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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

When Cameroonian TV host Jocelyne Fotso started a safe space for women to debate and share solutions to periods of doubt and trouble, it was meant to be an in-person experience. But the regular event has become so popular she's now eyeing a radio show. Patrick Nelle, bird story agency Gathered in a room in the heart of Douala, Cameroon, almost two dozen women are busy exchanging views and debating topics of common interest. The dynamic engagement is not just a chat session; on this April evening, a speech trainer is conducting a training exercise. In the coming week, a psychologist will be on hand to advise on mental health during crises. Share Hub, as the meetings are labelled, is the brainchild of Jocelyne Fotso, a prominent Cameroonian TV host and journalist looking to balance a media career with social commitment. The platform provides a space for women to feel free to debate and also benefit from mentorship and training sessions in "public speaking, self-esteem, psychological support” according to Fotso. While the space has become wildly popular, Share Hub has been years in the making. Fotso, now 47, didn’t follow a regular media training path to become the TV personality she is now, regularly bringing national, regional and international news to the people. “My path to journalism started when I was still a teenager, from what was more of a hobby, after winning a reading contest in school,” Fotso explained. As the contest winner, she was picked to read some news that she gathered from her school campus in a radio programme which aired every Wednesday on Suellaba FM105, then the most popular radio station in Douala. “I heard my voice aired for the first time on a radio station, it was back in 1994,” Fotso remembered, smiling. “But it was essentially still a hobby and nothing more,” she added. Fotso would never have envisaged then that just a few decades later she would have attained the status of a national media personality. Her involvement with radio, which continued after the competition, seemed more of a hobby. “I was just going to the radio every Wednesday afternoon, as the other youths used to go to the cinema or somewhere else,” she explained during an interview in her office with bird story agency. Her job was to gather news from her high school campus in Douala. “Senior journalists and reporters would then mentor young authors in the writing process,” she recalled. But her weekly radio volunteer sessions were becoming routine. During school vacations, a growing commitment and passion led her to learn more about radio production and to train in both hosting and reporting. “After 3 or 4 years of learning and training, I started to co-host radio programmes in the same station as an external contributor”, she said. In the early 2000s, Cameroon's government authorised the operation of privately held radio stations. The first station to obtain a licence for Douala and its vicinity was RTM. Fotso was hired by the station and in a quick jump in 2002 was entrusted with the position of head of programmes. “At only 25, I was the youngest person to be entitled to such a position in the Cameroonian media”, she remembered, beaming. Although radio listeners had become used to Fotso’s voice, it was only during the late 2000s that she broke through to TV. Fotso’s TV host career was ignited with an entertainment show introducing the latest music Cameroonian and African hits to viewers. The show included an interview with popular musicians. Her prominence was entrenched with her daily talk show labelled in French, “C Comment” which translates roughly as “How are you doing?” The show, which continues to run today after launching ten years ago, is a mix of entertainment and conversation on societal and social behaviour issues. “I was seeking a formula that would both address social issues and attract young viewers. So in the middle of the latest show business news which the youths appreciate, the show promotes discussions on issues such as education, family, behaviours, social issues” she explained. Share Hub was born from her desire to give back. It is a place where women are invited to participate in free discussions and the debate focuses on how women should build self-confidence and confront periods of self-doubt and trouble in daily life. According to Ariane Akono, a Cameroonian digital entrepreneur, such platforms remain scarce and represent a huge opportunity for women, “as they open ways to enhance self-improvement and fulfilment in any fields of their daily lives”. “We learned how to speak in front of an audience, it was a very enriching experience. It really helped me in my daily life. I would definitely attend another session,” Tatiana Bilong, a participant who visibly loved the experience, declared. “When a woman listens to another woman's testimony, a woman who has gone through some troubles in her personal life, she feels encouraged to confess and seek relief”, Fotso further clarified. In a new development, she is now working to transform the Share Hub meetings into a radio programme, eyeing a further transposition to TV. “The initiative platform is now gaining traction and is very soon expected to extend its reach by morphing into a radio programme,” she said. bird story agency (For editors: Useful Link): https://web.facebook.com/people/Share-Hub/61550799898418/?mibextid=ZbWKwL

