AFRICAN MUSIC POWER

Entertainment

Orin Fund charts new era for African music

ByTHANDISIZWE MGUDLWA

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July 11, 2022

Dmce Orin Fund

In three simple steps, any African artiste can acquire the funds they need for their project between 7-14 days

“With the accelerated popularity of African music globally, it is important that we develop our structures locally to support the global expansion of our artists. In a continent of 1.4billion+ people with 70% of its demography under 30, intellectual property is the next gold mine of the continent with music as one of its forerunners, it is important to create a decentralized marketplace for access to funds at whatever career level for an African artiste. I am excited to be working with several partners in creating unique financial solutions for each market. Chordcash has taken an early bet in the market and I am certain of its success.”

Oyinkansola Foza Fawehinmi, President Digital Music Commerce and Exchange Limited (DMCE) commenting on the partnership with chordCash, when announcing the launch of a new product — Orin Fund.

Orin Fund is an e-commerce marketplace holding various forms of financial products for artists across Africa.

Its first product which has the name of the fund itself is in partnership with chordCash, an American company that provides a patented technology to help artists get advances on their streaming royalties.

In three simple steps, any African artiste can acquire the funds they need for their project between 7-14 days.

And within the next few months, Orin Fund is expanding its products to have other financial solutions to develop artists/labels in Africa without excluding labels/artists exit or raise funds from private investors both locally and internationally.

Moreover, this innovation by DMCE aims to give artists control over their intellectual property while still providing the funds they need to stay afloat and succeed in the emerging market where funding is a huge challenge.

Founded in 2018, Digital Music Commerce and Exchange Limited (“DMCE”) is an African-focused company that is set to redefine the intellectual property valuation, collateralization, and general monetization of the African music space.

They are currently established in Ghana, Tanzania, and the USA with Nigeria as the headquarters.

Through Intellectual Property valuation, protection, management, administration— and now funding, it gives every artist the means to thrive and own their craft.

Via Orinfund, DMCE extends this service to artists in all African countries with access to both local and international funding.

Chief Operating Officer Digital Music Commerce and Exchange Limited Olayinka Ezekiel said, “At DMCE, our mission is to place African creators at the center of the entertainment value chain. Orin Fund is bolstered by a team with extensive finance, entertainment and media experience. Our new product approach leverages global best practice but is adapted to fit the African context and opportunity.”

Eric Palumbo, Head of Partner Activation & Growth Marketing at chordCash had this to say, “chordCash is honored to become DMCE’s chosen partner to join their mission in empowering artists across Africa through Orin Fund. Independent African musicians will have access to funding that helps expand their global reach without having to sacrifice ownership of their music or control of their careers. Our data-driven funding model combined with DMCE’s expertise in intellectual property will make Orin Fund a powerful new resource available to artists looking to take the next steps in their career growth.”

DMCE offers catalog administration services to some of the biggest and most respected artists in Nigeria’s music industry some of which include; K1 De Ultimate, The Estate of Dagrin, Sola Allyson Obaniyi, Premier Records, The Estate of Chief Sikiru Ayinde Barrister.

They also see to the business management of hyperlocal record labels, such as Remdel Optimum Communications which is affiliated with top gospel artists such as; Tope Alabi, Bola Are, Evangelist Bisi Alawiye, Evangelist Dunni Olanrewaju (aka Opelope Anointing) and Daniel Aregebesola.

Organisers have alluded to the fact that DMCE’s new product, Orinfund, is a monumental moment in achieving its goals and mission.

They add: that is to ensure that artists are covered on all grounds and made aware of their assets and bargaining power. Basically, creating a leveled playing ground for them.

Orin Fund would go a long way in giving every budding and/or existing African artist a genuine fighting chance.

As they have proved time and again, every move and decision DMCE makes is always in the best interest of every African artist.

Without a doubt, Orin Fund is a pretty good example, they share.

Schools Football POWER

CAF African Schools Football Championship: COSAFA Qualifier heading for finishing line

By THANDISIZWE MGUDLWA

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October 26, 2022

Photo By Rab Sports News

Nutritional requirements for a balanced diet for adolescent athletes to crown the day

 

The CAF African Schools Football Championship | COSAFA Qualifier has been tipped to light up Lilongwe, Malawi this week as the best young talent from the region gathers to earn a place in the continental finals.

The competing teams have already been through a qualifying process in their own countries, and now meet in the hope of being crowned regional winners in the boys’ and girls’ competitions.

