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Steering South Africa Inc.: The 2024 List Of Top CEOs In Africa’s Biggest Economy

Cover-story

IN THE SPOTLIGHT: The Continent On Celluloid

Accolades aside, Kenyan actor-and-host-turned-producer, Sarah Hassan seems to see no limit as to what she can achieve.



After discovering her love for performing at a very young age, she went on to join the cast of drama, Tahidi High, playing the role of Tanya. It earned her the award for Best Actress at the CHAT Awards in 2010 and 2011.



However, while she truly enjoys acting and hosting, which she had done for several years, there was another passion in her heart that she could only fulfill later on in her career.



“I wanted to go to, specifically, the New York Film Academy [ever] since I was out of high school… but, of course, [there were issues of ] finances and all that. I told myself one day I am going to go. I remember I had a different bank account where I just saved for film school, and I had gotten to a place where I could go, I think a couple of years before I went, but it didn’t feel like it was the right time,” she says.


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“I remember, two years later, I wasn’t getting auditions at that time. I felt like if I had the necessary skillset and everything, that I could do my own story or do a short film and satisfy that part of my soul. By that time, I felt like this is the time… So I sent in the application.”



Hassan, speaking to us from her home in Kenya, recalls the experience with great enthusiasm, detailing all the skills she had learned, including the basics of editing and lighting, directing, writing and producing. As soon as she had completed her year in Los Angeles, she put the skills she had learned to good use.



“My dream has always been to be able to, first and foremost, have that skillset, and then be able to work as a producer; as an actor, not only in my country, but anywhere else in the world. Before I left, I remember I did a few projects out there. I did my first-ever short film where I wrote, co-directed, produced and acted in. It won about eight film festival awards. So [that] was quite pivotal for me,” she adds.



“I had gotten awards for acting before that, and for hosting, but this, I would say, is a highlight, not because of the awards but because of what it symbolized. I was behind-the-scenes of a project that I had produced. This was the first time ever doing something that was not acting or hosting. It was the first time doing a story from development – taking it from my mind all the way to seeing it completed.” Hassan, who has her own production company, Alfajiri Productions, would go on to work with streaming giant, Netflix.



“For 40 Sticks, I was brought on board as a lead producer. It was so beautiful because I was there from the beginning, from bringing onboard the writers, from the development stage, the pre-development stage, filming stage, the post. Then Just In Time – that was with my company; with my team, and in collaboration with Lola D, who’s a very good friend of mine and a fantastic director. To see it on Netflix worldwide, not just in Africa, was surreal,” Hassan says.



“Now, with Anyango and the Ogre – it was a commission project, because it’s by Netflix and UNESCO – it was amazing to also see that other side, to be able to work with the executive producers in South Africa, you get to learn a lot. We have been doing [this] for a while but not as long, and to see all the different steps… it was absolutely amazing.”



She concludes that collaboration is key, especially between directors and producers on the continent. Not only does it bring in diverse audiences, one also gets to share resources and learn.

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Kenyan Actor-Producer On Wearing Many Hats And Why Timing Is Everything

When Danai Gurira returned to the United States (U.S.) at the age of 19 from Zimbabwe, she was acutely aware that something was lacking in the way African stories were being told.



“This built up an outrage in me, so to speak, because I couldn’t see the African narrative told, in the United States, in a way that I felt portrayed us, in a way that was truthful, complex, full and humane… I saw that being allowed for the Western perspective, but not for our perspective,” she says.



Fast forward to 2024… It’s well after lunch in bustling New York City in the U.S. as Gurira logs on to Zoom for the interview, to reflect on her “strange geographical timeline”.



Born in the U.S., Gurira and her family moved back to Zimbabwe when she was fi ve years old. She then returned to attend school at Macalester College in Saint Paul, Minnesota’s capital city.



“When there was a perspective given for the African story, it was very much stereotyped; very one- to two-dimensional, and [it] fi lled me with more outrage,” Gurira tells FORBES AFRICA.



Her iconic role as General Okoye of the Dora Milaje in Marvel’s Academy Award-winning Black Panther, Black Panther: Wakanda Forever as well as her roles in Avengers: Infi nity War and Avengers: Endgame had a notable impact on the topic of representation of Africa in cinema.



Gurira recalls moments during the fi lming of the massive blockbuster, Black Panther, where everyone involved wanted to ensure they brought in “as much ‘African’ ” as possible to the entire production.



From language to consumption, everything was about “authentic representation”.


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“The pressure was there inside of ourselves because, if you get a platform that big, you have to bring your authenticity to it. The irony is, some people would say – who I disagree with – ‘if you get a platform that big, make sure that it is palatable to everybody’. And I say, ‘if you get a platform that big, get as specifi c in your authenticity as possible because then people will have to celebrate the fact that this is a story we’ve never seen, and why aren’t we seeing more of them?’ ”



Crossing the cultural bridge continued into the second part of the Black Panther franchise, even as the cast and crew mourned the loss of cast member and “leader”, Chadwick Boseman, who passed away in 2020 after a four-year battle with colon cancer.



“We had the most horrible tragedy in losing Chadwick,” Gurira says. “There was pressure in that we wanted to make sure we were honoring him, and we were honoring the legacy that he had left in terms of how he so beautifully and brilliantly led us through the first one.



“But it was also about a lot of processing and grieving that we had to walk through together.” 



Before her work with Marvel, earlier on in her career, Gurira had learned the power of saying ‘no’, something she encourages emerging African artists to do as well.



After finishing her graduate training, Gurira was approached to do playwright workshops in New York.



In a 2012 interview with Marin Theatre, Gurira said that playwriting became “a necessity, being the mother of invention type thing” as she wanted to see and perform stories that reflect her people.



The workshops in The Big Apple were an opportunity for her, as an actor, to help other playwrights. But again, she noted that the portrayal of Africans was being done in an “infantile way”.



“I remember I was just really furious, and I had a school-mate who was at a play workshop with me, and he said, ‘you have to start saying no’.”



However, for Gurira, this meant fighting for the portrayal of Africans and African-Americans to be accurate and genuine, no matter the medium. During her time as a play-wright, Eclipsed was reportedly the first Broadway play to have an all-female cast, writer and director. To further the perspectives of African women in mainstream theater, her stage plays – which also include In the Continuum and The Convert – give a voice to the untold narratives.



As a writer, Gurira’s focus and mandate is clear, even when she is adapting books – it needs to be about creating a vision and authentically telling a story that advocates for Africa.



Some individuals have openly identified the problematic theme surrounding stories about the continent in that they either perpetuate stereotypical and harmful narratives about Africa or come across as inaccurate.



In a 2023 academic article by Stellenbosch University’s Rebecca Pointer, she states that while some studies have suggested that the stereotypical Western mainstream media narratives about Africa may be shifting, there are still some platforms where these stereotypes continue to repeated.



“Behind these stereotypes is the assumption that Africans are poor, lack agency, and they frequently experience famine, such that only interventions from Western development agencies can help turn things around,” Pointer wrote in her study titled Beyond western Afro-pessimism: The African narrative in African and non-western countries. “While the [current] data are discouraging, there are pockets of hope on digital media (including social media), where women and youth are taking back the proverbial pen using storytelling and humour to show that Africa is neither monolithic, nor all doom and gloom,” Pointer adds.



“I created my first play (In The Continuum) because I was tired of the statistics around African women and HIV,” Gurira explains.



“It, sort of, was taking us away from being our fullest and just being individuals. We were statistics. And I was like, ‘let’s create a character that is telling a story where the audience can’t ignore her reality, her real human’.”



Gurira carried this passion into her work on film.



Notably, and recently, she has received a nomination by the Black Reel Awards for Outstanding Writing in a Drama Series, for the fourth episode of the limited series The Walking Dead: The Ones Who Live, which is a spin-off to the popular horror-drama series, The Walking Dead.



The series reunites her character Michonne with co-star Andrew Lincoln, who plays Rick Grime, to continue the journey and their love story in six episodes. Although Gurira’s final season was in 2020, she, Lincoln, and writer Scott M. Gimple had always hoped to return and continue Michonne’s story.



“So this was us finally fulfilling that promise to the fan-base,” Gurira says.



“Did I plan to be in this massive television franchise back in 2012 when I got that job? No, I had no idea that was coming to me. But it then became a thing where I’m part of something global and extremely popular. “[And then coming back] the power of that, as an African woman, is that I was now in a very, very powerful position in this very well-known franchise as a co-creator, executive producer, writer, and the star of the show. And that then allowed me a certain degree of power and connection to a process that I didn’t have 12 years ago when I got the job.”



While the world celebrates the strides that Africa has taken, especially from the lucrative creative economy, Gurira believes that Africans need to take ownership of their stories.



“I think I’m more concerned with us seeing us than what the West decides about us. If we are unapologetic in who we are and how we tell our stories, they’ll have to pay attention. But I think that, at the end of the day, we have to not make them our first concern. Our first concern is our pursuit of excellence and our pursuit of our narratives.” Off screen, as an ambassador for Irish singer-songwriter and activist Paul David Hewson’s Bono ONE campaign, as the co-founder of Almasi Arts Alliance, which supports African drama artists, and as the founder of Love Our Girls, Gurira is dedicated to furthering gender equality and policy change. “Don’t dilute yourself, even if people have to spend two hours reading subtitles – don’t dilute yourself. Tell it from a truthful, authentic place. And it might take a long time to find the right partners who see your vision, but they will come and you will be proud of what you’ve done,” concludes the artist who has done Africa proud.

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Zimbabwean-American Actor-Playwright Danai Gurira: ‘Our First Concern Is The Pursuit Of Excellence And Our Narratives’

It’s no secret that, along with South Africa and Nigeria, Kenya is right up there as one of the biggest producers of content in Africa’s entertainment and media landscape. As stated in the PricewaterhouseCoopers (PwC) Africa Entertainment and Media Outlook 2023-2027 report, Kenya’s entertainment industry (including cinema, OTT, TV etc) revenue grew 9.8% in 2022 and is worth over $2 billion.



“I would say the film space in Kenya has really grown. Even if you look at TV, we have a lot of different shows,” says Kenyan actor Sarah Hassan.



“Looking at what there is, is a testament to the growth of the industry… We still have a long way to go, but we are moving in the right direction.”



This is especially true with the continued reinforce- ment of local post-production facilities and expanding financing. However, the sustainability of the film industry requires the formation of local ecosystems rather than relying on external support.



According to Tanzanian filmmaker Amil Shivji, factors such as limited infrastructure, low government support at times, and limited exposure to the global film world, is what has prevented the rise of the industry in East Africa.


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<figure class="alignleft is-resized"><img loading="lazy" decoding="async" width="682" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/08/IMG_2734-682x1024.jpg" alt="" class="wp-image-62889" style="width:449px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/08/IMG_2734-682x1024.jpg 682w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/IMG_2734-200x300.jpg 200w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/IMG_2734-768x1152.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/IMG_2734-1024x1536.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/IMG_2734.jpg 1333w" sizes="auto, (max-width: 682px) 100vw, 682px" /><figcaption class="wp-element-caption">(Image Supplied)</figcaption></figure></div>


“Unlike our fellows in Nigeria, South Africa or in North Africa, I think East Africa hasn’t really had an in- dustry as such. There has been a lot of volume of films; Tanzania makes close to 2,000 films a year but none of those films travel. Those films don’t cross borders. And I think we are relegated to choosing between two or three platforms for distribution,” Shivji adds.



However, as a writer, director and producer who has also lobbied for better film policies, Shivji says there are opportunities that come with not being so visible as an industry.



“The exciting thing about not having the formal struc- tures of an industry is that we get to pave our own path and redefine what an industry can look like. We can look towards Hollywood, Bollywood and Nollywood and see



the things that we like and don’t like… Make them make sense for us in Tanzania. I think that’s the advantage of not having things structured in stone yet and, for us, as Tanzanian filmmakers, to play around with and devise our own stance of an industry.”



“We have everything needed to make a good industry,” Rwandan actor Eliane Umuhire tells FORBES AFRICA. “But the only thing missing is the means, not only from the government, but also from the private sector.”



Filmmakers in East Africa are now able to live on online revenue gen- erated from their work. This is more prevalent in Rwanda, Ethiopia and Kenya, according to a 2021 UNESCO report. Furthermore, the report shows that in countries like Kenya and Rwanda, female representation has increased by 30%, both in front of the camera and behind the scenes. “In Rwanda, we are a country that has 62% of women in parliament. So, having women represented [in the film industry] has never been a question. Also, growing up and choosing to be an actress, I’ve never felt the need to fight to prove that I can be an artist as a woman because even the people who taught me, who took me under their wings to train me as an actress, were women,” adds Umuhire.



This is also evident in storytelling.