As African basketball presenter and correspondent Silaei Shani found out, Jumping for Change is far more than a basketball film. Against the backdrop of Kenya's Maasai community, it delivers a strong message about societal norms and embracing change, while staying true to one's heritage. A winner at the esteemed Films for Fans NBA Awards, it explores the transformative power of sport within the rich tapestry of African culture. Silalei Shani, bird story agency Silalei Shani interviewed the film's producers, Becky Muikia and Rahma Saif, for bird story agency, in Nairobi. The interview has been edited for length. SS: So, we’re here to talk about your film Jumping for Change. What was the inspiration and genesis behind the project? Why did you decide to do this story? BM: So, when we pitched for the show the one thing that I was very clear on was that it needed to be a hyper-local story in that it was the kind of story that could be shot anywhere in the world but was authentically a Kenyan story. We had a big think tank going around what kind of story we wanted to tell, and my reference was an article I found online. There’s this Maasai team that plays cricket and they wear their full Maasai regalia when they're playing cricket. That was my reference and I sent it to Rahma. RS: So, the Maasai cricket team also has a sister Maasai basketball team. The female team is called the Laikipia Basketball Ladies, and they play basketball as a tool to help them combat harmful practices within their community such as FGM (Female Genital Mutilation). They very quickly became the inspiration for this story. Our focus was not on the FGM per se but on this beautiful story of how culture and progress can coexist within the same community. It became very clear to us that we needed to tell this story and we needed to share it with the world. SS: Right. So, something that I thought was very cool was how there was not a lot of dialogue in the film. It was very visual, minus the narration, and I wanted to know if that was intentional. RS: It was super intentional. That was something that kept on coming up within our brainstorming sessions when we were storyboarding and when the script was being written. What we wanted to do with this film was create a film that is extremely inspirational, but also transcends the language barrier. Wherever in the world that you may be, when you come across this film and you watch it, you're able to understand and get the message. I'm actually really happy we went in that direction because it doesn't matter where you're from or if you watch the film and it doesn't have subtitles or if you don't hear the voiceover, you're still able to understand what's happening within the story and then you’re able to emotionally connect with the story and with the characters. SS: Along those lines, there were a lot of messages that were kind of implied. I noticed in the part where the people were watching the basketball game that there were older women present. What kind of message were you trying to send by not just having the older women there but seeing them be supportive of these younger girls playing basketball. RS: With this, what we’re trying to portray was a wider cultural shift towards gender inclusivity and women empowerment. If you look at our traditional African context, a lot of activities, even our own sports are male dominated. So, for us, it was to show that there’s a shift in thinking within the community. That seeing these women engaging with the game, enjoying the game, is bringing them into the fold. While they are there, they’re also just as engaged and enjoying the game as much as the women are. Nothing is a myth there. For us it was about portraying gender inclusivity and the empowerment of the African woman through the universal language of sport. BM: And if I could just piggyback on what Rahma has said, we’re very communal as a country, as a continent and it was important for that message to come out very strongly visually. The community was there to endorse what was happening. The game in itself is an anomaly: how it is that it starts, the ladies walking away, the guys challenging them. Even how the old people were gathered by a young girl. Ideally, you would expect that they would shoo her off and be about their business, but that they paid attention and actually came and stuck around until the end of the game, it was an ode to how we support each other as Kenyans- how we rally behind each other when we need to in good and in bad times. SS: Very nice. And talking about the young girl, you ended with a very nice closing shot, wide angle, where the excitement has died down and everyone has gone away and then it’s just her playing basketball alone. What was the symbolism behind that closing shot? RS: I think what that shot speaks to for me is the need for continuity and for hope in the younger generation. That despite their age, gender, where they come, they can pursue their dreams fearlessly and unapologetically. This girl experienced this magical thing that she might have never seen in a different time. This has given her the courage to pursue her dreams and that was the