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Growing up immersed in Zimbabwean music, Selmor Mtukudzi blends its new and old sounds. She's also committed to authentically reflecting her father’s influence. Derick Matsengarwodzi, bird story agency At the age of ten, Selmor Mtukudzi accompanied her father to her first studio recording. By then, Oliver Mtukudzi, was a household name all over Africa and known fondly worldwide by his fans as 'Tuku'. Today, Oliver Mtukudzi is considered an icon among the continent’s club of artistic heroes; he addressed social issues as a musician and actor and acted as a goodwill ambassador for the UN’s children fund. He also mentored young musicians, including his own children. His career spanned over four decades until his death in January 2019. Now, Selmor and others in the Mtukudzi family are working to continue his legacy in their own ways. “Growing up in a musical household, I was immersed in the rich heritage of Zimbabwean music. My father’s melodies, rhythms, and soulful lyrics resonated with me from an early age. His commitment to authenticity and storytelling left an indelible mark on my creative spirit,” Mtukudzi said. Singing mainly in Shona language, like her father, Mtukudzi’s debut album, “Shungu” was released in 2008, followed by two joint albums, alongside her husband Tendai Manatsa. Mtukudzi’s most iconic song is “Nguva Yangu” which has a million views on YouTube. The heartfelt track, released in 2013, reflects on love, memories, and the passage of time. One of her songs, “Zvidikidiki” from her 2015 5th album “I Am Woman” won two awards out of the four she was nominated for. That same year, she joined eight prominent African female singers, including South African singer Judith Sephuma and Nigerian hitmaker Yemi Alade, to campaign for world leaders to tackle poverty by addressing gender inequality. In 2011, before her father’s absence, Selmor joined forces with her sister, Sandra, to bring their version of Tuku Music to the stage. The two siblings entertained fans with Mtukudzi’s yesteryear popular tunes and signature moves. They worked together until Sandra’s relocation to the UK at the end of 2023. “I have worked with my sister Sandra since 2011 as both my manager and backing vocalist. Last year, she moved to the UK permanently. So, we don’t work together anymore. But I wish her well in her new journey. We worked together very well,” Mtukudzi said. Although Sandra has taken a different professional route in the UK, and music has taken a backseat, she is still open to collaborating with her sister. Now, as a solo artist, the beat goes on for Selmor as she concentrates on creating her own footprints, albeit influenced by the late icon. Like her late father, she trusts in versatility, having been exposed to and explored various genres, from Afro-jazz to contemporary sounds. When composing, she experiments with different chord progressions, harmonies, and rhythms, sometimes starting with a simple melody and building from there. “In honouring my father, I strive to blend tradition with innovation, creating music that speaks to our shared roots while forging my own path. His spirit lives on through my melodies, and I carry forward the torch of Zimbabwean music with pride and reverence.” Ethnomusicologist Darling Nemutambwe believes Selmor and Oliver Mtukudzi occupy different music genres in the Zimbabwean music scene. “Oliver Mtukudzi was more into contemporary jazz, while Selmor sings contemporary pop, therefore, the only similarity is that they are both contemporary musicians. But from a musician’s perspective, she has a lot to learn in pop, such as catch lines, that will make a song viral, and melodies, which will impact society,” Nemutambwe said. “Selmor has her own flare, even the instrumentation. The two have two parallel music parts. From a layman’s point of view, her music is good, that’s she has made a name for herself, you cannot talk about the Mtukudzi family, leaving Selmor out of the equation. She has an audience, a following, and from that, she is good enough,” he added. However, on the stage, Selmor has a delicate balance to maintain: playing her own music, as well as fulfilling the demands of her father’s fans. “I just make sure that I play some of my father’s music at my shows. People always ask for his songs and when I play them, they really love it. I’m glad they can see my father in me.” Luckmore Vheremu is one such fan. He grew up listening to Mtukudzi, and to this day, he still adores his beat. “I grew up listening to Mtukudzi, it was the music of our generation. His ability to transcend from traditional, gospel and Afro-jazz, and singing in both vernacular and English, captured a wider, global audience,” he said, with nostalgia. “Now that he is gone, his legacy lives on through his recorded music, his children, and the sweet memories we have of him, will live with us for generations.” Clive Mono Mukundu, a guitarist and music expert who played for Oliver Mtukudzi’s band for four years and part-time until his death, shared that children of legends continuing their parents’ legacy is a global trend. “It is very important for legend’s children to continue in the footsteps of their fathers, if you check around the world, Bob Marley, Fela Kuti in Nigeria, here in Zimbabwe, and Lucky Dube in South Africa, they [children] are all following in the footsteps of their fathers, as long as they are talented it works, and it is a good thing to maintain family legacy,” said Mukundu. Mukundu, however, noted that for them to last longer in the industry, they must release more original material, rather than depend on the legacy of their parents. “The challenges faced by children of legends is the people don’t allow them to grow, they want them to start on a higher level, just like their parents, forgetting that their parents even started making mistakes, until they finally made it, and became famous. They face a lot of criticism and comparisons with their parents, and if they are not strong, they may even quit.” Selmor is also building a career in an industry that is changing, from its fan preferences to how Zimbabweans and Africans are consuming music. According to Statista, “while traditional Zimbabwean music remains popular, there has been a growing interest in international music genres such as hip-hop, reggae, and pop. This trend reflects the globalisation of music and the influence of international artists on the local music scene.” Statista notes that the music events market - that is concerts and live music that Selmor is a part of - in Zimbabwe, is projected to reach US$55,000 in 2024, with an 11.90% growth by 2028 to around US$87,000, and the number of users reaching 296,500 by 2028. Regionally, the African music market is anticipated to reach US$533 million in 2024, with music streaming contributing US$410.7 million. While Selmor does not have a Mtukudzi family member with her on stage anymore, she has her husband, Tendai Manatsa. Manatsa, also a musician, is influenced by his late father, Zex Manatsa, Oliver Mtukudzi’s friend. The two children of Zimbabwean legends share a symbiotic relationship. “I thank God that I am married to a musician. My husband, like me, comes from a big musical family here in Zimbabwe. His father, Zex Manatsa, was my father’s mentor. So, he understands what I have to deal with in music. He is always by my side fighting the good fight with me,” Mtukudzi said. Emulating and standing in the shadows of late icons is not easy, it comes with its own pressures and comparisons, however, Selmor, now aged forty-one and years from her first studio session, believes her musical upbringing motivates her to press on despite these challenges. “I aspire to create quality music that touches hearts and transcends borders. Tuku’s legacy isn’t static; it’s a river that flows. I want my music to inspire others – to dance, reflect, and connect. When listeners feel the rhythm, they’re part of this evolving legacy,” Mtukudzi said. bird story agency Useful link: https://www.statista.com/outlook/dmo/eservices/event-tickets/music-events/zimbabwe#revenue https://open.spotify.com/artist/179SjQ8lIQYYKVDgn3swPD?autoplay=true

At the Africa CEO Forum 2024 in Kigali, leading African women business leaders discussed funding challenges linked to gender inequality. The forum also highlighted some of the initiatives financial institutions are taking to close the financing gap. Patrick Nzabonimpa, bird story agency Speaking at the CEO Forum 2024 in Kigali, Rwanda, last week, Marie Ange Mukagahima, founder and CEO of Zima Healthy Group Ltd voiced her frustration about the difficulty of securing funding for business expansion. The main challenge, she explained, is that lenders focus more on collateral than on evaluating the demand for her company’s products in the market. “They should focus on the potential of my business, not just collateral,” said, whose company produces natural, pumpkin-based products. “They should be asking ‘who will buy your products?’ instead of ‘what can you put up as security?’ That's what has been holding me back from getting the loans and investments I need.” Mukagahima's experience reflects the ongoing challenges faced by African women looking to secure startup funding. According to Africa: The Big Deal, a startup funding data tracker, in 2023, startups with solo or all-female founders secured just 2.3% of total African startup funding. This rises to 15% for teams with at least one female founder. In 2022, these figures were 2.4% and 13%, respectively. The challenge extends beyond startups and impacts other women entrepreneurs as well. The African Development Bank (AfDB) sees a US$42 billion financing gap for African women entrepreneurs compared to men. The bank attributes this partly to the misperception that women are riskier borrowers due to a lack of collateral and financial experience, leading to their loan applications being rejected. And yet, closing the gender gap in entrepreneurship could add a US$2.5 trillion boost to Africa's GDP by 2025, according to the World Bank. One of the women leaders championing financial access for African women entrepreneurs is Angela Ngo Ndouga, CEO of Yellow Factoring, a Cameroonian company that provides financial solutions to SMEs. The company directly addresses the funding gap by purchasing invoices from SMEs, particularly those led by women, to provide them with immediate cash flow. When the SMEs sell their invoice, they receive a percentage of the invoice value upfront, typically around 70-90%, which allows them to meet their immediate financial obligations, such as paying suppliers, employees, or investing in growth opportunities. "Women-owned SMEs need a champion who believes in their potential, and that’s what we are doing. At Yellow Factoring, we are providing a solution offering them working capital within a year. To date, we've impacted over two million individuals, supporting them on their path to success," Ndouga said. The need for more gender-neutral funding and support for women-led businesses is urgent, as highlighted by Chilufya Mutale, Co-Founder of Premier Credit, one of the leading financial technology firms in Zambia. Premier Credit has taken steps to offer microloans, supporting local entrepreneurs and small-scale traders, many of whom are women. They provide alternative funding solutions through the microloans and a Peer-to-Peer (P2P) lending platform powered by artificial