In 2016, David Oyelowo starred alongside Kenyan actor Lupita Nyong’o in the Disney drama, Queen of Katwe. The movie depicts the life of a young girl, Phiona (portrayed by Madina Nalwanga), battling the odds in Uganda until she becomes a leading chess player under the guid- ance of Robert Katende (played by Oyelowo).


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Oyelowo recalls how “there was pressure from people” who attempt- ed to make his character the lead in the story. But he and director Mira Nair pushed to making Phiona the main protagonist.



“Then that story becomes universal because little girls are looking at this girl in the story become the hero and aspire to be that,” Oyelowo adds. “Hollywood is looking to Africa because they are doing prequels and sequels and everything, and we have fresh stories coming out of Af- rica.” “My dream is to see our artists live out their arts as any other person would in any other country, and seeing more of our stories on our TV screens,” Umuhire says. “Our children need that. They deserve to see their culture celebrated. They deserve to see themselves represented, so that they can dream that for themselves.”

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East Africa’s Tinseltown Boasts Its Own Creative Narrative

Arnold Vosloo made his mark in films and series not only in his native South Africa but also in Hollywood, and often, as a villain. Unsurprisingly, when asked which character was his favorite to play on screen, he says: “The role I enjoyed playing the most in my career was two and a half years ago… I came back to South Af- rica for a Netflix production called Ludik. I just loved the part of Daan Ludik because it was so uncompromising,” he tells FORBES AFRICA.



“Here was this family guy trying to hold things together, running a business empire but smuggling diamonds on the side; he has family issues and a religious father. It was just the to- tal package. I thought it was very well-written, the part was especially great, and I just had the best time. It was on Netflix, which meant it was seen all over the world.”



Vosloo, who says there really wasn’t a Plan B and that acting was always what he was go- ing to do, has well over 80 filmography credits to his name between 1982 and 2024.



Throughout his career, there have been highlights he can recount.



“They were moments I was acutely aware of… number one, when I worked on Broadway in New York City in a production called Salome, Oscar Wilde’s Salome. I was cast as John the Baptist, and the star of the show was Al Pacino. It just doesn’t get any better than that – to be on Broadway in a big production, and Al Pacino is the star… I’ll never forget it. It was an amazing few months, not just because of the work and watching him on stage, but especially for the rehearsal period; he really taught me a lot because he was so ‘all-in’ on the rehearsals,” Vosloo recalls.


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<figure class="aligncenter size-full"><img loading="lazy" decoding="async" width="1024" height="666" src="https://cms.forbesafrica.com/wp-content/uploads/2024/08/GettyImages-50995195.jpg" alt="" class="wp-image-62871" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/08/GettyImages-50995195.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/GettyImages-50995195-300x195.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/GettyImages-50995195-768x500.jpg 768w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Actors Arnold Vosloo and Brendan Fraser get to grips with a Mummy at &#8220;The Revenge Of The Mummy &#8211; The Ride&#8221; Gala Benefit Opening At Universal Studios on June 24, 2004 in Los Angeles California. (Photo by Frazer Harrison/Getty Images)</figcaption></figure></div>


“In terms of film, it’s got to be The Mummy movies. They’re be- loved… in fact, it’s the 25th anniversary; I know it’s screening again all over the world. That was an amazing experience. It was just so cool – at the time I was in Los Angeles, I was driving down Sunset Boulevard and see these big billboards and it would say The Mummy and my name was on the post. It was a cool moment.”



“The third sort of ‘aha’ moment was when I was doing 24 – a television series. I was asked to come on just for an episode or two and then the producers liked what I did. They asked me to stay on for the whole season. I knew of the show, but I just didn’t know it was as big as it was. It was all over the world and with its kind of innate fan base,” he adds.



Having worked hard on many memorable and beautiful locations and film sets, including in Costa Rica and Morocco, which is actually where a lot of the outdoor scenes for The Mummy were shot, Vosloo admits that walking is his favorite way to de-stress.



“I’m not a big gym guy – I went to the gym especially when I was younger because I had to. But that’s the cool thing about being on these locations – Paris, London or New York… I’ll just go walk in these great cities, you know. And it’s just such a luxury. Walking has been my church, as an artist and as a person.”



Since getting back in South Africa, Vosloo has done several projects, including two productions, back-to-back, in Cape Town.



Despite being 62, he says his current plans are to continue working for authentic South African stories here, as well as American films, if the opportunities present themselves.

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South African Actor Arnold Vosloo: ‘It Doesn’t Get Any Better Than Working With Al Pacino On Broadway’

Africa’s creative economy has never looked better. And while African music has been at the forefront, there has been an uptake, both locally and internationally, from a film and television perspective. It’s not all glitz and glam behind the scenes, but it would seem the growing $5 billion-plus industry in Africa is one global audiences can’t seem to get enough of.



In 2023, African entertainment company MultiChoice and film and television company Bomb Productions revealed the story of the heroic rise of an iconic Zulu king. It was production value at its finest, from the elaborate costumes on Shaka iLembe and the sweeping cinematography, to the standout soundtrack, stellar computer generated imagery (CGI), and the resonant portrayal of Zulu culture and tradition. “Honestly, we were terrified of the reception we would get,” says De- siree Markgraaff, Executive Producer at Bomb Productions.



“We were so excited by the idea of it but we cheated a little bit because we wanted to tell the story of Shaka, but we were really more interested in telling the story of the men and women who lived in that time, who influenced him, who gave rise to this great person.”



Markgraaff says they were nervous as they only introduced Shaka in episode six of the series, which, she thought, audience members would respond negatively to.



But that wasn’t the case.



Shaka iLembe, a six-year production, saw over 3.6 million viewers on DStv in South Africa in June 2023 – reportedly the best-ever perfor- mance that MultiChoice has seen in its history, for a drama series. It also reached number one on the DStv App in Zambia, Zimbabwe, Botswana, Namibia, and other African countries.



“When audiences reacted in the way that they did to the show, and embraced it in the way they did, firstly, it was a huge relief,” Markgraaff laughs. “But it was so beautiful to watch people falling in love with their history.”



Similarly, when Netflix launched in Africa in 2016 and released its first Netflix Original Africa show in 2020, it portrayed the deep desire that audiences have for authentic African content.



“I really was new to the industry,” Ama Qamata, the actor who brought Puleng Khumalo to life in the Netflix Original series Blood and Water, and who was also a FORBES AFRICA 30 Under 30 list-maker this year, told us in April.



“It was my first time doing something that big. And I remember the shooting being so stressful. I guess my mentality the whole time was ‘I just need to show up and give my best’. I remember at the Queen Sono premiere, the CEO of Netflix, Ted Sarandos, met me and said, ‘oh, I’m not worried about the show’.” Blood and Water premiered in May 2020, it ranked num- ber one in several countries, including South Africa, Kenya and even France.



It is also the first South African show to reach number one in the United States.



African creativity is on the up.



According to the United Nations Educational, Scientific and Cultural Organization (UNESCO), Africa’s film and au- dio-visual industries, in 2021, employed an estimated five million people and accounted for $5 billion in GDP across the continent.


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<figure class="aligncenter size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://cms.forbesafrica.com/wp-content/uploads/2024/08/HeartoftheHunter_Netflix_0054-1-1024x576.jpg" alt="" class="wp-image-62856" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/08/HeartoftheHunter_Netflix_0054-1-1024x576.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/HeartoftheHunter_Netflix_0054-1-300x169.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/HeartoftheHunter_Netflix_0054-1-768x432.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/HeartoftheHunter_Netflix_0054-1-1536x864.jpg 1536w, https://cms.forbesafrica.com/wp-content/uploads/2024/08/HeartoftheHunter_Netflix_0054-1-2048x1152.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">HeartoftheHunter. (L to R) Bonko Khosa as Zuko, Mandla Dube in HeartoftheHunter. Cr. Courtesy of Netflix © 2024</figcaption></figure></div>


The figures, however illustrious, seemingly paint a picture of where the landscape has been and where it’s heading.



Monde Twala, Senior Vice President of Editorial and General Manager at Paramount Africa and Lead, BET In- ternational, talks about how he foresaw the potential and effect of entertainment.



“Growing up in the seventies as a Soweto boy… For a lot of us, our window to the world was television, storytelling and movies. Entertainment was a big part of just how we all were coping,” Twala says.



“I don’t think any African child watches content purely for the purpose of entertainment, and bear in mind, televi- sion on this continent is maybe forty years old, so I’ve seen storytelling evolve at a number of levels.”



Born in the rural part of Limpopo known as Mukum- bani, film and series director Valen’tino Mathibela recalls how even in her village, everyone would watch battery- operated television back in the day.



She remembers how the children were berated for watching too much television as the family would need to save battery power for her uncle’s sports matches over the weekend or her mother’s drama series once a week. And if the battery ran low, you would have to pay 50 cents to your neighbor who still had power to watch television. “That, for me, was where I fell in love with the art of storytelling and motion pictures, especially, but also radio,” Mathibela says.



“I would literally sit next to the radio and listen to drama every day after school. We followed the radio dramas tradi- tionally, and almost had our own imagination of what the characters looked like.”



Representation was lacking at the time. But the new dawn of stories has focused more on creating and control- ling narratives.



This is why shows such as Shaka iLembe or Queen Mod- jadji, which tells the story of Balobedu rainmaker Queen Modjadji whose bloodline has reigned over southern Af- rica’s Lobedu clan for centuries, have been celebrated.



It’s not just about the cultural impact and celebration of history, but also the accurate depiction of those African stories.



Nomsa Philiso, CEO of General Entertainment at MultiChoice, says that part of the storytelling strategy is about ensuring they are told in different streams – not only for the purposes of representation but also education.



Queen Modjadji, which premiered in July, is a story predominantly told in the Khelobedu language.



“We’re going to be telling a story about a language that is not commonly spoken. We haven’t told anything in Khelobedu ever so I would like to see, at least, on an annual basis, in all of our different markets, that we do something impactful for all communities. And [I want to see] that it is going to be long-lasting, and made with the same quality that we would do any other show.”



Authentic storytelling was particularly in the spotlight in 2018 when American entertainment company Marvel released the highly-anticipated Black Panther film. It was the first with a predominantly Black cast, depicting the portrayal of a superhero of African descent.



The film became a global phenomenon that mesmerized



audiences, with many critics, at the time, hailing it as “revo- lutionary”.



“I did not anticipate what the result would be,” says Danai Gurira, who played General Okoye in the Marvel Cinematic Universe.



“I could never have anticipated it. But as the response started to happen, it was like, ‘what is happening [I was shocked]’. But at the same time, I did understand, I remem- ber… it wasn’t the easiest process because we were creating something that had never been created before. And we’re all pushing to make it as authentic as possible.”



Tendeka Matatu, Director of Content at Netflix, tells FORBES AFRICA that when making content about the continent, representation should be at the fore of that strategy.



“Also, more than that, it’s about authenticity,” Matatu adds.



“If you’re going to make a show that’s for a local audience, and it’s locally- grounded and relatable, it needs to be authentic. And we want to reflect our shows. We should want to reflect the reality of society as well.”



Seemingly, once you get that right, the viewership numbers will start to reflect just how hungry people are for African content.



Several series on Netflix echo this.



Heart of the Hunter, starring Bonko Khoza, was number one for two weeks on Netflix’s global top 10 and was number one in over 81 countries. In Nigeria, Black Book, starring Richard Mofe Damijo, held the number three spot in the global top 10 list. Blood and Water has also been successful in this regard.



“We are kind of in this, dare I use the word, renais- sance of African culture and how it’s gripping the world,” Matatu says.



“We’re really seeing great shows and movies from African storytellers kind of travel the world.”



According to reports citing research firm Omdia, Netflix had 1.8 million subscribers in Africa towards the end of 2023. Furthermore, according to a Socio- Impact Report by the streaming giant, it spent about $175 million between 2016 and 2022 in several coun- tries, for creating African content.



Showmax reportedly has 2.1 million subscribers on the continent, which could be due to their focus on locally-produced content.



Variety stated, earlier this year, that MultiChoice spent roughly $1 billion on African film and TV, covering half of its gen- eral entertainment budget.



Showmax pumped out around 20 Originals in February and expected to have over 1,300 hours of original content produced in the coming year — representing a 150% increase in output compared to the previous year. The streaming platform’s rev- enue this year grew by 22% to $1 billion.



This then begs the question – if streaming is doing this well, what is happening with cinema?



African cinema still faces hurdles such as funding limita- tions, distribution barriers and the need for more training and development.



But according to PricewaterhouseCoopers (PwC) Africa’s Entertainment and Media Outlook 2023-2027 report, box office revenue has been recovering since 2021 but has yet to match pre-Covid-19 levels. South African cinema was the strongest per- forming of the three markets in 2022, with total revenue amount- ing to R862 million ($47 million).



Beverley Govender, Senior Marketing Manager at South Afri- can cinema company, NuMetro, says that while streaming servic- es have changed the way people consume media, they have also underscored the unique value of the cinema experience.



