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Showmax to stream Tyla’s homecoming in a test of Africa’s event live-streaming future Tyla's live-streamed homecoming concert on Showmax this weekend is a major step for African streaming platforms, showcasing not only advances in continental streaming but also streaming networks' potential to empower local creatives and connect them with audiences. Bonface Orucho, bird story agency The live streaming of Tyla's homecoming event on Showmax on Saturday (January 18) symbolizes a major shift in both the streaming and creative industries in Africa, according to academics and industry insiders. Tyla Laura Seethal, known simply as Tyla, is a 22-year-old South African singer who has claimed 24 awards from 77 nominations, including a historic 2024 Grammy win making her the youngest African soloist to be feted. Recognized by Billboard and celebrated globally, she's hosting a homecoming event this Saturday, January 18, in Pretoria, South Africa, before kicking off her nationwide tour. In a press statement on January 10, Showmax announced that "fans in 44 African countries can watch Tyla perform live from the SunBet Arena, Pretoria, exclusively on Showmax.com." According to Arnold Mwanzia, a music lecturer at the Kabarak University in Kenya and Jazz musician, by Showmax showcasing talents like Tyla's event, live, "the continent takes a step towards reducing reliance on external players." "Netflix has tested live-streaming global events, but challenges mean it might take time before these innovations reach our markets. That's why I'm thrilled to see an African streaming platform stepping in early with its large audience. This ensures we won't be playing catch-up--we'll learn our lessons and grow alongside global players," he said during a call. Last month, Netflix streamed a boxing match between Mike Tyson and Jake Paul, one of a handful of live-streamed events it has recently undertaken, including Chris Rock's comedy special and the Love Is Blind Season 4 Live Reunion--an indication of the growing focus on the live-streaming market. However, Showmax highlights that Tyla's homecoming event positions it as "Africa's first streaming service (SVOD) to live stream a homegrown concert." The Multichoice-owned platform has made remarkable strides in recent years, establishing itself in Africa's streaming market and challenging global giants like Netflix. Innovative offerings, like streaming Premier League matches over-the-phone, have fueled the platform's rapid expansion. Since its February 2024 relaunch, the paying subscriber base has surged by 50% year-on-year, highlighting the rising appetite for local content. According to Yatish Narsi, Showmax's chief marketing officer, Tyla's homecoming event will spotlight its cutting-edge live-streaming technology powered by Peacock--the same platform behind the NFL Wild Card's record-breaking 16.3 million simultaneous streams. Industry research shows that live streaming unlocks significant opportunities for creators, particularly musicians, by connecting them to global audiences and fostering diverse collaborations. A 2022 report by Concert SA, a live music support program in South Africa, features a range of benefits for creators. "Respondents reported a range of benefits from streaming activities - mainly increased audience numbers (33%) and increased exposure (22%). Other reported benefits include potential for revenue, knowledge generation, ease of doing business and audience engagement. Only 9% of respondents reported no benefits," the authors outline results from a survey on musicians. Tyla has showcased Africa's creative brilliance with her 2024 debut album Tyla, which has amassed over 1.6 billion streams. Dubbed the "Queen of Popiano," a blend of pop music and Amapiano, the 22-year-old has earned major accolades, including wins at the BET Awards, MTV Music Video Awards, and Grammys. In November 2024, she cemented her global success with triple wins at the MTV Europe Music Awards, claiming Best Afrobeats, Best R&B, and Best African Act. In the past, 'Water' has also earned her a 3X platinum certification from the Recording Industry Association of America (RIAA), signifying over three million units sold in the U.S -- a f eat achieved by only a select few international artists. The song's performance in other markets has been equally exciting, including multi-platinum in South Africa, double platinum in Canada, and platinum in Australia, New Zealand, and Ireland. The song has also gone gold in the UK, France, and multiple European countries, underscoring its universal appeal. Although Tyla's music has achieved significant success on international charts, her impact and appeal among South African fans has been relatively modest. According to the Official South African Charts, the country's primary platform for tracking music rankings, Tyla has appeared on the national charts only three times across both national and international categories, with her highest position being number 8. In a 2023 post on X, South African entertainment commentator Phil Mphela pointed out the relatively low support for Tyla from her home fans, writing: "As we close out 2023, I can't believe South Africa denied Tyla the number ONE spot! Her song topped the charts in several countries, including the Maldives (can you believe that), but not in Mzansi." This gap reflects a broader industry challenge that could be addressed through strategic partnerships with homegrown streaming platforms like Showmax, which have the potential to amplify local artists' visibility and support within their own markets. "If creators can work around event sponsorships to cut overhead hosting costs, live shows is the way to go so that there is a connection between the creator of content and their fanbase," Mwanzia explained. Projections by PwC show that creator hubs like Nigeria, Kenya, and South Africa are set for a streaming boom, for both live and digital shows. In Nigeria, music streaming is expected to be the fastest-growing revenue segment by 2026, with a 12.6% annual growth rate poised to more than double revenues within this period. bird story agency

Moky Makura, Executive Director of African No Filter, acknowledges the impact of the diaspora on the African narrative, in her latest opinion piece for bird story agency. by Moky Makura I am on a WhatsApp group with a bunch of friends who mainly live in London. We are all women (not that it matters) and all Nigerian (which does). We message each other about new restaurants, shows, small businesses and anything we see that is run by, or about Africans in London. Someone recently posted about an Igbo running club in London! Who knew? But I digress. Something struck me recently about what and how we post in that group. Our small, everyday decisions to choose and support ‘Africa’ are acts of cultural preservation, and they are quietly turning the tide of global culture and fuelling Africa’s global moment. But often it’s the headlines about high profile Africans that grab all the attention and make it look like they are driving this agenda. Burna Boy’s sold-out concerts, Lupita Nyong’o’s new podcast, Idris Elba’s plans for a smart city in Sierra Leone or John Boyega’s deal with Netflix to produce African films. But who is attending, listening, watching, buying, eating, recommending and wearing… African? Yep, it’s us. By embracing our roots diasporans are not just tearing down old stereotypes, they are helping to building a new vision of Africa - one that’s compelling, relevant and globally inclusive. And there is a lot we have to offer the world culturally. Afrobeats is a global phenomenon, Nollywood is watched worldwide, African designers are lighting up runways, our writers are winning prestigious awards, our artists are trending on the global art scene and African restaurants are popping up all over major cities in the global North. It shouldn’t be a surprise then that a recent African No Filter (ANF) study confirmed that many Africans in the diaspora stay connected to their heritage through food, music, and language, despite often facing marginalization abroad. Many dream of returning home to help drive progress. But that dream is often dampened by frustration with Africa’s slow pace of change. They may not yet be ready to move back, but they are sending their money home. Diaspora remittances to Africa now surpasses foreign direct investment (FDI) and official development aid (ODA) at $100 billion annually.  And it’s not just money flowing back. The diaspora is coming home in person, too. Ethiopia launched the "Generation Ethiopians Homecoming" program aimed at encouraging Ethiopians living abroad to return to their homeland as part of an effort to strengthen ties with the diaspora. Festivals like Uganda’s Nyege Nyege and Nigeria’s “Detty December” draw thousands of diasporans back every year to experience contemporary African culture. They stay in hotels, eat and drink out and shop at local markets leaving behind more than just their footprints. Studies show that each tourism dollar can generate up to $2 in additional economic activity. Ghana’s "Year of Return "initiative which targeted African Americans and the broader diaspora, raked in about $1.9 billion in tourism revenue. So, to all the Africans in the diaspora who keep supporting their home team. We see you. We acknowledge you. We thank you for shifting the narrative about Africa one small act at a time. _Moky Makura is the Executive Director at Africa No Filter, an advocacy organisation that is shifting stereotypical narratives about Africa through storytelling that reflects a dynamic continent of progress, innovation and opportunity._ bird story agency

Intrigued by threads he had come across online, Lesalon Kasaine hunted down Peter Ngugi, to hear first-hand his life story and unpack how the Kenyan became a household name in India. Kusaine, who edits the news site Qasini, appears here as a guest writer for bird story agency. by Lesalon Kasaine Murder in the Open Streets In the winter season in Delhi, India, in the year 2016, what started as a minor altercation powered by racism ended up in the death of an African. Two Indians, seemingly in a hurry, approached a rickshaw they wanted to board. But upon checking, they figured there wasn't enough space in the public transport vehicle. Their solution was to ask an African who had already boarded to alight to make room for them. As you would expect, the African felt singled out because of his skin colour. He wasn’t willing to step out without a fight. A heated bandying of words ensued, and, quickly, escalated to a physical altercation. The two Indians overpowered the African, pushed him to the ground, and then in true monster fashion, brought down a huge rock on his head. He died. His name was Olivier Masonda, a 23-year-old Congolese teacher who had left the Democratic Republic of Congo in 2012 to study in India. The murder was caught on a CCTV camera and sparked an uproar that reverberated throughout India: was this a racially charged murder? The Delhi Police arrested the two suspects and launched a manhunt for a third suspect. This killing sparked collective pain and a cry for justice from Africans living in India. The shocking murder in the open streets of India was also the final straw for Peter Ngugi, a Kenyan living in India at the time. He picked up his bicycle and cycled across the country to combat racism – in the process ‘breaking the internet’ and becoming news himself, in the days following the callous murder. But Ngugi’s story doesn’t start here. It starts in Mikindani, Mombasa, Kenya. Society Funds Trip to India for Studies Let’s travel back to 2013, to Mikindani, Mombasa, Kenya, where lived a humble young man Peter Ngugi, who had completed his form four at Changamwe High School in 2010 and had a commendable penchant for computers. Ngugi wasn’t interested in pursuing a university education. What for, when he had a brain that loved business, a brain that could set him up for a career as an entrepreneur? Determined to maximise his talent, Ngugi set up a small movie shop that doubled up as an electronics and hardware repair shop. Stunners Inc., he called it. A friend noticed his love for computers and despite Ngugi’s disinterest in academia, advised him to consider taking a degree in India, citing the country's excellent track record in computer-related courses. Initially