intelligence, which connects investors with borrowers, expanding access to capital even in remote areas. In their quest to financial inclusion, Mutale said Premier Credit has forged partnerships in mobile financial services. These partnerships, she explained, ensure that individuals without access to physical branches can still participate in the financial system. #### Merging capacity-building initiatives with financial support Women entrepreneurs often tend to be over-mentored and under-capitalized, according to Asahi Pompey, President of the Goldman Sachs Foundation. Speaking at the Africa CEO Forum 2024 on May 16, she highlighted the need to address unequal opportunities faced by women entrepreneurs through a combination of educational support and financial backing. The foundation created a free online curriculum called "10,000 Women" to provide education to women entrepreneurs. Over 100,000 women from more than 200 countries completed the program, said Pompey, yet the issue of inadequate funding remained. “That’s why we partnered with the International Finance Corporation (IFC) to create the Women Entrepreneurs Opportunity Facility where we’ve now catalyzed $3 billion of lending to women entrepreneurs in 56 countries [especially Francophone Africa]. We want more women to access these programs because we understand their potential. Now we've got to match that with the know-how,” Pompey said. One of the challenges in lending to women is the informality of their businesses and the lack of data for credit assessment. This prompted Josephine Anan-Ankomah, Managing Director of Ecobank Kenya, to advocate for challenging conventional practices, resulting in the creation of Ellevate, a flagship gender financing program by the bank. "It goes beyond just providing loans. We focus on empowering women with the skills they need, connecting them with potential customers, and then finally providing access to financial resources. Why this approach? Because simply giving women access to loans for their small businesses (SMEs) isn't enough. We need to empower them first. That's how we challenge the status quo." Anan-Ankomah explained. #### Beyond CEOs: women needed in all financial roles, special programmes Financial sector needs women at all levels, not just CEOs. For instance, in Rwanda, despite 50% of banking sector CEOs being women, men hold most frontline positions. This creates a perception that financial services cater primarily to men, said Pitchette Kampeta Sayinzoga, CEO of Rwanda Development Bank (BRD), adding that challenging traditional gender roles, especially in financial decision-making, is equally important given that 86% of Rwandan women consult their spouses before making final investment decisions. “Women tend to overestimate the risk that comes with taking loans,” she continued. “In fixing that problem via highly targeted financial literacy programs, it is important that we do it separately from men.” In addition to other efforts to address the challenge, BRD took a unique approach in September 2023. They issued their first-ever sustainability-linked bond specifically to raise funds for SMEs, including specific targets to support women-led businesses. "We've made a commitment to doubling the number of women-led businesses in our portfolio," explained Sayinzoga. "To incentivize achieving this goal, there's a financial reward system in place. If the target is met, the bank's treasurer receives a 40 basis point reduction on a relevant financial metric; missing the target results in missing out on these incentives. There's also a penalty of 60 basis points for failing to report on progress towards the target. Initially only 12% of our portfolio consisted of loans to women-led businesses; we aim to reach 30 per cent by 2028.” bird story agency

Today, the Masakhe Ladies’ Stokvel is a lot more than a savings group. And it all started with a New Year's dream, shared between two sisters. Robyn Smith, bird story agency Jeanette Nobantu Kenya Malgas sits on her sister’s bed, a strange mix of pride and sadness in her eyes as she surveys the room. “She had gathered her children around her to pray that evening, she was sitting here, just like I am. They prayed together but by the time they said Amen, she didn’t come back from the prayer.” Malgas’ 51-year-old sister, Ntombekhaya “Ntosh” Nyama-Plati was declared dead on 21 November 2022, just two days before her birthday, having suffered a heart attack during the family’s nightly prayer session. It was a huge blow not only to her family but to the dozens of women whose lives she touched. Just three years earlier, Nyama-Plati had been living in a leaking tin shack in Gugulethu, Cape Town. When she fell asleep on 1 January 2019, she had a dream - so vivid and convincing - it jerked her awake at 4 a.m and had her reaching for someone to share it with. “My phone rang and it was her, saying she’s at the gate. I was confused because she’d just left my house a few hours earlier. We’d celebrated New Year’s together.” Malgas said. Nyama-Plati told her sister she’d had a dream they should gather women in the community and start building each other houses. Malgas was perplexed and slightly amused, but allowed her younger sibling to continue. Nyama-Plati explained that women in the community had been pooling their money in monthly "stokvels" (informal community savings clubs) for decades to buy groceries or clothing, but still found themselves living in poverty, without ever owning a house to call their own and leaving nothing behind for their children. Why not pool money to build decent homes? The sisters put the idea on Facebook and within hours, dozens of women between the ages of 25 and 72 had responded. A week later, the Masakhe Ladies Stokvel was born. “Masakhe” is an isiXhosa word that translates to “let’s build". “When the Stokvel officially started, we had 40 ladies. We opened a bank account and each of us contributed 2,500 rand (about US$135) every month. Each month, one lady received the total amount of 100,000 rand (approximately US$5,400). They had to immediately use it for building materials and builders, not for food, clothes or cars,” Malgas explained. “Construction normally takes three to four weeks because the next month, we must start building another house.” Within three years, the women had built 36 new houses and completed renovations or improvements on four existing homes in Gugulethu and surrounding areas. “We did great!” Malgas beamed as she walked out of the bedroom and into a kitchen with shiny red cupboards and sparkling appliances in a double storey house in Gugulethu, where her sister’s tin shack once stood. “I wish she’d wake up,” Malgas said, before she went downstairs, where Nyama-Plati had used part of her Stokvel savings to build rental units and a shop for an extra income. The Masakhe Ladies Stokvel has remained strong, even after Nyama-Plati’s untimely death. It’s registered under South Africa’s Companies and Intellectual Property Commission, with Malgas as co-founder and director, and Ondela Malgas and Malgas’ daughter, Gabriella Kenya, as directors. Malgas encouraged her daughter to join the stokvel when she was 25. For her, it’s been the gift that keeps giving. “As one of the youngest members of Masakhe, I can safely say joining the stokvel was one of the best things I ever did for myself because today, I own two flats and have an extra stream of income,” Kenya said. Malgas is clear that the Masakhe Ladies Stokvel was never just about building decent houses. It was, and still is, about uplifting and empowering women to dig themselves out of poverty and lay a solid foundation for generations to come. To continue building, one brick at a time. For many others, it’s been a lifeline. For Patricia George, it was a lifeline she never knew she needed. George shared her experience in the courtyard of her home in Nyanga. She’s on crutches, calling for her son to bring her wheelchair. George had just signed up for the stokvel when she was hit by a minivan while walking to a nearby shop. She spent the next seven months in hospitals and rehabilitation facilities being treated for a serious spinal injury. “It was hard, but I knew I had been given a second chance to live. I used my children’s government grants and the little my husband was earning at the time to continue paying the stokvel,” she recalled. In August 2022, George received her payout and built two rental units behind her house. She’s since built another four rental units from the income of the first two. She’s also built a gym and bought a treadmill, in the hope she can exercise and walk unaided one day. In the meantime, George is now saving the rental money from her six units to renovate her house so it can be wheelchair-friendly. Ntombekhaya Nyama-Plati would be proud. Not only did the Masakhe Ladies Stokvel achieve her dream of building decent houses for women, they’ve also attracted the attention of the government and small businesses. These days, they’re receiving support and training in construction so they can do the building themselves. The Stokvel has also registered other cooperatives to teach skills like brickmaking, carpentry, IT and healthcare. And they’re raising funds to expand Masakhe. Malgas believes more communities should follow the Masakhe Ladies Stokvel model. “This housing backlog affects people all over the world. It’s a crisis that is not easily solved. But Masakhe’s way of doing stokvel, people grouping themselves and building themselves, is better than waiting on databases forever,” she explained. According to South Africa's national statistics service, Stats SA, there are more than 2.2 million people on the country’s housing waiting list. “It is already the case that most housing in Africa is produced by people themselves. A lack of government capacity and a mismatch between people’s earnings and what formal private housing costs means that people have largely had to rely on themselves and their communities to build homes,” urban policy researcher at Ndifuna Ukwazi, Nick Budlender, explained. “However, governments could do a lot more to support people so that they build safe, decent, and secure housing that truly meets their needs and improves their lives,” Budlender added. Academic, Kwame Addae-Dapaah, also believes ordinary people are the answer to the housing crisis in Africa. “Unleashing the latent potential of the urban poor of Africa to build cheap houses for themselves - something no-one else can do for them – is the most pragmatic, socially, culturally, economically and environmentally feasible way of solving the urban housing affordability problem” writes Addae-Dapaah in his research paper “Urban Housing Affordability Problem in Africa: A Search for Pragmatic Solution?". On a continent facing a housing shortfall of over 51 million units, Malgas’ message to fellow women is life-transforming: “Don’t wait on the government. Organize yourselves. Do your thing. Women can do it. Women are the world. Women are the wheels.” bird story agency