“Competing with streaming platforms involves meeting the demand for convenience and variety,” Govender says.



“However, we have turned this challenge into an opportunity to elevate the in-cinema experience. Our collaborations with technology partners have allowed us to offer innovations like VIP lounges, gourmet concessions and immersive sound systems. By enhancing our customer service and providing unique, high- quality experiences, we continue to distinguish ourselves from the at-home viewing options.”



Another reason why cinema continues to thrive could perhaps be due to the massive budgets pumped into the international ti- tles, shown at cinema houses; a fact that exposes the investment gap between Hollywood and Africa’s film landscape.



Statista reported that Hollywood budgets, on aver- age, are about $100 million per film.



Statista reported that Hollywood budgets, on aver- age, are about $100 million per film. Take for instance a blockbuster like Black Panther which reportedly grossed around $1.3 billion – the 2022 sequel that followed, Black Panther: Wakanda Forever, starring Letitia Wright and Gurira, made $800 million in worldwide box office, according to Forbes.



In South Africa, specifically, the average production cost in 2020, according to the National Film and Video Foundation, was about R7.1 billion ($387 million).



“Cinema in South Africa is definitely catching up with what’s happening, especially because of the streamers. Our crews, which have always been good, have certainly gotten better now. I suppose the biggest difference is just budgets… but that doesn’t mean that the stuff is less good,” says South African-American actor Arnold Vosloo, who starred in the Hollywood mega-grossers, The Mummy and The Mummy Returns.



“I find the crews in South Africa as good as anywhere else, and, in terms of the scripts and the writing that’s coming along, people are getting better all the time and doing unique things. I think the best is yet to come. I’m very positive about South Africa, its opportunities and chances to put things out there.”



Matatu adds, “Funding across all formats, across Africa, has always been an issue. I think it’s still an issue. But to be honest, it’s an issue in many parts of the world especially when you’re talking about independent productions.



“I see things getting better and I think that there is a boom in production across genres. I have 20 years of experience as a film- maker and I spent a lot of that time running my own produc- tion company. I was involved in many movies in South Af- rica, and I think about the options and the opportunities that I had to fund productions in the early 2000s versus what I see producers have now, it’s become a lot easier.”



According to reports, there are now funding mechanisms specifically focused on Africa’s creative sector. Capital Films announced a new fund earlier this year of ₦500 million ($316,000), which would be dedicated to investing in a vari- ety of Nollywood films.



Similarly, in South Africa, investment group Talent10 Holdings and the Industrial Development Corporation (IDC) recently announced a commitment of around R1.9 bil- lion ($104 million) to develop new entertainment and gam- ing.



Talent10 CEO Wayne Fitzjohn tells FORBES AFRICA that South Africa has a lot to offer.



“In terms of production, I’m not aware of another juris- diction that can produce content at the quality we can, at the cost we can, with staff as versatile,” he says.



“There are many times that when it comes [to] storytelling, especially African storytelling, when we are thought of as niche,” British-Nigerian actor David Oyelowo says. “We are in an era where people are starting to see us. We are getting there.”

HeartoftheHunter. Cr. Courtesy of Netflix © 2024

The Content Boom: Lens Is More For African Cinema

Present-day Nollywood is a thriving industry and a key component of Nigeria’s economy. Churning out over 2,500 films a year, the country’s film sector is not just a cultural phenomenon but also a ticket to the world.



In the Lekki district of Lagos, Nigeria’s largest city, the crew on the set of a new film has taken over a local event center, transforming it into a lavish venue to shoot an elaborate birthday party scene. Under the harsh glare of the bright lights, actors diligently rehearse their lines even as the director and crew make crucial last-minute adjustments for the next shot. 



The decor and meticulously-designed sets illustrate the grandeur of the film. Amidst this frenzied flurry, the dreams and aspirations driving these individuals shine brighter than the motivated lights on them. Nollywood, a term that emerged in the early 2000s, captures the essence of Nigerian cinema. And yet its origins are older, going as far back as the 1960s, around the time that the country gained its independence.



Pioneering filmmakers in Yoruba, Hausa, and Igbo languages set the groundwork.



“The early days were tough,” recalls British-Nigerian actor, Wale Ojo. “Films were shot on celluloid, and piracy was rampant. But the entre- preneurial spirit of the 1990s revitalized the industry, leading to what we now call Nollywood.”



“We are changing the economy,” Ojo asserts of the industry in its current avatar. “The industry is a major employer and has immense potential for growth.”



Over the past few decades, Nollywood has transformed from one with a modest beginning into a vibrant, thriving industry, producing an estimated 2,500-plus films annually. It is recognized as the world’s second-largest film industry in terms of volume, trailing only Bollywood and leading Hollywood.



“The market, for us, was not ready. Cinema, Netflix, [Amazon] Prime were not ready for us… even if I have to put a lot of money into production, how do I recoup it? So when Netflix came around, [along with Amazon] Prime and cinema, I said, ‘okay, this is the time to do it’,” says Jaiye Kuti, who started acting 22 years ago.



The industry’s growth is reflected in its widespread international popularity, thanks to partnerships with global streaming platforms. Nollywood films, such as Breath of Life, have garnered attention and awards, with Ojo himself winning recognition as Best Lead Actor at the recent edition of the Africa Magic Viewers’ Choice Awards for Breath of Life.



“I feel like they’ve done a lot of work, they’ve commissioned a lot of projects, but there’s a lot of room for more platforms and more channels for our art to be disseminated,” says Timini Egbuson, one of the lead actors in Nigeria’s reportedly highest-earning film, A Tribe Called Judah.



“Our cinema culture is actually growing a lot. The last movie I was part of made 1.6 billion naira at the box office. That’s definitely a step in the right direction.



“Nollywood is growing faster than we all thought. The quality of our productions is getting a lot better. The quality of our stories that we’re telling, acting, funding, profits— everything is kind of in the positive and it’s a good time to be in Nollywood,” Egbuson adds.



Films in the industry often delve into themes central to Nigerian and African identity, from family dynamics and religious beliefs to social issues. They challenge stereotypes and offer an authentic representation of African stories, celebrating resilience and cultural richness.



“Nollywood films offer a mirror to Nigerian society,” says Joke Silva, a prominent actor and producer.



“They break stereotypes and provide real depictions of African life.”



But despite its documented successes, the industry also faces significant challenges. One major hurdle is the unreliable electricity supply that plagues all of Nigeria.



“The biggest challenge is NEPA,” Ojo notes, in reference to Nigeria’s electricity provider. “We often rely on generators, which is neither cost-effective nor sustainable. It’s a major impediment to production.” Economic constraints also seem to impact the industry. While top-tier actors and filmmakers can earn well others struggle with financial stability. Ojo advocates for a stronger support system for actors facing health and financial crises. “There should be a strong union to support actors financially if they fall ill. The government should back this up, ensuring no actor has to suffer due to lack of support.”



Nollywood continues to evolve, with New Nigerian Cinema marking a shift towards higher production values and international collaborations.



“We are in the middle of a cinematic revolution,” Ojo says. “American companies are looking to Nigeria for new projects. There’s a synergy happening that’s bringing global attention to our industry.”



One of the most ambitious projects on the horizon is the development of a $100-million Film City in Lagos. This facility aims to attract international productions and provide state-of-the-art infrastructure.



“A properly-structured film village will bring significant income into the country,” Ojo predicts.



Nollywood’s inclusivity is evident in its linguistic diversity, with three major sub-industries: Yoruwood (Yoruba-speaking), Kannywood (Hausa-speaking), and Igbowood (Igbo-speaking).



Each sub-industry brings unique cultural narratives and styles, enriching Nigeria’s cinematic landscape. Kannywood, based in Kano, intertwines storytelling with Islamic themes and Hausa culture. Igbowood highlights the traditions and societal issues of the Igbo people, while Yoruwood, thriving in the South West, is known for its dramatic flair and exploration of Yoruba heritage.



Furthermore, Nollywood’s journey has been shaped by key films and directors. Living in Bondage (1992) is of- ten credited with launching the modern Nollywood era. The industry has produced notable films and stars that have gained international recognition.



Films like Citation (2020) by Kunle Afolayan have won international awards, and actors like Genevieve Nnaji have become household names far beyond the borders of Nigeria. Nnaji’s film, Lionheart, was acquired by Netflix, making it the first Netflix Original film produced in Nigeria.



Media mogul Mo Abudu has also earned a reputation in the African media landscape, and one that resonates far beyond the continent’s borders. EbonyLifeTV, which she founded in 2013, reportedly boasts around 30 shows that are under production. 



“The highlight, for me, is always about making great shows. I’m always fascinated by the idea that I can wake up and I know that we’re working on a new production,” she said in a previous interview with FORBES AFRICA. 



Recognized as one of the 25 Most Powerful Women in Global Television by The Hollywood Reporter and also as one of Forbes’ 100 Most Powerful Women in the world, Abudu’s work continues to garner acclaim, furthering the reach of Nollywood.



Silva reflects on the industry’s growth: “One of the things I always said about ten to fifteen years ago was that a time would come when there would be so much wealth for everybody. Technology has made storytelling more accessible and affordable compared to the old days of celluloid.”


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Nollywood’s economic impact is profound. With an output of over 50 full-length feature films weekly, Nollywood supports a vast workforce, employing over 300,000 people directly and up to a million in- directly, making it one of the largest employers in Nigeria, contributing significantly to the country’s economy and job market. Yet another report released by the Nigerian Entertainment Conference (NECLive) in November last year, says the sector has moved from the production and distribution of 1,800 films worth $5.1 billion in 2013 to 2,500 films worth $6.4 billion. The industry is projected to reach an estimated $14.82 billion revenue in 2025. Whatever the figures may be, they point to upward growth.



“The ecosystem of the Nigerian film industry is incredible. Every project creates a new world, involving about 70 people for just one production,” Silva adds.



Oyin Lasisi, a movie producer, further underscores the industry’s role in job creation. 



“As far as employment is concerned, it has been amazing — people getting jobs around here. We have created a whole lot of things for people to do. In the las month, people have been getting di-ferent kinds of jobs as far as production is concerned. And it’s been great; we intend to keep t moving, to ensure that everybody is employed.” 



The ripple effect of Nollywood’s growth can be seen in various sectors, from fashion and music to tourism. The industry’s demand for skilled labor has led to the de- velopment of numerous training programs and workshops, further enhancing the skillsets of Nigerian professionals.



The sector still faces funding and distribion challenges though.



“I’ve made movies that didn’t make anything back, and I’ve spent millions of naira… As far as marketing is concerned, it’s something you cannot predict,” offers Lasisi.



The influence of Nollywood extends beyond entertainment, playing a crucial role in shaping percep- tions of Africa.



“Nigeria is going to be the powerhouse of the creative economy. We’ve made it possible for Africa to tell its own stories. Nigerian fashion, music, and films are selling Nigeria to the world,” Silva says.



The future of Nollywood is promising, with as rations of greater self-sufficiency and global influence. Silva envisions a Nigerian- owned streaming platform to rival global giants su h as Netflix and Amazon Prime. “We love Netflix and Amazon, but we want s mething indigenous. The time is ripe for our own studios where we have control of the space.”



Corroborating Silva’s statement, Kuti adds, “It’s getting better every day, and I think we can still do better, as long as we have the funding capacity. I think two, three, four people ar coming together now… So once we can come to that mentality of coming together, you know, put resources together, we can achieve more.

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Big Ticket Nollywood: Leading The Charge In African Cinema

David Oyelowo has just returned to London to prepare for rehearsals.



The eldest of three boys, Oyelowo moved to the United Kingdom with his parents – who were both academics – as immigrants. Reflecting on his illustrious career, which spans over two decades, he pauses over a Zoom call with FORBES AFRICA to consider what inspired him to become a storyteller. During his school days, he had been interested in theater and performing but had never thought of it as a means to earn a living. It was one teacher, in particular, who noticed the young talent and encouraged him to pursue acting.



“I think my mother just thought this would be a weird thing that I would grow out of,” chuckles Oyelowo recalling the memory. 



“A large part of why I didn’t think this would or should be a passion was because my parents had not seen me or anyone like them refl ected on the screen.” The closest Oyelowo’s mother got to seeing this was with the late Sidney Poitier, a Bahamian-American actor, producer and film director, famous for the 1967 British drama film, To Sir, With Love. 



Years later, a critically-acclaimed and award-winning Oyelowo states that he was aware of just how underrepresented he himself was, when his career kick-started. distinct memory comes to mind of a time when he moved back to Lagos at the age of six.


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“I grew up, especially when I was in Lagos, always surrounded by uncles and men who I did not see represented on our screens… I did know that I was entering an industry where I would either be part of he problem or the solution.” 



When he graduated from the London Academy of Music &amp; Dramatic Art, he knew the kind of roles he wanted to portray.