dismissive, the idea plagued Ngugi. For a long while, he thought about it and then, in 2013, after poring through the internet to check out computer courses, he decided to apply for a course in computer science at India’s KSR Institute for Engineering and Technology. Unable at first to raise the fees and travel costs, the universe clicked into gear, conspiring as it so often does to help a man or woman on a mission. This time it came through in the form of local society. In retrospect, Ngugi said, it was the mama mboga’s, the shopkeepers, and other small business owners together with his friends and family who came together to fund-raise for his travel and first semester fees. Landing in India for the First Time Teary-eyed and with a heart full of gratitude after that acts of kindness, Ngugi flew to India for the first time, that same year. His community had sacrificed to send him off, and he was determined to do his best and return a computer science degree holder. But what we plan and what happens, mostly, are worlds apart — as Ngugi came to learn first-hand. Barely one semester into his course, Ngugi realised that everything he had dreamed of was just but a mirage. The reality of the course, as he explained in his own words, 'missed the advertising mark they had given'. The course he was taking wasn’t at all what he had wanted. Moreover, his society back in Kenya had only funded his first semester, and Ngugi had to work to earn and pay for his fees. Stressed and under pressure, he dropped out. But with the expectations of his entire society on his shoulders, Ngugi wasn’t ready to fly back home. He decided to remain in India, hang tough, and hustle hard. Thanks to a strong and closely-knit community of Kenyans in India, a friend, Munene Robert, took Ngugi in. For the whole time he hosted a confused and disappointed Ngugi in Bengaluru, Munene never asked him for rent. Something that Ngugi said he will forever be grateful for. After days of staying indoors and trying to map out his next plan, Ngugi put his finger on something he could do. A come-back kid stubbornly refusing to bury his head, that’s who he was. The Hackathon Competition that Changed Peter Ngugi’s Life With the cash equivalent to Ksh.20,000 (US$180) which he had saved up, Ngugi enrolled at a coding institute. That way - what he had wanted all along - he could focus on coding only. Things worked out for him in his newly-found institution, and he became one of the top students. Passion can make magic when you let it. While learning how to code, Ngugi entered into a hackathon coding competition organised by IBM in India, and clinched the first runner-up position. He even made news in Indian newspapers for his flair in coding. IBM was also interested in hearing his business ideas. Ngugi pitched Office Space Finder, a platform to connect young entrepreneurs with companies that have extra space they can rent out. IBM loved the idea. They funded it, setting up a then-21-year-old Ngugi with a handsome salary and a life that had earlier on only existed as a dreamed utopia, deep in the recesses of his mind. Not only did he get a budget to hire people and pay them well, but he also had a driver to drive him around in a company vehicle. You’d hit the nail on the head if you said that Ngugi had it all. But that was about to change; drowned in the unforgiving lake of his mistakes. Girls. Alcohol. A debauched life that seemed attractive to a 21-year-old master of the universe. You’re Fired! Mistakes and Shame It wasn’t long before his IBM bosses noticed his off-the-rails demeanour. In March 2015, young Ngugi was fired. He fell hard and far, straight into the depths of depression. The shame. From riches to rags. Depression gnawed at his mind. Where to go, after failing for a second time? During his brief high-status stint, Africans living in India had looked up to him. Unable to face them again, he resorted to running away from the city. At this point, he still had a pile of amassed savings. Among the 27 states in India, there was only one that Ngugi did not visit during this time, trying to outrun his shame. He eventually settled in Meghalaya state, where he volunteered as a Maths and English teacher, tutoring children under eleven. He also taught at a school for the disabled, in Shillong. Then came the 2016 altercation between two murderous Indians and an African in a rickshaw. It would change Peter Ngugi’s life for good. Pedalling for Peace When Ngugi heard that two Indians had brutally murdered an African, it shocked and saddened him. This, he thought, was something that shouldn't happen. His emotional response culminated in pain, a cry for Africans living in the country, and an unwavering fist raised against racism. Day and night, he thought of what best he needed to do because clearly, something needed to be done. Ngugi remembered how, on arrival in India, he had become conscious of his race for the first time in his life. He was Black. He missed being able to walk around freely without feeling different. As a result of many Hollywood films portraying Black people as either professional sports people or miscreants, and drug dealers, Ngugi thought, it was clear that some Indians saw Africans as thugs. His own experiences, however, with friendly and kind Indians, outweighed the few bad experiences. "Africans need to come together with Indians and talk about the racism issue. We need to live in harmony. And that’s what I’m going to make happen. Create a platform for conversations that will help us understand the problem and seek solutions," he thought. That was when the idea to cycle through India, hosting events in schools and meeting with Indian leaders and the police to champion open talks to gain an understanding of racism and streamline solutions, struck him. His Indian friends loved the idea and funded him. One morning, armed only with courage and inspiration from Che Guevara's Motorcycle Diaries, Ngugi started the journey that would see him cycle 5,000 plus kilometres across seven states in India. The initial plan was to cycle to Chile in South America, but he ended up doing seven states in India. You might be tempted to think that Ngugi had prior experience in long-distance cycling. He didn’t. The only time in his life when he had ridden a bicycle was years before in Naivasha, Kenya, when he used to deliver milk. The Impact and Platforms for Open Conversations on Racism Ngugi’s act became something that Indians would embrace, an opening for conversations about race, status and identity that could make life in India better, and an act that changed Ngugi’s life as he knew it. Upon arrival in a state in India, Ngugi would report to the police station to inform them of his presence and what he was doing. In one instance, when he arrived in Shillong, Guwahati, he was received by a group of Indian cyclists. They took him to Spoke Hub, a cycling shop where his bike was serviced for free and cycling gear provided. The group’s leader, Pratiba, hosted Ngugi in his home. Pratiba used his powerful connections to ensure that wherever Ngugi made a transitory stop-over, a group of cyclists waited for him and accompanied him. He also made sure that there was free food and accommodation for Ngugi wherever he stopped to turn in for the day. In another instance, Ngugi arrived in Odisha and found members of parliament waiting for him. He even got the privilege of a police escort. Throughout the forty-eight days of cycling, Ngugi gained an intrinsic understanding of Indians. He began to understand the role of education and media in creating cohesive societies. The cycling journey became a success he could never have imagined. And slowly, a love for international relations began flowering. Fame Can Sink You Into Depression His story was featured in news all over India, and Ngugi became famous. His newly-found fame, however, hurt him. He admits that the hardest part of his life in India came after cycling. Being famous can depress you. The world suddenly shifts its focus to set it upon you. Every little move that you make. People set high expectations for you. Ngugi was not spared from the repercussions of fame. After his cycling journey – which has been credited with changing India and encouraging Africans to speak up and share their ideas – Ngugi was broke. His past mistakes started haunting him again. No degree. No more top pay from IBM. No place to call his home. Again, he spiralled into depression, unable to walk freely in the streets as his face and name were now iconic. He desired to travel back to Kenya but decided against it, for he had nothing to show for the investment his society made in him. His only option was to live at a friend's place, remaining indoors most of the time. His shameful and depressed life went on for a while until one day he was invited to speak at a conference in Delhi. It was a conference geared towards mediating the conflict in leadership in the African Student Association. When Ngugi stepped onto the podium, an Indian woman made her way to him and threw her arms around him, crying. This surprised everyone in the conference hall. After crying and embracing Ngugi, she got her emotions stitched together and then spoke to the audience. She revealed how she had worked with Africans across India and how she had read about Ngugi in the news and had always wanted to meet him. Her name was Indryani Mulay, the deputy director of the Confederation of Indian Industries. She would later invite Ngugi to a C.I.I. conference. Back to School It was through the conference that someone took an interest in Ngugi’s story. A woman gave him her business card and said, “Ngugi, when you are ready to go back to school, look for me”. Her name was Anita Patankar, Director at the Symbiosis School for Liberal Arts. In July 2018, Ngugi received a full scholarship to study International Politics at Symbiosis. Skizaa, an Edu-Tech Startup If you thought that this was where the story ended, you’re wrong. Ngugi met Alexandra, his British fiancée, while at the school. The two of them founded Skizaa in 2021, an online platform that initially set out to promote intercultural interactions among kids. Skizaa borrows from the Swahili word “skiza” which means “listen”. Ngugi said he believes that the more you listen, the more you learn. As with any new company, Skizaa underwent changes and grew into a platform that enables teachers from different countries to collaborate and leverage global networks to create local solutions. Over time, Skizaa ventured into technology tailored to boost education. The company now supports NGOs and non-profits by revolutionising data collection and analysis from last-mile schools across Sub-Saharan Africa. Teachers are the single most important factor affecting how much students learn. Skizaa aims to empower them to improve learning outcomes for students as well as their well-being. Peter Ngugi is passionate about creating safe spaces for cultural education. He is a big fan of Kenyan radio presenters Maina Kageni and Mwalimu King'ang'i, whose show airs on Classic F.M. _Lesalon Kasaine is a thriller writer, poet, and journalist passionate about telling stories of ordinary Africans doing the extraordinary. He is the content manager at Qazini.com, a platform dedicated to changing the narrative of Africa. He spoke to Peter Ngugi, who was in India at the time via Zoom call._ bird story agency

