As a TV presenter working diligently in Nigeria, the allure of the UK’s Global Talent endorsement, particularly through Arts Council England, via the Producers Alliance for Cinema and Television (PACT) pathway, initially felt like a beacon of opportunity. The promise of recognizing exceptional talent from across the globe resonated deeply. However, my experience navigating this system has left me with a profound sense of disappointment and a conviction that the current criteria inadvertently erects barriers, especially for creatives from regions like Africa. My application hinged on demonstrating exceptional talent and international recognition in my field. Yet, the cornerstone of PACT’s endorsement appears to be a list of “notable awards” – a list that, upon closer inspection, feels distinctly Eurocentric.
As a presenter in Nigeria, the landscape of awards is vastly different. While there are accolades within the Nigerian and African media space, they often don’t carry the same perceived weight or recognition as the BAFTAs or Emmys that dominate the “notable awards” list. This immediately presents an almost insurmountable hurdle. It’s not a reflection of a lack of talent or impact. I, along with many of my peers, have dedicated years to honing our craft, connecting with audiences, and contributing meaningfully to the vibrant Nigerian television industry. We have built careers in a challenging environment, often with fewer resources and infrastructure compared to our counterparts in Europe or North America. To suggest that our achievements are somehow less significant because they haven’t been validated by a specific set of Western awards feels inherently unfair. The stated international policy of the UK government, with its purported focus on Africa, rings hollow when confronted with the practicalities of these endorsement criteria. If the intention is truly to attract global talent, the benchmarks for recognition need to be more inclusive and reflective of the diverse ecosystems within which creatives operate. It seems the current system inadvertently favors those already within established Western structures, perpetuating a cycle of exclusion.
The concessions for “art” are appreciated, but they fail to acknowledge the exceptional talent and significant contributions of individuals in other creative fields, such as television presenting. Many of us in these roles have taken considerable risks, often covering sensitive and challenging events. We have sacrificed personal time, stayed up late at night facing frightening encounters, been overlooked and harassed because of gender, contributed to the success of productions/events and faced skepticism simply for pursuing careers that are not always considered conventional or “white-collar.” The dedication and resilience required to excel in such environments should, in themselves, be considered a testament to our talent and commitment.The psychological impact of this process cannot be understated. To feel that your hard work and dedication are deemed insufficient simply because they haven’t been validated by a specific, often inaccessible, set of awards is disheartening. It breeds a sense of being perpetually on the outside, regardless of the quality or impact of your work. It feels as though the system is deliberately designed to filter out talent from certain regions, not based on merit, but on the geography of recognition.
The emphasis on winning BAFTAs or Emmys, for instance, highlights the narrow scope of the criteria. These are highly competitive awards even for established actors and filmmakers within their own systems. We’ve witnessed numerous instances where deserving individuals, even within those industries, have been overlooked. The recent revelations about the Oscars’ voting process, where reviewers reportedly didn’t fully engage with the films they were evaluating, further underscores the fallibility and inherent biases that can exist within even the most prestigious award systems. To hinge an entire immigration pathway on such potentially flawed metrics feels deeply problematic.
Therefore, with a heavy heart and based on my own experience, I would advise Nigerian creatives within the film and television sector to seriously reconsider applying for the Global Talent endorsement via the PACT route under the current criteria. Unless you have already navigated the complex and often politically charged landscape of international awards and secured recognition from the specific institutions listed, it is highly likely that your application will be unsuccessful. The only two recognized awards are AMVCA and AMAA. AMVCA is basically an Africa Magic | DSTV initiative. How can people not on or affiliated to this network be awarded? How can a TV Presenter be awarded when there are no notable awards for presenters? These awards a basically for actors or producers signed up to their networks. This process can be financially and emotionally draining, leading to a significant waste of resources and dashed hopes.While the aspiration to attract global talent is commendable, the current policies, particularly the reliance on a narrow list of “notable awards,” do not reflect a genuine commitment to inclusivity. Instead, they act as gatekeepers, inadvertently excluding a wealth of talent from diverse backgrounds. A more equitable system would acknowledge the multifaceted nature of creative excellence and consider a broader range of achievements and contributions within different cultural contexts. Until such a shift occurs, the Global Talent endorsement, in its current form, remains a distant and often unattainable dream for many talented creatives in Nigeria and across Africa.