key message for us. This next generation is going to be able to achieve whatever they set their minds to. I also think there is a powerful testament there about the lasting impact of including positive influences can have in a traditional setting. Including influences such as sport can pave the way for such amazing change for the future generations. SS: Another scene that stood out to me was when the girls were playing and the young morans come in. They didn’t even kick off the girls, the girls voluntarily starting walking off the court then it was the men who told them to stay. Are men the gatekeepers towards breaking certain cultural stereotypes and cultural ceilings for women? BM: I wouldn’t call them gate keepers but they definitely need to be allies. In this particular aspect, the men were the greatest allies because the women eliminated themselves from the game. Culturally speaking, the ladies should have been fetching water, cooking, taking care of the household and doing chores relegated to their gender. Basketball was not on that list. Ideally, you would imagine the boys own the court so seeing them there was like “Okay, I guess we have no business being here”. But the men welcomed them and challenging them to the game was acknowledging that we can be equals but fight for this opportunity to actually play on this court. SS: I actually really liked that angle. I’m a basketball player and something myself and my friends say when we’re playing against guys is do not come down to our level. You play at your level, and we’re going to play at our level. The film showed that the guys didn’t play soft on the girls. They were dunking, they were shoving them, it was very aggressive. I like that even still within that context, the girls scored. BM: And we just needed the one shot. RS: It definitely emphasizes that they see them as peers and they actually believe that their skill level is at par. So I don’t think the men are the gatekeepers but it’s a communal initiative, that we all have to be involved in breaking these stereotypes. SS: Like I said, I actually play basketball and I thought it was really cool that some of the cast are actually people I’ve played against and coached with. How important was it for you when you were doing the casting to be authentic in that way where you’re using actual female basketball players in the league to be part of the team. RS: Like you said, that was an intentional choice for the purposes of authenticity and inspiration. So these women are skilled basketball players and are actually playing the game and shaping their futures using sports as the avenue. It sends the message of empowering young women, African women, and gender inclusivity just because we’re highlighting real life players who are doing this thing and achieving their dream. BM: And from a creative enterprise perspective it’s important also to grow the value chain. To show sports people that you do have a place in this world. We could have hired actresses and spent months or weeks grooming and training them and giving them the skill set, but it’s important for sports people, actually the entire ecosystem, that the value chain can grow if we collaborate. So that was a great marriage between the production side of it and the sports part of it. I think it was also exciting for them to be on screen as actors and actresses. SS: Absolutely. In the sports space we’re trying to teach that athletes don’t have to just play the sport, it can open up other avenues in business and in the arts. I have one last question, the title, how did you come up with Jumping for Change? RS: I think that came from the script. When you listen to the narrator, the first line is “Something happens when you look up”. So what do you see when you look up? You see people taking a leap, daring to make a change. So there’s the underlying narrative for jumping or hooping but also when you think of this girl looking up and seeing these amazing basketball players jumping up and taking those shots, creating an impact within their communities, it almost just presented itself on a platter for us. She’s looking up and seeing these women jumping for change, it stuck in the writing room. BM: If you can’t already tell, this was our voiceover artist. SS: I actually could not tell! But now that you’re talking I hear it. This project was really dear to you in particular then. R: I was definitely immersed in the entire process, coming up with the idea, I was in the writing room, I was in the community…so it is very dear to my heart and more than that it was the impact that we saw in the community and the curiosity that it picked. We left the court, hoops and balls in the community and when we were leaving we saw them playing and taking shots and trying to understand the game. That was amazing. There was a lasting impact that we left there. SS: Perfect. I think that’s a good place to wrap up. Thank you so much ladies. BM&RS: Thank you for having us. Becky Muikia (BM) is the Executive Producer, MD, and Creative Director at communications agency Sahihi Africa. Rahma Saif (RS) is head of projects and lead producer at Sahihi Africa. With Sahihi's focus on Pan-African storytelling, both are passionate about African narratives being told by Africans. bird story agency