Marie Mbullu has a following of nearly 650,000 on TikTok, where she shares pan-African narratives that challenge stereotypes and highlight the continent’s innovations. In this interview, she discusses her experience creating content that connects with a diverse audience, presenting stories that aim to reshape perceptions of Africa. by Bonface Orucho, bird story agency Marie Mbullu has, over the past three years, cultivated a dedicated following of nearly 645,000 on TikTok. Through her channel, "Habari Njema," she shines a spotlight on Africa, exploring a range of topics such as ‘African Beauty Secrets,’ holiday destinations across the continent, and up-to-the-minute coverage of current events. Her unique approach of the continent has made her popular especially among the African diaspora who comprise majority of her followers. Among her most engaging and impactful series is the popular ‘Cool African Tings,’ where she highlights groundbreaking innovations and inventions emerging from the continent. Beyond showcasing these innovations, Mbullu’s content has driven real-world impact—sparking conversations, influencing perceptions, and even connecting innovators with resources and opportunities. In an interview with bird's Bonface Orucho, Mbullu delves into the journey that led her to become a digital ambassador for Africa, the inspiration behind her creative process, and how she leverages her platform to change the narrative about Africa on the global stage. This interview has been edited for length. Q: Could you introduce yourself? Where were you born, and what was your early life like? Mbullu: My name is Marie Mbullu, I’m Tanzanian-American. I run "Habari Njema," which is a social media platform, a Tiktok channel, where I talk about all things Africa. I’ve been doing it for about three years now. I was born in the U.S., in DC but when I was about four, my parents sent me to live in Tanzania, so I spent my early years there until first grade. After that, I mostly went back to Tanzania during summer breaks. Now, as an adult, I try to split my time—ideally, half in DC and half in Dar es Salaam. Q: When did you start "Habari Njema"? What motivated you? Mbullu: I started it in February 2021. I’ve always been involved in African-related projects, trying to connect the continent with the U.S. I knew I wanted to create something that told African stories to a wider audience, but I wasn’t sure what format to use. One day, I was applying for a position that asked how I had advocated for change, and I realized I didn’t have anything concrete to show. That’s when I thought, "Why not create a platform that shares stories from Africa that aren’t commonly covered?" I launched it, thinking it could help with the application. Although I didn’t get the job, the channel blew up within a week, and that’s when I realised this was something I could actually pursue. It felt natural, and people seemed to want more of it. Q: You could’ve gone with any type of content about Africa, even the negative stories, but you chose to highlight a different, more positive side of the continent. What drove you to make that choice? Mbullu: When I started, I focused on topics that aren’t usually discussed—things like gender and sexuality, or very local current events. But I quickly realized how overwhelming the negative or stereotypical stories were. I could feel it, and my audience could too. I didn’t think there was a need for me to fill that negative space because those stories were already out there. It felt like I would just be reinforcing stereotypes, which I didn’t want to do. Plus, that wasn’t my personal experience of Africa. So, I decided to dig deeper for stories that were more innovative and positive. One day, I launched a "Good News Sunday" segment just to keep things light. That video did really well, and people found it refreshing. From there, I focused on more positive stories that could shift mindsets and challenge stereotypes. Q: You’ve spent a lot of time outside the continent. Is there a specific event or moment when you realized how skewed people’s perceptions of Africa were, and did that influence your decision to shift the narrative? Mbullu: I remember a moment from school. My mom wanted to take me to Tanzania for a month in December, so she asked my teacher for my schoolwork to take along. The teacher assumed I wouldn’t have access to the internet in Tanzania and insisted on giving me paper copies of everything. It shocked me that someone could assume there’s no internet in Tanzania. I remember thinking, “How do pilots even fly there if there’s no basic technology?” That moment really stuck with me and made me realize how little people understood about Africa. Q: You were named one of the Time Magazine's 100 Most Influential People of 2023. How does it feel to be recognized as an ambassador for Africa, especially considering this started as something casual? Mbullu: I was absolutely shocked! I’m constantly reminded that people are watching my channel and taking notice, but I still had no idea that it was happening on that level. I initially thought it was some kind of paid recognition, but when I realized it was real, I was amazed. I still feel a bit of imposter syndrome because, in my mind, the channel is doing well, but not “award-level” well. But being recognized in that way really felt great. It was especially surprising when I started getting tagged in major Tanzanian newspapers. Even my family, who live in very rural areas near Mozambique, heard about it. They were shocked too, like, “Wow, we didn’t realize how well things were going.” Q: Africa is often portrayed in a very one-dimensional way in mainstream media. What do you see as the biggest misconception about the continent that you’re trying to change through your platform? Mbullu: One of the biggest misconceptions is that Africa lacks innovation, or that African solutions can't be applied globally. In reality, Afrocentric approaches to solving problems are sustainable, affordable, and centered around benefiting communities. Another misconception is this narrative that Africa is backward or full of missed opportunities. You often see media portray characters leaving their home countries for better opportunities abroad, but I'd love to see more stories of people returning to their roots, finding fulfillment, and living better lives back home. Q: I have read a story about how your video on "Majik Water" led to a powerful real-world partnership, resulting in the installation of a water system. Could you take me through how you covered that story and how you discovered its impact? Mbullu: Through a grant from Africa No Filter, I covered various stories in Kenya, Ghana, and Egypt, focusing on innovation across the continent. I came across Beth Koigi’s affordable water system, which collects water from the air, even in low-humidity areas, and provides clean water at a very low cost. I found it fascinating and shared it on my channel. A few months later, I received an email from Beth and an engineer working in refugee camps. They had watched the video, reached out to each other, and ended up collaborating to install water systems in a refugee camp in Kenya. I was amazed—it was incredible to see how a story I covered could directly improve people's lives. Such experiences motivate me to keep going, especially when it serves as a reminder that people are really watching and engaging with these stories. Sometimes, as a content creator, it can be tough—you're juggling everything yourself, dealing with algorithms, and wondering about views. But then you realize that even if a video doesn’t go viral, it can still make a real impact. Q: Would you say the "Majik Water" story has been the most rewarding for you? Or is there another one that stands out? Mbullu: The "Majik Water" story was very rewarding because of the tangible impact it had. But another significant one for me was about African midwives performing successful C-sections hundreds of years ago. That story got a lot of attention—celebrities reached out, and I started getting my first interviews. It was a turning point, showing me the potential of the platform I was building. Q: When selecting a story to cover, what factors do you consider? Mbullu: First, I check if the story is widely available and ensure it has nuance and lacks bias. Then, I ask myself: Is this story engaging? Is it relevant to current events? Will it resonate emotionally—whether it evokes empathy, awe, or excitement? I aim for unique stories that I would personally stop to read or watch. Q: You've built an incredible following of close to 650,000 followers. What do you think draws people to your content? Mbullu: From the feedback I’ve received, I think it’s the way I explain things—making complex topics easy to understand, while getting straight to the point. My content also covers stories that many people, especially in the diaspora, don’t have easy access to. If you search for African news in places like the U.S., it’s usually about coups or aid crises. I try to present a more approachable, innovative, and positive view of the continent. Q: You mentioned that a large portion of your followers are in the diaspora. Do you think there’s a gap in platforms that provide the kind of content you share among the African diaspora? Mbullu: Definitely. There’s a huge gap. Mainstream outlets like BBC or CNN, even more liberal ones like Vice, still perpetuate negative stereotypes about Africa. When they do feature positive stories, they make it a "special" segment, which reinforces the idea that good news from Africa is an exception, not the norm. Q: What has been your greatest challenge, especially when you were starting, and how has that evolved over the years? Mbullu: One of my biggest challenges was unlearning biases I’d internalized, even with my intention to tell Africa’s story differently. I would mispronounce names or miss important nuances in stories. I’ve grown a lot by listening to my audience, who correct me or offer additional context. Now, I avoid relying on Western media for stories and instead source them directly from African outlets or through my own network. It’s all about doing thorough research and really understanding the full context. bird story agency

As the African vaccine independence drive gains momentum, European countries want to play a bigger role-They lead the launch of a financing vehicle out of Africa and make the bulk of the funding commitment. by Conrad Onyango, bird story agency As Africa races to be more independent in vaccine production, Europe is seeking greater control in building and scaling of local manufacturing hubs. In June, France hosted the launch of African Vaccine Manufacturing Accelerator (AVMA) an approximately US$1 billion project geared towards making vaccines more available in Africa - away from African soil. Only 2% of vaccines in Africa are made on the continent- most of them made in South Africa, among few countries with ability to produce vaccines. The African Union wants to raise that percentage to 60% by 2040. “France and Europe have supported this ambition since 2021 with 1.3 billion euros, but we can do more,” said French president Emmanuel Macron at the Global Forum for Vaccine Sovereignty and innovation in Paris. At the forum, European Union member countries committed to contribute more than US$ 750 million- including up to US$ 220 million from the EU budget, making them the largest contributors to the financial instrument. Other donors filling the remaining gap include Germany, the United Kingdom, the United States, Canada, Norway, Japan and the Gates Foundation. The African Union, represented by the leaders of Botswana, Rwanda, Senegal and Ghana, represented the continent in the launch of the financial instrument, which is backed by Gavi, the Vaccine Alliance — a public-private partnership that provides vaccines to developing countries. More than three years ago, Africa faced huge inequalities during the global distributions of COVID-19 vaccines, exposing its inefficiencies and vulnerabilities to pandemic shocks - where African countries struggled to access vaccines, testing equipment and treatment tools bought by richer countries in large quantities. These new funds are intended to offset high vaccine production costs, while also offering bigger incentives for manufacturers that produce priority vaccines such as those against malaria, cholera, and measles. On the sidelines of the event, African Export-Import (Afriexim) Bank and the Africa Centers for Diseases Control and Prevention (Africa CDC) committed a US$2 billion facility to the “Africa Health Security Investment Plan” which they say will complement AVMA efforts over the next decade. In a joint statement, Afrieximbank and Africa CDC said their renewed partnerships would address low investor confidence, lack of appropriate infrastructure, trade related barriers, and regulatory challenges that constrain investment in Africa's health sector. "This facility will help strengthen the manufacturing of health and pharmaceutical products in Africa through our comprehensive and existing interventions such as Project Preparation funding, Project and Trade Finance as well as Guarantees,’ said Prof. Benedict Oramah, President and Chairman of the Board of Directors of Afreximbank. “The joint effort combines institutional and financial resources, financial tools such as equity and debt financing, guarantees, venture capital, capacity building, and