Oyinkansola Owoyemi on the creation of “GRIT,” the evolution of Faaji Productions, and her vision for intentional and impactful African storytelling.

 

Oyinkansola Owoyemi is a Nigerian producer and founder of Faaji Productions, whose work combines storytelling, strategy, and cultural content. Drawing from a background in business and a deep engagement with reality TV, she has positioned herself within a growing wave of creators seeking to reframe how African stories are developed, produced, and shown. Her latest series, “GRIT,” reflects her ambition to create an experimental, high-energy format that blends competition with culturally grounded storytelling, while testing both resilience and collaboration on and off screen.

In this exclusive interview, Owoyemi shares the thinking and processes behind “GRIT,” the evolution into an expansive exploration of African-themed challenges, and the intentionality behind its production choices. She reflects on the importance of building with the right team, the balance between creative vision and commercial viability, and her broader commitment to telling African stories that are both authentic and globally resonant.

As the founder of Faaji Productions, what gap did you see in African entertainment that inspired you to build this company?

I think, for me, I grew up on African stories. I grew up watching a lot of TV and also being read to. My mum would read literature to us, and I found that so engaging. So I grew up immersed in African literature.

Personally, it’s always been about wanting to see African stories told beautifully. I also felt there was a gap, particularly in the reality TV space, and that’s what drew me to it.

Beyond growing up on African stories, I watch a lot of game shows, pretty much everything you see online. I’ve probably watched an episode or two. So, being able to tell the African story using different formats, while also creating and owning those formats, is really what drew me to starting this company. That’s what led me here.

What game shows were you most interested in?

I love “The Traitors”. “The Voice” is another one. There’s also this Guinness World Records one that I used to watch growing up, and “Who Wants to Be a Millionaire?”. I also watch a lot of cooking shows on Netflix.

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How did you decide that a show like “GRIT” was something you wanted to bring to life?

 

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I have a book where I write down all the ideas that come to me; I call it my “book of ideas.” I remember getting this idea a couple of years ago, but I thought it was something I would do maybe 10 years from now, not immediately, because I just didn’t think it was something I was going to build right away.

At the time, I had an idea for a show that had some of what “GRIT” is today, although it wasn’t called “GRIT”. I also had another show idea called “Grace”, which was meant to be a business show where founders would be paired with mentors, and we’d follow their entrepreneurial journeys as they competed to win a prize. That was really the original idea.

But when I went back to my book of ideas, I came across this concept that focused more on African storytelling, looking at something that was uniquely African, filmed in Africa, with challenges that were tied to different African elements. I thought, “Yeah, this feels like the right idea for now.”

As we developed it, we realised that beyond the games, what we were really testing was the players’ resilience. You’re seeing how people behave in an environment that’s unfamiliar to them, how they build new relationships, and how they navigate different challenges. For me, “GRIT” just felt like the right name. It captured everything the show was about, and that’s how we got to “GRIT”.

Your new show “GRIT” explores ambition, identity, survival, and personal growth. What drew you to these themes, and why do you think they resonate so strongly with young Africans today?

“GRIT” explores things that are necessary in building anything meaningful, really. As I said, I watch “The Traitors”, and I would say it influenced a lot of what went into building “Grit”. You see how people perform under pressure. I often describe it as “Survivor” meets “The Traitors”. You see people navigate relationships, build trust, experience betrayal, and still have to persevere and push forward despite those circumstances.

For me, that felt unique, especially for a young audience. Even when we put out the casting call, the response was phenomenal. Everyone was asking, “What is this about? Is it going to be a physical competition? Are people testing strength? Is it for bodybuilders?” There was a real sense of curiosity and excitement.

What interested me most was seeing how young people would perform under those kinds of circumstances. I think it’s relevant for young people and, honestly, for anyone. That’s why we decided Grit should be the first project we worked on.

What are your personal thoughts on body positivity and autonomy in relation to your new series “GRIT”?

I do think that when it comes to body positivity, it’s really about what you carry on the inside and how you’re able to portray that externally.

During the show, and without giving away too much, we explored themes around body positivity. There was a conversation between two of the players where one person felt body-shamed, and you could see how they navigated that dialogue. 

I think body positivity is, in many ways, about being able to stand up for yourself, say, “This is what I look like,” and be confident in who you are. It’s about showing up for yourself in that capacity.

I believe  “GRIT” really explored the idea of people coming as themselves and expressing who they are fully. As you watch the episodes, you’ll see that while body positivity wasn’t a theme that came up all the time, what was consistent was that people were able to show up fully and authentically as themselves. 

Also, throughout the casting process for “GRIT”, diversity was important to us. We didn’t want to put together a cast where everyone looked a certain way or promoted a particular body type. People also needed to be able to show up fully as themselves, and that was reflected in the contestants we chose for the show. We wanted the cast to represent different people, different backgrounds, and different experiences, while giving everyone the space to be authentically themselves.

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Tell me one lesson you learned while working on “GRIT” that you feel will stay with you and has shaped the way you work as a producer, as the owner of a production company, and as a woman

The biggest lesson I have learnt was realising that with the right team, there’s really nothing you can’t do.

Being the executive producer on “GRIT” and working with such a phenomenal team showed me what it’s like to have people who truly believe in your vision, run with it, and stay committed to bringing it to life, no matter the challenges we faced along the way. Even when things got difficult, the team kept saying, “This is the vision, and we’re going to make it happen.”