But before the games get under way on Saturday, according to organizers, there will be many off-pitch activities to both set the scene in Lilongwe, and also provide potentially life-changing skills that could steer those who take part on a new path.  

Earlier in October, CAF African Schools Football Championship, UNAF zonal phase took place in Cairo, Egypt.

CAF also organized separate workshops for the coaches, young reporters, young referees and a medical workshop themed, “Nutritional requirements for a balanced diet for adolescent athletes to crown the day.”

The workshops were conducted and instructed by experts in the various the field.

Director and coach of INF Clairefontaine, Jean Claude Lafargue and Loduvic Debru from the French Football Federation were the conductors for the coaches’ workshops. FIFA and CAF Media Officer, Mondher Chaouachi handled the young reporters’ workshop while Hamdy Fathy and Pussy Said were the conductors for the young referees’ workshop with Dr. Saida Ayachi conducting the medical workshop.

Moreover, about 25 girls and boys took part in safeguarding workshop on Friday, and young reporters and referees workshops on Saturday.

The workshops aimed to empower and encourage young participants to stay in the game and the social impact of football in the communities and countries where the schools are – using the game to change the face of Africa.

One of CAF’s major objectives is to use this competition to develop and grow youth and schools football on the African Continent.

The CAF African Schools Football Programme is a partnership involving CAF, African Governments, and Football Associations from 41 participating countries. The Programme also involves the provision of education, coaching, football and skills development courses.

Capacity Building

The Programme focuses on capacity building in areas of governance, coaching, education and media for the participating countries.

The participating schools will also benefit from the capacity-building and training program. Teachers will be selected to enroll in CAF coaching programmes.

Leadership Development

Children from each participating school will deputize their teachers in administrative roles within the team set-up to learn first-hand the qualities required to lead a winning team.

Young Reporter Programme

Children will be selected to learn media-related skills like journalism and tv/radio commentary.

Young Referee Programme

Children will be trained on how to interpret the Laws of Football and they will be given opportunities to officiate matches during the championship.

Safeguarding

The programme ensures that children and practitioners are aware of the safeguarding measures that CAF put in place to create a safe environment for the children.

KWAITO POWER

Kwaito Never Dies: South Africa’s New Generation Clocks 30!

• By The African Times USA
• December 30, 2021
• 6:28 pm
• 3 Comments

By Thandisizwe Mgudlwa

When you wake up to South Africa’s biggest morning radio show,  The Take Off with Bongani Mtolo and Nonala Tose – Lonwabo Nkohla on Sports on Radio 2000; you can easily believe that you are back to the 1990s, as the show delivers the best that the Kwaito genre emerges from.

With many listeners chanting “Kwaito Never Die”, then you know that Kwaito is here to stay and grow.

And on the 30th anniversary of the new generational South African music genre, KWAITO, it’s fitting to celebrate this sensational musical artistry.

Kwaito, which emerged in 1991during the transition from apartheid towards the democratic dipensation, is classified as a weapon to deal with the oppression of black people and the context of colonialism in which they still find themselves in.

Sung mostly in several of South Africa’s indigenous languages, which are Ndebele, Northern Sotho, Sotho, Swazi, Tsonga, Tswana, Venda, Xhosa and Zulu; and including Afrikaans and English, makes Kwaito even more appealing to a wider audience.

When this musical genre emerged in the 1990s, it introduced a mixture of a number of different rhythms from Marabi of the 1920s, Kwela of the 1950s, Mbaqanga/Maskhandi of the hostel dwellers, Bubblegum music of the 1980s, and Imibongo (African praise poetry).

And at times the use of styles drawn from the African diaspora’s hip hop, dub, jazz and UK house is clearly evident.

Rangoato Hlasane explains that due to innovative musicians and producers who cut their teeth during the ‘bubblegum’ era were exposed to new international sounds such as house and hip-hop.

These fresh influences, coupled with their mastery of electronic music production and the rapidly changing political climate, provided a fertile ground for new expression, culminating in the Kwaito sound that provided the soundtrack to the 1990s, says Hlasane.

M’du Masilela, a pioneering Kwaito star says when house music got popular, people from the ghetto called it Kwaito after the Afrikaans slang word kwai, meaning those house tracks were hot, that they were kicking.

And the much loved SeaBee hits of the early 1990s like Homeboy, Thiba and I Wonder Why certainly cemented the foundation and paved the way for the Kwaito revolution to triumph.