“I graduated saying ‘no’ to jobs that did not feel like a good fit for me, which probably frustrated a lot of people,” Oyelowo explains. “But you have to know that all of those ‘no’s’ are creating a bullseye of a ‘yes’ for something ground-breaking.”



From portraying a visionary civil rights lea er in Selma (2014) to playing Cecil Gaines’s son in The Butler (2013) and a Ugandan chess coach in Queen of Katwe (2016), Oyelowo is known, globally, for bringing ground-breaking reality to his roles. It is also something he takes into consideration when choosing projects.



“I am doing this as a love I have for telling authentic stories,” he says.



Playing prominent roles that give impetus not only to the African and African-American story, Oyelowo points out that a large part of what he does has to do with ensuring that emerging artists take control of their narrative.



Further to this, he is a Co-founder of Mansa, a streaming service that offers a curated selection of films and television series that celebrate Black culture from around the globe. Oyelowo also launched the platform this year as an ad-supported streaming TV station on The Roku Channel as a way to ensure that people of color start benefi ting from the content they create. 



According to a 2023 Statista report, there were 415 million smartphone subscriptions in sub-Saharan Africa in 2022. That number is expected to reach 689 million by 2028. For Oyelowo, this means that more and more people can have access to content created on the continent. But Africans need to take control of their narrative and start to tell the African story.



“I always get confused when people say Black and Brown people are the minority,” he says. “We cannot afford to be culturally colonized. We are the culture because we have the global majority…. It is crucial [that we tell our own stories], otherwise it will be watered down. Africa is the cradle of creation.”


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IN THE SPOTLIGHT-Actor David Oyelowo: ‘Africa Is The Cradle Of Creation’

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Big Ideas And Small Giants: Purpose-Driven And Proudly African

From fintech to foodtech solutions; from beauty brands to biotech infusions, FORBES AFRICA’s inaugural list of Small Giants across Africa showcases the tenacity of homegrown businesses and their impact on the communities they serve. Their pan-African CEO-founders and leaders are making giant strides in progressing Africa’s growth narrative, prioritizing ideas and innovation.



By&nbsp;Chanel Retief, Nicole Pillay and Oluwatomisin Amokeoja Art Direction:&nbsp;Manelisi Dabata Videography: Thabo Mathebula Photography: Katlego Mokubyane ;&nbsp;Assistant: Sbusiso Sigidi |&nbsp;Studio: NewKatz Studio, Johannesburg&nbsp; Styling: Deneal Van Wyk Hair &amp; Makeup:&nbsp;SnehhOnline Beauty



Theo Baloyi literally walks the talk. At the NewKatz.Studio in Johannesburg, South Africa, where he strides in for an interview, the founder of Bathu tells us more about one of the country’s much-loved sneaker brands. It started when Baloyi was still an accountant and concerned about his community, more so, every time he would go home to Alexandra, a sprawling township in Johannesburg.



“I would realize that a lot of people in my community are unemployed, and pre-dominantly, the youth… they’ve lost hope as well. When I went back to the people — those who have given me opportunities and have paved the way for me — to ex-press my gratitude, it was met by one big ask [from them]; ‘we don’t want anything from you, just pave the way for others’.’”



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At the time, Baloyi, the self-proclaimed “sneakerhead”, had bought himself sev-eral pairs of sneakers, which led him to a particular philosophy. “They say when you buy too much of something, why not own it or become part of the value chain?” 



Baloyi says.When he launched Bathu in 2015, he only sold about 100 pairs. Today, the company sells 250,000 pairs of sneakers a year with 32 stores nationwide and a staff complement of over 300 employ-ees, many of whom are today’s youth.



“We are a footwear brand and a shoe business with a soul,” Baloyi says. “And why I say that is because I feel as though we go back into investing in our future consumers, so not necessarily someone who can buy Bathu today… someone who doesn’t know their journey yet. They don’t know their dreams or purpose yet. And we believe in walking the journey not only with our current consumers but with our future consumers as well.&#8221;

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Small Giants: Walking Ahead And The Theories Of Theo

From fintech to foodtech solutions; from beauty brands to biotech infusions, FORBES AFRICA’s inaugural list of Small Giants across Africa showcases the tenacity of homegrown businesses and their impact on the communities they serve. Their pan-African CEO-founders and leaders are making giant strides in progressing Africa’s growth narrative, prioritizing ideas and innovation.



By&nbsp;Chanel Retief, Nicole Pillay and Oluwatomisin Amokeoja Art Direction:&nbsp;Manelisi Dabata Videography: Thabo Mathebula Photography: Katlego Mokubyane ;&nbsp;Assistant: Sbusiso Sigidi |&nbsp;Studio: NewKatz Studio, Johannesburg&nbsp; Styling: Deneal Van Wyk Hair &amp; Makeup:&nbsp;SnehhOnline Beauty



The inspiration [for the brand] started with me [being] a woman in South Africa, and Africa, who uses beauty products,” says Portia Mngomezulu when we meet in Johannesburg for a photoshoot and interview. 



“I wanted to create a product that not only is a cosmetic product, but that gives our skin results and with ingredients that will resonate with Africans.&#8221;



When Mngomezulu gave birth to her son, she developed stretch marks that she couldn’t get rid of. Despite attempting various store remedies, she ultimately followed her grandmother’s advice and turned to Marula oil. 



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“I thought, as a woman, let me go and try something that is traditionally African… this African herb. I went ahead and tried the oil [and] it worked miraculously on my stretch marks. I started ‘inboxing’ my friends about the secret that I found, bottling it and selling it for ZAR100 [$5.42].”



For Mngomezulu, it was about finding local solutions for African women.



“I honestly believe that we are homegrown,” Mngomezulu says. “Our skin is different, our climate is different. So, we need tailor-made products for our skin that are tested here with our climate, with our skin conditions. I believe that the products that are imported are not made for our skin.”



She never expected her brand to become a nationwide success, but with products that are available in over 4,000 stores in South Africa and across over 14 African countries, Mngomezulu truly believes that hers is a proudly African brand.



Her company’s revenue is ZAR250 million ($13.7 million) a year.

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Small Giants: Finding Local Beauty Solutions For African Women

From fintech to foodtech solutions; from beauty brands to biotech infusions, FORBES AFRICA’s inaugural list of Small Giants across Africa showcases the tenacity of homegrown businesses and their impact on the communities they serve. Their pan-African CEO-founders and leaders are making giant strides in progressing Africa’s growth narrative, prioritizing ideas and innovation.



By&nbsp;Chanel Retief, Nicole Pillay and Oluwatomisin Amokeoja Art Direction:&nbsp;Manelisi Dabata Videography: Thabo Mathebula Photography: Katlego Mokubyane ;&nbsp;Assistant: Sbusiso Sigidi |&nbsp;Studio: NewKatz Studio, Johannesburg&nbsp; Styling: Deneal Van Wyk Hair &amp; Makeup:&nbsp;SnehhOnline Beauty



Tonye Irims founded WiSolar, an on-demand prepaid solar utility, in 2016. It focuses primarily on a power purchase agreement (PPA) business model. WiSolar installs and maintains the solar infrastructure in customer homes, and then sells that power to the customer via the app as re-quired per kWh – this could be for a 10- or 15-year term. According to the company, this business model allows property own-ers to install solar at no upfront cost.



When he first came upon the idea, Ir-ims set out to understand and learn more about solar technology. He also took a few trips overseas to find suppliers and de-termine how the company could connect mobile payments to solar electricity.



“When we started, it was kind of a dif-ficult time to sell solar to people because, first of all, people didn’t believe that solar electricity was the same as grid electric-ity – they felt that there was a difference in the electricity, so we had to explain to them [that] it’s the same thing, it’s just a different source,” he says.



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Irims created packages to make it easier for the customers to understand. The on-demand solar electricity platform is currently available in South Africa and Nigeria, however, the com-pany has plans to enter Zimbabwe, Rwanda, Tanzania, and the DRC in the future.



Irims advises future entrepreneurs: “It’s really a very difficult path. It’s not a sprint, it’s a long run. If you want quick wins, I don’t think entrepreneurship is for you… unless you’re ready to make a sacrifice, you’re ready to put in the discipline, and the consistency. And you also need to stay innova-tive as an entrepreneur – you need to actually look ahead. So, if you’re ready to sacrifice, ready to play the long game, it’s for you.”



<a href="https://shop.forbesafrica.com/product/single-digital-issue-june-july-2024/">GET YOUR DIGITAL COPY NOW</a>


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<figure class="aligncenter size-large is-resized"><img loading="lazy" decoding="async" width="1024" height="576" src="https://cms.forbesafrica.com/wp-content/uploads/2024/06/banner2-1-1-1024x576.jpg" alt="" class="wp-image-62242" style="width:490px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/06/banner2-1-1-1024x576.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/06/banner2-1-1-300x169.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2024/06/banner2-1-1-768x432.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2024/06/banner2-1-1-1536x864.jpg 1536w, https://cms.forbesafrica.com/wp-content/uploads/2024/06/banner2-1-1-2048x1152.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure></div>

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Small Giants: Nigerian Entrepreneur On The Power Of Solar And Staying Innovative

From fintech to foodtech solutions; from beauty brands to biotech infusions, FORBES AFRICA’s inaugural list of Small Giants across Africa showcases the tenacity of homegrown businesses and their impact on the communities they serve. Their pan-African CEO-founders and leaders are making giant strides in progressing Africa’s growth narrative, prioritizing ideas and innovation.



By Chanel Retief, Nicole Pillay and Oluwatomisin Amokeoja Art Direction: Manelisi Dabata Videography: Thabo Mathebula Photography: Katlego Mokubyane ; Assistant: Sbusiso Sigidi | Studio: NewKatz Studio, Johannesburg  Styling: Deneal Van Wyk Hair &amp; Makeup: SnehhOnline Beauty



If one had said a decade ago that you could eat meat from an animal without killing it, you’d probably think it was a hoax. Food-tech and biotech has made the seemingly impossible, possible. And it’s in this space that founders Brett Thompson and Tasneem Karodia have thrived. 



“We were the first in Africa to look at this technology called cultivated meat or cellular agriculture,” Thompson says. “We were like ‘let’s do it first – make African meat’. And I think it was a great thing to do because we got a name out but we also thought the technology that we’ve developed doesn’t have a border.”



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So, what is cultivated meat? 



“We take a selection of cells harmlessly from an animal – we’ve taken cells, and we do the cell lines from lamb, beef and pork. Essentially, what we’re trying to do is create a stable cell line that keeps producing; it’s ultimately what we do at scale as a brewery,” says Thompson.



As co-founders, they reminisce the journey of Newform Foods (formerly Mzansi Meat). “I told Tas not to quit her day job and she didn’t listen,” Thompson says, instantly making Karodia laugh. 



“I was looking to move into this space and was doing a lot of research,” Karodia explains. “There were no jobs for my particular skill set. Everyone was looking for a scientist and I am not a scien-tist… and Brett was willing to take me.” 



Capitalizing on the demand in countries like China and the U.K., Thompson and Karodia wanted to develop technology that could be ap-plied for any country around the world. 



“The industry is only 11 years old,” Karodia says. “And that means it’s quite difficult to get people to interact with our products. And so, I think, through luck, people find what we’re doing quite interesting.”

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Small Giants: The South Africans Getting To The Meat Of The Matter

From fintech to foodtech solutions; from beauty brands to biotech infusions, FORBES AFRICA’s inaugural list of Small Giants across Africa showcases the tenacity of homegrown businesses and their impact on the communities they serve. Their pan-African CEO-founders and leaders are making giant strides in progressing Africa’s growth narrative, prioritizing ideas and innovation.



By Chanel Retief, Nicole Pillay and Oluwatomisin Amokeoja Art Direction: Manelisi Dabata Photography: Katlego Mokubyane ; Assistant: Sbusiso Sigidi | Studio: NewKatz Studio, Johannesburg Styling: Deneal Van Wyk Hair &amp; Makeup: SnehhOnline Beauty



The mark of a good business often relies on three Ps: profit, people and planet. It’s hard to say which ‘P’ should be prioritized but as the companies on our first cohort of impactful Small Giants will attest, people, be they employees, managers or customers, can make all the difference. Second to that is the ‘proudly African’ thread that has been woven through each of these businesses. The Small Giants are the businesses that believe small is better, and purpose as important as profit, and most times, even more. They are drawn from the Small and Medium Enterprises (SME) sector in Africa that’s a sizeable mass, incorporated in the formal and informal economies.



In the 2023 Mastercard SME Confidence Index, the World Bank notes that SMEs account for 60% of jobs in Africa. However, they operate in cash-based economies and face a $330 billion financing gap. A 2022 African Union Development Agency report supports this, indicating that SMEs account for closer to 80% of jobs in Africa. These statistics reinforce SMEs as a significant mechanism for socio-economic growth.