Chantal Murebwa, the founder of New Kigali Designers and Outfitters, transformed a small venture with just two tailors and one sewing machine into a thriving fashion company. Her commitment to empowering women, combined with government incentives for Made in Rwanda products, led to the employment of close to 300 individuals - primarily women. Now, as the factory plans to expand further, Murebwa’s mission continues. Patrick Nzabonimpa, bird story agency Standing in front of a two-story brick building, Murebwa admires the crisp white paint. She has witnessed the entire journey of this building: from its foundation being laid, to its transformation into what it is now: New Kigali Designers and Outfitters, a thriving garment factory. Located close to Kigali Genocide Memorial, the company founded by Murebwa employs 280 workers, over 80% of whom are women. "When I started, those who were into tailoring were older women. But as we grew, we found a need to involve younger women because they learn quickly,” Murebwa said. In the reception area, an array of finished garments, ranging from t-shirts to coats, overalls, and shirts, all in vibrant colours, are a feast for the eyes. In the cutting room, workers operate cutting machines, turning out collars and sleeves. The production room, where the cut garment pieces are assembled, is on the second floor. State-of-the-art tailoring machines hum, tended to by workers in matching black t-shirt uniforms with the factory’s motto ‘Home of Tailor-made Garments and Branding". In the finishing room, the assembled garments undergo thorough ironing, quality checks, and careful packaging by the factory’s staff. A humble beginning It all began in 1995 when Murebwa was just 24, in the aftermath of the 1994 Genocide, a period of devastation for the country. “There were a lot of challenges but also opportunities. I was inspired by my passion for fashion and women's empowerment. When I started, I had one sewing machine and two women staff, and we were focusing on enlarging or reducing the size of women's clothes. We later secured a gig to make uniforms for security guards and progressed,” the entrepreneur explained. Murebwa registered New Kigali Designers and Outfitters as a company in 1998, employing five tailors and by 2005, her workshop had expanded to include 20 tailors. Recognising the high demand and numerous opportunities for growth, Murebwa began seeking financial support. "I obtained a loan from BCDI, now Ecobank, by showing them a contract I had won to produce uniforms for security guards, and I repaid it well,” she recounted. “Then, in 2003, Bank of Kigali extended another loan to me for acquiring the land where we constructed this factory." In line with the Made in Rwanda campaign initiated in 2015 to promote the consumption of Rwandan-made goods, Umurerwa's factory acquired high-tech machinery, facilitated by National Industrial Research and Development Agency (NIRDA). The factory also received a skills development facility from the German Development Agency (GiZ) to enhance technician capabilities, which were previously lacking. Since its establishment, the factory's workforce has grow from 80 to the current 280. Its clientele includes both corporate entities and individuals, with a growing presence across all provinces of Rwanda. Murebwa's factory has been a lifeline for several women, including Marie Mukasekuru, a member of the production team, whose life was transformed after meeting Murebwa who taught her weaving and tailoring. This came after Mukasekuru endured the hardships of losing her parents in the Genocide. "I acquired tailoring skills from Chantal. I can now craft pants, Lacoste t-shirts, create buttonholes, and operate various machines," Mukasekuru remarked, adding that she has been able to purchase land and a house in Kigali and save for her child's education, all thanks to the trade she learned. Several women from the factory have since established their own workshops. Louise Uwimana, now running a workshop in Kigali’s town centre, is one of them. "Umurerwa played a big role in honing my skills. She supported me during my time at her factory and continues to do so as I manage my own workshop. Her influence is seen in this industry, and many women, including myself, continue to benefit from her guidance," Uwimana shared in her workshop. Murebwa’s significance is also echoed by Elodie Monique Vestine Fromenteau, a local fashion expert and founder of the IZUUBA fashion brand. She highlighted the importance of women-led ventures in the local fashion industry, citing Murebwa and herself as examples. "As a woman, I believe we are very detail oriented from the choice of fabrics and colours to the choice of buttons and stitching. Also, as a woman working in a men dominated industry, it is also very important for me to collaborate with other women. Having workshops or mentorship led by women for women in the fashion and textile industry would be a great idea, but also having financial support such as grants or funds targeted for women entrepreneurs in East Africa would be wonderful," Fromenteau said. "If you look around, you'll see many women founders of fashion and textile ventures in Rwanda. We've really taken big steps in providing employment opportunities for other women and positioning Rwanda on the fashion map," she