Known as "The Kenyan Poet", Njeri Wangari is recognized for her pioneering work in African poetry blogging. Wangari's journey into poetry began in 2004, coinciding with the emergence of spoken word performance in Kenya. She is considered one of Africa's first contemporary poets and one of Kenya's earliest spoken word artists. Esther Musembi, bird story agency When Njeri Wangari walked into the spotlight at an event in Nairobi in May, it was clear she had command of the stage. The DJ cut the house music right on time and Wangari launched into her lines of poetry at the open mic event. With her brightly patterned kitenge kimono and commanding voice, Wangari wowed the Mother's Day crowd, with the audience snapping their fingers - considered clapping in spoken poetry circles - in all the right places. She finished her performance with another spoken word piece celebrating women and mothers, to which she received a standing ovation from the crowd - including her kids, who had tagged along. According to her website, Wangari, 43, is “that woman who, in a room, will be having animated conversations peppered with hearty laughter.” It goes on to describe her as a person who thrives on the presence of an engaged audience where large crowds feed her energy. Spot on for someone who goes by the title of poet, storyteller and communications strategist. Wangari was raised by her single mother with her grandmother who was an avid storyteller and one who ingrained in Wangari a passion for storytelling. “I grew up around stories, my grandmother loved telling stories, and so now when I started interacting with stories in the form of storybooks in primary school, I realised, these are the same stories my grandmother was telling me!” she remembered. “In the Kikuyu culture, there are lots of stories of marimo, ogres, and so a lot of those stories I grew up listening to her tell me, and then I would interact with those stories in the form of storybooks,” she explained. It wasn’t just lessons in storytelling that she was receiving. Her grandmother would narrate these stories in Kikuyu, Wangari’s mother tongue, which instilled in her a fascination with languages and identity, and which would later become a recurring theme across her work. Wangari also became adept at learning new languages, something she discovered at school. “And so, I think in primary school, when I was learning English, I realised that I really had a fascination for language, I'd pick up very fast.” Her interest in language morphed into storytelling. Then, at high school, she first interacted with poetry in its pure form. “I interacted with poetry by Marjorie Oludhe Macgoye, Joseph Rubadiri, Okot p’ Bitek, and that just blew my mind! I loved the way poetry was able to convey such deep themes, used such beautiful ways of conveying messages that were not in your face, they were not spelling out everything, it was up to you to figure it out.” It was this deep appreciation of poetry that in 2004 propelled her to start a blog dedicated to poetry. This soon gave rise to her popular moniker, The Kenyan Poet. In her professional life, Wangari worked as an IT specialist for an internet service provider. While balancing her creative and professional life proved tricky, on the flipside, her work gave her access to the internet, which was limited at the time. That access helped her in her blogging journey. Publishing her poetry online opened her up to performance. Twitter, now X, had just been launched and Wangari used this platform to connect with other poets for poetry events which were not so many back then. One such platform was Kwani! Open mic spearheaded by the late Binyavanga Wainaina. “Back then, there was only one platform that was available, Kwani!. So Kwani! had an open mic every first Tuesday of the month where I had my first ever stage to be on and perform,” she reminisced. Kwani! became a place where she honed her skills through mentorship and the opportunity to diversify her art form. She could write and perform in English, Kikuyu, and in Kenya's special township slang, Sheng. She was not confined to language, structure or performance style, which was very important to her. “That (Kwani!) became a very important platform for me to hone my skills, because there hadn't been any other platforms to perform apart from music festivals and also because Kwani!, the publication itself, was anti-establishment,” she said. Margaretta wa Gacheru, a veteran journalist and one of her earliest mentors, supported her storytelling journey and artistic pursuits. “I think she's much of the pioneer, a very progressive woman, enlightened and a go-getter. She's not a follower. She's a leader. And she has charisma which attracts people to her,” wa Gacheru explained. In time, Wangari left her IT career to focus and expand on her poetry, which provided a foundation for her as a storyteller and later led to the founding and establishment of her communications firm, WangariPR. “I would succumb to people's need to box me. Like I need to be in a neat box where people know how to define me and I was struggling with that because I love all these things.” “For me they make sense because I see the thread that weaves through all of them. When I'm doing an article, I’m a freelance journalist; when I'm writing a poem and I'm performing it, it is also a story; just different mediums, different packaging for different audiences,” she explained. It is through this ‘going back to basics’ as she puts it, that AfroKidz was born. KenyaBuzz describes AfroKidz as a ‘socially conscious venture that is reshaping the way children engage with their roots.’ “I am passionate about storytelling, about African languages, and I am passionate about our history and our culture. And now I've been able to find a separate avenue for my love for storytelling for children because that's a space that I feel, having three young ones, that they're not enough storybooks for African children,” she explained. “I have hung ups from my childhood. I grew up at a time when the only stories that were available were Cinderella, Little Red Riding Hood, Rapunzel and those things gave me trauma,” she reiterated. At AfroKidz, Wangari uses storytelling in various forms including poetry, flashcards, and stories to teach and help kids appreciate their culture and identity. She was also driven by the fact that she was now a mother and very intentional on the type of content her kids consumed. “My husband and I have always been very intentional about the kind of stories that we read for them or find for them and so that's how AfroKidz came about.” Afrokidz birthed Tusome Hadithi, a storytelling podcast where African children’s stories are told in audio/video format. Paying homage to her first love, and a product of mentorship as well, Wangari mentors spoken word artists, some of whom have grown and created their own niche such as Dorphanage, a Nairobi-based spoken word artist. “I was hungry for excellence, to learn. And that, especially from the people who came before me,” he said of Wangari. Dorphanage's work is deeply inspired by African culture and the question of identity, something they share with Wangari. “Our works are similar; our love for Africa, our love for culture, and then our love for people and their struggles. My work is a reflection of that a lot.” he reiterated. Beyond her artistic pursuits, Wangari is an avid recreational runner as seen on her website where she creates stories on the same. It’s this passion that inspired #PoetryPlacards, which she describes as “running placards and signs with homegrown punny, funny, inspirational Kenyan messaging.” She has also been coining motivational quotes which she designs using photos of Kenyan elite and recreational runners. “It was just an observation that I had been making over time that, as Kenyans, we are known for running, but if you were to do a Google search of running quotes, you will not find any apart from one from Eliud Kipchoge, ‘no human is limited’”. The placards started as motivational quotes before she made them relatable with “Kenyanised”, funny, quotes. “I am a storyteller at the end of the day. I needed to be very creative about the way that I'm going about the storytelling.” she said smiling. Wangari hopes for more collaborations in the future, she is also looking to publish some children’s books as part of AfroKidz. bird story agency Useful links: https://kenyanpoet.com/communications-consultancy/ https://www.instagram.com/afrokidztrust/?igsh=MW0yYnlpcmF5cmx0dw%3D%3D https://www.afrocritik.com/dorphanage-kenyan-spoken-word-artist/ https://kenyanpoet.com/

When her parents enrolled her in a vocational school, Augustine Mabiama thought they had blighted her future. Years later, as a recognised brand in the growing African fashion industry, she sees that decision differently. Patrick Nelle, bird story agency In one corner of a busy fashion house in Douala, Cameroon, designer Augustine Mabiama is in the middle of a photo shoot, using a makeshift photo studio equipped with an 18-inch light ring and a smart phone on a stand. Showcasing a whole range of outfits of different styles and colours, Mabiama checks the lighting quality of the images. Making a few adjustments to the clothes in preparation for the next shot, she walks back in front of the camera, poses for a moment, then walks back around the light ring to check the image. This is all part of a slick and professional routine. Mabiama is the founder of Nakuin Couture, a fashion house that has cemented her reputation across the country. The chosen pictures - with herself as model - will go through an edit process, and in the coming days, they will land on the Nakuin Couture Instagram page. “Social media marketing is key”, Mabiama explained, as she navigated the middle of racks and shelves inside a busy showroom. “I recently bought this shooting set and this iPhone for the purpose of promoting my creations and the brand” she explained, showing off her newly acquired gear. Mabiama's story of founding a Cameroonian fashion powerhouse is also a tale of escape from convention. Born and raised in a middle-class family in Cameroon’s capital, Yaoundé, Mabiama was expected to fall in line with other young people from her social background, who would traditionally follow an educational curriculum made up of sciences and humanities and then join the local corporate world. By the time she was 12, Mabiama had completed her primary school and was very enthusiastic to start secondary school. Thinking that she would follow the same path as her siblings, Mabiama discovered that her parents had made a surprising choice for her - they enrolled her in a vocational and technical high school, to follow a garment industry curriculum. Mabiana recalled being very upset by her parents’ decision. At the time, there was a largely negative perception of vocational school curriculums. “There was a widespread social bias in vocational and technical teachings. The students there were viewed as failed students. I mean, students who had proven unfit for traditional sciences and humanities curricula, and who had been reoriented there as a remedy to their failure”, she explained. “Today that perception has largely evolved, but back in those days, youths exclusively dreamt of careers such as well-paid corporate executives, not of less socially rewarding jobs like tailors or hairdresser/beautician,” Mabiana added. The decision deeply pained Mabiana and led to many tearful moments. She questioned whether her parents actually wanted her to have a good future. Reluctantly, she made the effort to be a good student. After seven years of secondary school, she graduated, and considering her debt to her beloved parents paid, looked forward to embracing what she considered a “normal” university curriculum. She applied to Yaounde’s University School of Economics. Unfortunately, the school no longer accepted