AMVCA or Nollywood Exclusive? Rethinking the “Africa Magic” in Africa Magic Viewers’ Choice Awards
Every year, the Africa Magic Viewers’ Choice Awards (AMVCA) lights up our screens with glitz, glamour, and genuine moments of creative triumph. The just-concluded 11th edition once again drew together Africa’s brightest stars under one roof, celebrating excellence in storytelling, performance, and production. And yet, amid all the excitement, a nagging question continues to linger: why is it still called the Africa Magic Viewers’ Choice Awards when most of the nominated films aren’t even available on Africa Magic?
Let’s get real. A quick scan through the list of nominees and winners each year reveals a curious pattern — a significant number of the films and shows that dominate the AMVCA stage are either Netflix exclusives, cinema releases, or streaming elsewhere. Some of them never make it to any of the Africa Magic channels at all, not even the on-demand options. So how exactly are Africa Magic viewers expected to make informed choices?
It’s an irony that’s becoming too obvious to ignore. The name “Africa Magic Viewers’ Choice Awards” suggests that the voting public — presumably, Africa Magic’s loyal viewers, are choosing from content they’ve had access to via the Africa Magic platform. But when those viewers haven’t seen half the entries, can the awards truly reflect their choices? Or is the show becoming more of an industry insiders’ gala, dressed in the language of public participation?
To be fair, the AMVCA has grown beyond its original format. It now rightly recognises excellence across the continent, across platforms. That evolution is admirable and necessary. But shouldn’t the name evolve too? Or, at the very least, shouldn’t Africa Magic make an effort to air or license the films it’s putting up for its own awards? A “Viewers’ Choice” award loses its meaning when the average viewer can’t access the nominated work.
The disconnect also has economic implications. Independent filmmakers across Africa looking for exposure through Africa Magic may find themselves excluded from major categories simply because their work isn’t “big” enough to find a theatrical release or a Netflix deal, even if it resonates deeply with Africa Magic’s actual audience. Meanwhile, content that’s largely invisible to the average DStv or GOtv subscriber gets elevated as the best of the best.
The AMVCA has the potential to be more than a glamorous evening; it can be a true celebration of stories that Africa sees, relates to, and loves. But to do that, Africa Magic must reconnect the awards with its audience. Either by realigning the nominations with content actually shown on its platforms, or by broadening access to nominated works during the award season, the credibility of the “Viewers’ Choice” depends on it.
Until then, calling it the Africa Magic Viewers’ Choice Awards may be a bit of a misnomer — because too often, the viewers are left out of the choice.