added. Challenges and future endeavours According to Statista Market Insights, the apparel market in Rwanda is experiencing a rise in demand for locally made clothing, matching the observations made by Murebwa and Fromenteau. As of 2024, the market's revenue reached US$426.10 million, with a projected annual growth rate of 3.41% between 2024 and 2028. The statistics echo a 2023 UNESCO report, 'The Fashion Sector in Africa: Trends, Challenges, and Opportunities for Growth,' which positions Africa as one of the next frontiers for fashion. Rwanda is also listed as an African country with a growing local high-fashion luxury brand presence. Despite these positive trends, Murebwa still faces challenges that hinder her workflow. She identified access to finance as a major obstacle, citing the high financial requirements and the lack of substantial collateral for her company. Moreover, the impact of the rising dollar is a concern, as her company relies on importing all its raw materials. “Delays in shipping also disrupt my factory’s workflow when urgent orders are required,” she said. “Acquiring skilled manpower remains a challenge, especially for roles like textile engineers and quality assurance personnel, as they are costly to hire from abroad. I suggest that the government establish faculties related to these trades in universities to develop local talent,” she added. On a personal note, Murebwa continues to grapple with balancing her work life and family commitments. Her business requires a significant time investment, and she often finds herself struggling to find a balance. She also perceives this challenge as a big obstacle for many women entrepreneurs. However, Murebwa advises girls and women interested in starting a fashion venture to ensure they have a passion for the industry and the necessary skills to succeed. She also encourages them to work hard and make savings. Looking ahead, Murebwa's New Kigali Designers and Outfitters is in the final stages of opening a second phase of its factory at the Kigali Special Economic Zone. An economic zone is described as 'a geographically specified and physically secured area, offering certain incentives including more liberal and simplified economic regulations for businesses to physically locate and operate within it,’ by The New Times, a national newspaper. "The new phase will house 300 staff [in addition to the 280 already employed] and incorporate high-tech machinery. This will enhance our ability to target export markets. Our focus will be on producing a variety of t-shirts to ensure affordability for all," Murebwa concluded. Useful links for Editors: https://unesdoc.unesco.org/ark:/48223/pf0000387230 https://www.newtimes.co.rw/article/141078/Advertorial/kigali-special-economic-zone-impacts-rwandaas-industrial-growth

Good food and a full belly don't always come to mind when many people think of Africa. However, stroll around any city on the continent and you’ll soon discover why African food is mentioned in Salif Keita’s seminal hit song, Africa. Lerato Mogoatlhe, bird story agency Take a stroll around any city in the continent and you’ll soon discover that the continent loves to eat good food - more so if it fits in your hands, is served on the go and is packed with flavour, from subtle and spicy to bold and fiery. Here is a list of some popular African street food dishes and where to eat them: 1. Zanzibar barbeque, fried seafood and pizza: Sunset at Forodhani Gardens, Stone Town. This is why eating in Zanzibar is exciting. For the group of boys who curl their bodies into balls as they dive into the ocean, the tourists awed by the spectacle, families strolling with ice creams and juices in their hands; and the tables getting set up for the nightly food market. Tables are laden with barbecue and fried seafood (octopus, kingfish, shark kebabs, tuna, lobster, calamari, snapper fish and more), tandoori chicken, thumb-sized chips, fluffy coconut bread and warm chapatis. There’s also the "Zanzibar pizza"; a small ball of soft dough that’s flattened into a crepe, and fried with beef or chicken, an onion, green pepper, egg and soft cheese. You can also have Zanzibar pizza as a dessert made with fruit and a chocolate spread. 2. Dodo/keleweele/allocco: Some call it dodo, others kelewele or alloco. Whatever the name, few things are as delicious to eat as fried plantain. It’s sweet, goes well alone as a snack or part of a meal. Warning - it’s greasy. In a diet culture where every calorie is counted and judged and reduced to air frying, fried plantain is a reminder that good food can be worth that extra cup of oil. While it’s a delicious snack, it would be criminal to visit Abidjan, Cote d'Ivoire and not make a meal of it. So stop in at Allocodrome in Cocody, where fried plantain is the star of every meal, served with grilled or fried chicken and fish, and an onion and chili condiment. Make it a true Abidjan meal by adding a side of attieke, the warm and fluffy cassava staple that mimics couscous. Try the dollop of mayonnaise that’s so beloved in Ivorian street food, even if it’s not your condiment of choice. 