students with a technical vocational background, so she wasn’t admitted. Then she heard about a local programme enrolling students and sending them for studies in Italy. However, her attempt to take that route failed due to an issue with her passport. Months passed and Mabiana despaired. Then one day, as she was watching the news on television, she learned about the opening of a new university in Yaoundé, the Cheick Anta Diop School of Arts and Crafts. The school proposed a fashion design curriculum. Mabiana gathered her resolve and made the leap. It would change her life. “I said ok. I will go into it, but I will do things differently, I will bring something to the industry,” she said. In 2009, Mabiama obtained her fashion degree from the Cheikh Anta Diop School of Arts and Crafts. She immediately started to work from home, creating and making clothes for clients with an old sewing machine. Her brand, Nakuin, was born from this modest beginning. Her initial profits were allocated to the purchase of more robust production equipment. To promote her products, she invested a lot of resources in organising fashion shows, and attending expos and fairs. As her brand became increasingly recognised in fashion circles in Cameroon, Mabiama realised she would need a retail outlet. Having resettled in Douala, she opened Nakuin Couture boutique in Bonapriso, an upper middle-class neighbourhood located on the southside of Douala, in 2014. Thanks to a sound marketing strategy and entrepreneurial flair, Mabiama is today recognised among the most iconic Cameroonian fashion designers. However, building and maintaining her brand hasn't been without its challenges. The local garment industry is struggling to cope with a flood of some US$50 million in second hand garment imports, according to the Cameroon National Institute of Statistics. This has decimated the domestic manufacting base and made it increasingly difficult for boutique operators like Mabiama as skills and resources exit the sector. “There are persisting problems affecting the garment industry growth. Difficulties in finding skilled workers and finding raw materials like good quality fabrics on the local markets. There is also a lack of access to finance and many other things,” Mabiama said. However, the fashion entrepreneur believes that for every problem, there are solutions. Her answer is to keep standing out in a difficult environment through constant learning and training, she explained. “I attend training sessions and seminaries in various fields that could help me. I take every opportunity to travel, to discuss and exchange with people. Recently I hired a professional to receive some training in community management,” she said. Cultural entrepreneur Patricia Bowen is a longtime and loyal customer of the brand. She saw Mabiama’s work for the first time during a gala night in which some fashion designers had been invited to showcase their creations. “I was stunned by her ability to play with tones and colours on each of her creations,” Bowen said. Another feature which impressed her was the quality of the finishing. “The final touch and the finishing of her garments are simply exemplary,” Bowen added. Freddy Manyongo is the founder and organiser of Mboti Week, one of the most important fashion gatherings and shows across Cameroon. For him, having a vision is what made Mabiama stand out in her field. “Augustine Mabiama is certainly one of the most prominent stylists in today’s Cameroon. What makes her stand out with her brand in a tough local environment is that she has a vision. We have plenty of fashion creatives, but only few have a clear vision of what they want and where they are heading to as designers,” he said. “It’s not something common for a designer to have your showroom which has been successful for more than ten years,” he further explained. “She was the only designer to have a yearly big show for each of her collections.” While Mabiama believes she still has a long way to go, she is optimistic about the road ahead. “There are challenges, but there are also opportunities. I hope to open more boutiques in the near future, and expand. Why not expand the brand across Cameroon and outside?” bird story agency Useful links: https://www.instagram.com/nakuin_couture/?hl=en https://ins-cameroun.cm/en/statistique/commerce-exterieur-du-cameroun-en-2023/

Inspiration from a Nigerian furniture maker and funds stashed for a trip to Dubai allowed Emily Wangui to start her dream journey. Less than 2 years later, Furniture Zoo is thriving. Hope Mukami, bird story agency A rainbow of brightly coloured furniture fills a showroom on Nairobi's Quarry Road, with the noise of hammers and saws serving as background music for the craftspeople and visitors in the busy space. Sunlight shining through the showroom windows, illuminates a massive white board with the word "PROGRESS" written across it. Emily Wangui - who goes by the name of Wakeji Kamore on her social media sites - is a ball of excitement as she moves around from workstation to workstation, adding an extra layer of energy to the already bustling room. “I like to describe myself as a perfect balance of an aggressive and bubbly lady," said Wangui, 38, proprietor of the space aptly named Furniture Zoo. Pulling her team around her, Wangui used a bright blue marker to update a list of projects under the PROGRESS sign. Nothing escaped her interrogation; raw materials quality, joinery craftsmanship, and wood finishing are all evaluated. While Wangui says she has always been an interior designer at heart, everything she has built at Furniture Zoo is the result of a serendipitous moment online, when she came across 26-year-old Jumako Dada, a Nigerian, who built her successful furniture store, Taellio, from scratch. “I happened to search Furniture Manufacturing on YouTube and I bumped into her interview. The fact that she is a young lady in the wood and carpentry sector was so inspiring, what she has achieved is exactly what I was dreaming of doing, and in that moment, I realised that every dream I have is already someone else’s reality and it can also be mine,” Wangui explained. Driven by an insatiable need for creation, Wangui knew she had to find an outlet. Dada's vision was her answer. However, starting a furniture business from scratch required more than just a dream. A huge effort was required to find funding for the warehouse space, machinery, raw materials and employees. “Fortunately, my friends and family believed in my business as much as I did, forming my own personal loan squad. I had made some savings for a vacation to Dubai, but this enterprise offered the prospect of an endless journey. A birthday in paradise or building something that will last? My business won!” With 18 months of doing business under her belt, Wangui currently manages a team of roughly 20 people, with 14 salaried core members handling administration, joinery, and finishing, and five contractors bringing experience in sofa framing, upholstery, welding, and lathing. “We facilitate about 10-15 orders per month and each order can have anything between 2-100 furniture pieces depending on whether it is residential or a commercial space,” Wangui said. A well-coordinated team helps Wangui meet client expectations from the first order, through to delivery. Client favourites include cozy accent chairs, dining tables, sofas, and beds. Wangui ensures that products are custom-made to the client’s requirements, including style, size, wood grains, staining, and varnishing. This is made possible by her vast number of employees who have perfected their niche. Morris Ouma, a wood joiner, is one of them. “Not only have I found stability and security in my job, but I've also been able to pursue my passion for woodworking on a whole new level. For instance, I remember one project where we were tasked with designing and building custom furniture for a local cafe. Seeing the finished pieces in use and knowing that my work is enhancing someone else's space was incredibly rewarding,” Ouma said. “But perhaps the most significant impact this job has had on my life is the ability to provide for my family in ways I never thought possible. Thanks to the steady income and benefits provided by Furniture Zoo, I've been able to give my loved ones the stability and security they deserve. Whether it's putting food on the table or taking my children to school this job has made it possible,” Ouma added. A few moments have stood out for Wangui at Furniture Zoo. "You know, there are two moments that really stood out for me. The very first order - that a complete stranger trusted us online, sight unseen, to deliver their dream furniture - that was a massive confidence boost,” she said. Another moment was their first restaurant furniture project, when they nailed the turnaround time and impressed their client with the final pieces. This cemented everything for Wangui. “We weren't just furniture makers anymore, we were building the heart of someone's business, and we did it right,” she said. Wangui delights in the diverse number of customers who walk through the doors of Furniture Zoo. 60% of her clients are foreigners who have made Kenya their home. Another 34% are Kenyans who live in the city's suburbs and are looking for distinctive pieces for their homes. Furniture Zoo's reach is now extending beyond houses; 6% of their clients are resorts, hotels, and restaurants, who rely on Wangui's staff to create the ideal mood for their establishments. “I'm thrilled to share that Furniture Zoo craftsmanship truly exceeded my expectations. From the moment I stepped into Emily’s showroom and workshop, I was impressed by the quality and variety of her pieces and Emily’s interior design insights. Not only did I find exactly what I was looking for, but her staff's expertise and friendly assistance made the whole process a breeze,” Nishit Shah from Tavo Fusion, a local restaurant, said. Wangui is tapping into a growing furniture industry, with rapid urbanisation in Nairobi and across the region driving demand for furniture to fill a fast-growing housing market. Residential construction in Kenya makes up more than 50 percent of a market worth over US$16 billion a year, according to London-based global analytics and consulting company, GlobalData. Wangui's challenges started early on. “My first challenge was knowing what machines and tools to purchase for the business. I was completely green in this area, which meant that I had to trust a carpenter to list for me everything that was needed for furniture manufacturing, from the electrical planing machines to the power tools, all the way to the size of the nails we needed. That carpenter is still on my team in the joinery department,” she said. She also believes that being a woman has set her apart in the industry and even opened more doors for her. “Being a woman in the furniture manufacturing business works out in my favour, mostly women are tasked to furnish homes and even hotels, and restaurants. While there are spaces that will be hard, like buying timber from the yards and leading a team of more male employees than women, it is also an opportunity for growth, and if you come into that space ready to learn, there is more benefit than challenges,” Wangui concluded. bird story agency

