THE MEDIA POLICY RESEARCH CENTRE
A SURVEY OF MEDIA COMPLIANCE TO KENYA’S BROADCAST
POLICY PROVISIONS ON LOCAL CONTENT
THE CASE OF MAINSTREAM TELEVISION AND RADIO CHANNELS
TABLE OF CONTENTS
List of Tables and Figures……………………………………………………..iii
Acknowledgements……………………………………………………………iv
Executive Summary……………………………………………………………v
List of Abbreviations and Acronyms………………………………………...vi
1.0. Background ………………………………………………………….
1.1. Significance of Local Content…………………………………
1.2.
Cultural Imperialism…………………………………………
1.3.
Theoretical Positions……………………………………..….
1.4.
Problem Statement…………………………………………
1.5.
Survey Objectives……………………………………………
1.6.
Survey Justifications…………………………………………
1.7.
Research Questions…………………………………………
1.8.
Limitations and Scope of Survey…………………………..
1
2
2
3
3
4
4
5
5
2.0. Methodology of Assignment
2.1.
Desk Study…………………………………………………..
2.2.
The Qualitative Participatory Approach…………………
2.3.
Key Informant Interviews (KIIs)…………………………….
2.4.
Focus Group Discussions…………………………………..
6
6
7
7
3.0. Findings
3.1. Broadcasters Adherence to Localizing Content……………………… 8
3.2. Methods for Sourcing Local Content…………………………………. .9
3.3. The Effects of Producing Local Content on Broadcast Business…….. 9
3.4. Challenges Faced by Broadcasters in Producing Local Programs…...10
3.5. Self-Sponsored Surveys on Audience Attitudes to Local Programs…11
3.6. Audience Preferences of Local Programs………………………………12
3.7. Audience Perceptions on Values Fostered by Local Programs………13
3.8. Audience Preferences of Production Formats…………………………14
3.9. Audience Perceptions on Nigerian Films………………………………14
3.10. Audience Perceptions in Increasing of Local Productions……….15
4.0. Summary of Findings and Conclusions…………………………………………16
5.0. Recommendations and Way Forward …………………………………………..17
Annex (i): References
Annex (ii): Survey Tools
ii
LIST OF TABLES AND FIGURES
Table 1
:
Adherence of Stations to Localizing of Content………………8
Table 2
:
Methods for Sourcing Local Content……………………………9
Table 3
:
The Effects of Localizing Content on Broadcast Business….10
Table 4
:
Self Sponsored Surveys for Local Programs………………….11
Table 5
:
Audience Preference for Foreign vs. Local Programs………..12
Table 6
:
Audience Perceptions to Values of Local Programs…………13
Table 7
:
Audience Preferences for Production Formats……………….14
Table 8
:
Audience Preferences for Nigerian vs. Kenyan Films………14
Table 9
:
Audience Perceptions for Increasing Local Content…………15
iii
Acknowledgements
The Media Policy Research Center would like to extend our very sincere, deep and heartfelt
gratitude to various individuals and institutions who participated either actively or (even)
passively towards making this assignment a success.
While it is not possible to name you individually or emphasize the actual contribution of each of
those who supported this endeavor, we wish to appreciate, in a very special way, Ms. Noella
Musundi from the University of Nairobi who coordinated the field survey and Mr. Vincent
Winga who conducted the data analysis. To several others who spared their valuable time to
assist in one way or another, we salute your generosity.
Our limitless appreciation is also extended to members of the public who participated in our
focus group discussions and shared with us their very valuable opinions on the subject of this
survey. The Cooperation of various editors and managers that served as key respondents for
our Kenya Informant Interviews can also not go unnoticed, we thank you for your willingness
to share details of your respective enterprises with us.
We also appreciate the collective effort of the entire research team at MPRC, our external
reviewer and of course the funders of this study for their selfless service and dedication towards
the accomplishment of this project. We are indeed indebted to you all.
James C. O. Oranga
Lead Consultant
iv
Executive Summary
This paper provides the official record of a study that was undertaken by the Media Policy
Research Centre (MPRC) between February 2012 and April 2012. The study evaluated the
extent to which mainstream television channels – specifically, the Kenya Broadcasting
Corporation (KBC), the Kenya 24 television (K-24), the Nation Television (NTV), the Kenya
Television Network (KTN), and Citizen Television - have complied with government policy
requiring at least 40% of broadcast programming to be of local content. The study further
investigated how a selected group of audiences regard the status quo – by way of interrogating
their attitudes, perceptions, likes and dislikes with respect to the current state of programming.
It must be mentioned, from the onset, that the audience survey was a subsidiary segment of
this assignment and should not be misconstrued to have been a major objective. It was
incorporated to this assignment as an experimental precursor for a future survey intended
purely to measure audience satisfaction and levels of gratification with Kenyan television. It
was however necessary to include it, albeit in a minimal way, to provide comparative
evaluation on the recommendations of policy and the perceptions arising thereof from the
audiences - in whose interests such policy is believed or alleged to have been formulated.