risk-sharing to boost and attract more health investments in Africa,” said Dr. Jean Kaseya, Director General, Africa CDC. A week before the Paris forum, Amref Health Africa Group Chief Executive Officer, Dr. Githinji Gitahi, raised reservations over hosting the launch in a foreign country, asserting it was sending the wrong message on Africa’s ownership and leadership of the initiative. An African venue for the launch, Dr. Gitahi said, would have provided an ideal platform to showcase existing hubs and potential local manufacturing capacities, building confidence among international partners and investors in Africa’s ability to scale up vaccine production. “Highlighting local facilities and innovations would demonstrate that Africa is ready and capable of handling such a critical initiative, fostering a sense of pride and accomplishment,” he said. Africa has been making progress in its effort to locally manufacture vaccines, with South Africa, Egypt and Senegal leading in this front. South Africa’s Biovac Institute continue to lead in fostering strategic partnerships with global pharmaceutical companies -the most recent being with Sanofi to establish the first manufacturing capabilities for inactivated polio vaccines (IPV) in Africa. Under this arrangement, Sanofi will produce the IPV in bulk, while Biovac, holding the marketing authorization, will be responsible for late-stage formulation, filling, packaging, and distribution. “We are very proud of this partnership with Sanofi, which will empower Biovac as an African manufacturer to champion polio eradication on and for the continent by bringing manufacturing of IPV doses closer to people’s needs,” said Biovac Chief Executive Officer, Dr Morena Makhoana. Egypt’s Vacsera has been expanding its facilities to increase vaccine production capacity. The company plans to open the first factory for manufacturing bird flu vaccines with a production capacity of 800 million doses per year later in 2024. This development will position Egypt as an African and logistical centre for providing the region’s needs for bird flu vaccine. In February, the Institut Pasteur in Dakar, Senegal, renowned for its yellow fever vaccine production, benefited from a partnership between Mastercard Foundation and the European Union. This partnership inaugurated the Centre for Africa’s Resilience to Epidemics (CARE) targeting to train 1,000 students in biology to predict, respond to, and prevent epidemics. “These local initiatives exemplify Africa’s commitment to build a resilient, self-sufficient vaccine supply chain, ensuring better health outcomes and fostering economic growth across the continent,” said Dr. Gitahi. bird story agency

Across continents and languages, African authors have penned captivating narratives that resonate with readers worldwide. bird story agency has compiled the following list of best-selling books and their authors in celebration of the rich landscape of African literature. Esther Musembi, bird story agency Over the past century, African writers have written about their lives, experiences, culture, history, and myths in a variety of forms, styles, and languages. They have been widely published across Africa, Europe, the Americas, and Asia. They've written in English, French, Portuguese, Arabic, Swahili, and several other indigenous languages. They wrote, and write, with exceptional originality, flair, and sincerity. From Chinua Achebe, considered to be the father of modern African literature, to Trevor Noah who is part of the new-age crop of writers; African literature continues to stay relevant and as educative as it is entertaining and enlightening. Although not exhaustive, this list puts together some of Africa’s best selling books of the past century. 1. Things Fall Apart, Chinua Achebe - Nigeria Nigerian novelist, poet, professor, and critic is best known for his seminal work, "Things Fall Apart" (1958). This novel is lauded as the most widely read book in modern African literature. Things Fall Apart offers a powerful portrayal of the collision between traditional African cultures and the imposition of colonial rule through its central character Okonkwo. The novel also delves into the dynamics of gender roles within highly patriarchal societies. Due to its popularity, this book has been translated into over 50 languages worldwide. 2. Half of a Yellow Sun, Chimamanda Ngozi Adichie- Nigeria An acclaimed author of novels, short stories, and nonfiction, Adichie has been called "the most prominent" among a "procession of critically acclaimed young anglophone authors who are succeeding in attracting a new generation of readers to African literature." Known for her character-driven stories, Half of a Yellow Sun (2006), explores the lives of three characters set against the backdrop of the Biafran War in the 1960s. The book won her the Women’s Prize for Fiction in 2007. Other notable works include Purple Hibiscus (2003) and Americanah (2013). 3. A Grain of Wheat, Ngugi wa Thiong’o- Kenya Writing primarily in Gikuyu, Kenyan writer and academic Ngũgi wa Thiong’o works include novels, plays, short stories, and essays. A Grain of Wheat (1967), as most of Ngũgĩ's writing, explores themes of colonialism, and identity, reflecting his deep commitment to the cultural and political liberation of Africa. His notable works include the novel "Petals of Blood"(1977) and the play "Ngaahika Ndeenda" (I Will Marry When I Want). 4. Our Sister Killjoy, Ama Ata Aidoo - Ghana The Ghanaian author, poet, playwright, and academic, is renowned for her literary works that express strong feminist views. In her debut novel, Aidoo explores themes of identity, black diaspora and colonialism. Our Sister Killjoy (1977) bold in its writing explores themes such as same-gender relationships which were considered beyond their time. She won the Commonwealth Writers' Prize in 1992 with the novel Changes. 5. So Long a Letter, Mariam Bâ - Senegal So Long a Letter (1979), a semi-autobiography, is widely considered a foundational work of African feminist literature. Writing primarily in French, Bâ's works explore themes of gender, social change, and the role of women in post-colonial African societies. "So Long a Letter" delves into the life of a Senegalese woman grappling with the cultural and personal ramifications of her husband's polygamy, a stark reality of the Western African woman. This book was awarded the first Noma Prize for Publishing in Africa in 1980. 6. Cairo Trilogy, Naguib Mahfouz - Egypt Mahfouz's epic trilogy set in colonial Egypt portrays the captivating tale of a Muslim family in Cairo amidst Britain's occupation of Egypt in the early 20th century. Exploring themes of class, identity and colonialism, Cairo Trilogy (2001) is prolific in that it offers valuable historical insight amidst intense family drama. This body of work earned him Egypt’s State Literary Prize for the Novel (1957) and the Nobel Prize in literature (1988). 7. Broken Glass, Alain Mabanckou - Congo Known for his sharp wit and incisive social commentary, Alain Mabanckou's writing is deeply rooted in his Congolese origins and French language. In his most popular work heavily characterized with satire, "Broken Glass,"(2005) Mabanckou delves into the life of a Congolese teacher in a local bar who tries to document his society’s stories but fails miserably. He won the Prix Renaudot in France for another novel, Memoirs of a Porcupine (2006). 8. Nervous Conditions, Tsitsi Dangarembga - Zimbabwe Nervous Conditions was first published in the United Kingdom in 1988. It was the first book published by a Black woman from Zimbabwe in English. Set in Rhodesia (present-day Zimbabwe) the novel focuses on Tambu's journey as she navigates the challenges of education and identity in colonial Rhodesia. It explores themes of gender, race, and the complexities of post-colonial African society. In This Mournable Body (2020), Dangarembga returns to the protagonist of her acclaimed first novel, Nervous Conditions, to examine the broader themes of colonialism and capitalism. Nervous Conditions won Best Book of the Commonwealth Writers' Prize in 1989. 9. Burger’s Daughter, Nadine Gordimer - South Africa One of apartheid era's prominent writers, Nadine delves deeply into social, moral, and racial issues within South Africa under apartheid rule. In "Burger's Daughter,"(1979) she portrays the challenges faced by anti-apartheid activists. Despite being awarded the Nobel Prize in Literature for her adept portrayal of a society rife with racial tensions, Gordimer faced controversy as her most famous works were banned within South Africa for their outspoken critique of oppressive governmental structures. 10. From a Crooked Rib, Nuruddin Farah - Somalia Nuruddin Farah’s debut novel, "From a Crooked Rib" (1970), is titled after a Somali proverb: "God created woman from a crooked rib, and anyone who tries to straighten it breaks it." The novel uses the experience of a young woman in an unhappy marriage to analyse the suffering of women in Somali society. Farah's subsequent works: plays, novels, and short stories, continue to deliver strong social criticism, focusing on conflict and postcolonial identity. His works have been translated into more than twenty languages and won numerous awards, including the Neustadt International Prize for Literature. bird story agency Useful links: https://strawpoll.com/most-famous-african-writer https://theculturetrip.com/africa/articles/the-top-10-contemporary-african-writers-you-should-know

As an e-mobility company, Ghana's Wahu Mobility is working to change how vehicles impact the climate, and on growing job opportunities for the youth. Expansion plans from the women-led company target women riders in neighbouring countries. Sefakor Fekpe, bird story agency It’s midmorning in Accra and a group of bike riders are inspecting their motorcycles before hitting the capital city's busy roads for the day’s deliveries as lunchtime orders start to come in. Lawrence Akakpo removes a battery that powers his bike from its plug, fixes it to its seat on the two-wheeler, picks up his food delivery bag and moves quickly to a pick-up point where there’s an order waiting to be delivered to a client. He owns a Wahu bike — an electric-powered motorcycle that is part of a wave of electric utility vehicles impacting on job opportunities and the environment across the continent. Unsure of where to turn to after graduating from school, Akakpo came across Wahu as an opportunity to earn a living. “Sitting at home as a graduate was frustrating. Approaching companies as a job seeker or other opportunities comes at a cost. I decided to give Wahu a try and so far, I can’t say I have regretted it,” Akakpo said. Akakpo, like the other 150 Wahu riders, owes his livelihood to the vision of Valerie Labi, co-founder and CEO of Wahu Mobility. What started as a project in the northern part of Ghana with the converting regular motorbikes to electric bikes with the help of like-minded friends, birthed what is known today as Wahu Mobility. The startup describes itself as an Electric Vehicle (EV) company that manufactures eco-friendly motorcycles providing a reliable source of income for youth. “I ride almost the whole day; even at night, I enjoy riding. I make between GHC100 (US$6.8) to GHC200 (US$13.6) depending on the market. Sometimes you can go and come back with GHC40 (US$2.8) when the orders are less. I usually work with Yango but I have all the accounts such as Bolt Send and aside from that I do my private business too with the Wahu bike,” Akakpo explained. The young rider feels he has more control of his life since powering the motorcycle requires only the turning on a switch to charge the battery instead of being at the mercy of unpredictable fuel prices. Maintenance and support from the mobility company also offers riders like him much comfort. “I charge my batteries once a day which takes about five to six hours which also allows us to get some rest. Some riders have moved from using combustible motorbikes to Wahu since it's an affordable alternative that comes with jobs,” Akakpo said. Adutwum Hagar Adutwumwaa, an engineer at Wahu Mobility, originally trained in marine engineering. Her curiosity led her to Wahu, where she oversees quality checks and bike assembly. Despite joining the company just six months ago, she’s already made a significant impact. “It has been an amazing journey... I have learnt new things. Now