Popular view about Kwaito attests that in a country where nearly half the population is under 21, youth culture exerts a major influence on social life. South Africa has a population of around 60 million now; about 75% are black. Many live in the ghettos. It’s these youths, especially who lay claim to Kwaito. Their stories sparked it, and the post-apartheid economy gave them the chance to produce and sell it.

Kwaito cries out to impoverished youths in the ghetto and has given young black artists a chance to shine.

It has also been stressed that songs such as Arthur Mafokate’s ‘Kaffir’ addresses the prevalence of direct racism and Zola’s song Mblwembe (problem child) reflects the prevalence of crime in the townships that serve as a means of social dialogue.

At least two artists claim to be the originators of Kwaito. Kyle Naidoo, who claims he was the first to mix bubble gum with House from the UK and the US back in the 1980s.

And Mafokate, who is also credited by many as the king of Kwaito, including himself as he wrote in a two-page piece called “Am I the king of Kwaito?”

In one of the first official Kwaito songs played in Mzansi, by Mafokate, with the usage of one of the most degrading words that white colonialists would call black Africans, is the Arabic word for ‘non-believer’ or a ‘heathen’, ‘Kaffir’, which is the word that Afrikaans described the natives with. In his song, Mafokate demands the Boss, ‘Nee baas’, ‘No Boss’, Don’t Call Me Kaffir’.

The song, written in several forms, talked about how apartheid will not just go away overnight but change is coming.

Hlasane reveals that as a rival for Arthur’s title, Mdu Masilela ultimately settled for ‘Godfather of Kwaito’. Mdu learned his skills in the 80s with the likes of Chicco Twala, Yvonne Chaka Chaka and Pat Shange. In 1989 he collaborated with Mandla Mofokeng to form MM Deluxe, releasing Where Were You? (1989). Mdu teamed up with Sbu (of ‘AmaLawyer’ and ‘Monate Fela’ fame), Pro and Magesh (of TKZee) to form Mashamplani, known for hits such as ‘Vokol as Niks’ and ‘Hey Kop’ in 1995. After royalty disagreements, the group disbanded and Mdu formed Mashamplani 2, one of the first groups on his Mdu Records. Other members of the stable included the big-selling Ma-Willies. Mdu’s biggest hits include ‘Tsiki Tsiki’ end of 1993 to (1994), ‘YU4Me’ (1995), ‘Ipompe’ (1996), ‘Mazola’ (1997) and ‘AmaBankbook’ (1997).

An article posted on CNN described Kwaito as a whole subculture with a swirl of irresistible dance beats.

A Newsweek report says Kwaito is South Africa’s answer to hip hop music, and is different for it incorporates a slowed down house beat with jazz, blues, R&B and reggae.

The title of a report on CNN.com, “Kwaito: South Africa’s hip-hop?”, calls a relationship between the two genres into question, and only likens them because both music styles have their own subcultures.

Brenda Fassie, long time South African pop superstar, quickly adopted a Kwaito style as it grew to popularity in the 1990s.

According to TIME, she was known both for her diva attitude and scandals involving sex and drugs, but also for lyrics that dealt with complex issues of African culture and life.

While a CNN article considered Boom Shaka and TKZee the most influential Kwaito groups in South African music.

Boom Shaka’s music is known to be not only popular in South Africa but all around Africa.

According to FHM magazine, Lebo Mathosa performed alongside superstar performers Will Smith and Missy Elliott and has also recorded a duet with R&B star Keith Sweat, this also helped in globalizing Kwaito.

Notably, in 1994 Bob Mabena, a popular TV personality and Radio DJ, released a classical album with South African soccer legend, Doctor Khumalo, called ‘East Meets West’ also featuring Wendy Mseleku. The album became a big hit in South Africa.

Common analyses show that there are many who assert Kwaito’s apolitical character. It is very important to note that a refusal to deal with the contemporary realm of politics is an extremely political statement that denounces the political status quo.

In the words of Rastafari teacher Leachim Tufani Semaj, “Whether you deal with politics or not, politics will deal with you. The statement that one does not deal in politics is in effect a political statement.”

Gavin Steingo gave an example in his article “South African music after Apartheid: Kwaito, the ‘party politic,’ and the appropriation of gold as a sign of success” by saying that there was not a political view in the first song of Mandoza’s album because Godoba kept repeating “Cyborg/Move Your Skeleton” throughout the whole song.

