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.”

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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; 
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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;
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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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<blockquote class="wp-block-quote has-text-align-center is-layout-flow wp-block-quote-is-layout-flow">
“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?”
</blockquote>



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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Meet Cover Star: Lungelihle Zwane (Uncle Waffles)-“I WANT TO BECOME A HOLISTIC BRAND”

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From Madiba To The Pan-Africanist: Playing His Part For The Continent

Robots that harvest grapes, 3D-printed drones for crops and burgers grown from a single cell? Here’s how innovative new technology is making farming more efficient, sustainable and at the same time, revolutionizing agriculture across the continent.



In Africa, innovation in agritech is not only exciting, it’s essential. With a quarter of the economy of sub-Saharan Africa driven by agriculture – and more than 60% of the population made up of smallholder farms – technological innovation is the key to producing food that will not only meet the needs of a burgeoning population, but do it in a way that ensures the sustainability of the planet’s natural resources.



<h3 class="wp-block-heading">Cell-to-fork</h3>



In Cape Town, there’s a foodtech company looking at agritech and sustainability through a different lens – reverse engineering. While traditional agriculture involves growing grain that can be fed to livestock until it’s time for the slaughterhouse, Mzanzi Meat are changing an age-old process by identifying the best parts of livestock and using cellular agriculture grow meat in bioreactors. These large-scale brewing vats mean that a single cell, cultivated from a cow, sheep or pig, can produce meat en masse. According to research out of Maastricht University in the Netherlands, cells from a single cow can produce 175 million hamburgers.



When you compare this to the 440,000 cows traditional farming would require for the same output, what Mzansi Meat is doing suddenly makes a lot of sense. Not only does lab-grown meat mimic the exact texture of what can be found in the shops, it is ‘farmed’ without harmful antibiotics or growth hormones. Lab-grown meat could also be the solution to cutting greenhouse gas emissions, land use and other environmental concerns.



For Brett Thompson, the founder and CEO of Mzansi Meat, innovation will happen if more companies look into agritech from a biotech angle. “While more efficient irrigation systems and the use of drones have a role to play, it’s not enough,” he says.



In a landlocked country with few natural resources, farmers in Rwanda no longer need to choose between aquaculture or agriculture. NjordFrey Flagship Farm in Kayonza has created advanced, aquaponic equipment so that fish and vegetables can be farmed at the same time. The focus is hardware, but also sustainability, and the company’s starter kit includes excavating to accommodate rearing fish, establishing soil-less beds for agriculture, piping, plumbing, establishing pumps and filtration. This is all centered around increasing fish and crop production while using 95% less water.


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<figure class="alignleft size-large is-resized"><img loading="lazy" decoding="async" src="https://cms.forbesafrica.com/wp-content/uploads/2023/07/NIRS-1024x768.jpeg" alt="" class="wp-image-58869" width="543" height="407" srcset="https://cms.forbesafrica.com/wp-content/uploads/2023/07/NIRS-1024x768.jpeg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2023/07/NIRS-300x225.jpeg 300w, https://cms.forbesafrica.com/wp-content/uploads/2023/07/NIRS-768x576.jpeg 768w, https://cms.forbesafrica.com/wp-content/uploads/2023/07/NIRS-1536x1152.jpeg 1536w, https://cms.forbesafrica.com/wp-content/uploads/2023/07/NIRS-2048x1536.jpeg 2048w" sizes="auto, (max-width: 543px) 100vw, 543px" /><figcaption class="wp-element-caption">NIRS device</figcaption></figure></div>


In Ghana, Fredrick Kpamber and Kingsley Safo are the founders of an ‘eco-aquaponics’ enterprise called Big Green Agro. The off-grid farm is solar-powered and contains 194,500-liter pools, one 7,000-liter pool and four of 12,000 liters. Not only do they farm a high-quality local strain of tilapia, they cultivate nutrient-rich algae which is turned into a concentrate and used as a chemical-free fertilizer. One of the things that make Big Green Agro stand out is that the plants grown aquaponically are not for human consumption, but to feed the fish, and that makes the entire operation self-sustaining.



<h3 class="wp-block-heading">Soil science</h3>



According to the World Bank, Africa produces 30 million metric tons of fertilizer each year – twice as much as it consumes – yet 90% of fertilizer consumed in sub-Saharan Africa is imported from outside the continent. In order to make fertilizer more accessible and affordable, technology has a role to play. 