I make batteries from recycled lithium iron cells,” Adutwumwaa said. Being the only woman among men during her study internship and national service, Adutwumwaa was happy to find other female colleagues who are also engineers at Wahu Mobility. “I was drawn to the innovative technology and sustainable mission and I have not regretted it at all.” A ride-to-own initiative is one part of the startup's mission. Different payment plans are available to meet the pockets of would-be drivers, taking away the worry of interested riders who cannot afford to pay up front. “We have GHC300 (U$20.5) weekly for 24 months, GHC400 (US$27.2) weekly for 18 months and GHC600 ($40.8) weekly for 12 months. The payment plan you want determines the initial deposit,” explained Farida Mahama, who is the company's Rider Champion Manager. The average cost per charge of the battery is GHC4 ($0.27). That can take a bike around 70 kilometres. Fortunately for the young start-up company, convincing traditional motor riders to switch to electric bikes has been easy because of the huge savings they make on fuel. “Deliveries on a petrol bike, for example, cost around US$200 (GH¢2940) to US$250 (GH¢3675) a month but e-bikes are around US$30 (GH¢441) a month and that’s a huge saving. While they save money on petrol, we also give them the opportunity to earn consistently on our platforms,” Mahama added. Every Wahu bike rider goes through special training on how to use the e-bikes before hitting the road. “Every rider has a score system using an app to check how well they ride. The system is designed to turn off the bike when unsafe riding is detected,” Labi said. Wahu also infuses technology initiatives into its operations. The factory where the bikes are assembled and maintained is solar powered and completely off-grid, creating energy efficiency and sustainability. The company is extremely particular about the impact of the business on the climate. The bikes are tracked to measure their environmental impact with every kilometere driven helping to prevent carbon emissions. “We’re the first EV company to qualify for a compliance market deal. This means that we create genuine carbon credits as a way of also registering our impact. We track every bike and calculate for every kilometre on how much carbon is being saved,” Labi explained. The environmental impact of the EV economy is getting national attention in Ghana, with institutions like the country's Environmental Protection Agency (EPA) and the Ministry of Transport leading the charge. “Are Ghanaians ready for electric vehicles? The answer is yes,” said Antwi Boasiako Amoah, from the EPA’s Climate Vulnerability and Adaptation team. "But who should we target for this investment, and which vehicle types will maximize the benefits in a developing country like ours?" Amoah emphasised that the EV industry offers vast opportunities beyond job creation, with the EPA working to promote investment in the sector. “Some investors can focus on transport systems such as uber, taxis, delivery services using EVs. We offer guidance and advice on the understanding of the implications of such an investment in terms of laws, market appetite and others. We also work with other sister institutions such as the Ministry of Transport and Energy among others to cross-fertilise our ideas.” Partnership was the major breakthrough for Labi when she partnered with like-minded people to establish Wahu Mobility. Localisation was key, with Wahu aiming for a significant local content in each bike. “At least 85% every EV can be produced locally in Ghana or ECOWAS or Africa,” the co-founder said. “We started with off-the-shelf-vehicles-to-digital conversions. We’ve worked all the way to the factory that we have and we have an over 24-month program underway for localization components,” she said. However, even though the Ministry of Transport adopted an EV policy in December 2023 to support the sector and address global warming, young companies like Wahu do not qualify for the incentives. Labi also expressed disappointment at the lack of regulatory measures for innovations in product development in the automotive industry. “There’s only an automotive association for assemblers in Ghana, which means that if you’re designing a component or designing a vehicle, there’s no regulatory path for you as an innovator to get support from the government. And that’s a shortfall,” she said. However, a National Electric Vehicle Policy is expected to be rolled out in Ghana in three phases between 2027 and 2035 with the aim of achieving an EV penetration rate of about 35%. The policy includes a waiver of import duties on EVs designated for public transport and certified assembly companies will also enjoy tax exemptions on semi-knocked and completely knocked down EVs for eight years starting in 2024 and an extension of Value Added Tax exemptions on locally assembled vehicles for two more years. Currently, Ghana has some 17,000 two, three and four-wheel registered EVs, according to the Minister of Energy, Mathew Opoku Prempeh. Despite the challenges, Wahu is optimistic about its long-term goal of “turning the company into a revenue generating asset over time” and exporting to countries across Africa. “What we see in Ghana and a lot of African countries is that there’s no support for delivery riders and that is what the company seeks to change. We recently opened our office in Lomé, Togo where most of the riders are women.” Wahu also currently has partnerships across all universities in Ghana and through this initiative trains and recruits new staff. “We launch challenges at the universities and give students the opportunity to respond to these challenges and from there we often select our team. Through this, we realised Ghanaian youth are not just looking for job opportunities but a path to breakthrough. They need employers to hold their hands and co-create with them,” explained Labi. "I’m happy when I meet a Wahu rider. I'm proud to see a transition in many of their lives." Wahu hopes to be the number one producer of EVs on the continent. “It’s about building a legacy for young Africans across the world to be able to use our talents and maximise to make a positive contribution,” Labi said. Akakpo envisions owning a fleet of electric bikes to run a delivery business through savings he makes from his partnership with Wahu. “I would like to encourage the youth, especially those who are jobless, to take advantage of initiatives like this instead of staying home at all times to depend on their parents,” he said. bird story agency

Charity Adupong employs innovative agro-processing techniques and attractive packaging to preserve traditional Ghanaian foods and sell them across major malls and shopping centres in Ghana. She started with nothing but an idea. Sefakor Fekpe, bird story agency For years, Charity Adupong's shopping experiences were marked with disappointment as she searched for nutritious local foods in major shopping malls and retail stores. The few that were on the shelves lacked attractive packaging. Increasingly she realised that a huge opportunity existed in providing shoppers with well-packaged indigenous foods. She decided to tap into the growing demand. “I have never liked the way our markets are structured so I used to shop from where I bought regular local foods like tomatoes, beans... as a young person who had just come to Tema as a National Service Personnel. On one of those occasions, I bought Agushie (melon seeds) and I thought that the packaging was not looking good so I decided that I could do something about it and felt that as young as I was I could do better than what they had at the shop,” Adupong explained, as she move around one of three different factory facilities she now runs. Only in her early 20s at the time and part of a family supported by a single mother, Adupong took matters into her own hands. “I went to the shop manager and told him what I could offer him and he agreed and asked me to bring a sample. The other aspect is that I was struggling in terms of finances in taking care of myself. My mother has been supportive but... I thought I was burdening her and so I wanted to do something to support myself,” she said. “Fortunately for me, I was working in a company where I had known a few graphic designers. I approached one of them with the concept and he designed a very nice label for me, did the sample, sent it to the shop and the rest is history,” she said, making it all sound easy. But as with the entrepreneurial journeys of many young African women, the journey was anything but easy. After getting the greenlight from ShopRite to supply them with her products, she started raising funds by saving. She proceeded to register her business and moved to certify her products with Ghana Standards Authority, Food Research Institute and the Food and Drugs Authority where she also received training and capacity building. “My natural ability came in terms of the final outlook of the products. I learn, I apply and I also add the physical.” With just 15 cedis (about US$1.2) to her name, she rented a shop. “It started from my living room/kitchen and then after a few months, I realised it needed more of my attention. I was not ready to quit my job so I found a place closer to my workplace so that I could run in at lunchtime and even in the morning before I got to work and after work before I go home.” Luckily, Adupong had some experience in business before she started what today is Meannan Foods. She had started out buying and selling second-hand clothes and anything she could lay her hands on. She wanted to attend fashion school but that dream was truncated due to the cost. “It was expensive so I thought about something that could be simple and not require a lot of capital to start and move to fashion later but here I am today.” As she moves around her factory inspecting dried cassava chips spread on racks and neatly covered with blue nets it is clear that her sense of aesthetic extends beyond the packaging on her product labels. The factory where she checks on the employee' sorting and roasting grains, inspects huge sacks of ginger stocks and the washing area as well as the electric dryer and packaging area before moving to her executive office for an update from her staff, is all neat as a pin. The name "Meannan" came from Adupong’s indigenous names and maiden surname and the company has become known for the face-lifts it has given to Ghanaian indigenous foods. The facilities are located in Afienya-Mataheko near Tema in the Ningo-Prampram District of the Greater Accra Region. From her first small steps, CEO and Founder “Maame Ekua Annan” started seeing real growth after winning a grant in 2015, on top of previous loans from the bank. The win coincided with Adupong quitting her job to focus on Meannan Foods full-time. “I heard about a business plan competition and applied for it and went through. They awarded 13 people and fortunately I was among the first three people who had higher amounts. I had £6,000 at the time and that really boosted my confidence in trying to raise funds. But before then, I had taken a loan from my bankers twice after some time,” she explained. Meannan Foods' range of products extends from cassava powder, prekese (aidan fruit) powder, ginger powder, Gari, onion powder to corn grits, with the biggest seller being Tombrown - a cereal-based porridge with a high protein content and affordable. “Our target is children suffering from malnutrition and low-income earners who cannot afford high-priced protein so our porridges are soya-based to help fight malnutrition in children and also to make it very affordable for parents... We have various varieties of tombrowm. We have millet-based, corn-based and wheat-based. A 500-gram-pack of the Tombrown for 12 cedis (about US$0.94)," she explained. Feedback from customers encourages Adupong and her team to do more. “In 2017, I was in London for an award and took some of the products there and shared with participants who came to the conference and I kept hearing 'your products look so good. It doesn’t look like it was coming from Ghana.' This was something I used to hear in Ghana so going there and hearing it also was very encouraging. It gives me the energy to do more,” she said. Currently with 33 employees, the company's strategic location in Afienya-Mataheko of the Ningo-Prampram District of the Greater Accra Region helps