StatsSA reported that industries in South Africa’s formal business sector, in particular, generated ZAR10.5 trillion ($677.42 billion) in total turnover in the 2019 financial year. The report further stipulated that the breakdown of turnover by business size shows that small businesses were responsible for generating ZAR2.3 trillion ($148.39 billion) of the ZAR10.5 trillion.



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To complement our research in compiling this list, we spoke to several of these small businesses, and a significant aspect of the discussion to determine scale revolved around financial revenues, but unsurprisingly, there was a common reluctance among the majority of the firms to share this data.



Carl Wazen, co-founder and Chief Business Officer at Yoco, a growing fintech company in South Africa, reasons that this could have to do with companies “keeping their heads down and focusing, and not having a lot of time to make a noise”, whilst the other aspect is cultural.



“You have different cultural nuances [in Africa],” Wazen says, also alluding to the more mature markets such as the United States (U.S.) where this may not be so. “The U.S. is a lot more comfortable talking about money or talking about milestones, whereas, in Europe, money is maybe more taboo there than it is in the U.S.”



Andrew Amoils, Head of Research at New World Wealth, a South Africa-based global wealth intelligence firm, offers another view, indicating that most of the time, no matter where, people are not quite open about speaking about their billions or millions.



“It’s not unique to Africa,” Amoils says. “I guess some people feel like you’re kind of putting a target on [their] back and [that] can affect the way they [talk about money]&#8230; only a few countries (the U.S., United Kingdom and Australia) have pretty transparent information.”



For those looking, there are enough studies and reports indicating the actual picture of wealth on the African continent. The total investable wealth currently held in Africa amounts to $2.5 trillion and its millionaire population is set to rise by 65% over the next 10 years, ac-cording to the 2024 Africa Wealth Report, published by international wealth advisory firm, Henley &amp; Partners.



“Future growth should [be] fueled by strong growth in fast-growing sectors such as fintech, eco-tourism, business process outsourcing, software development, rare metals mining, green tech, media and entertainment, and wealth management,” Amoils adds.



There has been global advancement in fostering gender diversity within leadership roles. However, when determining and understanding the spaces taken up by the titans in small business, FORBES AFRICA’s research led to more male founders, leaders, and C-suite executives, hence the preponderance of one gender over the other in our list of Africa’s Small Giants. This shows that progress comes with caveats. LinkedIn’s 2024 data indicates that the representation of women drops to 25% in C-suite positions on average, compared to 46% in entry-level positions.



The World Economic Forum reported in 2023 that women constitute 58% of self-employment across Africa, and contribute approximately 13% of Africa’s total GDP. However, many women still find themselves working a lot harder to be heard or seen by potential investors as well as colleagues. The female powerhouses on our inaugural Small Giants list attest to this reality, hands down.



“Being a woman in business, in general, is quite difficult,” says Tasneem Karodia, the co-founder and Chief Operating Officer at Newform Foods. “I come from a career in corporate, and that has its own challenges. I started quite young working in consulting, and had to be faced with a lot of top executives from big companies.”



“I’m an entrepreneur, and I don’t really take no for an answer,” offers Delia Stirling, founder of Grove and Meadow and Commercial Director at Brown’s Food Company. “I just wouldn’t tolerate somebody not working with me because I [am] a woman. I think it’s that perseverance that you have to have&#8230; When I work with anybody, they can feel the passion and understand where I’m coming from.”



“I was very used to being the only woman at the table,” Claire Blanckenberg, founder and CEO, Reel Gardening, tells FORBES AFRICA. “And I just kind of put my head down and claimed my seat at the table without asking for permission.” What remains steadfast as a theme on this list is the priority to showcase businesses that are African, with a proudly African mindset.



From a community-focused food-processing company or a sneaker brand that is uniquely recognizable for its mesh material to a female-led enterprise known globally as a pioneer in the tea industry, these businesses are small in scale but big on ideas and impact. For these businesses, it’s not about reaching three-comma numbers when it comes to revenues or fortunes, but rather, about honoring their unflinching belief that success can have a whole different definition in creating meaningful futures, for all.



METHODOLOGY



Africa is rich with opportunities and possibilities, as evidenced by this list, which is but only a small representation or subset of the growing, thriving small business sector on the continent. From across Africa, the FORBES AFRICA editorial team looked at businesses that were at least five years old this year, were privately-held, had sound business models and were profitable. Our research led us to finding the local heroes in their communities. We called for nominations, which gave founders an opportunity to put forth the names of their enterprises. To gain deeper insight into their impact-driven models, we interviewed the founders/directors/CEOs with one key question: what makes your business homegrown and proudly African? To determine their scale of success, we looked at metrics such as self-preservation, sustainability, community engagement, innovation and value-creation. While this unranked list of 25 local businesses captures the versatility of industries on the continent, purpose remains a common priority for each of these Small Giants.



Editor’s Note: The list on these pages follows no particular order. 



Download your copy now to find out who is on our #SmallGiants List by<a href="https://shop.forbesafrica.com/product/single-digital-issue-june-july-2024/" target="_blank" rel="noreferrer noopener"> clicking here</a>

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The List: Purpose-Driven And Proudly African

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Passion, Purpose And A Decade Of The 30 Under 30 List

&nbsp;The milestone speaks for itself: it’s the 10th anniversary of FORBES AFRICA’S 30 under 30 list, and just like the honorees who have come before them, the class of 2024 too are driven by impact. Profits aside, it’s about achieving success with innovation, influence and individuality. They aren’t looking to fill big shoes but rather lace up their own and forge ahead with giant strides, leading by example and leaving an indelible path for the changemakers to come.



Words and Curation: Chanel Retief Additional research and reporting: Nicole Pillay With inputs from: Oluwatomisin Amokeoja Art Direction and Layout: Lucy Nkosi | Photography: Katlego Mokubyane | Photography Assistant: Sbusiso Sigidi | Studio: NewKatz Studio, Johannesburg | Styling: Deneal Van Wyk | Outfits supplied by: B Mashilo Designs, DFLO, Franc Elis, Ephymol and Preview Accessories | Hair &amp; Makeup: SnehhOnline Beauty



TEN YEARS, of uncovering some of the most influential and iconic young people on the continent. Ten years, of shining the spotlight on business innovators and tech trailblazers impacting their communities, countries and the continent.



Ten years, of profiling record-breakers, history-makers and risk-takers determined to rewrite the narrative on Africa. The 10th anniversary of FORBES AFRICA’s 30 Under 30 list is testament to the unmistakable potential and talent pool that exists on a continent boasting the world’s youngest population, and their role in together crafting Africa’s growth story.



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Building a business and a brand, and consistently creating change on the continent, as a 20-something, is no mean feat. And it’s perhaps their path-breaking innovations and against-all-odds resilience that’s leading the rest of the world to Africa as the next frontier. The world is becoming more African. The whole continent of Africa, with 54 countries, is home to 1.45 billion people, and the economies are being driven by a growing young population.



The United Nations states in a report that 70% of sub-Saharan Africa is under the age of 30; and that more than a third of the world’s young people will live in Africa by 2050.Experts also stipulate that the future of Africa’s wealth is young and female, and they hold the greatest potential for investment prospects. 



The 2023 Africa Wealth Report, published by Henley &amp; Partners in partnership with New World Wealth, reports that the total investable wealth currently held on the African continent amounts to $2.4 trillion, and its millionaire population is expected to rise by 42% over the next 10 years. Whatever the numbers, over the last decade, we have recorded this and more of Africa’s appetite and tireless tenacity for growth and prosperity, with the youth spearheading that narrative, never veering away from the heartwarming concept of ubuntu (compassion and humanity) bringing the continent and its communities together. We can’t wait to see what the next decade will unfold.



Editor’s note: The list follows no particular order



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<h2 class="wp-block-heading has-text-align-center" id="h-methodology">METHODOLOGY </h2>



The nomination process began late 2023, as over a thousand applications came through. Part of the rigorous reporting and vetting process also involved going through social media profiles, police clearance reports, reference letters from financial institutions and testimonials from the colleagues, collaborators, business partners and employees of short-listed nominees. Background checks were conducted on potential candidates, which included reviewing documentation to ensure there are no criminal records, troubling lawsuits/bankruptcies, and/or allegations of crime, misconduct, sexual harassment/abuse or fraud. For the 2024 list, FORBES AFRICA, for the fifth year running, partnered with audit fi rm SNG Grant Thornton to assess company financials from losses to growth margins to overall revenue and profits since incorporation. In addition to the research and reporting of the editorial team, FORBES AFRICA also depended on a panel of high-profile judges and independent subject-matter experts to ensure that only Africa’s most merit-worthy make it to the final list. Instead of having only one adjudicator per category (Business, Technology, Health/Science, Creatives and Sports), we also sought the help of past list-makers – our illustrious 30 Under 30 alumni – to judge potential finalists. This list is only but a small indication of the wealth of young talent that exists on the continent and they will no doubt be unraveled on these pages in the months and years to come.



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<ol class="wp-block-list">
<li>Alex Mativo, 29, Kenya CEO and Co-founder, E-LAB, Nanasi and Duck Industry: Multiple ventures</li>



<li>Ann-Kathrin Joos, 28, South Africa CEO and Founder, Standard Beauty Industry: Beauty</li>



<li>Vimbai Masiyiwa, 29, Zimbabwe CEO, Batoka Hospitality Industry: Tourism</li>



<li>Andrew Ddembe, 28, Uganda Co-founder and CEO, MobiKlinic Industry: Healthtech</li>



<li>Chad Jones, 28, South Africa Social Media Content Creator and Brand Influencer Industry: Social media</li>



<li>Adedamola Oyinlola Adefolahan (Fireboy DML), 28, Nigeria Singer-songwriter Industry: Entertainment&nbsp;</li>



<li>Tyla Laura Seethal, 22, South Africa Singer-Songwriter Industry: Entertainment</li>



<li>Ayushi Chandaria, 26, Kenya Founder, Design Thinking Program (Kenya) Industry: Education</li>



<li>Ama Qamata, 25, South Africa Actress, Producer Industry: Entertainment</li>



<li>Daniel Novitzkas, 28, South Africa Co-founder and Chairman of the Board, Specno Industry: Software Development and Technology Solutions</li>



<li>Prisca Wegesa Magori, 29, Tanzania CEO and Co-founder, TenTen Explore and Smart EFD Industry: Software Development</li>



<li>Luke Mostert, 27, South Africa Co-founder and Chief Strategy Officer, CatalyzU Industry: EdTech &amp; JobTech</li>



<li>Arooj Sheikh, 28, Kenya Founder and CEO, Beyond Kenyan Bars Sector: Social development</li>



<li>Kenneth M. Njeru, 25, Kenya Director and Founder, Africa Afya Healthcare Industry: Health Investment Services</li>



<li>Cayley Jorgensen, 29, South Africa CEO and Founder, Ingage Support; Registered Counselor Sector: Mental health</li>



<li>Hildah Magaia, 29, South Africa Forward for Mazatlán F.C Femenil and Banyana Banyana Industry: Sport – Football</li>



<li>Victor Osimhen, 25, Nigeria Footballer and Striker for Super Eagles Industry: Sport – Football</li>



<li>Tobi Amusan, 26, Nigeria Track and Field Athlete Industry: Sport – Athletics</li>



<li>Damian Willemse, 25, South Africa Stormers and Springboks rugby player Industry: Sport – Rugby</li>



<li>Ricardo Lognath, 29, South Africa Co-Founder and CEO, Omninela Medical</li>



<li>Nicolas Lognath, 27, South Africa Co-Founder and Director, Omninela Medical Industry: Healthcare/E-commerce</li>



<li>Ruth Erikan James, 29, Nigeria Founder, Veekee James Industry: Fashion</li>



<li>Shaun Maswanganyi, 23, South Africa Track and Field Athlete Industry: Sport – Athletics</li>



<li>Jeremiah Thoronka, 24, Sierra Leone Founder and CEO, Optim Energy Sector: Climate Change and Sustainability (Social Impact)</li>



<li>Calvin Usiri, 28, Tanzania Co-founder and CTO, Ramani Industry: Geographic Information Systems (GIS)</li>



<li>Peace Wutawunashe, 27, Zimbabwe Founder, Trigershot Engineering Industry: Solar/Renewable Energy</li>



<li>Esethu Cenga, 29, South Africa Co-founder and CEO, Rewoven Industry: Fashion</li>



<li>Josiah Akinloye, 29, Nigeria Founder and CEO, Mainlogix Technology Industry: Automation and Technology</li>



<li>Abioye Oyetunji, 29, Ghana Founder and CEO, FXKudi Industry: Fintech</li>



<li>Nadine Roos, 27, South Africa South African Rugby Union (Springboks) and Sevens player Industry: Sport &#8211; Rugby</li>
</ol>



<hr class="wp-block-separator has-alpha-channel-opacity"/>


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<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="1024" height="512" src="https://cms.forbesafrica.com/wp-content/uploads/2024/03/U30Africa-Social-Twitter_1024x512.png" alt="" class="wp-image-61447" style="width:592px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/03/U30Africa-Social-Twitter_1024x512.png 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/03/U30Africa-Social-Twitter_1024x512-300x150.png 300w, https://cms.forbesafrica.com/wp-content/uploads/2024/03/U30Africa-Social-Twitter_1024x512-768x384.png 768w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure></div>


<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: &quot;Times New Roman&quot;;"> 



<ul class="wp-block-list">
<li>Registration is still open for the Forbes Under 30 Summit in Botswana! Join us on May 5 &#8211; 8 as we bring together the most successful young entrepreneurs from around the globe. The experience promises to be unbeatable.<a href="https://www.forbes.com/connect/event/2024-forbes-under-30-summit-africa?promo=NLFORBESAFRICA"> Secure your spot at the best rate toda</a>y.</li>
</ul>

final Under30

MEET THE CLASS OF 2024: Passion, Purpose And A Decade Of The 30 Under 30 List

The milestone speaks for itself: it’s the 10th anniversary of FORBES AFRICA’S 30 under 30 list, and just like the honorees who have come before them, the class of 2024 too are driven by impact. Profits aside, it’s about achieving success with innovation, influence and individuality. They aren’t looking to fill big shoes but rather lace up their own and forge ahead with giant strides, leading by example and leaving an indelible path for the changemakers to come.