For me, it reinforced how important it is to have the right people around you. It also taught me the value of treating people kindly. I think you can be firm and still be a kind leader, and that’s something that really stood out to me throughout “GRIT”

This was the first production where I could say, “This is my production.” It was the first series for Faaji Productions, and I was building a team and leading a production from the ground up. Looking back, I can honestly say the team was phenomenal. More than anything, it showed me that success is really about having the right people by your side.

How did you get into production? Was it something you always wanted to do? Tell me a bit about your background and what led you into film and production

Production is something I had considered for a while. It wasn’t an immediate “I want to do this this year” decision. It was definitely something I’d thought about in the past, especially when I think about game shows and how much I enjoy watching them and imagining what it would be like to produce one.

I think I made a real decision at some point. I remember going to the gym one day, walking back, and thinking, “This idea keeps coming back to me.” It just felt like the right time to build it and actually act on it.

So I spoke to my assistant — who is just phenomenal — and said, “I have this idea I really want to work on. Can you help me start reaching out to people we can speak to?” From there, we started having conversations, and everything moved very quickly.

Within about three months, we had locked in the brief, the concept, and the show bible — what we wanted the show to look like. Then, within another two months, we were filming. It was really fast-paced. Things were moving so quickly that I didn’t even have time to back out because everyone was so committed. It became very much a case of “We need to see this through.” And that’s really how I got into production.

As a woman leading a creative business in Africa, what personal philosophy has shaped the way you approach leadership, storytelling, and decision-making?

The key thing for me is really just being true to myself.

What that means is asking: what do I believe in, and what stories do I think are worth telling? For me, it’s about understanding what I’m trying to contribute and put out into the media space. One of my core priorities is uplifting African stories.

That really determines how I approach decision-making.

 I look at something and ask, “Does this story uplift? Does it encourage others?” And I think that’s what’s driving us at Faaji Productions. The team can align on what we want to put out, and then we collaborate and ideate on how to tell those stories in a way that is meaningful and made to travel. That’s really the approach I take at Faaji Productions and to the stories that we tell.

As African storytelling gains greater global recognition, what role do you believe production companies like Faaji Productions play in shaping how people understand our cultures, histories, and experiences?

I think production companies, including Faaji Productions, need to be more intentional about the stories they put out. It really comes down to asking: what kind of stories do we want to tell? For us, it’s based on what the company believes is the right thing and the stories we want to bring to life.

For example, when I’m portraying Africa, I want to highlight the best parts of Africa in the media. It’s not about saying we don’t want to show certain things because they don’t look great, but about the fact that we can tell stories and tell them beautifully.

As production companies, we have that responsibility. There were many locations we visited while working on “GRIT” where we thought, “My goodness, this is going to translate so beautifully on camera.” It was always about thinking: what parts of Africa do we want the world to see? How do we want to influence culture? What do we want to be remembered for as a company? At Faaji Productions, we are passionate and committed to telling those kinds of stories. I think that’s one of our strengths as a production company.

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What message do you hope viewers take away from the show?

For me, I hope people come away knowing that we have such bold stories, and that there are so many ways to tell the African story. There isn’t just one way, and there’s so much more that can come out of Africa.

I think “GRIT” is truly a testament to grit, not just for the players, but also for the crew. Also, I hope this is something that translates to the audience as well.

I remember one of the players saying something along the lines of, “You think it’s easy, or the challenges look easy, but come and do it.” That really captures the spirit of the show. Sometimes things look easy, but they’re really not. And just because something isn’t easy doesn’t mean you can’t do it.

For me, the biggest takeaway is that there’s so much we can achieve if we’re willing to collaborate, put our minds together, and work towards a positive outcome. I really believe there’s no limit to what we can do together.

That’s the one thing I would want people to take away from watching “GRIT”.

Looking ahead, what kinds of stories are you interested in working on with Faaji Productions? Are there any upcoming projects or ideas in your notebook that you’re excited to bring to life?

For the future of Faaji Productions, we’re really looking at the reality TV and unscripted TV space in the industry. However, we’re also exploring a couple of other areas. We’re working on a feature film and also developing some micro-drama formats. 

It’s such an exciting time for us because we’re getting the backing of investors who are looking at what we’re building and want to be a part of it. Those long-term relationships and that trust in the brand give us room to do even more.

So those are some of the things we’re working on. Hopefully, in the next couple of months to a year, we’ll be able to share more information, but for now, those are the projects currently in development.

As a woman and as a Nigerian woman working in the film industry, what does it mean to you to be part of something so significant and culturally important? And what do you feel you bring to the table that you’re most proud of?

I believe I bring freshness to an idea. Coming from a business sustainability background and moving into the creative space, I’ve always supported creative brands with business strategy and structure, but a project like this is definitely new for me.

What I bring to the table is a fresh perspective. I’m not only looking at things from a creative point of view but also through a commercial lens, thinking about how we make this work and how we tell stories that can travel and become something meaningful.

We have people who have been in the industry for many years, and then there’s me, along with younger voices coming into the space from a marketing perspective. Being able to bring all of those perspectives together allows us to create something unique and commercially viable.

That’s one of the things I’m really excited about when it comes to building Faaji Productions. I don’t think I’ll ever stop talking about how brilliant the team is. The mix of backgrounds and the freedom to share ideas mean we can come together, prioritise, and decide what to focus on and what to hold for later.

Beyond that, we also take a very data-driven approach. We look at what’s resonating, what the youth are drawn to at any given time, and what our target audience is actually looking for. That all feeds into our decision-making. So when you consider all of that, the resources we have and the people involved, I’m really excited about what we’re going to build together.

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The post Inside Oyinkansola Owoyemi’s new series “GRIT” and her vision for the future of African storytelling with her production company, Faaji Productions appeared first on Marie Claire Nigeria.