in sourcing raw materials from different parts of the country for timely deliveries. Adupong had challenges with constant supplies of raw materials at her previous location which led to her moving her facilities to their current locations to have easy access to farms and buy the majority of the fresh produce at the farm gates. ”I have farmers all around me here, most of the raw materials are just 15 minutes and 30 minutes away so sometimes we go and cart ourselves.” “The ones that come from afar are not too far. Some are from the Volta and Eastern Regions. So we are well-positioned to receive raw materials which is a major challenge for food processing companies. The other thing is profiling farmers. We have hundreds of smallholder farmers that we profile so that when their produce is ready, they have a ready market,” she said. Quitting her job to focus on Meannan Foods has paid off for Adupong. She has since also won several local and international awards, including the Global Women Innovators “for the work done with our porridges on fighting malnutrition in children. Adupong wants Meannan to become a household name and for local foods to be just as attractive as imported food on shelves. Her products are currently found in different branches of ShopRite, Melcom and other retail shops in and out of the Greater Accra Region. “Products like prekese, dawadawa powder, if you see how they're done, you may not want to eat them..., but now they come in very nice packaging and we have improved it a lot...” she said. Joyce Odefo Appiah is the founder of Ecomog Supermarket in Haatso, Accra, which stocks Meannan products. Her shop looked very attractive with packaged foods but said a good number of them are imported due to the preference of her customers. Appiah believes that serious attention should be paid to making local packaged foods attractive like the innovation Adupong is putting in her products to attract bigger shopping malls like the ShopRites and others. “For retail shops to support made-in-Ghana food products to increase growth, the quality needs to meet modern standards. People are busy these days so they’re always looking for convenient methods of cooking and eating nutritious foods,” Appiah said. “It feels good to have locally-made products among my stocks”, she added. Dr. Elisha Ekow Obuom-Sakyi, a local Food Packing and Quality Expert who served as a consultant for several companies in the processing ecosystem, believes identifying entrepreneurs like Adupong with innovative ideas to equip them with tools and networks can help to overcome barriers to growth and improve competitiveness, leading to increases in local food packaging and job creation. “The food processing industry can impact economic growth by bringing new products to the market through value addition to the numerous natural agro resources that we have. The introduction of new food produce, processing technologies will create new market opportunities, create jobs and can also attract investors in our economy and reduce the pressure on our local currency,” Obuom-Sakyi said. He suggested a tailor-made scholarships system, whereby people with excellent ideas and innovative projects are awarded to be trained and come back to impact the economy. Adupong believes the bigger picture for entrepreneurs in the food processing sector lies right in Ghana, especially being a rapidly-growing middle-income country experiencing diet changes. “We have had our challenges; things fell out of place due to COVID-19 impacts but last year (2023) was really great. Our revenue increased by 45%.” Being a mother and woman whose journey was diverted due to financial struggles, gender played a role in the success of her food business. “Naturally in our culture, it's women who cook and run the home so it's easy for me to know what works and what doesn’t work. That’s to my advantage. I know a few men in the business who come to me for ideas anytime they want to develop a product,” Adupong said. She has over the years invested in state-of-the-art machines and technology in every step of the company’s production to ensure world-standard packaging that can compete with imported products. For Adupong, an increase in demand for locally packaged foods translates to real-time growth in the economy, job creation and the path to economic freedom for families. “The workers here have at least one dependent and some at least four and they all support their families with the income they get from Meannan Foods. We have a capacity of about a tonne to three tonnes per day. But depending on the market demand we can do 500 kilograms to about a tonne depending on the product,” she said. bird story agency

With a sustainable poultry and crop farm, a diploma in HR management and her first book published, you'd think that Ntobeko Thokozisile Mafu would be content to simply focus on building her business. But this young woman is determined to do more for her society. Naledi Sikhakhane, bird story agency “Being busy doesn't mean you are making money, I've been busy for three years, I've only started making money in the fourth year,” 23-year-old entrepreneur Ntobeko Mafu, told her class on a rainy day in February in Nhlazatshe, a rural area in the KwaZulu-Natal province in South Africa. Mafu was standing in her garden presenting to 30 people who appeared to hold on to her every word as she detailed how she had created a sustainable small-scale broiler and crop farm. Mafu is the founder and Chief Executive Officer at Madam Clucks A Lot and Madam Leafy Green. The former is a broiler-rearing enterprise and the latter a crop-farming enterprise. The 30 trainees were the latest group amongst some 160 people Mafu has trained in just the past year, running them through the basics of running any business, admin, marketing, and bookkeeping. Depending on their key interests, she then shares knowledge on either small-scale crop farming or small-scale chicken farming. Some of the people she has mentored have gone on to start their own businesses, according to Mafu, who in just four years has also won multiple business pitching and incubation programs offering moderate grants and prizes that have helped her further her business. It all began, she explained, with the cathartic exercise of trying to heal and motivate herself through writing. She ended up publishing a book titled “Letters to Whoever Needs to Hear This, Notes from Me to You.” After falling pregnant at 16, Mafu subsequently lost her father. She spent months taking care of him in the lead-up to his death - a process that ended with her resolving to make a success out of her life to honour her father and provide for her son. Her broiler business took off in 2021 using proceeds from the sale of her book. She was 20 at the time, studying towards a diploma in Human Resources Management - and a single mother. She managed to buy chicks, build a suitable building to grow them, buy chicken feed, and provide the lighting needed to keep her chickens warm. Then she bought the machinery to help pluck chickens faster. The training she provides is another part of her business. “Usually in an area like this, we don't get things like this. I aim to make sure rural communities are empowered, not just mine but all rural communities,” Mafu said of her training and development programmes. Mafu said she believes that in contributing to a food-secure South Africa, she is also tackling issues like gender-based violence and its link to food insecurity. The programmes she offers vary. Some are for two months, where trainees can fully delve into each subject. Then there are crash courses that include learning materials and resources for where to go next for funding, more training, and how to leverage social media for marketing and networking. On this day, she showed her trainees how to use a plucking machine. Trainees were both impressed and inspired, with some explaining how the classes had helped them with their own enterprises. “I would lose my stock so maybe out of 30 chicks, 15 would die. I started having chickens without any knowledge. Right now my chickens have grown for the past 8 weeks, they should be good to sell but they are not selling because they are too small. Ntobeko helped me realise I wasn't feeding the chickens correctly or vaccinating them,” one trainee who chose to remain anonymous, said. Nontethelelo Zondi, 33 from KwaSaymane in KwaZulu-Natal, said the knowledge she had gained from the training was invaluable. “We plant in KwaSaymani African potatoes, corn, spinach and other vegetables so it's part of me to do agricultural activities. I came here to learn how to do it well as a business person, I came across her advert on Facebook and I'm glad I came," she explained. “I have a business I started because unemployment is rife, I appreciated the knowledge on where to go for funding and equipment assistance because that is one of the challenges I had,” Zondi added. Vishwas Satgar, a long-time activist and co-founder of the South African Food Sovereignty Campaign and the Climate Justice Charter, said women like those Mafu trains are at the forefront of sustainable small-scale food production. Satgar, who has conducted research on agroecology and food sovereignty centres that allow participants to feed themselves, in villages, towns and cities, added that the growing need for food systems outside of the increasingly monopolistic industrial food system was highlighted by people having to travel long distances to buy produce in supermarkets when more sustainable foods could be grown at home. "We should place indigenous knowledge at the centre of food production. Women are custodians of knowledge, they are custodians of methods for creating seed banks, they are in the field experiencing and coming up with knowledge on food sovereignty pathways and mainstreaming food sovereignty in the way we want," said Satgar. But growing that food is not always easy. Even Mafu has faced extreme challenges. Madam Clucks A Lot faced closure in 2023 when rolling electricity blackouts - termed load shedding in South Africa - reached their peak and electricity would be out for eight to 10 hours a day. This resulted in her 650 chickens dying. “I still have a trauma from that, they packed up on top of each other trying to keep warm and they died,” Mafu explained. In the aftermath, without any more income, she strengthened her crop farming business Madam Leafy Green, which sells organic plants. “I believe every household should have a food garden. The food we are consuming from stores is genetically modified and people should understand that is part of the reason we are not living up to 100 years old as our elders did. It's important to know the difference between genetically modified food and organic food and invest in organic food,” said Mafu, who, in many ways is a prime example of how young Africans already have the solutions they need to deal with the poly crisis of hunger, inequality and climate change. Most of her business and farming acumen, she explained, comes from values and tips passed down to her by her father, who was taught by his parents. However, other challenges that the young woman has faced, are more personal. “People will ask you to do something that is against your values. In that case, I always say I would rather lose the opportunity than my integrity,” said Mafu. As an example, Mafu explained that after speaking on a national radio show about the challenge of losing her chicken stock due to load-shedding, a businessman offered her an energy inverter and then began chatting her up, asking for a romantic relationship. She declined and let the opportunity of receiving an inverter go. A week after the interview with bird story agency, Mafu travelled to Berlin, Germany through the BeVisioners program. The program aims to get youth across the world to come together to chart a path towards sustainable development and an environmentally friendly agro-economy. This was her second time abroad; in 2023, she travelled to Asia for a young leadership, training, and sharing conference. She explained that despite sometimes being targeted as a young female entrepreneur, she believes it is her 'superpower'. “I have received funding two times by the Durban University of Technology, and once by the NYDA (National Youth Development Agency). This funding totals 150 000 rands (US$7,779),” she said. Mafu said she was always looking out for opportunities to learn and exchange ideas and for every programme she has been accepted into, she said, she also saw many of her proposals rejected. Like many entrepreneurs, felt she could do more to make an impact. Her latest idea is to involve young people in her training programs. “The youngest participant in my training is a 13-year-old who dreams of merging tourism and agriculture,” Mafu said. That 13-year-old trainee, Elihle Mdluli, has big dreams of his own. “I learnt how to keep the environment I work in clean, I want to be able to have my own farm where I will make it a holiday destination as well. I like tourism and agriculture. We learn agriculture at school but we haven't learnt how to do a business. I want to go around surveying businesses that are in agriculture so I learn to succeed,” Mdluli said. Today, Mafu employs 14 people and has a couple on an ongoing mentorship. She believes the sky's the limit for African youth currently and said she feels fulfilled when she helps usher anyone toward finding or creating an opportunity. “The obstacles in farming are; diseases, they come and go as fast; there are challenges with power; and water scarcity. But there are also a lot of great opportunities as the youth in Africa, there are a lot of organisations who are looking to invest in the youth in Africa,” the young entrepreneur said. bird story agency

