Adweknow: The Beninese government, under the leadership of President Talon, has taken numerous initiatives in the media and digital sectors: the launch of A+ Benin, the end of analog broadcasting, calls for projects, co-production with TV5MONDE and Mediawan, the launch of a channel in local languages, etc. How does SRTB, where you have just taken up the position of Director General, fit into this vision?
Angela Aquereburu: SRTB is a key public player in this ambitious initiative led by the President of the Republic and his government. Our role is clear: to support this transformation by becoming a leading public media outlet that is more modern, closer to the people, and in line with current standards. The mission entrusted to me is to bring SRTB into the 21st century by leading a fundamental reform, both structural and editorial, as well as human. It is a vision that is part of the general momentum of modernization in the country.
AWK: What does modernizing SRTB mean in concrete terms?
AA: It means rethinking our internal organization, strengthening our governance, rehabilitating our infrastructure, redeploying our human and editorial resources, and above all, reconnecting our content to the expectations of our audiences, whether they are in Benin or in the diaspora. It also means identifying internal talent, promoting skills development, and encouraging professional mobility. It's a major undertaking that affects the entire organization.
AWK: The competitive environment is important in Benin, particularly with international channels and channels such as A+ Benin. In this context, what are the SRTB's main strengths?
AA: Competition is a reality for all media outlets, in Benin as elsewhere. But it is also a driver of excellence. Since the launch of our new visual identity on April 6, we have created a new dynamic that has been welcomed by the public. We are redeploying our news offering, reworking our programs, and developing our digital presence.
SRTB, with its channels—Bénin TV, Bénin TV Junior, and soon Bénin TV Alafia—has a public service mission: to inform, educate, and entertain. We are not purely commercial. The public does not come to us for the same thing as they do to A+ Bénin, for example. They expect us to provide news programs, magazines that promote our country, and cultural and identity-related content. That is our strength.
AWK: But asserting yourself in the face of competition and producing to international standards is expensive. Do you have the means to do so?
AA: I invite you to watch our live coverage of the Tour Cycliste du Bénin: the images broadcast on Bénin TV are of remarkable quality, comparable to those of major events such as the Tour de France. This success is the result of synergy between the SRTB, the Beninese Cycling Federation, and the Ministry of Sports.
The skills are there, even if they need to evolve. The technical and financial resources have been mobilized—so it's not just a question of budget, it's a question of vision, organization, and resource allocation. The Beninese government has invested, and today, these efforts are becoming visible on screen.
AWK: The advertising market in Benin is still relatively small. Do you rely on advertising revenue to help finance your programs?
AA: It's true that the Beninese advertising market is not yet as structured as those in some other countries in the sub-region. But it does exist. For coverage of the cycling tour, for example, the Benin National Lottery supported us, which enabled us to deploy significant resources.
To attract advertisers, you need attractive programs, solid audiences, and reliable audience measurements. We will work with the authorities to develop credible measurement tools in order to gradually build an ecosystem conducive to advertising.
AWK: In terms of content, what is your editorial approach?
Our ambition is clear: to position our channels on the regional and international stage. Like RTI, which reaches audiences beyond Côte d'Ivoire, we want Bénin TV and Bénin TV Junior to appeal to viewers in South Korea, Belgium, and the United States. Because our content will convey something universal based on our uniqueness.
I don't believe in standardizing formats. I believe in the universality of emotion, driven by authenticity. A program is moving because it is true, rooted in reality. It is our DNA, our specific characteristics, that make us strong.
Look at Senegalese or Ivorian channels: they are popular because they offer content that is rooted in reality, not because they seek to be "universal." Authenticity attracts viewers when it is served with high technical standards.
On a personal note, Mikoko, a film I produced, made in the local language, based on a deeply rooted story, has just won the Best Feature Film award at the Seattle Black Film Festival. This shows that authenticity, when done well, can reach audiences far beyond our borders.
What new programs are on your schedules?
AA: We have launched several original formats. Programs such as Le Trône (game show), L’Islam en partage (religion) and Guichets fermés (entertainment) are already on air, illustrating the diversity of our programming and our desire to offer content suitable for all audiences.
In addition, several programs were initiated before my arrival, with the support of the government. Around 30 projects are currently in development, including magazines produced by external talent. We are also going to launch a slot dedicated to African cinema—short and feature films, fiction and documentaries that have won awards at festivals such as FESPACO—to make them accessible to the general public.
AWK: And with the Africa Cup of Nations coming up, will there be soccer soon?
AA: I'm fighting for it! Sport is an essential lever for social cohesion, national identity, and audience reach. But it must be said: broadcasting rights are extremely expensive, even for national team matches. We are working to find sustainable solutions, and I hope to be able to announce some good news very soon.