Beyond my primary role as a TV presenter, I am also an actor, deeply immersed in the vibrant Nigerian film and television industry. My commitment to the creative arts extends beyond my own on-screen work. Through my platform, Rara Avis Entertainment, I actively champion and showcase the burgeoning talent within Nigeria. We’ve organized showcases providing vital platforms for debutant creatives and emerging artists, singers, actors, models, fashion designers, writers, comedians and filmmakers to connect with industry professionals and gain visibility. We also have partnered with service providers to help reduce production costs for creatives. In fact, we recently launched the Rara Avis Debut Award (RADA), a platform dedicated to recognizing and celebrating the outstanding achievements of newcomers in the Nigerian creative scene. This initiative was born out of a desire to foster growth and provide much-needed validation within our own ecosystem.Furthermore, our dedication to fostering international collaboration led to a partnership with the British Council in Lagos. Together, we curated a showcase aimed at bridging the gap, facilitating cultural exchange and exploring potential collaborations. This partnership, a testament to the quality and potential of the talent we work with, provided a platform for Nigerian artists to engage with and be seen.One of our talent has even made it to the finals of a top talent show. Look up Blinkz Baba on Naija Star Search. There’s also an interview on www.raraavisentertainment.com with Blinkz Baba where he shares the impact Rara Avis had on his emerging as a finalist on the Trace Naija endorsed show.
Yet, despite this active engagement in the creative sector, my own artistic endeavors as a presenter and actor, and my work in uplifting other creatives through Rara Avis Entertainment – including collaborations with esteemed institutions like the British Council – none of these seem to hold sufficient weight within the Global Talent endorsement framework. The recurring stumbling block remains the “notable awards” list. The feedback, implicitly or explicitly, is that these achievements, these collaborations, these initiatives within my own context, do not equate to the specific accolades deemed worthy by PACT. I have film credits on IMDb for an internationally distributed movie on Prime Video UK, yet it doesn’t seem to count. I have proof of posters with my pictures as official Red Carpet Host for many organizations and videos showing my appearance. I have letters from respectable and verified individuals/Institutions attesting to my contributions yet it holds no weight.
It’s a frustrating paradox. We are encouraged to engage internationally, to collaborate, to build our own vibrant industries, yet the very recognition we cultivate within our own spheres, even when acknowledged by international bodies within our own country, is seemingly dismissed as insufficient. It reinforces the feeling that true validation can only come from a select group of Western institutions, regardless of the quality, impact, or cultural significance of the work produced elsewhere. It’s as if the system operates under the assumption that excellence can only be judged through a specific, pre-determined lens, failing to acknowledge the diverse and rich tapestry of global creative achievement. The collaboration with the British Council, an organization dedicated to cultural exchange, should arguably signify a level of international standing, but alas, without the prerequisite award from the “notable” list, it appears to fall short. This further solidifies the disheartening reality that the current criteria, despite any stated intentions of global inclusivity, inadvertently erects formidable barriers for talented individuals from regions like Nigeria.
The emotional and psychological effect cannot be undermined as it can lead to depression and to the dearth of the emergence of talented individuals who chosen to pursue a creative career. This is not about money or application fees but about how society already looks down on creative careers and how a body which ought to understand the complexity of this terrain and provide validation for the sacrifices made in the pursuit of a creative career, has a process that does not effectively handle cases of multidisciplinary individuals like me.
I am resolutely committed to helping debutants and emerging creatives, especially those from Nigeria, navigate this industry and advance their careers. I am going to continue to use my skills and network to help creatives. It is because of this commitment that I chose to relocate, searching for solutions through technology for challenges creatives face. We are gifted and nothing is going to take away from that. If these societies have systems that will not absorb us, we will create our own ecosystem, one where we will have no need for validation through processes that do not understand us. I remain undaunted because I know my capabilities, how else did I become Head of Media for a prestigious and remarkable organization like The Humour Awards Academy?
I am inspired by all the great Africans who have dared to tread their own path. Be you and the world will adjust. I have never confirmed to societal expectations and I am not about to change who I am or lobby anyone just for acceptance. I am proudly a woman daring to do the impossible from a background that discriminates and excludes us. All I ever wanted to do is make impact and contribute towards making the world a great place. I don’t chase clout and even while conducting interviews or embarking on any creative projects, I uplift creatives and do nothing to hamper or injure their creative processes.
As for the Global Talent Endorsement, I nevertheless requested a review because I am entitled to it. This is despite the hopelessness in the prognosis of the impossibility of the endorsement decision being overturned. I have nothing to lose.