The paper is divided into four chapters. The first chapter provides a background for the study
which by highlights the underlying and immediate factors that motivate this study and the
professional gaps that the study intended to address. It also outlines the specific objectives for
this study – each of which has a logical justification. This section also touches on some
theoretical underpinnings upon which the study was based.
Chapter two provides the methodology for conducting the study. Specifically, the proposed
research design, the methods used for data collection, data presentation and data analysis. It
concludes with a comprehensive timetable – demonstrating all the research activities that were
undertaken and the timelines for each one of them.
Chapter three presents the actual findings of the study. It outlines the revelations emanating
from the desk study, the Key Informant Interviews with media managers and the Focus Group
Discussions with members of the public.
Chapter four summarizes the conclusions based on the findings of the study followed by
recommendations in the fifth chapter for both policy makers and media owners towards future
engagements that may enhance local production of broadcast programmes.
v
LIST OF ACRONYMS AND ABBREVIATIONS
AMWIK
:
Association of Media Women in Kenya
BBC
:
British Broadcasting Corporation
CCTV
:
Chinese Central Television
CCK
:
Communications Commission of Kenya
DANIDA
:
Danish Development Agency
FES
:
Freidrich Ebert Stiftung
EA
:
East Africa
EAC
:
the East African Community
GoK
:
Government of Kenya
MCK
:
the Media Council of Kenya
MPRC
:
the Media Policy Research Center
MOA
:
the Media Owners Association
NTV
:
Nation Television
KBC
:
Kenya Broadcasting Corporation
KTN
:
Kenya Television Network
KUJ
:
Kenya Union of Journalists
K24
:
Kenya 24
UNDP
:
United Nation Development Program
UNESCO
:
United Nations Education Scientific and Cultural Organization
UK
:
United Kingdom
USA
:
United States of America
USAID
:
United States Agency for International Development
vi
1. Background
One of the most appreciated positions regarding the mass media is that it is a fundamental tool
that provides information to the public – which is critical for making informed choices and
decisions (Fortunato, 2005). For this reason, the mass media is regarded in many societies as a
crucial avenue through which people get to know what, hitherto, they did not know and
through which people receive fundamental education on various issues of societal concern.
From a purely public interest perspective, the media’s role is perceived to be central to societal
stability. The media not only sets but also builds public agenda by influencing public opinion
and telling people what to think about - which ultimately influences what they regard as
important (McCombs and Shaw, 1972; Lang and Lang, 1983). The Media can also mobilize
societal action and activity on various issues of societal concern by offering analyses,
interpretation and reportage of such issues (Protess et. al., 1989)
At policy level, the media is viewed with several expectations which range from promoting
cultural identity to preserving cultural heritage, promoting national integration to enhancing
regional integration - as envisaged under the East African Community (EAC) charter. The
media is also viewed as an avenue for enhancing national debate on issues that arouse societal
interest, for communicating public information, for providing constructive entertainment, for
creating public awareness on prevailing and impending societal necessities, for generating and
provoking public opinion and for enhancing public exposure to the outside world thereby
promoting global thinking and orientation.
In the decolonization period, communication scholars such as Wilbur Schramm and Everett
Rodgers championed the use of the Media to promote societal development – especially
development that was skewed to emulate western socio-economic, technological and even
political systems. Rodgers, in his book, Diffusion of innovations, first published in 1962,
overemphasized the role of the Media in enhancing the transfer of Western technologies to the
third world especially in the task of popularizing the adoption of western technologies and
providing crucial instruction on their benefits and use. However, in the last quarter of the 20th
Century, African communication Scholars like Charles Okigbo, emphasized the significance of
the Media to enhance development in Africa that was not necessarily borrowed of Xeroxed
from the west. But, that which was originally African, and purposively formulated for African
solutions.
The above-mentioned positions immediately bring to mind the prevailing conditions of the
media in Kenya - in which issues that emphasize western ideals compete for space with issues
that champion national or (if you like) local or African ideals. Most importantly, the media’s
significance to any society, including Kenya, can be summarized in what McQuail (1986)
described as the eight metaphors: that the media are (a) windows that enable us see beyond our