When Simelokuhle Zibengwa finally walked away with a prize for her work, it came as the culmination of years and years of gritty, determined work and a life-long dream to express herself, in her own way. It was also a win for the women sculptors of Zimbawe, a tiny minority battling it out for recognition and reward in a field of internationally renowned male artists. Tafadzwa Mwanengureni, bird story agency The sounds from Chitungwiza Arts Centre Complex - 24 kilometres southeast of Harare, Zimbabwe's capital - can be heard from a distance as the the sound of hammers and chisels busily shaping stone carries across the still air of a late autumn day. Inside the centre, the sculptors behind the hammering are too focused on ensuring that each blow is perfectly angled, to pay much attention to anything outside of their work, much less a visitor walking through the complex. Among them is 52-year-old Simelokuhle Zibengwa, one of just 15 women actively sculpting amongst 150 male sculptors in this well-known art space. "Most of my sculptures are in the form of rabbits performing different activities such as drum beating or embracing each other and this is motivated by the stories that our elders used to tell us,” Zibengwa said. Zibengwa’s journey into stone carving dates back to 2002 when she used to work as a "finisher" - someone who washes and polishes the finished sculptures created by other sculptors - at Charohms Sculptures, located in Chitungwiza, south of Harare. When she joined the stone carving profession, Zimbabwe was in its early years of economic and political turmoil making a job as a finisher one of the lowest paying roles. Despite this setback, Zibengwa developed a zeal to upgrade her skills to become a professional sculptor. "I used to admire sculptors at Charohms and their art, so I challenged myself that l should be like them one day rather than surviving on being only a finisher," she said. With more control over her circumstances, Zibengwa made another decision that propelled her to where she is today. "Due to inflation in those days, l couldn't earn much as my salary would lose value anytime so l decided to move to Chitungwiza Arts Centre,” she said. Zibengwa trained under more qualified sculptors and became her own boss at Chitungwiza Arts Centre. Established in 1997 by the then Ministry of Education Sports and Culture, Chitungwiza Arts Centre provides a platform for artists to showcase their work, access resources and connect with other creatives. However, for 17 years Zibengwa’s work didn't win any awards, but she was unshakeable and never lost hope and continued to compete in art competitions. In 2019, she won her first award by Pathfinder Ubuntu, a non-profit organisation, and scooped the prize the following year. "I am a two-time winner of the Nelson Foundation Pathfinders Ubuntu Award for 2019 and 2020 competitions.” She was also the first woman sculptor from Chitungwiza Arts Centre to win the National Arts Merit Awards (NAMA) in 2022. In 2023 she was the first runner-up for the Zimbabwe European Union Exhibition and Competition Culture Month. Now, with every stroke, she aims to leave a mark in the world of art. Chitungwiza Arts Centre Chair Tendai Gwaravaza applauded the courage portrayed by Zibengwa and other women in stone carving and further noted that when women sculptors are given opportunities and enough resources they can go far. "Zibengwa is a patient woman and we have been working with her for more than two decades here and she is an expert in her profession. Here we train women, we allocate them spaces to operate and sell their sculptures. Most of them are now skilled equally as men,” Gwaravaza said. Raphael Chikukwa, the Executive Director of National Gallery of Zimbabwe asserted that there are few women in all arts centres around the country. "As for the percentage [of women in sculpting], allow me to say it's not enough. It would be difficult to point out obstacles, but sculpture is very male dominated because the medium is tough, especially in stone sculpture,” Chikukwa said. Chango Chitoko, the Vice Chairperson of Striving Women in Art - a movement that was founded by women sculptors at Chitungwiza Arts Centre in 2020 - concurred with Chikukwa. “Traditionally, our work is male-dominated, but it makes us proud to showcase our talents and capabilities in the field,” she said. Chitoko highlighted a challenge women sculptors encounter that hinders their full participation. "We have limited access to international markets as most middlemen are biased towards our male counterparts. Meaning I won't be able to transport my sculptures for competitions and exhibitions out of the country since I work from hand to mouth,” she said. Gwaravaza re-echoed Chitoko's experiences. "It will be much appreciated if women get access to international markets to sell their products as well as art fairs which facilitate fair purchasing of their products. Also, most of them lack equipment such as cranes and forklifts and this limits them from producing big sculptures,” Gwaravaza explained. This is the case for Zibengwa who aims to create on the same level as her male counterparts. Her lifelong goal has been to produce a sculpture the size of a human or an elephant, but she does not have enough resources. "We fail to produce big pieces because we don't have enough equipment, especially power tools. Also, we lack funds which limits us to purchase large amounts of raw materials,” she said. Zibengwa's lack of access to financial means is shared by the majority of women in the informal sector. A 2022 report by Women's World Banking revealed that women, in three case studies conducted in Colombia, Ghana and Laos, were less likely to access and use formal financial tools and services, including credit. This results in a US$1.7 trillion credit gender gap among entrepreneurs. Such a gap continues to relegate women's capability to reach full potential in their professions, but Zibengwa feels that quitting is not an option. Her long-term goal in the stone carving industry is to reach the international market. “I look forward to going out of the country showcasing and selling my sculptures. If finances allow me, I would like to start making larger sculptures,” she said. bird story agency

Africa's historic arts and cultural festival, FESTAC, will returns to the lakeside town of Kisumu for its 5th edition between August 25th and 1st September. FESTAC Africa Chairperson, Yinka Abioye, and CEO Grace Mumo offered bird a peek into the details of the festival, which aims to celebrate the continent's rich arts and culture. Bonface Orucho, bird story agency After a hiatus of more than 45 years, the Festival of African Arts and Culture (FESTAC), hailed by organizers as 'Africa’s biggest cultural celebration,' is gearing up for its 5th edition. Following successful comebacks in 2022 in Zanzibar and 2023 in Arusha, the 2024 edition will be hosted in Kisumu, Kenya from August 25 to September 1. This pan-African festival promises to illuminate the enduring spirit of the African continent, showcasing its rich tapestry of culture and artistry to a global audience. In a virtual interview with bird, Yinka Abioye, the chairperson of FESTAC Africa, explained that the choice of Kisumu is, in itself, a strategic choice to celebrate African culture. “Kisumu stood out for several reasons. Its vibrant cultural scene, proximity to neighbouring East African countries, and enthusiastic support from local authorities were pivotal factors in our decision-making process,” he explained. FESTAC is one of the biggest pan-African art and culture events in Africa, with roots that stretch back nearly six decades. FESTAC's inception dates back to 1966 when Dakar played host to its inaugural edition. However, according to Abioye, the greatest benchmark is the 1977 edition, hosted in Lagos, Nigeria. “The 1977 festival attracted participants from over 60 countries, with approximately 16,000 individuals contributing to its success,” Abioye explained. As Grace Mumo, the CEO of FESTAC Africa, shares, the 2024 edition aims to emulate the 1977 legacy while simultaneously crafting unique experiences for attendees. The festival has undergone immense evolution, particularly in the desired impact it seeks to create, promising to illuminate the enduring spirit of the African continent and showcase its rich tapestry of culture and artistry to a global audience. “FESTAC 2024 is an impact and life-changing festival. Our message is to advocate for change for Africans and equal rights,” she explained to bird. Some of the planned impact programs include health screening, tree planting, and workshops focused on enhancing mental wellness. “Mental wellness, especially in the creative industry, is another area of focus, with sessions aimed at raising awareness and providing support. We're determined to elevate the arts and culture sector, urging policymakers to recognize its economic potential and treat it with the respect it deserves.” With a diversified program that captures participants of all ages and backgrounds including programs for children and youth, including art workshops, storytelling sessions, and sports tournaments, the festival promises to be a dynamic and inclusive platform that fosters creativity, innovation, and cross-cultural exchange. Already, organizers are brimming with optimism about the anticipated surge in participant numbers this year. Abioye predicts an uptick in attendance, foreseeing a three to five-fold increase compared to the turnout at the previous two editions. “East Africa is expected to have the most delegates; in the Southern African region, South Africa and Botswana are also expected to have many delegates attending,” he explained. Other countries that have shown strong interest include Mozambique, Zambia, Zimbabwe, Nigeria, Ghana, Senegal, Egypt and Morocco. Outside the continent, FESTAC 2024 will also feature groups and individual delegates from the African diaspora and beyond, in a bid to foster a global celebration of African heritage. “We've got a big contingency coming from India, the US, and the UAE. We've got some people coming out of the UK as well as France,” Abioye revealed. “FESTAC is an African festival, but we are all over the world. So the door is open to all of our friends globally to also come and participate as we look at bringing Africa to the world and the world to Africa and growing the continent,” he added. Unique cultural elements ranging from African cuisines to fashion and linguistic art forms will be on full display at the week-long festival. In addition to arts and culture, attendees will listen in on panel discussions on social and economic issues and business forums that focus on building the spirit of pan-Africanism while living up to this year’s theme, “The Africa we want to see.” Mumo highlights a significant increase in gender consideration in this year’s festival with the program featuring tailored programs aimed at empowering women entrepreneurs and fostering gender-inclusive dialogue. “In every aspect, you can think of, the first talk Africa Festival as evolved to increase its visibility and embrace to promote gender inclusivity.. Whether through the planned cultural activities, the exhibitions, we have ensured we have a balanced gender equation,” she explained. “We have quite a number of programs that are very gender focused, especially a women summit that we are putting together on SME Women Entrepreneurship,” she added. Some of the prominent women expected at the festival include Akinyi Odongo, a fashionista from Kenya; Maya Pradeep from India; luxury business lady Carol