In West Africa, smallholder farmers have started to microdose fertilizer. Headquartered in India with regional hubs in Nairobi, Kenya and Mali, microdosing fertilizer is an innovation out of the International Crops Research Institute for the Semi-Arid Tropics (ICRISAT).



It works by applying small doses of fertilizer (one-tenth of the amount of fertilizer typically used on wheat, and one-twentieth of that used on maize) in the right place and at the right time. The process – which can be done by hand, with a drip irrigation system or via GPS-guided machinery – can effectively double crop yields and the results in Mali, Burkina Faso, Niger and Zimbabwe have garnered worldwide attention.&nbsp;



Understanding the micronutrients that make up soil – and by doing so, being able to create a better, biofertilizer – is an increasingly popular part of agritech research. Preferred by agronomists and soil scientists, biofertilizers (or bio-organic fertilizers) are cost-effective, eco-friendly and guarantee sustainable agricultural production. Unlike their chemical counterparts whose use can lead to adverse effects on the environment, biofertilizers contain living microorganisms that help soil, converting atmospheric nitrogen into a form that plants can use, for example.



While the biofertilizer industry is still largely underdeveloped in Africa, Zimbabwe now boasts one of the largest biofertilizer production facilities in sub-Saharan Africa. Scientists from the Research Council of Zimbabwe and the National Commission of Science and Technology in Malawi are working together, doing innovative research to identify indigenous microbial strains with a potential of enhancing soil fertility, reverse nutrient depletion human-induced stress to soil.



In Tanzania, an agritech company named Ng’wala Inventions has developed an automated, solar-powered bio-pesticide and biofertilizer delivery machines that give smallholder farmers access with a pay-as-you-farm system. To date, Ng’wala Inventions has delivered biofertilizer to thousands of rural farmers – 70% being women and youth.



Another country focussed on its soil quality is Ethiopia and the technology they’re turning to is near-infrared reflectance spectroscopy, or NIRS. South Ethiopia, alongside its neighbors Kenya and Somalia, is experiencing the worst drought in decades and this is severely impacting soil health and as a result, the country’s agriculture sector. NIRS works by analysing the amount of light that a material absorbs, which indicates how much of a substance is within it. By using this method, soil can be judged based on the nutrients it contains without the use of environmentally harmful chemicals.



Using a NIRS device is a quick, inexpensive and (surprisingly) easy way to understand the makeup of soil and ultimately, grow better quality crops. Ethiopian lab scientists are also using NIRS to analyse fodder – both foraged and formulated – as a way to improve livestock nutrition and productivity.



Other breakthrough studies have shown that NIRS can successfully predict the oil and major fatty acid content of sesame seeds, an economically important crop in the country (next to coffee). Often referred to as Ethiopia’s white gold, sesame seeds are draught-tolerant so producing a better crop can lead to increased income and food security for smallholder farmers, improved export revenue and preservation of the country&#8217;s cultural and culinary heritage.



<h3 class="wp-block-heading">Rise of the machines</h3>



It&#8217;s reported that the global agricultural robots market will hit $17.8 billion by 2027. While the agricultural robot segment includes devices like drones, there are also robots that work in the fields. In South Africa’s Western Cape province, Stellenbosch is known for its rolling vineyards and wine farms and more recently, Robot X, a robot developed in South Africa by the Department of Viticulture and Oenology at Stellenbosch University and the Council for Scientific and Industrial Research (CSIR). Robot X, or Dassie, is a unique vineyard robot built with input from local farmers with the aim of making grape production easier thanks to more accurate, real-time data.



Farms are full of data. From weather information to field statistics, seed yield and more, as technology evolves, more data points come up and this only adds to the complexity of what it takes to manage a modern farm operation. This is where precision agriculture comes in – taking big (farm) data and analysing it to maximize output. One of the most accessible ways a farmer can gather large amounts of data today is by using a drone but these eye-in-the-sky tools come at a price.



