vegetables from Egypt has largely been an individual effort.
“Individual farms, individual companies. But lately, given the world that we live in and the various obstacles that we face, we found that the road forward requires cooperation. Cooperation between farmers, cooperation between companies, cooperation between people are involved in the whole supply chain from farm to table.”
Exports have been increasing consistently and, according to Marei, Africa could become the next big market. He details why Egypt has good farming trade links with countries in southern Africa, “South Africa is in the southern hemisphere and Egypt is in the northern hemisphere, so we have opposite seasons, and we benefit each other with these opposite seasons so when we have grapes, they don’t have grapes, when we have oranges, they don’t have oranges and vice versa. So, we’re able to export to each other, and exchange the expertise between us, as we do now with other African countries.”
Finally, Giokos meets Nigerian banker Aigboje Aig-Imoukhuede. A former group managing director of Access Bank, Aig-Imoukhuede is the founder and chairman of Coronation Capital Limited. He tells Giokos about the importance of leadership, “I believe that if we can show the Nigerian, what Nigeria truly could be and that actually it doesn’t take that much, okay for us to change the narrative and get there is simply a function of good leaders.”
Aig-Imoukhuede is positive about the future for African businesses. He outlines his vision, “There’s no continent that’s actually growing at the population growth rate that Africa is growing, from a population demographic standpoint. Now, that’s our greatest advantage, right, if we make it one market.
“it could be in essence actually the world’s greatest market. That’s what we have to focus on. We have to build, break down, all those barriers to this operating world as the world’s largest market.”
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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