immediate surroundings – bringing distant events and phenomena to our observation, (b)
1
Interpreters that help us make sense of experiences and events – enabling us understand and
appreciate various subjects however complex they may be, (c) Platforms or carriers of
information from one region to another – propagating the flow of vital information across
nations and cultures, (d) Interactive Communication that generates audience feedback on
issues, (e) Signposts that provide us with instructions and directions regarding various matters
of societal interest, (f) filters that screen what society should focus on and what they should not,
(g) Mirrors that reflect to us what our society looks like and is made up of, (h) (sometimes),
barriers that block (certain) sets of information from reaching the public. However, these
theoretical models assume the existence of a liberal environment where the Media is not under
immense legal controls.
Media freedom is far from perfect in Kenya yet the space for free expression and the application
of media has expanded dramatically over the past decade. Overt political control of the media is
in decline and there is anecdotal evidence of declining interference with editorial decision
making by the state. The application of outdated laws such as sedition laws or other
manipulation of the Penal Code, that were common in the 1990s and the early years of the 21st
Century have all but disappeared as has the arbitrary arrest and harassment of journalists and
other media practitioners.
Tentative experiments with liberalization of media that began in early 1990s – particularly
broadcasting media - have resulted in a radically new landscape in which four daily
newspapers with a daily circulation of over 300,000 compete enthusiastically for attention with
13 local television stations, cable and satellite television broadcasters and over 63 radio stations
on air.1 In spite of the dramatic this growth, it is well recognized that Kenya has an abundance
of local research and documentation, journalistic and production skills and talent that has yet to
be engaged and challenged.
The 2010 landing of two fiber optic cables on the Kenyan seaboard has injected new interest in
information and communication products targeting online audiences both locally and in
Diaspora and the implications this will have on the traditions and practice of mass media. Each
and every day, mobile telephony presents new directions and possibilities for media expression.
There is also growing awareness that digital transformation is not only about bandwidth and
processor speed – without content there will be no information revolution for Africa. While
many media houses initially tried to meet the demands of content creation on their own there is
dawning realization by media houses that they cannot be all things to all people. Interest in the
offerings of independent researchers and producers has grown.
Over the next decade, Kenya’s draft media policy will require that local media move to ensure
that at least 40 per cent of their offering is local content. This policy will drive interest in local
1
Oriare Mbeke, P. and Mshindi, T. , 2008, Kenya Media Sector Analysis Report, Accessed online on 8/10/2010 at
http://www.uonbi.ac.ke/faculties/SOJ/publications/REPORTKENYAMEDIASECTORANALYSISNov212008.pdf
2
stories, local authors and ideas. Broadcasting media houses current offerings are lopsided at
well over 80 per cent foreign content. Private television stations are for the first time actively
searching for local content that makes a difference and attracts audiences. The past couple of
years have seen efforts to commission programming - most of it in the genre of entertainment
programming. A variety of local soap opera and sit-coms on various themes have emerged and
almost all major television stations now offer at least one daily show in these formats. Studiobased talk-show is another format that has found universal acceptance. It is clear that the trend
in this growing space for independent story telling and independent production is leaning
heavily towards this type of low investment entertainment programming. Other broadcasting
formats of storytelling such as film and documentary production remain largely unexplored.
This is despite the avid reception received by documentaries such as the series Making of a
Nation, and Who Killed JM Kariuki?
The documentation of the collective Kenyan history, experience and achievement as told
through the voice of individuals is not moving at the same pace and yet popular histories are
critical to complimenting the official narrative of the nation that is constructed by the state and
its enabling institutions. They also play an important role in the nurturing of national identity.
While a handful of Kenyans who served at senior levels in post-independence governments
have begun to write autobiographies, these are very few, and have barely touched the broad
mosaic of the Kenyan record. It is hoped, perhaps, that an increase in local content will benefit
the public in several ways: that it would promote and preserve cultural heritage and identity, it