On the other hand, according to Simone Swink’s article “Kwaito: much more than music”, it is impossible to talk about Kwaito music without referencing the political history of South Africa.

Steingo further states, “Most Kwaito is overtly political, even if it seems like it is not”.

Steingo adds that it was more of anti-political situation for the artist than apolitical because the youth of South Africa desire to disengage from the long years of oppression and political protest of the apartheid era. “Therefore, Kwaito music represents the refusal of politics.”

It has also been noted that there are some Kwaito songs that reflect an artist’s political view because there are some artists like Zola, that rhyme, chant, or sing about explicitly political and ideological issues. However, there are cases when people say Kwaito refers only to the apolitical variety.

According to Hlasane the late 90s and early 2000s saw a string of solo efforts from members of key kwaito groups such as Kabelo (of TKZee, who released Everybody Watching and Rebel Without Cause), Mandoza (of Chiskop, who started with the banger 9II5 Zola South and later the massive hit ‘Nkalakatha’), Mathosa (of Boom Shaka, whose work earned her KORA and SAMA awards), Ishmael (of Skeem and Prophets of da City), as well as all members of Trompies, Abashante, Bongo Maffin and Mafikizolo.

Kwaito artist OscarwaRona recalls, “We used to do tracks where we would ask why is the divorce rate so high? Why are little children being found in shebeens drinking?”. The aftermath of a system of racial subjugation that was in place for centuries is equally demanding of attention as the atrocities that occurred during apartheid.

The Kwaito scene also produced many other talented and influential artists and remains popular today and noteworthy acts include Doc Shebeleza, Brown Dash, Mapaputsi, Mzekezeke, Mzambiya, Msawawa, Mshoza, Spikiri, Joe Nina, Skeem, Kaybee, Skizo, Sharon Dee, Chakaroski, Oda Meesta and Zola,  Master KG, Amapiano and many others.

Kwaito, as a weapon against the status quo, seeks to forge an identity for the youth and redirect the youth towards self-reliance and positive action.

With a well-coordinated strategic plan for Kwaito, the genre can become a game-changer in uplifting the youth of Mzansi, and potentially become a springboard for the next government and President of the country to come from the youth.

AFRICAN WEALTH

It's A War: UK group attacks African oil and gas

by Thandisizwe Mgudlwa

22 Jun 2022 at 13:24hrs | 3641 Views

CAPE TOWN, South Africa, June 22, 2022/ – UK-based events company, Hyve Group, has filed a lawsuit to blackout the African Energy Chamber (AEC).

According to AEC, the lawsuit is intended to silence both the AEC and Africa while preventing the development of the continent's oil and gas resources.

AEC also says Hyve Group is responsible for launching the Green Energy Africa Summit as well as Africa Oil Week's disastrous move to Dubai in 2021 citing Africa's inability to host a large-scale event.

While Africa is only responsible for less than 2% of global greenhouse gas emissions, the continent is still being asked to abandon its oil and gas in the name of climate change, thus, carrying the burdens of developed countries, ones which continue to develop oil and gas, declared the African Energy Chamber (AEC).

And after COP26 in Glasgow, the UK announced a major oil and gas bid licensing round; the US opened federal lands for drilling; England is looking at re-opening its coal mines for the first time in 30 years; Germany is building new LNG terminals; and Norway has given out 52 oil licenses.

With all this, the chamber believes that Africans should have the right to explore oil and gas is the same way these countries are doing.

According to AEC, despite the ongoing work by the chamber, going as far as launching the first-ever Africa-focused and Africa-held energy event in 2021, African Energy Week, AEC has started a campaign called 'Help us Fight Back Against the Attack on African Oil and Gas'.

Representing the voice of the African energy sector, AEC has become an invaluable advocate for Africa's oil and gas industry at a time when global stakeholders are calling for the immediate end to fossil fuel utilization.

Reaerch confirms that over 600 million without access to electricity and 900 million people without access to clean cooking solutions, the continent desperately needs its oil and gas reserves if it is to make energy poverty history by 2030.

In this regard, the AEC has remained focused and committed, calling for a well-planned, strategic approach to Africa's energy transition, one which considers the needs of Africans today, tomorrow and for future generations.

The AEC consistently and continuously asks the big questions, such as how Africa's energy transition will be funded; why western nations continue to develop their hydrocarbons while asking Africa to transition to renewables; and what steps need to be taken to alleviate energy poverty once and for all?