In Blantyre, South Malawi, MicroMek is a startup that is building low-cost, fixed-wing autonomous drones from 3D-printed parts and recycled materials. The drones, which were originally designed to deliver medicine and medical test kits for diagnosis to remote areas of Malawi, are now also being used by local farmers to monitor land and plant health. In a country that has to deal with climate issues like cyclones and flooding, MicroMek’s innovative Ecosoar drones are built with the environment in mind, even going so far as setting flight records in the new drone corridor in Kisungu.



<h3 class="wp-block-heading" id="h-farming-the-future">Farming the future </h3>



Home to 60% of the planet&#8217;s arable land, Africa holds immense potential to not only feed its own population but also the rest of the world. In order to optimize its ecosystem and mitigate a rapidly changing climate, new techniques and technologies must come into play because despite its challenges, agriculture remains an important sector that’s ripe for disruption and digital innovation is what will help deliver the future of farming.

Brett-Mzanzi

Ripe For Disruption: Africa’s Big Leap In Agritech

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AFRICA’S GREEN ECONOMY: Africa’s Agripreneurs Leading Smart Sustainable Farming

Words and Curation: Chanel Retief and Lillian Roberts Art Director: Lucy Nkosi Photography: Katlego Mokubyane Photography Assistant: Sbusiso Sigidi Studio: NewKatz Studio, Johannesburg 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



Khula! was built on friendship. 



“We [Matthew Piper, Chief Product Officer and co-founder] became friends pretty quickly at university,” Karidas Tshintsholo, wearing a powder blue suit and a bright smile, says to FORBES AFRICA. 



“And then the friendship grew into business. I think already by the second semester of our first year [in university], we had an education type of business running.” 



It was after university that Piper returned to Johannesburg with ideas that he relayed to Tshintsholo.



“Initially, agriculture is not a very sexy industry,” Tshintsholo laughs. “From the outside, it looks pretty dirty and all of that&#8230;Almost everybody on the continent is dependent on agriculture for survival. But it just didn&#8217;t make sense that we were getting more food in than what we were taking out. We should be ideally positioned to be supplying the world 10 times over.” 



And with that in mind, Tshintsholo, Piper and Jackson Dyora (Chief Technology Officer and co-founder cofounder) set out to build Khula! 



In a nutshell, the company provides small-scale and commercial size farmers with software and a marketplace to grow their business. The whole idea was to be an ecosystem of support to farmers across Africa. The platform has three key components: an input marketplace, which allows farmers to purchase inputs and get technical services; there is a trader platform where farmers can sell; and to close the loop, there is a funded dashboard, where the platform links farmers with financing assistance.



“I think it really speaks to the nature of agriculture,” Tshintsholo says, “that quite often, when you&#8217;re trying to solve one problem, you get undone by another problem.” This was what drove him to entrepreneurship to begin with–wanting to solve problems.



“I think Mike Tyson said ‘everybody has a plan until they get punched in the face’. And I think entrepreneurship is like that…We went into this thinking, we&#8217;ve got this, and we have a solid plan, we are going to connect farmers with buyers’. Easy. Until…”



“How many times have you been punched in the face?” we ask. “I get punched in the face every day,” Tshintsholo laughs. “We had to get a lot of punches. But I think the pilot helped us because the farmers were okay with giving us those punches, because in the end, we&#8217;re working together to build a product that we can then begin to scale.”

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MEET COVER STAR Karidas Tshintsholo: Building Tech To Support Africa’s Farmers

<h4 class="wp-block-heading has-text-align-center" id="h-jehiel-oliverfounder-and-ceo-hello-tractorkenya">Jehiel Oliver Founder and CEO, Hello Tractor Kenya</h4>



Chatting to FORBES AFRICA from Nairobi, Jehiel Oliver recalls how he started a business on the Hello Tractor platform where farmers could make up to $30,000 in bookings a year.



“I&#8217;m from the US, and started my professional career in finance,” Oliver says. “But in [my] mind, I always wanted to do work that was meaningful for my community and I came from parents who were kind of pan-African in their view of the world.” 



When a young Oliver left banking and started doing consulting work, “mostly still in finance”, he looked at deal structuring for funds investing across the Global South which then led him to agriculture.



“That&#8217;s where I uncovered the importance of agriculture, the role it plays in Africa&#8217;s economy and future economic growth,” Oliver says. 