would nurture local production and artistic talent, it would also ensure sensitivity to African
(Kenyan) ethos that at times is abused by Western Programs. Ultimately, it would safeguard
against the ‘excesses of Western thrills’ such as violence, sexual extravaganzas, deplorable
fashion exemplified in tattoos, hippie-like hairstyles and jewellery, foul language, alcohol abuse
and drug culture which have potential retrogressive effects on (especially) the youth.
Media Policy Research Centre (MPRC) is a young organization that was formed to progress
and compliment the state of the media through the use of policy level interventions that
interrogate and provoke discussion about the media. To this end, MPRC has commissioned this
study to evaluate the extent to which the mainstream television and radio stations have adhered
to the provision of localizing their content by at least 40% and what actual effect such efforts
have had on audiences.
1.2. Survey Objectives:
This project was intended to accomplish four short term objectives and two long-term
objectives.
The short-term objectives were:
3
a) To investigate public policy vis-a – vis the state of local content on popular television
and radio by way of evaluating the extent to which mainstream television and radio
channels have failed or succeeded in localizing at least 40% of their content.
b) To carry out a critical analysis of broadcasters’ programming policies and practices with
regard to local content.
c) To provide evidence-based information about the obstacles to creating factual local
content and make recommendations on how these can be addressed.
d) To investigate the attitudes, opinions and perceptions of selected audiences with the
view to spur discussion around the subject of lack of local content and proposals for its
expansion.
The long term objectives are:
a) To provide a credible body of literature and documentation that would be useful for
reference by researchers on this subject in future studies.
b) To influence and encourage the growth of non-traditional directions for the local media
operating in a dynamic environment so as to cover the diversity of Kenyan experience in
programming.
1.3. Project Justifications:
The findings of this survey provide regulatory bodies and stakeholders with an empirical audit
of the extent to which efforts towards localizing broadcast content by at least 40% has been
achieved. It further reveals the actual challenges that producers and broadcast enterprises have
to deal with in their endeavor to fulfill this goal. Such revelations are useful in generating
constructive discussion and recommendations to (and among) stakeholders on what strategies
ought to be formulated to transcend such challenges. Identified stakeholders include: the EAC
secretariat, the Gok, regulatory agencies such as the MCK, organizations within the media
fraternity such as the PRSK, the KUJ, the MOA and donor agencies such as DANIDA,
UNESCO, UNDP, the FES and USAID.
The findings of this survey also reveal one critical factor that is often overlooked by policy
makers – that is – the opinion of audiences with regard to local content. It exposes their likes
and dislikes their tastes and preferences and their personal evaluation on what actual value the
localization of content has added to their viewing. And, which of their needs and gratifications
have been fulfilled thus.
4
1.4. Limitations and Scope of the Study
This survey focused on five mainstream television stations namely; K24, Citizen TV, KTN, KBC,
and NTV and five mainstream radio stations namely: KBC general service, Radio Citizen, QFM,
Radio Maisha and Kiss 100. The selection of these particular stations was purposively done
owing to the fact that over the last three years, they have commanded the largest audiences.
(See latest Ipsos Synovate polls).
Two challenges were encountered in the process of conducting this research. The first being a
limited time frame to gather and analyze data and the second being a thin budget. The
budgetary constrains were actually necessitated by the demise of the former lead researcher
who (unfortunately) passed on late last year after part of the capital intended for this study had
been paid.
This left MPRC with the option of making do with what is left. Consequently, the project was
modified to suit the limited amount of capital available. Specifically, the audience survey that
was intended to test audience attitudes and opinions was limited to the city of Nairobi and its
environs. This, it is acknowledged, presented a strategic or methodological gap but it was
compelled by reasons of affordability. Furthermore, it was intended to present a pilotexperimental study that is intended – for a future national survey by MPRC.
5
2.0. METHODOLOGY OF ASSIGNMENT
This survey made use of both quantitative and qualitative techniques of research in data
collection which was preceded by an analytical desk review. The details below describe the
actual techniques used in the survey:
2.1.0. Desk Study
The Desk Study involved actual identification and analyses of information relating to
localization of broadcasting content. The key issues reviewed included:

The significance of localizing broadcast content

Constitutional press freedom and its implications on policy requiring localization of
broadcast content

The cost implications of producing local programs

The capacity of broadcast enterprises to produce quality local programs
The desk study further involved the review of various publications that touch on the abovementioned issues. The key documents referred to included: the Kenyan Constitution, the CCK
Act, the KBC Act and a number dissertations and theses regarding this subject.
The information obtained from these documents was useful in developing tools for this survey.
The fieldwork involved comparing the policy position with regard to localizing of broadcasting
content and the reality that exists in various programming schedules. It also tested the
perceptions of the audiences regarding local programming.
2.2.0. The Qualitative Participatory Method
The qualitative techniques employed in this study were useful in revealing to the researchers
the media house positions regarding this subject and also the appreciation of the public with
regard to the policy of more local content. The survey made use of two particular qualitative
approaches: Focus Group Discussions (FGDs) and Key Informant Interviews.
The survey made use of focus group discussions and in-depth interviews to extract as much
information as possible from audiences on their attitudes and perceptions on broadcast content
of leading radio and television channels. Three Focus Group Discussions were undertaken one
in an up-market area in Nairobi, one in mid-level area and another in a low-income residential
area. The qualitative method was used to gather information that cannot be quantified.
6
2.2.2. Key Informant Interviews
Key informant interviews were conducted with editors and managers of all the identified
broadcast enterprises. The interviews were specifically designed to establish the perspective of
the broadcasters towards this initiative.
2.3.0. The Quantitative Approach
The quantitative approach allowed a comprehensive accumulation and aggregation of statistical
data that is easy to analyze and interpret. The study made use of face to face interviews to
gather information.
The respondents were sampled from Nairobi and its environs. The selected respondents were
stratified to capture three key demographic factors – these being: Geographical areas of
settlement, Gender and Age. The sample was stratified on the basis of the total population of
each region of Nairobi to be proportionate to the sample size from each of the eight regions
(Embakasi, Lang’ata, Dagoretti, Starehe, Kamkunji , Kasarani, Westlands and Makadara). A
sample size of 400 was used for the survey.
2.3.4.
Profile of Respondents:
The survey involved three categories of respondents:
1. The Field Interviews involved 400 respondents all above the age of 15. This age was
strategically chosen owing to the fact that the targeted respondents had to be persons
who do not only access broadcast information but have the capacity to appreciate their
content.
2. The Key Informant Interviews involved editors and managers in ten broadcast
enterprises.
3. The Focus Group Discussions involved 15 persons each in three meetings. One in an upmarket location, one in a middle class location and one in a low-income level settlement.
Focus Group Discussions also involved other stakeholders, most notably, journalism
students, journalists and academicians as key opinion shapers to this subject.
7
3.0.
THE FINDINGS OF THE SURVEY
3.1.
Adherence to Localization of Content:
Out of the ten broadcast enterprises selected for this survey, five have adhered to the 40%
threshold while five have not. It is worth noting that out of the five that have met the threshold,
two of them (K-24) and QFM are (in principle) local stations whose content is deliberately
designed to be local. However, even these two entertain foreign news and foreign music to a
very appreciable degree.
Table (1) demonstrates the extent to which stations have adhered to the 40% threshold:
NUMBER OF STATIONS (out
of the sampled ten)
PERCENTAGE
Less than 10%
0
0%
10% - 20 %
1
10%
21% - 30%
2
20%
31% - 40%
2
20%
Over 40%
5
50%
TOTAL
10
100%
EXTENT OF ADHERENCE
(What percentage of your
programs is of local content)?
8
While 50% of the sampled stations have met the desired threshold, it must be noted that some
stations portrayed a shocking lack of note in this subject. Others gave a promising commitment
to continue working towards the fulfillment of this objective. Some prominent responses
regarding this key issue included:

“We have a very small extent but I am not sure of the exact percentage.”

“We have not yet gone up to 40% but we are better than other stations.”

“We are at around 30% but we are still trying to add more.”