Diving and life-saving instructor Susan Mtakai is head of search-and-rescue and diving operations at Kenya's Coast Guard Service. A deep-seated passion for the ocean has seen her open the marine sector for other women in government services and the local community. Velma Pamela, bird story agency As the water closes in over Susan Mtakai's head, she can't help thinking about how the depths she's about to descend to are so very alien to the life she was once used to. Born in the highlands of Taita, a county inland from the coast, her early experiences were of a landscape of hills and verdant forest. Growing up far from the sea was hardly what one would expect of someone who was to become a professional diver. Yet, in the deep waters of the Indian Ocean, Susan Mtakai is a calm and considerate team leader. Donning a well-worn dive suit that bears traces of countless missions, her eyes show focus and confidence; the underwater world is now a familiar space for the rescue diver. On this day, Mtakai and her colleagues are on a mission to retrieve the body of a young girl who drowned while swimming. As she guides her team down under the surface of the heaving sea, she ensures that her crew understand the importance of their mission. “When we get the call for retrieval operations, the first thing I do is prepare my squad. We must plan cautiously because it is risky. We must have all of our equipment ready to ensure that the task runs successfully,” the 35-year-old explained after the mission. Mtakai's maritime story began in 2011 when she travelled to the busy Kenyan seaside for the first time. She discovered a love of the water, of the sounds of the crashing waves and the mews of seagulls. A connection with the environment, which had led her to become a park ranger, now had an entirely new focus. "When I moved to the coast, I began as a Kenya Wildlife Service ranger in Mombasa Marine Park. This is after numerous training in the field and in school. I mostly assisted in the preservation of marine ecosystems and other aspects of marine conservation. I had never been in the ocean before, in fact, I didn’t even know how to swim,” Mtakai said. She spent nine years focusing on marine conservation, safety, and education. In the process, she discovered the fascinating world beneath the waves. "One ordinary day, as we patrolled the beach to ensure the ocean was clean, an unexpected challenge threw us into an unprepared rescue mission. There was a boat and the occupants were in distress. Without much knowledge on search and rescue, we found ourselves in a tricky situation, forced to rely on our basic knowledge.” Intrigued and eager to learn more, Mtakai took up diving. With the encouragement of her friends, she went through vigorous training, first mastering open water diving and then taking specialised courses. Her newfound skill set opened the door to a completely new world - both physically and metaphorically - pushing her from her familiar duty as a land-based ranger to the thrilling depths of the ocean. In 2020 she was seconded to the Kenya Coast Guard Service. This allowed her to fully immerse herself in her love for diving and demonstrate her skills beneath the seas. But here she encountered another challenge: she had her work cut out to regularly prove her capacity as a woman in a tough environment. "There were very few people, especially women in the Coast Guard service, especially free diving,” she explained. Beyond the difficulties of working in an understaffed and underskilled service, Mtakai also ensures that she and her team are properly equipped with well-serviced scuba diving gear. “I use fins for smoother movement and a weight belt to control my buoyancy. A diving mask is essential for great underwater vision, and a waterproof watch allows me to precisely track time. For safety and better visibility, I also carry flashlights and use distinct safety markings." After retrieving the body during the current mission, Mtakai and her crew handle the remains with utmost care and respect. Once back on the surface, they undergo a comprehensive debriefing to ensure all team members get the emotional support they need. They then hand over the body to the authorities. “We work with authorities to facilitate the appropriate procedures for the proper documentation and handover of the deceased to their families. This is where our work ends as search and rescue.” While search and rescue may be one of her toughest tasks, Mtakai wears multiple hats within the Kenya Coast Guard Service. She also oversees fishing safety training programs and her team management experience has been called on to help build a culture of safety and professionalism in the service. Perhaps more importantly, Mtakai is also a leader determined to break down old boundaries and has become a strong champion of the marine sector as an open and inviting environment for women. That has offered opportunities to more women wishing to join the Coast Guard. "I've been here for nine years. When I started, only five women were working with us. I joined them, and now we have 15 women in different departments, even in management," said Beatrice Jeroop, a corporal with the Kenya Wildlife Service. Millicent Omido, an engineer by profession and a senior sergeant in the service, is responsible for the service's boats. Having risen through the ranks, the growing opportunity for women has meant her experience translated into a senior role. She ensures all vessels for diving and other duties at the Kenyan Coast Guard Service are well maintained and serviced. "I've spent 16 years in the marine industry, and it's seen some incredible changes. You know, it's normally where the men take command. So, seeing women making a great influence here now is like reaching a huge milestone," Omido said. "Having women in the maritime industry is quite crucial. They provide a variety of abilities and viewpoints to the team. It's not just about breaking norms; it's about ensuring that we have a diverse and motivated team to protect our oceans," said John Wanyoike, Director of Enforcement and Emergency Response at the Kenyan Coast Guard Service. Mtakai’s work also sees her engage with other emergency services, government agencies and the local community. Piurity Amondi and Lynet Kerubu are two members of the community who now take tourists diving, thanks to Mtakai. "Susan has made a difference for women here. She has made us believe that we can do this job just as well as anyone. Because of her, more women feel they can join us and make a difference in the marine sector," Kerubu said. While Mtakai's work and community engagement paint a picture of perseverance, determination, and a strong commitment to saving lives and improving maritime safety, there is also an additional element to her work in the ocean. "When we go diving and I see the corals flourishing and the ocean clean, it makes me really happy. It feels like our own little world," Mtakai said, her face beaming as she explained the constant delight of discovering the beauty of the underwater world, even after all this time. “I aim to protect and celebrate this watery realm. We are working to preserve its beauty for future generations and women like me," Mtakai concluded. Mtakai makes waves on land too - her work was recognised through the National Heroes Council, with a National Hero award conferred on her in October 2023 by Kenyan president H.E. William Ruto. bird story agency

In a small town in northeastern Zimbabwe, the rise of a new generation of boxing champions is causing upsets. That's because heavyweight Anesu Motsi is determined that there will be another boxing star in his family - in the shape of his daughter, Candice. Jacqueline Muchazoreka, bird story agency On a March morning in Rusape town's Fitness 4_U Gym, Candice Motsi and her father are going through their regular routine. Arms held outward, they jump sideways across the gym floor, warming up for a strength-building session. The two could not be more different; Anesu Motsi is an imposing heavyweight while his daughter Candice is a slight girl of six. Both, however, are boxers. Candice’s involvement in boxing started early. At nine months, she attended her first boxing match and after clearly enjoying the experience was soon back for more. As soon as she could walk, she would follow her father to his training sessions and join him to watch boxing matches on television. “As Candice got older she would shock me by commenting on the matches screened on TV. Like, she really understood the discipline,” Anesu said. “Seeing how she had grown fond of boxing, I started training her at the age of five." “With just one year of training, I organised a match for her at The Rise of Champions Tournament held in Harare, she made me proud not only by winning her first match but by showing great skill, implementing all the things that I taught her,” he said. Emerging as a winner in her first amateur match delighted both of them. “When I won, I was happy, I want to win again” Candice said, her face brimming with joy. Not everyone in the town is. "Unfortunately, I received a lot of criticism from people around me who said boxing wasn’t a sport for girls. I chose not to listen to the negative opinions of people because they only limit one’s potential.” Had Anesu listened to the discouragement, Candice’s strong talent would not have been nurtured as well as it is. Candice is a glimpse of hope in the trajectory of female boxing in Zimbabwe. Boxing has long been a male-dominated sport in Zimbabwe to the extent that, in the mid-90s, young pioneer female boxers like Monalisa Sibanda entered matches with boys due to the scarcity of female boxers. The challenge still exists, decades later. It all stems from a colonial-era law first enacted in 1956, according to boxing analyst Gilbert Munetsi. “Unfortunately, the Boxing and Wrestling Control Act states that no other person except the male gender should be registered as a professional boxer in Zimbabwe. Women have been boxing on a waiver by the Ministry of Sport," he explained. An amendment to the Boxing Act to include and protect female boxers is currently being worked on, the analyst said. “Boxing is the only sport that is an Act of Parliament in Zimbabwe and it is due to the fact that it involves a lot of physical violence that leads to injury, thus the more reason why it was seen as a male sport then,” Munetsi added. While the law will ensure the legal inclusion of women boxers in the sport, Munetsi added that government funding is also needed to make boxing more inclusive. “As it stands, the boxing sport is not receiving any funding from the government. It is expected that in every corner of the country there exists a thriving boxing club, like it used to be, back then, when boxing was a popular sport around the 80s and 90s. More funding will make it possible to reach out to yet-to-be-discovered talent at grassroots,” Munetsi said. In February, when Candice travelled the 1000 kilometres to Victoria Falls for a match in the Junior League of the Zimbabwe Boxing Federation (ZBF) National Open tournament, her opponent failed to make it and there was no alternative opponent within her weight range of 26 kilograms. Even though she was honoured by the federation as an aspiring young boxer making outstanding strides in the sport, the disappointment had Candice hoping for more involvement of girls in boxing. “I want more kids to join boxing, especially girls,” she said. So far, the Junior category of The Zimbabwe Boxing Federation includes amateur boxers aged eight to 17 years. The federation is responsible for nurturing amateur boxers into professional boxers. In the early rise of female boxing in Zimbabwe, there was a period when only two female boxers, Monalisa Sibanda and Diana Makumbe, transitioned from amateur to professional. Since then, the number of professional female boxers has increased. According to Zimbabwe Boxing and Wrestling Control Board (ZBWCB), in 2022 there were 34 registered professional boxers of which 25 were male and nine were female. 