Words and Curation: Chanel Retief Additional research and reporting: Nicole Pillay With inputs from: Oluwatomisin Amokeoja Art Direction and Layout: Lucy Nkosi | Photography: Katlego Mokubyane | Photography Assistant: Sbusiso Sigidi | Studio: NewKatz Studio, Johannesburg | Styling: Deneal Van Wyk | Outfits supplied by: B Mashilo Designs, DFLO, Franc Elis, Ephymol and Preview Accessories | Hair &amp; Makeup: SnehhOnline Beauty



How does one go from working nine to five as a software engineer to becoming one of South Africa’s most-beloved social media influencers? Just ask Chad Jones. Known for his quirky dance videos with his parents, he gained popularity on social media during the Covid-19 pandemic. Scrolling through Facebook one day, he saw TikTok videos on the platform. 



“I decided to download the app just to see what it was about. After a few hours of scrolling, all that popped up on my page were these short, catchy dances that looked fun. I created my account and asked my parents to join me for a [brief] dance,” he says.



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Having convinced his parents to join in on his Gqom and Amapiano-style dances (even going as far as bribing his father with a PlayStation game in order to get him to participate), his family has become fan favorites. “Now people ask where they are when I post videos,” Jones laughs. 



Almost four years later, Jones has forged his path as a content creator, and even has his parents on his payroll. “I pay them now. And they make a pretty decent amount of extra cash. Coming from [the] background I am from, it’s a wholesome feeling being able to do that for my family,” he says.

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Under 30: The South African Content Creator With The Right Moves

The milestone speaks for itself: it’s the 10th anniversary of FORBES AFRICA’S 30 under 30 list, and just like the honorees who have come before them, the class of 2024 too are driven by impact. Profits aside, it’s about achieving success with innovation, influence and individuality. They aren’t looking to fill big shoes but rather lace up their own and forge ahead with giant strides, leading by example and leaving an indelible path for the changemakers to come.



Words and Curation:&nbsp;Chanel Retief Additional research and reporting:&nbsp;Nicole Pillay&nbsp;With inputs from:&nbsp;Oluwatomisin Amokeoja Art Direction and Layout: Lucy Nkosi |&nbsp;Photography:&nbsp;Katlego Mokubyane |&nbsp;Photography Assistant:&nbsp;Sbusiso Sigidi |&nbsp;Studio:&nbsp;NewKatz Studio, Johannesburg |&nbsp;Styling: Deneal Van Wyk |&nbsp;Outfits supplied by: B Mashilo Designs, DFLO, Franc Elis, Ephymol and Preview Accessories |&nbsp;Hair &amp; Makeup:&nbsp;SnehhOnline Beauty



From East Africa’s largest economy to England, Alex Mativo dared to dream. In 2014, at just 19 years old, he founded E-LAB, a startup aimed at eradicating electronic waste in Africa and transforming it into products used in the fashion and interior design industries.



For Mativo, it wasn’t just about eliminating 4,000 tons of waste from Africa’s communities but also creating thousands of jobs for artisans in the process. 



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The late Queen Elizabeth II celebrated Mativo for his work with E-LAB, presenting him with one of the Queen’s Young Leader Awards in 2016. 



“Starting E-LAB at 19 without capital and business experience was my most challenging endeavor,” Mativo tells FORBES AFRICA. 



“While my peers were joining university, I was fighting an environmental hazard in my hometown of Athi River (a town outside Nairobi). Electronic waste was unregulated, which led to factories discarding mountains of e-waste in my backyard.” 



His innovative nature didn’t stop there.Mativo’s latest venture, Duck, is a natural evolution of another one of his businesses – Nanasi, an operating system that helps restaurants seamlessly manage online and offline orders, payments, and operations. Duck expands its reach by tackling a notable challenge: data scarcity in Africa’s vast informal retail sector.



“As a FORBES AFRICA 30 Under 30 honoree, I would gain a platform to amplify my message and inspire the next wave of changemakers to build ventures that solve real African problems,” Mativo adds. 



As a judge of the Business and Technology categories of the 30 Under 30 list, Amini founder Kate Kallot comments on him: “[Alex is] showing quite a lot of resilience, which is the single-most important attribute in business.”

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Under 30: Kenyan Founder On Building Ventures To Solve Africa’s Problems

The milestone speaks for itself: it’s the 10th anniversary of FORBES AFRICA’S 30 under 30 list, and just like the honorees who have come before them, the class of 2024 too are driven by impact. Profits aside, it’s about achieving success with innovation, influence and individuality. They aren’t looking to fill big shoes but rather lace up their own and forge ahead with giant strides, leading by example and leaving an indelible path for the changemakers to come.



Words and Curation:&nbsp;Chanel Retief Additional research and reporting:&nbsp;Nicole Pillay&nbsp;With inputs from:&nbsp;Oluwatomisin Amokeoja Art Direction and Layout: Lucy Nkosi |&nbsp;Photography:&nbsp;Katlego Mokubyane |&nbsp;Photography Assistant:&nbsp;Sbusiso Sigidi |&nbsp;Studio:&nbsp;NewKatz Studio, Johannesburg |&nbsp;Styling: Deneal Van Wyk |&nbsp;Outfits supplied by: B Mashilo Designs, DFLO, Franc Elis, Ephymol and Preview Accessories |&nbsp;Hair &amp; Makeup:&nbsp;SnehhOnline Beauty



Known to the world as the actress who brought Puleng Khumalo to life in the Netflix original series Blood and Water, Ama Qamata describes this “passion project” as something she wanted to see do really well. 



“I was in varsity, and dropped out in my second year,” Qamata says to FORBES AFRICA. 



“And I really was new to the industry. It was my first time doing something that big. And I just remember the shooting being so stressful. I guess my mentality the whole time was ‘I just need to show up and give my best’. I remember at the Queen Sono premiere, the CEO of Netflix, Ted Sarandos, met me and said, ‘oh, I’m not worried about the show’.”



Sarandos was right. Months later, when the show premiered in May 2020, it ranked number one in South Africa, France, The Bahamas, Libya, Jamaica, Trinidad, and Kenya. It is also the fi rst South African show to reach number one in the United States.



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“When it came out, it was insane. I didn’t even have time to process it because I was working,” Qamata laughs. 



In a 2023 report released by the streaming platform, Netflix stipulated that since entering key countries in sub-Saharan Africa, it has contributed across economic sector value chains within and adjacent to the cultural and creative industries and stakeholder ecosystems. It has contributed “directly” to job creation, skills development, and capacity-building in the local creative industry. 



“It’s about time. I think we have the most creative people in the world,” Qamata adds. “We have such beautiful stories, and what I love about our stories is that they are so raw… what we offer, the world has not seen yet.”

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Under 30: South African Actress On The Raw Power Of Our Stories

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OVER 30 UNDER 50: Formidable And Forging Ahead

Story curated by Chanel Retief and Nicole Pillay Art Direction: Lucy Nkosi Photography: Katlego Mokubyane ; Assistant: Sbusiso Sigidi Styling: Deneal Van Wyk; Outfits supplied by Fashimo Styles Studio, Ukara, Suited For Her and Preview Accessories Hair &amp; Makeup:Vanessa Unamaca, MakoleMade Location: NewKatz.Studio, Johannesburg



Dr Tlaleng Mofokeng’s story is not one that kickstarted with a university degree, or when she started advocating for the sexual and reproductive health and mental health rights of all. In fact, the story that shaped Mofokeng, known as Dr T, had its beginnings in her childhood in QwaQwa, in the Free State province of South Africa during apartheid. 



“[I] experienced some of the most exciting but also frustrating and scary times growing up [during] apartheid, but [as] an adult, [I also] experienced the wonder of a democratic South Africa. [I wanted to become a doctor] after witnessing adults and neighbors around me injured in the protests [that happened], and I was there and helpful. I think, as a child, [I was] also inquisitive about [these] protests; I&#8217;m grateful that they never chased me away but incorporated me in a way that I was safe [and] could still participate. 



At the photoshoot for this feature, Mofokeng is anxious to get to a table where she can open her laptop to finish up some work, as she wears many hats.



As a medical doctor, she specializes in advocating for women’s health with regards to their sexual health and relationship concerns. As the United Nations Human Rights Council Special Rapporteur, her work focuses on the rights of every individual to experience the highest attainable standards of physical and mental health. She is also an Adjunct Professor at the Georgetown University Law Center in Washington, D.C. in the US.



“Would you consider yourself a power woman, Dr T?” we ask.



“A power woman is bold. And she is fearless, in that she gets to determine life for herself, she moves at her pace, and is not shy to say ‘I&#8217;m exhausted, can someone else take over?’ I accept that for this moment that power is being projected on to me. But I like to project power more than take it as an identity or something that I have to live up to because I&#8217;m only human and some days, I&#8217;m really not feeling so powerful.”

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Over 30 Under 50: ‘A Power Woman Gets To Determine Life For Herself’/Dr Tlaleng Mofokeng

Story curated by Chanel Retief and Nicole Pillay Art Direction: Lucy Nkosi Photography: Katlego Mokubyane ; Assistant: Sbusiso Sigidi Styling: Deneal Van Wyk; Outfits supplied by Fashimo Styles Studio, Ukara, Suited For Her and Preview Accessories Hair &amp; Makeup:Vanessa Unamaca, MakoleMade Location: NewKatz.Studio, Johannesburg



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“I wouldn’t say a ‘power woman’ is fearless because some way, somehow, I do get that fear. But I can say she is a strong woman even though problems approach. She will always be strong and stand up for herself; she has perseverance.”
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In 2023, Nomcebo Zikode was celebrated across Africa, but especially in her home country South Africa after she brought home her first Grammy award with two-time Grammy award-winning flautist, Wouter Kellerman and singer and producer, Zakes Bantwini for their song Bayethe. It was a win she did not think would happen. At the FORBES AFRICA power women photoshoot, Zikode walks in with a big smile, ready to reflect on the journey that led to that moment.



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“I knew that I wanted to be on TV or I wanted to be a singer,” Zikode says. “Becoming an actress was the second thing but being a singer was the first thing, so I&#8217;m living my dream. I&#8217;m really so happy to be recognized, not only in South Africa but abroad, and seeing people loving your work as they do, even though there was a point where I was about to give up because I [was] looking at my age. I was over 30 and this music thing was not happening, so I am really grateful to God.”



Also successful as the founder of record label, Emazulwini Productions, Zikode wants to inspire the youth, especially those from disadvantaged backgrounds. 



“Personally, it was never about changing my life,” Zikode explains. “It’s about showing another child who’s currently sitting at home, watching me win a Grammy so they can see that Nomcebo made it possible to achieve her goals, so that where they are sitting – whether they&#8217;re coming from a rural area or from a poor family – they know that it is possible for them!”



Zikode’s admission of wanting to give up – this was before her hit song Jerusalema topped charts across the globe – is not unique to her. To the women who feel that their careers have stunted, Zikode offers the best advice: “Just keep going and respect your craft. You never know when your time is coming.”