Bouwer from South Africa, business woman and FESTAC Africa ambassador for Women and Family Fun Fair, Mercy Wamato, she is also the founder and CEO Elgon Group, an events and consulting services company among others. “This way, the festival is creating safe spaces for women to feel free and that they can be included and their voices can be heard in the continent’s arts and cultural economy…,” Mumo shared. “Already we have seen a lot of progress in recent years… we are seeing the acceptance, the journey is slow, but it's surely not being neglected,” she added. Beyond indoor discussions and conversations, this year’s edition will incorporate lots of active events, such as sports activities ranging from soccer, hockey and indoor games such as tennis and chess. A partnership between FESTAC Africa 2024 and the East African Community resulted in an agreement to incorporate the East African Games sporting events throughout the FESTAC 2024 week. As anticipation builds on, social media platforms buzz with endorsements from luminaries across diverse spheres, from esteemed pan-Africanist PLO Lumumba to political figures like Raila Odinga and culture and art icons such as Benny Willis and Euzhan Palcy. Beyond its cultural and intellectual dimensions, FESTAC 2024 is poised to deliver substantial economic dividends, particularly for the local tourism and hospitality sectors. According to Obat Masira, CEO of the Mama Grace Onyango Cultural Centre in Kisumu, visitors to the festival are encouraged to explore the city's rich cultural heritage, including must-visit sites like the Kisumu Museum, Kisumu Impala Sanctuary, Nyanza Golf Club, Dunga Beach and Wetlands Conservancy, and the Commonwealth War Memorial Cemetery. Leading up to the festival's grand opening on May 19th, a flurry of build-up events, including film screenings, dialogues, art residencies, live music performances, exhibitions, and community initiatives like a lake cleanup, promise to set the stage for an unforgettable celebration starting on May 14 at the Dunga Hill Camp. Heavy rains in Kenya and the region forced a postponement of the festival earlier planned for May 20-26. Tickets to the festival range between US$5 (500KSH) for regular one-day access tickets and US$20 (2,000KSH) for regular 7-day tickets. “Through initiatives that promote sustainable development and community engagement, such as tree-planting we aspire to leave a lasting legacy that extends beyond the duration of the festival,” Abioye added. bird story agency Useful link: https://festacafricafestival2024.vfairs.com/en/ https://tvbrics.com/en/news/kisumu-city-to-host-5th-world-blacks-and-africans-festival-of-arts-and-culture/ https://punchng.com/kenya-to-host-festac-africa-festival/

Africa Day, celebrated annually on May 25, marks the founding of the Organisation of African Unity (OAU) in 1963, now the African Union (AU). Ebba Kalondo, is the Spokesperson for the Chairperson of the Africa Union Commission. Her background is in international journalism and development, with a strong focus on the security and humanitarian sectors. She has held leadership roles at the World Health Organization, Fondation Hirondelle, France24, and Reuters. Q: If this was a superhero origin story, what was the AU created to fight, and how has that fight evolved over the years? A: The AU's story begins with the struggle for freedom from centuries of suffering. African World War II veterans were a powerful voice for independence movements. Imagine how it changed them, having to fight in distant lands, to stop another oppressor from conquering and controlling their oppressor? The realisation that all humans bleed, dream, and fear could not be forgotten, minimised, or erased for those who survived and returned home, where they were not treated as equals, or with gratitude and respect. The AU was created to consolidate and support the African push for human dignity and inclusion in the global community and conversation. The fight continues. Now, the AU battles entrenched and sophisticated political, economic, and social exploitation. We are still viewed by much of the world as failed, helpless, and as prey or low-hanging fruit. Q: Africa Day is a celebration, and also an opportunity for a progress report. If the AU could get a grade on its performance so far, what would it be? A: The AU is the world’s biggest social experiment. It’s been the greatest honour of my life to contribute to this multi-pronged effort to pool and synchronise the aspirations, needs, and efforts of 55 countries into initiatives and advocacy that promote peace, health, progress, and sustainability. Africa is not a country. The AU is not a government. This social experiment is constantly under review and adaptation, because everyone seems to know what the AU should be and what it should be doing. The onus of turning that into action rests on our member states and their leaders to be honest, accountable, progressive, and contribute to the greater good. Do we, as ordinary citizens, know what our leader prioritises or how they vote to act when they meet with other Heads of State under the umbrella of the AU? The power and impact of joining forces towards a common goal is key and worth promoting. Q: What are your favourite things about being African? A: Africa has 99 problems, but loneliness isn’t one. Our communal resilience and connection is now globally recognised. COVID-19 taught the world how cooperation and the lack of it can exacerbate global insecurity. Africa taught the world a lesson in the power of solidarity in action despite the reality of the inequity that the continent was faced with in accessing the same global resources and therapeutics as soon as they became available at the same price and time as the Global North countries. Africa led a continental response where we pooled our meagre resources to ensure no one was left behind. It is this sense of Ubuntu, the building block of what it means to be human, and strong political leadership in the face of a global pandemic that became our biggest strength. Others pay a high price for these things, or can’t seem to figure out how to create them, we own them already at even the most basic level. And at the AU level, initiatives like the Africa Continental Free Trade Agreement (AfCFTA) are an actualisation of our desire and ability to integrate our economies and resources towards our legitimate aspirations for a peaceful, integrated Africa. Q: Some young Africans may struggle to relate and engage with events and themes like Africa Day. Why should they bother this year? A: Africa is not a country and no one country on this continent can fight alone against the world. Our collective voice and its intentions voiced as one is our greatest strength notwithstanding, the many challenges facing each of our 55 Member States. The expectations of our citizens are high, and the African Union can and should do more to meet those expectations, from political liberation, to true statehood, economic emancipation and the goal of continental integration through intra African trade and the free movement of goods and people within a world that still views an entire continent with the world’s youngest population as a danger to be contained rather than an innovative and vital member of the human community. The majority of Africans on the continent today were born free, in their own countries, where they can grow and prosper without permission or hindrance. I was not born free. I was an adult when my country Namibia gained independence in 1990. So the past is still very present. In fact, not all of us are free even in 2024. Western Sahara remains occupied. The fight must continue until we are all free to be citizens of our countries in our countries. Now, I’ve worked in Addis Ababa for seven years, as part of a long, concerted, wide-ranging effort for Africa by Africans, since 1963, to have its rightful place in the world. The significance of these changes should not be lost on us, and are worth celebrating. bird story agency Useful links: https://au.int/en/announcements/20230509/commemoration-africa-day-may-25-2023 https://au.int/en/newsevents/20240525/celebrating-africa-day-theme-education-fit-21st-century https://blog.google/intl/en-africa/company-news/outreach-and-initiatives/africa-day-a-celebration-of-creativity-powered-by-the-african-union-and-youtube/

Nongcebo Langa fell in love with wine after a chance encounter with a winemaker at a fair. She went on to study the craft at South Africa’s renowned Stellenbosch University and her passion and mastery of the industry’s technical processes has resulted in her creating award-winning wines, like the 2022 Delheim Gewürztraminer. Taurai Maduna, bird story agency As Nongcebo Langa walked between the barrels of a beverage enjoyed worldwide, a bubbling sound could be heard from the gas emitted during fermentation - part of the journey of every great wine. It's a sound Langa said now makes her feel at home - and stirs her imagination. “We have fermentation, then you age (the wine). You can age three months, six months, nine months, 18, 24 months to five years for MCC - Méthode Cap Classique. This is the method used to make South African sparkling wines,” she explained. Langa didn't grow up expecting to make wine. It took a careers fair and a chance encounter with a winemaker there to open her eyes to what is now her career as a South African winemaker and one of the few black women in the industry. “It hasn't been our thing, but now it's becoming our thing,” Langa said of her community's interest in wine. Nongcebo grew up in Pietermaritzburg’s Imbali township where family gatherings were stocked with beer and spirits. This is no longer the case; because of her knowledge of wines, she has become the unofficial ‘family sommelier’ and wine is now a popular choice at family functions. “'I got this wine, how do I drink it, how do I enjoy it?' are some of the questions I get asked by those close to me who have started to enjoy drinking wine,” she explained. KwaZulu-Natal Province where Langa comes from is known for its sugarcane production and dairy and cattle farming and the thought of studying wines never crossed her mind till she visited the careers fair and heard a winemaker there talk about their work. After the fair, the idea of making wine seemed like an exciting challenge, so she decided to give it a go by enrolling at Stellenbosch University in the Western Cape Province to study Viticulture and Oenology. “Viticulture is a study of grapes and the grapevine. From the soil to the insects in the ground to the weather, the climates, everything around the growth of the vine. And then Oenology is the study of wine. So wine sciences, the microbes, the machinery, the processing of the grape itself, once it gets into the cellar,” Langa explained. She went further in her education and pursued a Master's program, focusing on the influence of wildfire smoke on vineyards. “It's actually becoming much more relevant in the wine industry all over the world where we are seeing a lot of wildfires around winemaking regions. So my research actually focused on trying to help out once the incidence of this has occurred,” she said. After completing her studies in 2018, Langa interned at the renowned Delheim Wines in Stellenbosch - and never left. She rose through the ranks and was appointed winemaker in May 2022. That same year, she produced the 2022 Delheim Gewürztraminer - a white wine classified