Hello Tractor, a Kenya-based smartphone app that connects small-scale farmers with nearby tractor owners, was built on understanding how much access smallholder farmers have to the basic needs of farming.



According to The Economist, in sub-Saharan Africa, 60% of crops are ploughed by hand, which in turn impacts the productivity of farmers and eventual crop yield. This is why over 220 million farmers in Africa live on less than $2 a day.



Oliver reiterates that smallholder farmers don’t have the machinery they need to fully cultivate occupied land. Tractors andfarm equipment are expensive, and financing is virtually non-existent. 



“For us, it was about economic growth and prosperity for these African economies,” Oliver adds, “starting in a rural sector, you have low-income populations underserviced by just about every part of the economy, and seeing an opportunity to commercially serve these economic actors, these farmers, who are also entrepreneurs themselves.



“And to serve them in a way where they can grow their productivity, they can grow their income, they can send their kids to school, and not pull their kids out of school to work the fields.”

Africa’s Green Economy: From Banking To Connecting Farmers And Tractors In Kenya

Words and Curation: Chanel Retief and Lillian Roberts Art Director: Lucy Nkosi Photography: Katlego Mokubyane Photography Assistant: Sbusiso Sigidi Studio: NewKatz Studio, Johannesburg 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



Covid-19 halted business, leading to lives and livelihoods lost and ruined economies worldwide. For Nicole Rogers, it had the opposite effect. 



“During Covid-19, we really took the plunge because we were able to insulate in Kenya for a bit and I got a huge opportunity to incubate my own ideas,” Rogers says. “&#8230;But we have a really audacious dream. And we know people and we know things that can help the dream be realized and we&#8217;re willing to take risks.”



As a purposeful entrepreneur, what drove the Canadian-born CEO to the bread basket of Africa and this dream was the law of economics. 



“Kenya has a strong and established horticultural export value chain…And so a lot of the produce that consumers in the United Kingdom and Europe are purchasing is grown in Kenya.” 



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<iframe loading="lazy" title="MEET COVER STAR Nicole Rogers: &#039;What Sustainability Tastes Like Is Africa&#039;" width="500" height="281" src="https://www.youtube.com/embed/e3rvdHk9qvU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
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But it also started with a strong sense of taste, and flavors, in becoming a part of Africa’s food flavor and enhancer market, forecast to witness a CAGR of 5.12% during 2020-2025, according to a report by Mordor Intelligence.



When considering starting a plant-based B2B ingredient company (now Butterfly Foods) transforming regenerative grown crop inputs into high-quality flavors for today’s leading food brands, the one question on Rogers’ mind was why some foods taste better in some regions and are different in others?



This research led her to the soil and improving soil health. According to Rogers, when you have scaled operations or have big farms, growing one single crop could lead to the crop losing its intimacy with the soil, thus the flavors then get lost, sometimes even the nutrients. 



“For me, what sustainability tastes like is Africa,” Rogers explains. “Like truly, it tastes like Africa does–it’s a nuance of flavors. It depends on the soil. It&#8217;s crazy…And it&#8217;s really unique to Africa; I don&#8217;t see how you could do it in a lot of other places. You can&#8217;t do this in Europe!” She also works a lot with women as she believes women always have a better palate, with the ability to identify flavors such as bitter, sweet, and sour more strongly.

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MEET COVER STAR Nicole Rogers: Becoming A Part Of Africa’s Food Taste And Flavor Market

<h4 class="wp-block-heading has-text-align-center" id="h-desmond-koneyco-founder-and-ceo-complete-farmerghana">Desmond Koney Co-Founder and CEO, Complete Farmer Ghana</h4>



There is no manual or playbook to tell you how to run a farm or even scale a business, as this agripreneur will tell you.



“I think a lot of times, especially for solving problems in Africa, you always underestimate then infrastructure gap that your solution needs to get to market,” Desmond Koney says to us from his home in busy, bustling Lagos.



Complete Farmer was built connecting three integral parts of agriculture; buyer, grower and vendor, connecting farmers to global food buyers and growing with them to provide a competitive edge across the supply chain. 



“I asked myself ‘how can we start looking at farming differently’?”



Koney went to the drawing board not as a farmer but as a qualified engineer who wanted to bring more success to the sector on the continent.