‘’Our news is largely local so we are also trying to do the same to other programs.”
There appears to be confusion as to whether the 40% requirement is exclusive or inclusive of
news content- a factor that needs immediate and unequivocal clarity.
3.2.
Methods for Sourcing Local Productions:
Three main strategies were revealed as to how broadcast enterprises source their local
productions. Some are produced in-house – meaning the broadcast enterprises use their
own technological and human resource capacity to develop the programs. Others are outsourced – meaning that the stations buy them from producers who are head hunted while
others are co-produced between the station and external producers.
Table (2) demonstrates how the ten samples broadcasters source the majority of their local
productions.
METHOD OF SOURCING
LOCAL PRODUCTIONS
NUMBER OF STATIONS
OUT OF THE SAMPLED 10
PERCENTAGE
In-house Productions
2
20%
Out-Sourcing
3
30%
Co-Production
5
50%
TOTAL
10
100%
How do you source for the
majority of your local
productions?
9
Co- production appears to be the preferred method for sourcing local production. One
outstanding finding in this regard, however, was that many of the local programs must be
sponsored by another organization so as to enable the sustainability of their production costs.
50% of the broadcasters revealed that they source for proposals which are evaluated by a
committee – to establish their suitability and value before selection.
3.3.
Localization and Effects on Broadcasting Business
Being that all broadcast enterprises in Kenya, including the public broadcasters has a desire for
profiteering. It is imperative that such a survey determines the extent to which the 40%
requirement affects business. If, for example, it perpetuates perennial losses, it may not be
tenable in the long run. Of the ten sampled stations, eight gave a positive verdict as to how
localization affects local business while two gave a negative response. Table three demonstrates
the manner in which broadcast business is affected by localization of content.
ACTUAL EFFECT OF
LOCALIZATION OF
CONTENT TO BUSINESS
NUMBER OF STATIONS
OUT OF THE SAMPLED 10
PERCENTAGE
It has promoted viewership /
listener-ship therefore is
positive in the long run
6
60%
It is very expensive and
therefore compels big losses
2
20%
10
Our enterprise was
established within a platform
of local content so the cost
incurred are in tandem with
our business plan
2
20%
60% of the broadcasters acknowledged that localization of content promotes / has promoted
audience numbers. While 20% lamented that the costs were enormous and negatively affecting
their financial fortunes. 20% revealed that whereas it may be costly to create programs as
opposed to purchasing foreign ones, they considered this eventuality at the infancy of their
establishments and therefore the dynamics of profitability vis-a vis cost of production was well
within their business plans. The most outstanding finding in this regard is that, whereas it may
cost a lot to produce a local program, it also rewards a lot (in-terms of audience numbers) if the
production is well done and achieves its ultimate purpose. For this reason, the enormous
expenditure results in enormous returns which is in fact the best business. It may, take time and
tremendous levels of professional and creative scrutiny for a local production to be a success,
but when it does, it is worth the spending.
3.4.
Challenges Faced by Broadcasters in the Process of Producing Local Programs
11
All the samples broadcast stations revealed that the production of local programs is indeed a
challenge. The challenges can summarize into five:
1) The production costs are enormous which at times compels the sourcing of a sponsor
that may take a long time to find.
2) The selection of talent for local programs is not easy. The acting industry in Kenya is not
yet as established as that, say, of Nigeria that boasts a plethora of excellent and popular
actors and actresses for producers to choose from every time a production is to be
created. Furthermore, the talented professionals are very expensive to hire.
3) A number of broadcast enterprises don’t have very established state of the art studios
that would be useful for different types of in-house productions.
4) A number of producers, while endeavoring to come up with local programs are still neocolonized. They therefore borrow foreign concepts heavily- which ultimately defeats the
very purpose of localization.
5) Language barrier is also a big problem. It is shocking that finding those who can speak
good Swahili while at the same time posses what it takes to be a credible character is not
easy.
3.5.
Self-Sponsored Surveys on Audience Attitudes to Local Productions
The survey also established whether broadcast enterprises have had an interest of
evaluating the attitudes of their audiences towards local content. Table (4) demonstrates the
findings to this question.
Do you ever carry out
surveys to establish audience
attitudes towards your local
productions?
NUMBER OF STATIONS
OUT OF THE SAMPLED 10
PERCENTAGE
Yes (Regularly)
6
60%
Yes (Occasionally)
1
10%
NO
1
10%
I don’t know
2
20%
12
60% of the broadcasters revealed that they take the initiative to carry out regular surveys to
establish the audience perceptions towards their local productions. The preferred frequency
for such surveys – it was revealed – was a quarterly basis. 10% also do carry out such
surveys but occasionally. As a matter of fact, they revealed that this happens once in a year.
Shockingly, the interviewed officers in two of the stations revealed that they did not know
whether they carry out surveys or not. It is worth mentioning that two of the stations went
ahead to explain the methods they use for such surveys. They use mobile phone interviews.
This, it must be revealed, may not be a very effective system of investigation since you limit
the scope of your interviewees to mobile phone users among other factors that compromise
reliability. The key findings that broadcasters say to have established in these surveys are
the desire by audiences to have better production quality, more originality and more
creativity.
3.6.
Audience Preferences (Local vs. Foreign – non African Productions)
Table (5) demonstrates the preferences of audiences in Nairobi of local broadcast
productions compared to foreign ones. This comparison is specific to productions which are
not of African origin such as Mexican or Latino soap operas, Filipino drama or western
(American, Australian and European) productions.
PREFERENCE
NUMBER OUT OF 400
PERCENTAGE
I prefer local programs to
foreign ones
199
49.75%
13
I prefer foreign programs to
local ones
106
26.5%
I don’t have a preference, I
like both
95
23.75
TOTAL
400
100
49.75% of the sampled respondents in Nairobi actually prefer local programs compared to
the 26.5% who prefer foreign productions. A fairly high number of respondents also
revealed that they do not have very strong preferences. This finding demystifies and
corrects the supposition that foreign productions resonate better with audiences. From the
focus group discussions, the audiences revealed the factors that determine such
preferences: Local productions are preferred because:

Audiences can directly relate with them since the problems and issues they portray
are those that are familiar

They deal with real societal problems that afflict audiences in their daily lives such
as HIV and Aids

They promote our local cultural heritage and motivates audiences to appreciate
them
14

They promote local talent and is therefore a way of creating employment

They inculcate a sense of ownership and pride among audiences
However, those who prefer foreign productions gave the following reasons for their preference:

They are more creative and more appealing

The production is more professional and more sophisticates

They have high profile internationally renowned stars

They expose audiences to the outside world hence promote the concept of global
consciousness
These findings demonstrate four key concepts that local producers should capitalize on so as to
compete with their foreign counterparts. These being: improved creativity, improved
professionalism, improved selection of characters and improved sophistication and diversity.
3.7.
Audience Perceptions on the Values of Local Productions
Table (6) demonstrates the values that audiences perceive to be gained through viewing and
listening to local productions.
Do you think local
productions foster destructive
or constructive values to
audiences?
NUMBER OF
RESPONDENTS OUT OF 400
PERCENTAGE
They Foster Constructive
Values
396
99%
They Foster Destructive
Values
04
1%
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An overwhelming 99% of the respondents hold local productions in high regard while only 1%
believes that there are some destructive tendencies in them. The focus group discussion
revealed the positive values appreciated by audiences to be arising from local productions to
include: Appreciation of local culture, responsible sexual behavior, de-stigmatization of
HIV/Aids, Unity, Trust and Honesty and Courage. However, the few skeptics also had an
important addition in the sense that, some local productions still encourage some destructive
elements such as indecent dressing and abuse of alcohol by young people.
3.8.
Audience Preferences to Production Formats
Table (7) demonstrates the preferences of audiences with regard to production genres of local
programs. Three key genres emerged as the most popular among audiences. These include:
Musical shows, talk shows, drama and reality shows.
What is your most preferred
genre for local productions?
NUMBER OUT OF 400
PERCENTAGE
Drama
158
39.5%
Musicals
88
22.5%
Talk shows
26
6.5%
Reality shows
126
31.5%
TOTAL
400
100%
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Talk shows may not enjoy enormous popularity with the locals since most of them focus on
political issues which a number of audiences may not find entertaining. Similarly, reality shows
such as Tusker Project Fame and Miss World Kenya are much appreciated by audiences but
they are seasonal and therefore deny audiences consistent viewing.
3.9.
Audience Preferences with Regard to Kenya vs. Nigerian Films
Table (8) demonstrates the preference of audiences regarding Nigerian Films – popularly
referred to as Oga Movies compared to local ones. From the onset, it must be revealed that a high
number of the respondents did not know any Kenyan film.
Do you prefer Nigerian Films
or Kenyan Films
NUMBER OUT OF 400
PERCENTAGE
I prefer Nigerian Films
387
96.75%
I prefer Kenyan Films
13
3.25%
TOTAL
400
100%
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A staggering 96.75% of the respondents prefer Nigerian Films. This may be predictable since the
Nollywood industry if quite established despite the fact that it is still more or less lacking in
quality. The Kenyan Film industry on the other hand is very low key and audiences could
hardly recall the last Kenyan Movie they watched. Even those who said they prefer Kenyan
ones did so, most likely, only for purposes of patriotism. From the Focus Group Discussions the
following reasons were given by audiences as reasons for the Nigerian preference:

“Nigerians are original and they appreciate their culture.”

“Nigerian actors are more professional and know how to please audiences.”