Over 30 Under 50: ‘You Never Know When Your Time Is Coming’-Nomcebo Zikode

Story curated by Chanel Retief and Nicole Pillay Art Direction: Lucy Nkosi Photography: Katlego Mokubyane ; Assistant: Sbusiso Sigidi Styling: Deneal Van Wyk; Outfits supplied by Fashimo Styles Studio, Ukara, Suited For Her and Preview Accessories Hair &amp; Makeup:Vanessa Unamaca, MakoleMade Location: NewKatz.Studio, Johannesburg



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It’s the need of the hour that most entrepreneurs pivot in their approach to building businesses. This has become quite normalized in the tech space. Traditionalists see risks but not Dr Aisha Pandor, whose main goal has always been about building businesses that help those around her and help her plough back into her country’s economy. 



Pandor, a qualified human geneticist, started SweepSouth, an online home cleaning and gardening services platform, with her husband, software engineer Alen Ribic, in 2014. The idea came about when she had just left her corporate career. While they were reviewing different business ideas, the couple realized that they needed help at home, at the time.



“That sparked the idea that there are services like Lyft and Uber, but there&#8217;s nothing that helps to connect you to home services, using technology,” Pandor says.



Almost a decade later, Pandor walks in for the photoshoot at the NewKatz.Studio in Johannesburg, South Africa, ready to announce that she has stepped down as CEO of the online platform.



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“One of the great things about being a scientist is that when you&#8217;re building, you measure your impact as you&#8217;re going along, you do it in a datadriven way.


“Now, I&#8217;m thinking about work-life balance. And so, I think it&#8217;s important to also showcase this phase in [a] woman&#8217;s career,” Pandor adds, stating that she will not be leaving SweepSouth permanently but will rather focus more on building a business centered around health, health technology and genetics.


“This is often the time when you&#8217;re having children or your children are old enough that you start thinking about the time that you spend with them. I think this notion of not needing to find the perfect balance, but being able to hold lots of spaces at the same time – that is really what being a power woman is about. It&#8217;s not about perfection. It&#8217;s about constantly trying.”

OVER 30 UNDER 50: ‘Not About Perfection, But About Constantly Trying’-Dr Aisha Pandor

Professor Benedict Oramah2

‘Exploring Uncharted Waters’: The Growth Strategist Turning Around African Trade

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SOUND STRATEGIES: The Innovators Going Global With African Music

<h3 class="wp-block-heading has-text-align-center" id="h-south-africa-flutist-producer-and-composer">South Africa | Flutist, producer, and composer</h3>



<h3 class="wp-block-heading has-text-align-center" id="h-spotify-monthly-listeners-16-8k-youtube-total-average-views-13-million">Spotify Monthly Listeners: 16.8K YouTube Total Average Views: 13 Million</h3>



<h3 class="wp-block-heading has-text-align-center">SOCIAL MEDIA NET WORTH Instagram: 13.1K Twitter: 14.7K Facebook: 99K</h3>



Words and Curation:&nbsp;Chanel Retief|Art Director: Lucy Nkosi |&nbsp;Photography: Katlego Mokubyane&nbsp;Photography Assistant:&nbsp;Sbusiso Sigidi Studio: NewKatz Studio, Johannesburg|&nbsp;Videographer: @astro.vn |&nbsp;CNBC Africa Videographer:&nbsp;Thabo Mathebula|&nbsp;Video Editor:&nbsp;Chanel Retief|&nbsp;Styling: Bontlefeela Mogoye and Wanda Baloyi |&nbsp;Outfits supplied by: Kworks Design; Imprint South Africa; House of Suitability; LSJ Designs|&nbsp;Hair &amp; Makeup:&nbsp;Makole Made



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&#8220;&#8230;Maths and music often go together, they say. Well, in my case, that was very much the situation.&#8221; 
</blockquote>



Kellerman’s myriad stellar accolades apart, what draws you (besides the melodic notes of his flute) to his story is the long journey he had to embark on to get to where he is. 



In this story, Kellerman had to always “wait” before doing what he loved most. Growing up, Kellerman’s parents encouraged his love for music. 



After attending a symphony concert at the age of 10 with them, he was handed the option of playing an instrument. He, of course, chose the flute. 



“I was very excited to start but then my teacher was sick for the first lesson,” Kellerman smiles as he recalls the memory. 



“And my mom was scared we were going to break the flute if we assembled it. So every day, I would just open the flute case, look at the flute, and wonder what it would sound like, and how it would feel to play it. I would close the case, and then an hour later, open the case again.”



Although a young Kellerman got to play the flute every day after that, the wait started all over again when he left school. Wanting to study music, Kellerman knew that there was no money for university so he had to obtain a bursary.



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“My other talent is maths,” Kellerman says, surprising the entire studio where he has arrived for the photoshoot in Johannesburg. “Yes, maths and music often go together, they say. Well, in my case, that was very much the situation. So I was offered a bursary to study engineering by Anglo American at the University of Johannesburg.”



The wait continued as Kellerman had to work off his bursary after his studies. To afford him the time and freedom to play the flute, Kellerman then started his own engineering software company.



“After a while, I decided, no, I want to be a full-time musician. But I ran out of money within six months,” Kellerman laughs. “So I had to go back to engineering.”



Kellerman got married and had children which meant that playing the flute professionally would just have to wait. He jokes that “every time I tried to swap over to being a full-time musician, it didn&#8217;t work”.



“The money just wasn&#8217;t enough to do music. And so, I tried that every few years and basically had to wait 20 years before I could do this full time. In the meantime, every year, I&#8217;d allow myself to go overseas for three weeks and study new masterclasses with the best flute teachers.”



Kellerman remembers fondly the moments his children would ask him what his ultimate dream was.



“I would say to them ‘Oh, to one day, get a Grammy nomination; that would be fantastic’.”



From waiting to wanting to winning – Kellerman’s story may not be over, but for the accomplished two-time Grammy award-winning artist (in 2015 and early this year for Bayethe), it feels as though life has come full circle.



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“WOUTER MAKES BEAUTIFUL MUSIC, BUILDING BRIDGES ACROSS CULTURES AND SHARING HIS POSITIVE ENERGY WITH THE WORLD.” —South African singer Lerato Moipone Molapo, known professionally as Lira.
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Despite all the accolades in his career, Kellerman’s true mission, he says, has always been sharing South African music with the world, which he continues to.



&#8220;Wouter makes beautiful music, building bridges across cultures and sharing his positive energy with the world,” South African singer Lerato Moipone Molapo, known professionally as Lira, says. “He is a generous soul, who is always willing to help, and his invaluable contributions have left an indelible mark on the South African music industry.” Antos Stella, CEO of The Music Arena, adds that “Wouter Kellerman’s exceptional musical talent has paved the way for extraordinary collaborations with artists from various genres and cultures, resulting in a well-deserved array of awards”.



When he is not playing music, Kellerman enjoys a good session of acro-yoga at sunrise on the beach. The next few months are action-packed for Kellerman, who most recently performed for the Presidents at the BRICS Summit in South Africa. Next up is a slew of high-profile overseas performances. Kellerman continues to believe in the power of collaboration as he recently partnered with award-winning Tanzanian artist Naseeb Abdul Juma Issack, popularly known as Diamond Platnumz, for their Afropop hit Pounds &amp; Dollars.



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Meet Cover Star: Wouter Kellerman “I HAD TO WAIT 20 YEARS BEFORE I COULD PLAY THE FLUTE”

<h2 class="wp-block-heading alignwide has-text-align-center" id="h-south-africa-music-conductor">South Africa | Music conductor </h2>



<h4 class="wp-block-heading has-text-align-center" id="h-social-media-net-worth-instagram-5-8k-twitter-5-3k-facebook-824-tiktok-688">SOCIAL MEDIA NET WORTH Instagram: 5.8K Twitter: 5.3K Facebook: 824 TikTok: 688</h4>



Words and Curation:&nbsp;Chanel Retief|Art Director: Lucy Nkosi |&nbsp;Photography: Katlego Mokubyane&nbsp;Photography Assistant:&nbsp;Sbusiso Sigidi Studio: NewKatz Studio, Johannesburg|&nbsp;Videographer: @astro.vn |&nbsp;CNBC Africa Videographer:&nbsp;Thabo Mathebula|&nbsp;Video Editor:&nbsp;Chanel Retief|&nbsp;Styling: Bontlefeela Mogoye and Wanda Baloyi |&nbsp;Outfits supplied by: Kworks Design; Imprint South Africa; House of Suitability; LSJ Designs|&nbsp;Hair &amp; Makeup:&nbsp;Makole Made



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“She [Alicia Keys] is the one who actually picked me. She had five options. So it wasn&#8217;t because I was a pretty look or whatever. She was like, ‘Listen, there is just something about you&#8221;
</blockquote>



POWER. THAT IS THE WORD that comes to mind, as Pitse walks on to the set with her conducting baton for the photoshoot for this feature. Hailed the youngest African woman orchestra owner, conductor, classical music arranger, producer, musician, and curator of intimate musically inspired/influenced spaces and experiences, it’s not difficult to see why. 



However, this has not come easy. 



“You&#8217;ve seen me, I&#8217;m quite tiny,” Pitse laughs. “You get into this industry where you see all these groot manne (big men) and they&#8217;ve been in the industry and the business for so long. So the question you always get is ‘What are you doing here?’ There&#8217;s always that thing where I have to prove myself more than I should, and I always have to walk on stage or into spaces, or even at just rehearsals, being over-prepared.”



Serenade Magazine noted in a 2022 article that the average proportion of women in orchestras is still less than 50% while the number of female conductors is barely 10% of the total.



“Historically, in the orchestra space, you would find that not a lot of women have even the first seat. You won&#8217;t really have a female concertmaster, or even a female conductor,” Pitse adds. “It&#8217;s a very tough industry, because like I&#8217;m saying, you have to know more than what you are actually required to. So, there&#8217;s always someone who&#8217;s checking you and often it’s a guy who&#8217;s checking to see if [you] are who you say you are.”



Born and raised in the rich and colorful City of Tshwane, it was in the vibrant streets of South Africa’s capital city that Pitse first discovered and developed her deep love for music. With a family active in the Salvation Army, she soon found her way to its famous brass band, where she learned to play the English horn, trumpet, flugelhorn, and cornet.



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“My grandparents were always at church and subsequently so was my mother. I had to learn something to just make sure that whenever she&#8217;s having a meeting, I&#8217;m doing something at the same time,” Pitse adds. “The trumpet became my first love in my introduction to music.”



From the Salvation Army straight to one of Netflix’s biggest shows, Queen Charlotte: A Bridgerton Story.



Grammy award-winning artist Alicia Keys wanted to celebrate the 20th anniversary of her song If I Ain&#8217;t Got You, so Netflix created a 74-piece global orchestra made up entirely of women of color to perform a rendition for the show. At the orchestra’s helm was Pitse.



“She [Keys] is the one who actually picked me. She had five options. So it wasn&#8217;t because I was a pretty look or whatever. She was like, ‘Listen, there is just something about you, and from what I&#8217;ve seen and what I&#8217;ve heard, you are so dynamic’.” Although it felt exciting to have Keys co-sign her, Pitse felt a lot of pressure to perfect this as it was a song the world had marveled over for 20 years



“We were recording the music video and in between a take, the camera guys were switching cameras. I was standing on a step in front and [Keys] was at the grand piano on my left. She then started playing the diary and when I looked to my left, she was intentionally looking at me as she was playing.



<blockquote class="wp-block-quote has-text-align-center is-layout-flow wp-block-quote-is-layout-flow">
“OFENTSE KNOWS WHERE SHE HAS COME FROM, AND SHE CERTAINLY KNOWS WHERE SHE IS HEADING – ALL THE WAY TO THE STARS.”
<cite>—Adam Howard, South African music composer</cite></blockquote>



“And now she&#8217;s playing the diary and I&#8217;m looking at her and we are jamming to that diary. And it was such a special moment because I think at that moment, it meant so much to us that we were finally doing this. We were finally here [as an all-female orchestra]. When she stepped away from the piano and we were having our whispering chat, she said to me ‘Listen, we did this’… and that was amazing.”



Adam Howard, award-winning South African music composer and supervisor, describes Pitse as a visionary.



“I think Ofentse’s view of what an orchestra is and can be is just what is needed in a sometimes stagnant and closed classical world. Her passion is palpable and her work ethic second to none. There is a powerful African saying, umuntu ngumuntu ngabantu, which means a person is a person through our relationships with other people. Ofentse knows this. She knows where she has come from, and she certainly knows where she is heading – all the way to the stars,” says Howard.



When Pitse entered the industry, her main goal was always “to break barriers” so that classical music could be propelled into popular culture, something that became evident when she did the Netflix special.



“I&#8217;ve always tried to fuse the world of the very mainstream and sacred world of classical music with the mainstream world of pop,” Pitse adds. “That is also something I continuously want to do and create more access [to] so if people can see that orchestra is actually not so boring, they will want to be a part of this world.”



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Meet Cover Star: Ofentse Pitse “MY DREAM WAS ALWAYS TO BREAK BARRIERS”

At the age of 88, South African pianist Abdullah Ibrahim’s music is as vital, creative and important as ever. The Germany-based composer, looking forward to the release of his latest album next year, shares more in this exclusive interview with FORBES AFRICA.