3. Koshari: The taste of Cairo, followed by the inevitable lingering memories of everything that makes Egypt an incredible journey, especially the country’s rich ancient and food heritage. In Koshari, these influences come together on a plate layered with rice and vermicelli, brown lentils, macaroni, chickpeas and a smooth tomato sauce that gets its subtle yet tantalizing flavor from fresh garlic, ground cumin, coriander and red pepper, ghee, tomato paste, vinegar, a pinch of salt and pepper. It’s topped off with onion dusted in flour and fried until crispy and dark brown, for a woody endnote to every bite. It’s found everywhere in Cairo and Luxor. Or get your taste of Egypt’s national dish on a historic tour of the 700+-year-old Khan el Khalil bazaar, down El Moez street, one the oldest streets in the city with “the greatest concentration of medieval architectural treasures in the Islamic world”. 4. Suya: Suya would be just another barbeque if it weren't for the thin slivers of grilled meat marinated in oil and a blend of spices. The skewers are dusted in suya spice before being served with a side of raw onion. Suya, which originated in Northern Nigeria, is a taste of Anglophone West Africa and is found around the streets of Nigeria, Cameroon, Ghana, Liberia and Sierra Leone. While it has made the leap from street corners to restaurant menus, suya is best enjoyed at a street corner, bought from a mai suya (suya seller) or a suya joint like the University of Suya in Ikeja, Lagos and Suya Planet in Monrovia, Liberia. 5. Diti: Have you really tasted Francophone West African cuisine if you haven't tried a Dibiterie? To the eye, dibi is just grilled meat - usually sheep but often offal and sometimes chicken - served with baguettes, onions, and mustard. To people whose food this is, dibi is a love letter to the time-worn tradition of cooking meat over open flames. It gets its tenderness from the hours-long slow cooking over medium to low coals instead of high flames, making every bite succulent. They’re ubiquitous in Mali, Senegal, Niger, Gabon, and Ivory Coast. While it’s served to-go, getting dibi is a social call accompanied by elaborate greetings and conversations with the seller and other customers. Arrive hungry and in the mood to be social. After all, there’s nothing like a solitary food experience in these parts of Africa. 6. Rolex: Uganda barely features on Africa’s food map but make no mistake, the country knows how to do street food, and none is as famous as Rolex. The base is the East African staple of chapati (always better when hot), with a filling of fried eggs and tomatoes. It's a simple, filling and consistent reminder that Uganda is many things, chief among them is being creative and vibrant. 7. Lamu Island street food: In Lamu, an ancient stone town on an island along the Swahili coast, street food doesn’t come with one defining dish or taste. While every moment here feels like a walking tour through antiquity, the ancient town that has seen traders from China, India, Arabia and Europe for hundreds of years gives itself to food experiences. In addition to taking in sights like the museum, German post office and the Swahili House, turn walking into a taste of Lamu by using your sense of smell. Smelling meat on the grill? Follow it to find mishikaki, skewers of beef, mutton and goat meat. Catching a whiff of cardamom? You’ll find mahamri, a doughnut made with cardamom and coconut milk. Other street offerings include grilled octopus, nyama choma (barbeque), bhajia, and samosas. All these are found elsewhere in Kenya and include mutura. It is intestines encased with meat, blood, onion, salt, pepper and chillis. 8. Magwinya/Vetkoek/Puff Puff/Mandazi: Magwinya or Vetkoek in Southern Africa, Puff Puff in West Africa or Mandazi in East Africa, if there is one street food that is found almost everywhere in Africa, it has to be fried dough balls. As magwinya in South Africa, it’s a breakfast meal that can be accompanied by atchaar (spicy mango relish), liver pate or cured fish (snoek). As mandazi on the East African coast it gets its sweetness from coconut milk, while puff puff has also been transformed into a dessert coated with chocolate syrup. 9. Kota: You haven’t fully tasted South Africa if you have not had a kota. Kota is a hollowed-out bread loaf filled with atchaar and chips. You can also build on it by adding a burger patty, fried egg, sausage, cheese, polony, and a variety of other toppings. Kota is not just popular; it is a defining feature of township food in South Africa and even inspired an annual Kota festival in Soweto. 10. Rojo and Kilishi: It wouldn’t be a feature on top street food in Africa without a special shout out to rojo and kilishi; two dishes from opposite sides of the continent, with taste profiles that are just as distant from one another. Rojo is a Zanzibari favourite best enjoyed at Darajani market by day and Forodhani Gardens at night. It’s a mix of flour, coconut milk, potato cubes and water flavored with garlic and chili paste, lemon juice and salt. Turmeric gives it a yellow hue; raw mango adds a lingering tangy sensation on the tongue. Additional texture and flavour come from bhajia, mashed potatoes, and coconut chutney that are served as toppings. Kilishi has been compared to jerky. The paper-thin slices of smoked meat get their infamous kick on the taste buds from crushed chili. In Nigeria, a country that has a taste of extra spicy food, Kilishi is one of the hottest things you’ll eat. bird story agency