Keypoints:
- Stream East debuts to showcase Eastern Africa stories
- ‘A Life for Lives’ backs youth in filmmaking
- Salma Adim: creativity can fuel GDP growth
ZANZIBAR has positioned itself at the forefront of Africa’s creative economy with the official launch of Stream East, a digital platform designed to distribute Eastern African stories to audiences around the world. The initiative, unveiled on September 20 by the Film Producers Guild of Zanzibar (FPGZ) in partnership with the Eastern Africa Filmmakers Council (EAFMC), marks a turning point for the region’s cultural industries.
The unveiling also introduced A Life for Lives, a youth-oriented content and audience-development programme aimed at nurturing creative talent, honouring community heroes, and transforming storytelling into a pillar of economic growth.
Speaking exclusively to Africa Briefing, Salma Salim Adim — President of the FPGZ and Secretary General of the EAFMC — described the initiative as ‘a redefinition of how African cinema is perceived and distributed, by placing authentic storytelling directly in the hands of global audiences.’
Authentic African storytelling takes centre stage
Adim said African filmmakers have long faced barriers to international distribution. Platforms such as Stream East, she explained, are dismantling those limitations. ‘They showcase the continent’s diversity — from Afrofuturism and urban dramas to romance and animation — and in doing so they prove that African films can compete on the world stage,’ she told Africa Briefing.
The platform’s flagship feature, MIZA, captures that ambition. The film tells the moving story of a woman ostracised by society for a tragedy she did not cause, who clings to hope for her child while awaiting a husband lost in time. Adim said MIZA symbolises ‘the endurance, empathy, and excellence that define Zanzibari creativity.’
According to her, Stream East will turn such creativity into commerce. ‘Every premiere, download, and stream shows how culture can fuel GDP growth, diversify exports, and attract investment,’ she said.
Youth empowerment through ‘A Life for Lives’
At the heart of Zanzibar’s creative strategy lies A Life for Lives, a programme that equips young people with hands-on skills in filmmaking, performance, and entrepreneurship. It converts schools into creative laboratories and links learning with production opportunities.
Ms Adim believes the model can be replicated across Africa. ‘By embedding creative programmes in schools and community centres, and connecting them with digital platforms, we can reach youth where they are,’ she said. ‘Partnerships with governments, NGOs, and private investors can provide funding, mentorship, and access to equipment, while regional exchanges expose youth to diverse practices across borders.’
She added that combining artistic training with business skills ensures that participants are not only storytellers but entrepreneurs. ‘We’re creating a pipeline of industry-ready talent who can contribute directly to Africa’s creative economy,’ she said.
Film as an economic engine
Adim argued that Africa’s creative sector must be integrated into national development strategies. ‘Governments should treat film, music, fashion, and digital media as exportable assets that generate jobs, innovation, and soft power,’ she said.
She pointed to Nigeria’s Nollywood as a proven case: ‘It contributes billions annually and employs millions. If other African nations include film data in national statistics, they can measure its impact through revenue, licensing, streaming, job creation, and tourism.’
According to Adim, Zanzibar’s model — connecting creativity, tourism, and trade — provides a framework for cultural policy across the continent. ‘Culture is not a luxury,’ she said. ‘It’s a strategic sector with measurable economic value.’
Protecting rights and elevating standards
The EAFMC’s broader mission is to secure creators’ rights and build sustainable markets. Adim said this requires strong copyright enforcement and transparent royalty systems. ‘By strengthening legal frameworks and collective management, we ensure that artists benefit directly from their work,’ she noted.
She added that Stream East distinguishes itself from global streaming giants by prioritising local filmmakers. ‘We offer higher revenue shares, cultural authenticity, and content that resonates with regional audiences,’ she said. ‘Our agility and relevance make African platforms more sustainable and relatable.’
This approach, she emphasised, positions Africa as both creator and controller of its narratives. ‘We are building Africa’s own creative economy from within,’ she said.
A model for Africa’s creative future
Adim said Zanzibar’s fusion of heritage and innovation offers a continental blueprint. ‘Our island blends rich storytelling traditions with digital reach, making cinema both an artistic and economic driver,’ she told Africa Briefing.
Zanzibar’s vibrant festival culture, strategic trade links, and embrace of technology, she added, make it an ideal hub for cross-border collaboration. ‘To the people of Zanzibar: stream, share, and support local stories. Every view sustains jobs and preserves heritage. To public institutions: champion policies that integrate culture into trade. And to filmmakers across Eastern Africa: join Stream East and help build a united, globally visible industry.’
With Stream East and A Life for Lives, Zanzibar is emerging not only as a custodian of culture but as a gateway for Africa’s creative exports. ‘This is more than a platform,’ Adim concluded. ‘It’s a movement to make African storytelling an engine of trade, pride, and prosperity.’