as off-dry - which won her the 2023 Diners Club Young Winemaker of the Year Award. “The Gewürztraminer is quite a nice and unique grape in South Africa. I think there's about maybe five or so wine farms that actually make wine out of Gewürztraminer. It's exciting to work with and the flavours that come of it are very, very amazing. It's a nice combination of fruits, you've got a nice balance between the acid and the sugar on the palate”, Langa said. Her award came with prize money and a trip to any wine region in the world. She is planning on going to Bordeaux in France in September. “It's one of those regions that are iconic in the world. The wines that come from there are very well known. And, you know, the quality that comes from there is also well-known in the world.” Langa plans to travel when it's harvest season to learn as much as she can - both inside the winery and out. “Wine is a lot about culture as well as the drink and the winemaking itself,” she said, adding that she considers her profession both a science and an art. “Everywhere you go in the world, you're going to learn the same thing about winemaking and then how you express that science, because you learn the science of it, the basics of it, but how you express that, that's up to you.” Langa is certainly in the right environment to grow as a winemaker; according to Statista, South Africa ranks eighth in wine production out of the top 10 traditional wine-producing countries globally. As a wine master, Langa’s work involves monitoring thousands of litres of wine at various stages of production in the cellars. It also involves regularly tasting wine. In the white wine barrel fermentation cellar that houses the Chardonnay and Chenin Blanc, she uses the ‘wine thief’ to get a wine sample from the barrel, so as to assess how the wine is fermenting. “As you can see this is raw wine, it won’t be as clear as you will find it in a shop, so it still has to go through a lot of processes and there is high CO2 (carbon dioxide) that keeps the particles in suspension and that is why it is cloudy. But it will settle down over time.” Langa works closely with Delheim cellarmaster, Roelof Lotriet, who advised management to hire her when she was an intern. Lotriet was impressed with her work ethic and her curiosity. He recalled how she responded when he asked her what she wanted out of the internship, and she jokingly replied that she wanted his winemaker job. “With wine, you’ve only got one shot on a vintage. There isn't a redo or undo button. What you do is what you do. And if it doesn't work, it doesn't work. I don't think [Delheim] will be her end place, I think it'll be just the start of a fantastic career for her,” Lotriet said. “I wanted to learn more and work under Roelof as well, it's just been quite a beautiful journey and I’ve adopted a lot of the philosophies that I have actually learned from him. And what he sort of preaches in the cellar. So that's been quite a fascinating and worthwhile journey. And then to be at Delheim so full of history, so full of traditions. It's been a learning experience,” Langa said. Shame Mumba was one of the five panel of judges at the 43rd annual Diners Club Winemaker of the year awards. A certified sommelier and board member of the South African Sommelier Association board member, Mumba described Langa’s wine as having shown a lot more purity. “The wine showed more identity, which simply means that sometimes you don't have to interfere too much in the making of the wine, but the less you make, the better the results will be like.” Mumba added that winning such an award for a young winemaker was a huge confidence booster. “It’s also a big inspiration for the young winemakers that want to become a winemaker and especially somebody of colour. That is even a massive boost for our industry as South Africa.” So what makes a good wine? Langa is quick to point out that it’s a very personal choice. It’s about how one connects with the wine. “I always say, I pair my wine with my mood and the company that I have. If I pick up a Rosé I know I’m going to be chilled by the pool or outside with the braai.” She added that for a serious dinner, she would go for something like her cellar's Grand Reserve. bird story agency Useful links: https://www.delheim.com/ https://dinersclub.co.za/news-events/winemaker-of-the-year/ https://www.statista.com/topics/11626/wine-industry-in-south-africa/#topicOverview https://www.thedrinksbusiness.com/2024/01/south-african-wine-exports-see-volumes-fall-but-value-growth-increase/ https://academieduvinlibrary.com/blogs/blog/black-women-winemakers-breaking-barriers-in-south-africa

Period pains led investment banker Harriet Chebet to herbal products after her return to Kenya. Now, the herbs are the basis of her thriving herbal products business. Cynthia Rotich, bird story agency A cloud of aromatic steam and the happy sound of bubbling fills the tidy, tiled room in Karen, a suburb in Nairobi, as Harriet Chebet shows off the machinery that helps her produce a range of medicinal herbal products. The remedies, which Chebet promotes as herbal solutions to health issues ranging from endometriosis to joint pain, are delivered daily to women across Kenya. As to their effectiveness, Chebet should know - she started the business after herbal remedies rescued her from a lifetime of pain. “Every month for one week, I was in a lot of pain, throwing up, constipation and on strong painkillers,” Chebet said of her life before she discovered a herbal remedy. At the age of 16, Chebet started to battle with endometriosis, a painful condition where the inner lining of the uterus grows outside the uterus. With each menstrual cycle, the tissue thickens, breaks down and bleeds. When Chebet left Kenya for the UK to study and work as an investment banker, the condition continued. For years, she endured the challenges of a demanding corporate job and chronic pain. Even when she was finally diagnosed with endometriosis, there was no solution and no end to the pain. She sought alternative medicines but could not find a remedy for her debilitating pain. Chebet relocated to Kenya in 2017, losing her father the same year. During his funeral, she encountered a woman who, after witnessing her struggle with menstrual pain, introduced her to herbal remedies long used by women of her ethnic group. “I took it back home and boiled the herbs and for the first time in over 20 years I experienced a painless period," Chebet shared. Inspired by the result, Chebet shared the experience with a friend struggling with similar challenges. “The friend I shared with was on her way to get a hysterectomy and she had been bleeding for around 3 weeks and I advised her to try the product first for pain before getting the procedure. When she took it, she stopped bleeding and shared her experience to a WhatsApp group and that’s how the business, Harriet Botanicals, started," Chebet said. Chebet realised she could tap a range of herbal remedies through her heritage as part of the Kipsigis tribe of Kenya. Traditionally, the Kipsigis were semi-nomadic pastoralists, raising livestock and cultivating sorghum and millet in the fertile highlands of southwestern Kenya. The tribe's traditional healers, called 'Il-Koibatik', used their expertise to prescribe herbs. “The Kipsigis hold over a thousand years of traditional ancient remedies for helping women who have reproductive issues," Chebet explained. A year later, Chebet established Harriet Botanicals as an official institution by obtaining certification from the Culture Ministry, which governs businesses and products of this nature. She then took the crucial step of subjecting her products to safety testing at the University of Nairobi's Department of Pharmacy and Pharmacology. This evaluation confirmed the suitability of her products for mass production. Chebet sources her herbs from the South Rift Region of Kenya and ingredients include the roots, bark, and leaves from approximately 30 different tree and herb species. These herbs are then transported to her Karen-based 'headquarters'. Her facilities include a drying room, a manufacturing plant and a front office where packaging labelling and distribution takes place before products are transported to retailers all over Kenya. Chebet currently employs 20 full-time and more than 50 casual workers. Harriet Botanicals has a range of 12 products that focus on overall body health for both women and men. The prices vary, ranging from 700 to 2000 Kenyan shillings (about US$5 to US$15), ensuring accessibility to a wide range of customers. Mosipchot is one of these products, a traditional indigenous remedy. Sold as a blood purifier with anti-viral properties, it is said to help eliminate joint pain, lower blood sugar levels for patients suffering from Type 2 Diabetes and manage high blood pressure. It is also advertised as a kidney cleanse and diuretic. The product has a ‘please consult your health provider on the use of this product’ advisory on their products and online store website. “Harriet Botanicals is a company that retails traditional, indigenous medicine for the urban, African and diaspora market. These are 100% organic medication with no side effects. It is not processed and there are no preservatives added. Additionally, these herbal products contain bio-active components that are actually found in pain medication, anti-inflammatory and anti-bacterial medications," Chebet explained. Arorwet is Chebet’s flagship product and perhaps her most famous product. It is advertised as an organic product used to alleviate the symptoms of polycystic ovarian syndrome (PCOS), fibroids and urinary tract infections, among other female reproductive disorders. Arorwet contains anti-inflammatory and anti-bacterial elements like Phytoestrogens. According to Healthline.com, Phytoestrogens are compounds that naturally occur in plants and which can possibly regulate oestrogen levels in humans. Gachege Kongo is one of Chebet’s frequent customers. She struggled with menstrual pain that was so bad she couldn't carry out her day-to-day activities. It wasn't until she started using Arorwet that her story of pain changed. “I experienced immediate relief once Harriet introduced me to Arorwet which had also helped her. The pain and heavy bleeding stopped and through the years I have continued to use it and I have continued to feel much better,’’ she said. Harriet Botanicals has garnered a wide following across social media platforms. On Facebook and Instagram alone, they have a combined 100,000 followers. Posts include hundreds of positive reviews from people, especially women who previously suffered from the impact of reproductive issues, from painful menstrual cramps to infertility issues. One excited social media user shared her experience after using Arorwet. “I am proud because since 2018, I developed PCOS, irregular, painful and prolonged periods, hoarse voice, primary infertility, HTN, DM and obesity. A friend introduced me to Harriet Botanicals and after using Arorwet and Mosipchot I realised I was pregnant,’’ she said. Brenda Nyongesa, another customer of Harriet Botanicals, shared her struggles of trying to conceive for more than seven years “I was diagnosed with adenomyosis, fibroids and cysts and I had visited many doctors and gynaecologists before I learnt of Harriet Botanicals herbal remedies to issues like mine. After taking around 15 bottles of the famous Arorwet I found out I was pregnant.’’ With a monthly customer base of 5,000 to 6,000 individuals, the company has established a strong presence with over 14 outlets nationwide. Their products are distributed through respected Kenyan health stores such as 'Healthy U'. Researchers estimate that 80% of the world population uses herbal drugs in primary health care, because they are readily available and less expensive. “Traditional medicine has been used in Africa for centuries to address reproductive health concerns and health concerns in general. While I am yet to prescribe them myself, I am always eager to explore well researched herbal medicine like Harriet Botanicals because they provide options alongside conventional treatment. However, it is important to discuss your interest in herbal remedies with a doctor or qualified herbalist first. They can help you determine the appropriate dosage based on your individual needs, health history, and any medications you're taking,” said Dr Simon Juma, a gynaecologist and reproductive health specialist. It hasn't always been smooth sailing for Chebet and Harriet Botanicals. At the beginning of her journey, she encountered a significant hurdle in the form of the societal stigma surrounding traditional medicine. She had to confront accusations of engaging in illegal activities and taking advantage of people, which led to a lack of credibility and not being taken seriously. However, as time passed and customers started to witness the positive effects of her remedies, Harriet Botanicals gradually gained credibility and began to overcome the challenges posed by preconceived notions. Now more confident and experienced, Chebet has plans for the company that will keep her busier than would ever have been possible before her life-changing experience with herbal medicine. “My future plans are to continue formalising my company by taking branding initiatives to another level while working with industry giants. I would also like to rebrand by changing the bottles so that they are high density pharmaceutical plastic. I am also working on creating a new product for malaria and fever. I would also like to continue expanding our markets abroad,” she shared. bird story agency Useful link: https://www.sciencedirect.com/topics/pharmacology-toxicology-and-pharmaceutical-science/herbaceous-agent

Two male hosts engage in spirited sports banter in a lively studio session in Nairobi. But it's their young female colleague who steals the show, diving into trending sports news. Meet Mukami Wambora, one of Kenya’s few women sports journalists and co-host of the popular radio show, #SportOn. Her journey from law graduate to sports pundit defies norms, and her impact extends beyond the airwaves - she’s also breaking barriers outside the studio, and advocates for mental health awareness. Esther Musembi, bird story agency In a colourfully decorated broadcast studio, two men talk sports. Joining them is a young woman who fuels the debate by throwing in news of a kit debacle that has stirred Kenyans. Knowledgeable and opinionated, she points out what’s wrong with the kit and what might be done as a fix. The conversation then swings to the English Premier League and then on to a much-anticipated track event, dipping into social media commentary along the way. Mukami Wambora is one of the country's few female sports journalists, guest-hosting the popular radio show #SportOn with Bernand Ndong’ and James Wokabi, on Nation FM, on given days as she also freelances at Homeboyz Radio as a pundit. She joined the radio show shortly after exiting a TV show in 2022. Wambora, 34, is hardly the norm when it comes to journalism, specifically sports journalism. Before she got into TV, she was a law graduate, then worked in a local bank as a legal assistant. “I really wanted to do law. I used to enjoy a lot of the legal TV shows. I wanted to be what I was seeing on TV - being in court and defending people.” That was before her first year studying law. The reality came as a shock. “I knew this is not what I want to do but I also didn't know what else I can do. My final decision was to just keep at it.” Wambora finished her degree in the UK and came back to Kenya still trying to figure herself out - and to work out what she really wanted to do. She took a 6-month break before starting at the Kenya School of Law, a prerequisite for practising law in the country. In the six months, she began writing articles about football and sending them out, unsolicited. “A lot of emails never got replied to, but eventually someone invited me to Capital FM to do a voice test. Here I met James Wokabi, who was the host of Football Sunday. So we had a few minutes conversation about football, and he was like, ‘You know your stuff. Why don't you come on Sunday?’ So that was an exciting experience, but it was really nerve wracking,” she explained. Wokabi turned into her first mentor, teaching her everything she needed to know as a sports host and also eliciting what she already knew. “She was nervous and very soft spoken, not the fierce lady that you see today. It took her quite a bit but then she just got going. There was also not as many women doing football punditry. I could see that she loved and knew about what she was talking about.” Wokabi said. Wambora soon became Wokabi's regular guest-host. “You can imagine just having to put yourself out on air. I was really nervous at the start, but he really held my hand and he just kept encouraging me. And as time grew, I got really confident, but at the same time, I was finished at the Kenya School of Law. I had started working at the bank because this (show hosting) was just on Sundays,” she narrated. But the balance between being a lawyer on weekdays and talking sports on Sundays began wearing thin. “I had such a contrast with my Sundays where I’d be so excited to go on radio and talk about sports whereas my Monday mornings were just like ‘I have to get up and go to work’.” Two years into her legal career, she quit. “Every parent’s dream in Africa is for their child to be a lawyer, a doctor. Something that makes sense. But I explained to them that I really wanted to pursue this as a career. And credit to them, they supported me.” They agreed she could always fall back on her law degree if things didn’t work out. “I used to play football. Even in school. I used to get Sports Girl of the Year awards. I used to really love playing sports, but I had not thought of it as a career at that point,” she said with a nostalgic smile. “I tried and here we are. I think a big challenge I had to overcome is impostor syndrome,” she said. She leaned heavily on mentors who were supportive of her journey. She left Capital FM for Bamba Sport, run by Radio Africa, where she worked with sports queen Carol Radull. Wambora credits her introduction to TV to Radull, one of Kenya's most successful female sports journalists. "You never know somebody's ready for TV broadcast until they actually go on air. I hired her... when she had primarily been doing radio at Capital FM and she did a screen test and she was very nervous at first, but who wasn't. I was also nervous at first, and you can tell from a screen test whether someone is trainable or not. She was clearly somebody you could train, because she had the conscience as a person. She's confident, she's knowledgeable," Radull said of her mentee. After her stint at Radio Africa, she joined Citizen TV, where she worked with veteran sports journalist, Bernard Ndong’. “A major advantage of having a female sports journalist is, it shatters the norms, because basic social norms are that sports is largely male-centric. It’s male-centric in terms of it being played, and also most likely in terms of how it's being reported. Because even if you just do a quick analysis of the number of female broadcast journalists in the country, there are very few and far between.” Ndong’ explained. For him, this was also a different kind of mentoring. “She was knowledgeable, it wasn’t just a token we were giving her. She was also willing to learn. I also came to find that female sports journalists are much more adept at following up stories." Wambora went on to cover big events like the 2018 World Cup, which she credits as being a major boost to her career, and the 2021 Africa Cup of Nations (AFCON) in Cameroon. She has interviewed big names in football, like Thierry Henry and Rio Ferdinand. Wambora also now wears many hats. Apart from being a sports journalist, she is also the treasurer to the Sports Journalist Association of Kenya (SJAK), one of three women on the Executive team. “A big part of what we want to do in terms of transforming sports journalism in Kenya is, we want to give a lot more opportunities for young journalists to cover sports, especially out of the country.” She aims to use her position to give young journalists an opportunity to improve and to grow. She also wants to take care of things like medical insurance that most sports journalists don’t have and to foster unity within themselves. She also founded Uko Sawa, a mental health initiative that seeks to shift the stigma around mental health and to provide support at affordable prices. Taking on mental health issues has become an integral part of who Wambora is, today. “Uko Sawa is something very near and dear to my heart. I got diagnosed with a mental illness very late in life, around 2019, literally in the middle of my career.” “A big part of what's helped me cope is therapy. And one of the things I realize is that it's made me a more holistic person, a better person,” she further explained. She is pushing for mental health to even be introduced to schools, a move she’s confident will reduce the stigma surrounding mental health. “If it's in the school curriculum where, like, ‘after math, I have counselling,' and everyone knows that's what's happening, then it stops having that stigma attached to it. And everyone is better for it.” A product of mentorship herself, Wambora dedicates part of her time to mentoring and has successfully mentored Ivy Ijai, a fellow sports journalist who works at KTN, a leading TV station here in Kenya. “Mentorship was one of the greatest gifts that I’ve had in my career, throughout. And it's a gift I also wanted to pass down.” “She'll ask me for advice on what to do. And we'll talk about it and I can really see how much she's grown. So that's also been really rewarding, being able to also pass on the gift that was given, to someone else. And now I understand when they tell me, ‘we’re so proud of you!’” she elaborated. Her biggest advice is to just start. “Don't wait for someone to give you an opportunity. You just start creating that content; start writing, if you need to write, start recording yourself and talking about sports. Just start,” said the radio host, who is also now a digital content creator and emcee. “If people go back and watch some of my videos, if I’m holding a paper, you can see it shaking, because it's nerve-wracking,” she said of her journey to where she is now. To add to her repertoire, Wambora is eyeing a master’s degree in sports business to fill a gap in sports sponsorship in Kenya and is one of the sector's biggest challenges. “A lot of corporates are not understanding that connect. We have fewer and fewer sponsors in some of these big events, something like Motorsport. The Kenya National Rally no longer has a sponsor, which means there are fewer people taking part. We've missed a trick there.” bird story agency