“A number of Nigerian films have more interesting plots.”
3.10.
Audience Preferences with Regard to Increasing of Local Productions
Table (9) demonstrates the perception of the audiences with regard to whether local
productions should be increased on decreased.
Should local Productions be
increased or decreased?
NUMBER OUT OF 400
PERCENTAGE
Local Productions should be
increased
161
40.25%
Local Productions should be
decreased
99
24.75%
There should be a fair balance
140
35%
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TOTAL
400
100%
These findings augment finding number one that revealed more respondents to prefer local
productions. It must be noted that foreign productions appeal more to the elitist up-market
audiences with little touch to local realities. But, even in the up-market enclave, a fair number of
their members gave local productions the thumps up.
4.0 SUMMARY AND CONCLUSION OF FINDINGS
From the Key Informant Interviews, the field survey and the Focus Group Discussions, ten
crucial findings can be derived from this study. The findings have particular implications which
are crucial for policy decision making these include;
1. Local Productions are popular with audiences for constructive reasons. If well done,
they can rival the best of western or Asian production in popularity.
2. Whereas audiences are receptive to local productions, they have noted that they need
quality enhancement.
3. Whereas producing local programs is costly, it is worth the investment since if well
done, they enhance audience numbers which is good for broadcast business.
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4. Majority of broadcast enterprises, if the sampled ones for this study is anything to go by,
have conformed to the requirement of localizing at least 40% of their content. Even the
ones that are yet to do so are in the process of doing so.
5. Many broadcast enterprises have been receptive to this policy and have adopted a
proactive approach to the issues surrounding local production to the extent that they
even conduct surveys for self-assessment on how audiences are responding to this
development.
6. The most popular genres among audiences are local drama, reality shows and musicals.
Films are hardly known and for this reason, there is a huge vacuum which has been
occupied by Nigerian nollywood productions.
7. Local productions have fostered a number of constructive values that audiences not only
relate with but appreciate – the most notable of these include: Responsibility, National
Unity, Cultural Heritage, Honesty and Trust and Education.
8. Whereas, audiences appreciate local productions, they have noted that some lack
originality and borrow foreign concepts heavily thereby defeating the very essence of
promoting local programs.
9. Whereas audiences appreciate local productions, they have noted that some perpetuate
certain factors which are not compatible with our national ethos such as foul language
and indecent dressing.
10. The researchers’ assessment also noted, with concern, that most local productions,
primarily fulfill the role entertainment. There is minimal focus on such key societal
needs such as development and self education.
5.0. RECOMMENDATIONS ON WAY FORWARD
The policy requiring that broadcast enterprises localize their content by 40% should only
be a beginning – in the quest to promote the kenyanization of broadcasting in the country.
Ultimately, we should develop a culture and style that is unique to Kenya and that
responds to Kenyan needs. To achieve this goal, a number of steps should be formulated
and implemented. These may include:
1. The acquisition of better equipment and construction of more world-class state of the
art studios so as to ensure technical quality in the recording and editing of local
productions.
2. The hiring of more professional producers, directors and characters – whose capacity
should be enhanced through further training, exchange programs and global
exposure so as to (also) promote quality.
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3. Emphasizing originality and discouragement of foreign imitations. It must be
appreciated that we cannot promote a Kenyan culture by constantly borrowing other
peoples’ ideas and concepts. Nurturing of our own concepts must be prioritized.
4. Producers must focus not only on entertainment. They must diversity their horizons
if they are to remain relevant and competitive. They must address all societal
concerns through their productions. Venturing in more developmental areas that
enhance audience knowledge and awareness and also preparedness on crucial
societal changes should be given more attention.
5. Government must play an active and not passive role in this venture. Proclaiming of
policies must be followed by consistent and regular government support. Such
support may include: Government funding of worthy local productions, financial
rewarding of productions that win awards of excellence and strict enforcement of
such policies.
6. Government must (also) commission researches that not only explore areas of
societal interest that producers should exploit but also those that explore the
measures taken by other nations towards promoting such initiatives, with the aim to
discover what concepts can be borrowed to improve the local industry.
7. Producers must recall, at all times, that local productions should be sensitive to local
ethical and cultural values and therefore must not be designed in a way that
audiences do not appreciate. For example, portrayal of indecent dressing and foul
language.
8. Since the regulation of increasing local production already exists, there should be
regulation that lays down fundamental quality standards that must be maintained
for all local productions.
9. Media enterprises should market local productions using the multi media approach
so as to promote them both locally and abroad. It is only in this way that Kenyan
production may one day enjoy enormous continental popularity akin to Nollywood
productions.
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