2023 saw a notable increase as 70 professionals registered, including 57 male and 13 female. Regardless of the low participation rate, Zimbabwe boasts of producing professional female boxers who have won world titles. Sibanda currently holds the Intercontinental Welterweight Title for the Women’s International Boxing Association (WIBA) and is ranked number 9 in the world. 28-year-old Kudakwashe “Take Money” Chiwandire also grabbed the World Boxing Council Interim Super Bantamweight champion title in 2022 and is ranked 14th in the world. Without government sponsorship, boxing is currently a more popular sport in regions and cities that have more promoters and sponsors and successful boxers have tended to come from the Northern region of the country and the capital Harare. Promoters and sponsors prefer to support boxing in areas where the sport is popular. That has created a Catch-22 situation where the lack of sponsorship and support in a small town like Rusape has led Anesu to mostly self-fund his career and that of Candice. Zimbabwe Boxing Federation (ZBF) Technical Director Steven Masiyambumbi said the determination shown by the Motsi family had the potential to improve society’s perceptions of female participation in boxing. “Currently we have a challenge in our societies as most people think that the girl child is not supposed to do boxing. To see Anesu training Candice at such a tender age is a step in the right direction as we want all parents to come on board and allow girls to do boxing.” He added that parent-child training is the best combination in boxing as the parent puts the interest of the child first. For Candice’s mother, however, the jury is still out as to whether boxing is the best way forward for her daughter. “I prepare her food and pack her bag with all she needs whenever she goes for training and travels with her father for a match,” she said. “For now I am proud of what she has achieved, however, I hope boxing won’t affect her schooling in the coming future.” Candice, however, has no doubts. “I love boxing… it makes me happy,” the young boxer concluded. bird story agency

The creative force behind a beloved children’s entertainment character is multifaceted artist and entrepreneur Bola Edwards. She has dedicated her talent to crafting engaging and educational content for children with a focus on celebrating African heritage. Edwards is joined by her family on this journey. Kate Okorie, bird story agency Bola Edwards' living room has been transformed into a giant stage. Large styrofoam books stand tall while an oversized pencil crafted from plywood balances on a brown wall. The opposite wall is a fuchsia pink. The space looks like a classroom from a child’s whimsical imagination. In the middle of the room stands an armchair upholstered in the swirling patterns of African textiles. It is here, at the centre of things, that fictional grandmother character Grandma Wura comes to life, sharing stories with young African minds around the globe. Ever since the character's debut in 2015, Grandma Wura has been integral to Edwards' work with her company, Proud African Roots. She founded the creative arts company with her husband, Patrick, in 2013, a year after leaving her corporate job. Their mission was to raise a new generation of African leaders by blending African arts and storytelling with tangible lessons on values and leadership. Their strategy was multifaceted - leveraging stories, music, and drama to educate their young audience. "Children are much like sponges; they're extremely impressionable. At this age, whatever values you want to instil in them, you just have to put in a story," Edwards explained. Yet, capturing the children's attention required significant effort. “Our children are now more Western, and to reach them we have to find a way to bring together Western and African cultures to create relatable content,” she said. This birthed the grandmother character that embodied this cultural fusion. “We did a lot of research to craft Grandma Wura's identity,” Edwards said. "When you see Grandma Wura, you see more than just the ankara (African textile) and buba (traditional blouse); you're met with an array of colours, beauty, and an exotic allure," she added. While Edwards was aiming to create a character with a global appeal, like Disney's iconic figures, she did not initially see herself in the role. "When the character was first conceived, it seemed so big and I began searching for someone who could truly personify her," she said. However, she struggled to find someone willing to dedicate the necessary time to portray the character. So she committed to voice training and began studying elderly women. Grandma Wura was unveiled during the company's school tour, where she told stories to children and offered leadership training during their assembly time, reaching over 22,000 school children. The project expanded into theatre productions, where entire families could experience the stories in an engaging and communal setting. Promoted as “Story Theatre with Grandma Wura,” the production became an annual Children's Day event. “The concept was to get children to come and see the stories come alive on stage, like you would in the King and I Broadway musical,” Edwards said. In addition to the school tours, she shared that the shows included a capacity-building programme, training approximately 600 children. "Story Theatre with Grandma Wura has evolved in many ways," Edwards noted. "We had individuals sponsoring orphanages and students to see our shows. There were also schools and parents who bought their tickets themselves," she explained. The onset of the COVID-19 pandemic compelled Edwards and her team to pivot towards television and other digital platforms to retain their audience. Consequently, they launched two television shows: Grandma Wura School Bus and Grandma Wura Story Hut. The School Bus is an entertaining educational series that introduces children to new vocabulary, values, and African proverbs. In contrast, Story Hut is reminiscent of African folktales, although Edwards’ stories were original and largely created in-house. So far, she has completed two seasons for each show. The stories are packed with lessons, employing repetition and songs for reinforcement. “At the end of each story, there's a recap. Some stories have even been transformed into books available on Amazon,” Edwards shared. Grandma Wura's shows, beyond imparting moral lessons, often acquaint children with the diverse languages and cultures of Nigeria's ethnic groups and those of other African countries. “I Wish I Wish,” a story about self-love and hard work, featured a protagonist and expressions from the Igbo tribe, which, along with Hausa and Yoruba - Edwards' native tribe - is one of Nigeria's three largest ethnic groups. Before her content went on television, Edwards released it on the company’s YouTube channel, where, to her surprise, it garnered an audience that included children and families from the African diaspora. Her partnership with television stations resulted in Grandma Wura's content being broadcast on several local stations and regional satellite provider DSTV, expanding its reach across Nigeria and including Ghana, Uganda, Gambia and even audiences in the US and the UK, through NTA International. Initially, Edwards faced challenges with television companies because they favour foreign programming. When they did agree to air Grandma Wura content, it was without compensation. A 2021 UNESCO report shows that while local television series in countries like Nigeria and Côte d’Ivoire have increased, intra-regional co-productions in Africa are still rare. In contrast, there are often stronger collaborations between some African countries and Europe, driven by subsidies from the latter. "Most of what we, as Africans, provide for our children is Western content. Children need to see themselves reflected in the content they consume, and that's why we do what we do," Edwards said. Not just the stories, but the soundtracks in Grandma Wura’s shows are original. "Our songs have a mix of African languages and English," she explained. In one of the rooms of her house, she set up a studio where Patrick and their 17-year-old son, David, spend most of their time during peak production periods. "Introducing an African element is a must when we compose a song," Patrick said. “David and I collaborate [in the studio]. He is the younger version [of me] and connects with the youth, so there is a perfect blend of the old and the new," he added. David was not always interested in the production process. "I kind of found my path after awakening ... it’s somewhat like a journey of discovering myself within our African culture through arts, music, and everything creative," David explained. Just a few months ago, he was a core part of the production team for the nine-episode climate change podcast series, "Green Tales of Singing Trees." Much like the Grandma Wura character, the podcast's central figure, Singing Tree, was unusual but charming. "It was delightful to see how much the children and their families loved her," Bola Edwards remarked. During production, Edwards and her team grappled with the challenge of discussing a complex subject like climate change, especially considering the wide variance in climate change literacy rates across Nigeria. To navigate this hurdle, she made sure the team was thoroughly engaged. “One of things that we did with the podcast, besides using a video teaser, was to use lots of sound effects to colour the story and take the listener on a journey,” Edwards said. “In my experience, utilising audiovisual learning has proven to be the most effective means of conveying information to children,” explained Ogunsola Ayooluwa, the vice president of Eco Diversified International who has spent the past two years educating young people about the environment and climate change. Ayooluwa pointed out that the lack of climate change topics in school curricula and the scarcity of educational materials are barriers to raising awareness among young people. Edwards' living room is now being overhauled for the third season of the "Grandma Wura School Bus" show. She has done this for every new season to ensure a fresh look while keeping its appeal to her young audience. “The future of African traditional storytelling is humongous,” Edwards said, referencing Iwájú, the Nigerian animated series selected to stream on Disney+ before turning to the topic of Afrobeats, the sound that has gripped global audiences. "Do you see how the whole world has gravitated towards the music genre?" Edwards stressed the importance of self-validation; the need for Africans to celebrate their cultural assets without waiting for external approval. "We should promote what we have," she said. In their home studio, David begins playing the hand drum. He taps the taut animal skin cover of the drum, gradually increasing the intensity. The sound from the hollow instrument reverberates through the home, grabbing everyone’s attention. “He is in his element,” said Edwards. bird story agency Useful links: https://www.afrobarometer.org/publication/africas-first-continent-wide-survey-of-climate-change-literacy-finds-education-is-key/#:~:text=For%20example%2C%20rates%20in%20Nigeria,climate%20change%20literacy%20is%20education. https://www.unesco.org/creativity/sites/default/files/medias/fichiers/2023/01/379165eng.pdf