A gentle breeze plays with fresh soft green leaves in the early morning hush, clear notes float in the air as the maestro moves his fingers over the keys, conjuring moods and emotions. No matter the time of day, Abdullah Ibrahim has the power to transport me from the mundane world to one of music and dreams.



He lives in a little village south of Munich in Germany these days, his base between performances on concert stages which for the next few months will be in Finland, Germany, various cities in the United States, Canada, and France.



“This is what we do best as musicians, to be on the road and take our music to the people because it is virtually impossible for everybody to come to where we are,” he says on a Zoom call, looking at his partner Marina Umari, who is a medical doctor. “So this is part of our synergy in life. We travel, we take concerts globally. Of course Marina is really the anchor. She does all the behind-the-scenes work and presentation until the time that I get on stage.”



Saxophone players can pick up their instruments and travel. It is a bit more complicated if your instrument is a Fazioli grand piano.



“It’s a beautiful instrument, because it is excellent to work with,” he explains. “It is actually top of the range. And so we have an agreement with Fazioli that wherever I play, they will provide a grand piano.”



Now, at the age of 88, Ibrahim’s music is as vital, creative and important as ever.



Throughout our interview, he refers to the masters who have helped form him, and who still form him.



For many others, he is the guru, the master of the keyboard and composition.



It was Duke Ellington, the famous pianist and jazz orchestra leader, who heard Ibrahim play in Paris, in 1963, along with his Dollar Brand Trio, and led him to a recording contract and invitations to perform at key European festivals, on television and on radio.



Ibrahim has not played a concert in his native South Africa in seven years, and he is looking forward to his next visit, which will be coordinated with the release of his latest album around January next year. It was recently recorded with the new trio at the Barbican in London.


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They recorded about five hours of music and this has to be curated into an album, which will be a combination of original compositions and pieces dedicated to jazz greats Ellington, John Coltrane and Thelonious Monk.



“This is our dedication to our masters and our mentors, wherever they are,” says Ibrahim.



Recently, he played at the Elbphilharmonie concert hall in Hamburg in Germany; a newspaper headline called the concert “a quiet prayer”. He says it is a remarkable venue, an intergrated music platform that offers a broad range of musical presentation. “It’s probably one of the most iconic music venues in the world that we are blessed to have.”



Although his latest tour is around Europe and North America, Ibrahim is no stranger to African shores. “Mozambique is very special, because of the interconnected legacy we have. Swaziland (now eSwatini) for example, I stayed there for about four or five years; in Senegal, I was resident for about three or four years. We had this excellent relationship that we established with the local culture and musicians. And of course with the drum culture. There was a drummer, Doudou N’Diaye Rose, and he had a drum choir of about 100 people, if not more – men and women.” Some years ago, Ibrahim took his New York band Ekaya to visit the Northern Cape province in South Africa and meet about 20 traditional local family groups. 



“In Africa, the music legacy is passed on through families. We were there for about two days and these musicians from New York, they have masters’ degrees from Berkeley and such, and even today they still and such, and even today they still talk about it because they were totally blown away by the complexity of the music.



“Our traditional music is very, very complex compared, for example, to western music. Many people won’t agree with us of course, but that is the absolute truth. One of the things we implore our educators to do is to focus on African traditional music, because of its complexity and to integrate it into our education system.”



Having started piano lessons at the age of seven, and making his professional debut when he was 15, growing up in apartheid-era Cape Town, South Africa, Ibrahim was about 16 or 17 years old when he studied Indian music, the ragas (melodic elements) and talas (rhythmic structure).



“A lot of jazz musicians also gravitated towards that rhythmic and modal concept, because in Africa, all the music is modal and rhythmic, and there is a link.”



He believes that young Indian children grow up with complex music, which can then be translated into an understanding of mathematics, which in turn could have influenced the information technology boom in India. The same could be said of the education system in Japan, where young children are exposed to the complexities of tradition.



His Green Kalahari Project in South Africa makes a focus on traditional music implicit as a springboard to get into technology. When you deal with rhythm, he says, you deal with mathematics.



I ask him whether the appeal of jazz speaks to a niche audience and how diverse his audiences may be. He laughs and replies that he had once asked Ellington what his understanding was of jazz, to which Ellington replied: “Jazz, now let me see, we haven’t used that word since 1947.”



“If I had written a composition and dedicated it to my grandmother and she found out it was jazz, she would be very disappointed. So, this term that they affix to the music – all of us, we never called ourselves jazz musicians. It is a divisive mechanism and almost elitist because the roots of the music has always been community-based.”



It was the slave trade that took African tradition to the US. “This idea of improvisation is also a very basic method of



survival and of understanding. We have lost this footprint of improvisation, so we depend on playing safe. Because when you improvise you go into an area that you haven’t been before. So it’s very scary. So, I play a concert with a philharmonic orchestra, there are 90 musicians, and I say ‘Does anyone want to take a solo’? And they say ‘No’. Why not? ‘Well, we’re afraid’. Afraid of what? ‘Afraid of making a mistake’.



“From my understanding, there is no such thing as a mistake. Something occurs in life that you have to deal with and you have to find a resolution. So this is how we think of the music – like Thelonious Monk said ‘The piano ain’t got no wrong notes’.”



The term ‘jazz’ is a strange, strange concept, Ibrahim says. “Our audiences all over the world are not necessarily jazz audiences.



Breath and life is a gift for everybody regardless. We just know that we learn from our masses. Theyare unsung. They prefer to remain anonymous. So we learn from them what this is all about and how we should conduct ourselves. What shall we do with this gift God gave us? We invest in loss. That means we don’t expect anything in return. So this is what we present to the audience when we play the music.”



It takes a long time to achieve this, he explains.



“It is about more than music. It is about how I can be a better human being. And how I can dedicate my life to those close to me and to the community,” Ibrahim says.



There is deep sincerity in every note of his music. It is mesmerizing. Whether you listen to it in solitude on a gentle spring morning or by a night fire in winter. Or in a large concert hall anywhere in the world. Abdullah Ibrahim speaks to the soul.

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The South African Music Maestro In Munich

<h2 class="wp-block-heading has-text-align-center" id="h-eswatini-and-south-africa-dj-and-record-producer">eSwatini and South Africa | DJ and record producer</h2>



<h3 class="wp-block-heading has-text-align-center" id="h-spotify-monthly-listeners-1-8-million-youtube-total-average-views-33-million-views">Spotify Monthly Listeners:1.8 Million YouTube Total Average Views: 33 Million views</h3>



<h3 class="wp-block-heading has-text-align-center" id="h-social-media-net-worth-instagram-2-million-twitter-390-k-facebook-236k-tiktok-1-7-million">SOCIAL MEDIA NET WORTH Instagram: 2 Million Twitter: 390.K Facebook: 236K TikTok: 1.7 Million</h3>



Words and Curation: Chanel Retief|Art Director: Lucy Nkosi | Photography: Katlego Mokubyane Photography Assistant: Sbusiso Sigidi Studio: NewKatz Studio, Johannesburg| Videographer: @astro.vn | CNBC Africa Videographer: Thabo Mathebula| Video Editor: Chanel Retief| Styling: Bontlefeela Mogoye and Wanda Baloyi | Outfits supplied by: Kworks Design; Imprint South Africa; House of Suitability; LSJ Designs| Hair &amp; Makeup: Makole Made



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“What do I do to make sure I stay relevant? I’ve been granted this beautiful blessing. How do I make it the rest of my life?”
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ZWANE, ALSO known as Uncle Waffles, is a true depiction of Generation Z, the demographic cohort shaped by the digital age and shifting financial landscape. Speaking to FORBES AFRICA about her trending accomplishments, Zwane says becoming an artist was not her initial plan. Destiny ordained it. And how.



“During the Covid-19 lockdown, I was working for a broadcasting company. I was doing small interviews with creatives here and there,” Zwane says. “And then one day I interviewed a DJ.” Zwane asked the DJ if she too could learn the art.



“It went from just a conversation to a couple of sessions, to eight hours a day for nine months, to falling in love with something I didn&#8217;t think I could love. I took a risk; I put out a small post I edited on Picsart, [and here I am].”



Through the star power of social media, the eSwatini- born DJ was able to reach millions of viewers and that kick-started her career. Raised by a single mother who believed she could be whatever she wanted to be, gave her the added confidence.



Indeed, it is risky business becoming an artist.



“She encouraged me to just go for it,” Zwane says. “As much as she was always like ‘do it but have a backup plan’, she always believed that because I am creatively inclined, I should just go for it. So when I was packing my bags and going to find gigs, she always believed in me.&#8221;



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Following the release of her debut single Tanzania, which reportedly took three months to perfect, Zwane’s creation was ranked by Rolling Stone magazine as the eighth best Afropop song of 2022, with critics describing her as “a global ambassador for Amapiano”. From across the world, she has received praise from award-winning A-list artists such as Beyoncé, Ciara and Drake, who have described her as a “top DJ [with] top sound”, giving further impetus to her fame.



“There is this really cool DJ out right now, her name is Uncle Waffles,” American singer, actor, and television personality Kelly Rowland reportedly said in May.



. “&#8230;She is so cool. She just played at Coachella, but I have known about this girl for at least about a year now.”



However, as successful as she has been, it has not been without roadblocks.



Still young and entering the industry the way she did, staying relevant is crucial to Zwane.



“Being thrown into the industry, I had to learn while running. Because the typical stories [are] that you blow up, and then it falls away, you kind of disappear into the mix. So for me, I&#8217;ve blown up, [but] what do I do to make sure I stay relevant? I&#8217;ve been granted this beautiful blessing. How do I make it the rest of my life?”



For artists, it is not only about the music anymore. The stance taken by many entering the sector is that it&#8217;s also about positioning yourself as a brand. Beyoncé had athleisure brand Ivy Park, which was in collaboration with Adidas on several collections.



American rapper and singer-songwriter Travis Scott launched not only a burger with McDonald’s but also a sneaker with Nike.



Luckily for Zwane, it’s no different as she has gained several endorsement deals in this short span with some of the biggest brands in the business, including South African multinational mobile telecommunications company MTN, and supplements brand, Slow- Mag. Recently, the talk of the town in South Africa has been her collaboration with one of the world’s most popular fast-food brands, KFC.



In September, Zwane launched a new campaign for the brand featuring a food item in her name, the Uncle Waffles Burger. Despite mixed reviews, the significance of this “one-of-a-kind” burger was highlighted by KFC as showcasing “her journey in music and life at a time when her international success is gaining momentum”.



“This is why we chose to create a campaign that shared real-life locations that have contributed to Uncle Waffle&#8217;s success,” Hloni Mohope, Marketing Director at KFC Africa tells FORBES AFRICA. “Social posts dropped clues daily so fans could physically discover and unlock the beautifully-designed custom QR code artworks at each location. This allowed them to tangibly experience and follow Uncle Waffles&#8217; meteoric rise. This story-telling aspect has really resonated with fans and helped us spread the beauty of Amapiano and celebrate Uncle Waffles. We are so proud to have partnered with such a force. This campaign has seen two giants with great taste create magic and bring it [to] the people!”



&#8220;I want to become a holistic brand who dabbles in everything,” Zwane attests.



Part of this challenge – and something she has enjoyed doing – is the art of storytelling. Although there are those who downplay her DJing, especially as she is dancing, Zwane’s belief has always been to change the narrative.



“What you realize is that internationally, they don&#8217;t understand the music,” says the ‘Princess of Amapiano’ (as dubbed by Billboard). “But they can only understand it through you. You&#8217;re the one that tells the story. So they watch you, they understand that you&#8217;ve told the story, and you&#8217;ve gained a huge audience of people by doing so.”



Jocelyne Muhutu-Remy, Spotify’s sub-Saharan Africa Managing Director, wrote in August that in her opinion, young African artists are taking over the global stage and contributing to the growth of the African market, which could even rival markets like Korean pop (k-pop) in the international arena.



“This young population continues to grow rapidly while African talent across both spheres of music and sports is booming in abundance. This is demonstrated by the rise in popularity



and proliferation of African genres like Amapiano and Afrobeats internationally,” Muhutu-Remy wrote.



It’s Zwane’s time, from performances at the prestigious Coachella and the Met Gala (“fashion’s biggest night out”) after- party in May, attended by some of the world&#8217;s biggest names in the entertainment and music business, to having a BBC RADIO 1 Residency, Zwane wants to see more young women take center stage but hopes that they don’t feel the imminent pressure to always be viral or trending.



Her advice: “Your success can come at a rate that&#8217;s perfectly fine to you. The idea that you blow up and your life changes tomorrow is not as easy. You can literally be me with just a little more time.



But maybe you could even do better than me because you had more time. You have got to figure out who exactly you want to be.”



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Category: Cover Story