“I started thinking of the problem from an engineering perspective. Like, how would I have done this, if I were designing a factory or if I were using my production engineering skills to approach the problem of farming in Africa?”



According to Koney, the reasons why African farmers struggle to scale and sometimes ultimately fail are because the continent has supply chain as well as capital issues.



The AfCFTA: A New Era for Global Business and Investment in Africa report by the African Continental Free Trade Area reiterates that already the pressure on Africa’s food supply will require substantial investment in order to guarantee food security, as the continent remains the only region yet to experience a Green Revolution.



“So Complete Farmer really started with the question of how do we improve and digitize the African agriculture value chain,” Koney says.



“We did not have a clear path…I wanted to build but first we really had to figure out what the solution really is. And we spent close to five years refining the model to where we are today.”



Complete Farmer is an end-to-end digital agriculture platform that provides industries with an easy way to cheaply source quality farm produce and it offers individuals anywhere in the world a convenient way to own a farm by eliminating the middlemen and farm produce aggregators. The marketplace platform allows global industries to build the supply chain and solve their agricultural needs directly, these are then exclusively brought by African farmers.



“We&#8217;ve seen that data about what the potential for agriculture is in Africa,” Koney adds. “And then we&#8217;ve also seen that data for how food insecurity is increasing, especially with what&#8217;s going on in Europe. And given that we are talking about food, which is really something basic for human survival, this is what makes this industry full of opportunity.”

CF Des

Africa’s Green Economy: This CEO’s Advice On Digitizing The African Agriculture Value Chain

Words and Curation: Chanel Retief and Lillian Roberts Art Director: Lucy Nkosi Photography: Katlego Mokubyane Photography Assistant: Sbusiso Sigidi Studio: NewKatz Studio, Johannesburg 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



&#8220;Our story started with a banana.&#8221;



“Yes, a banana,” Peter Njonjo attests, as he sits down, adjusts his glasses and looks right into the camera reminiscing the beginnings of one of Africa’s most influential companies–according to Time Magazine–Twiga Foods.



“And the key thing here was that bananas in a supermarket in London were cheaper than they were in a supermarket in Nairobi.” This was strange for Njonjo as the banana in the London supermarket had traveled over 4,000 miles from Latin America to the United Kingdom. However, the banana in Nairobi had merely traveled 400 kilometers.



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“And we asked ourselves, ‘why is this the case’? And by answering that question, we started uncovering the issue around food inefficiency.” Njonjo’s belief is that in Africa, the retail industry is fragmented by the many “middlemen” involved in the supply chain moving food from farm to the table.



“We realized that sometimes a banana has been touched by five to six people before it gets to the retailer.



In the course of that [time], half the produce is actually lost to poor handling and post-harvest losses. So that level of waste, that level of inefficiency was contributing to the high cost of food on the continent,” says Njonjo.



At least one in five Africans goes to bed hungry and an estimated 140 million people in Africa face acute food insecurity, according to the World Bank Global Report on Food Crises 2022 Mid-Year Update. Furthermore, a 2022 World Resources Institute report found that around a third of food produced globally is lost or wasted, resulting in economic losses of an estimated $1 trillion a year. In sub-Saharan Africa, the estimate is roughly 37% or 120kg-170 kg/year per capita.



“Food loss and waste leads to reduced economic returns for farmers, and the water, fertilizers, energy and land used in production also go to waste. Such loss and waste drives expansion into fragile ecosystems, accelerates deforestation, species extinction and contributes to 8%-10% of annual greenhouse gas emissions,” the report said.



“What we wanted to do is develop an alternative system that allows us to reengineer this whole supply chain to digitize it and get to a point where we can shorten the cycle between the farms, and the retail and also reduce the amount of waste,” Njonjo explains. Twiga Foods uses technology to build supply chains in food and retail distribution on the continent, starting with Kenya.



The company inspired by the banana is now reportedly worth $300 million.



“The amount of food and beverage consumed in informal retail across the African continent is worth $700 billion. And if 50% of Africa&#8217;s disposable income is going to food, it means that that&#8217;s where the bulk of expenditure is at; that&#8217;s a bulk of [what] the opportunity is.”



“So the way we&#8217;re looking at it is we&#8217;re simply fishing where the fish are. The reality is that being in food on the African continent is an amazing space to be.”

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