And in asking these questions and driving a real discussion about African energy, the AEC says it continues to be a voice for hundreds of millions of people across the continent who do not have access to electricity – Africans who will greatly benefit from oil and gas.

"When they lose, they get desperate, and this is what this lawsuit is: a desperate attempt to silence Africa. They are employing their bullying tactics, threatening the AEC, an organization which has only ever been committed to Africa's development. Their misrepresentations have cost us a lot of money and yet we continue to push for the continent we love and the continent we are committed to. We will fight back like never before. We will not give in to intimidation and the ruthless attempts to keep us quiet," states NJ Ayuk, Executive Chairman of the AEC, adding that, "The stakes are too high for Africans for us to let some ‘woke' British company tell us to go green. They do not represent Africa and any attempt to silence Africa by this UK based company must be put to a stop."

AEC adds: They have lost key sponsors, speakers, partners and 70% plus of African ministers and national oil company leaders, all of which have chosen to join the chamber and support AEW.

"African business, the oil industry and everyday people are with us because they know the work the chamber does and its commitment to driving development in Africa. We have and continue to finance a lot or programs across Africa and pay taxes. Now that they are losing money by trying to tell Africa what to do and where to discuss African matters, they are coming after us. If we have to oppose the Dubai move again, we will. If they go to Dubai again, we will oppose them. As Dr Martin Luther King Jr puts it "It is part of the earth man walks on. It is not man. We must use time creatively, in the knowledge that the time is always ripe to do right".

The AEC proudly supports the East African Crude Oil Pipeline, Mozambique's right to develop its gas resources, Senegal and Mauritania's Greater Tortue Ahmeyim LNG project as well as gas monetization plans in Nigeria, Ghana, the Congo, Cameroon and Angola, among others. Africa needs it oil and gas and this very narrative is what the Chamber will continue to promote.

The move by British based Hyve Group CEO Mark Shashoua is not the first time African organizations or oil and gas projects and governments have been attacked by UK activists and groups.

"Friends of the Earth sued to block funding for the Mozambique LNG project; Extinction Rebellion harassed African executives during an energy conference in London in May 2022; and now their eyes are set on the AEC. We need to FIGHT BACK, and we cannot do it without your help."

AEC notes, to join the fight against Hyve Group, AOW and Green Energy Africa Summit focused on silencing an African organization, we ask that you donate here. (https://bit.ly/3zRJI4R) Your donation will not only help us win this case but continue the work we are proud of us in Africa, and for Africa Oil and Gas. The AEC will continue to dedicate itself and its work towards making energy poverty history in Africa and your donation will go a long way in helping us make this a reality.

Source - Thandisizwe Mgudlwa

NAFCOC POWER

African News, South Africa News

50 Years On, NAFCOC Says SA Needs A Speedy Transformation of the Economy

Posted on November 7, 2014 by Thandisizwe Mgudlwa

 

As President of the National African Federated Chamber of Commerce and Industry (NAFCOC) Rev Joe Hlongwane, calls for a ‘speedy transformation of the economy.

On the occasion of the 50th Anniversary Conference, 30 Sept – 02 Oct 2014, International Convention Centre ICC, Durban, KZN Province, Rev Hlongwane said, “It gives me great pleasure to address you today on this august occasion of the 50th Anniversary Celebration Conference. Not many organisations live to see their half centenary and we are indeed grateful to God Almighty whose grace and goodness kept us through the very many turbulent times in the life of our organization.”

“When the founding fathers of our great chamber movement gathered in Orlando, Soweto in 1964, little did they know that the seed they were sowing in the form of the National African Federated Chamber of Commerce and Industry would germinate and grow through the dark days of apartheid to the dawn of our democracy in 1994. Little did they know that twenty years later after our miracle transition from apartheid to democratic rule, NAFCOC would still be alive and kicking and I can declare today without any fear of contradiction that NAFCOC will still be around for another 50 years to come. If we could survive apartheid, we can survive anything. If we could persevere and do business under the harshest of conditions under apartheid, then anything is possible under a democratic dispensation. As our slogan rightly proclaims: Rise in Faith. It was faith that helped us survive apartheid, and it is faith that will take us through the next 50 years.

“I think you will be interested to know that on Sunday before making my way to the conference, I spent a few hours by the hospital bed of Dr Motsoenyane after being admitted for an operation. We all know that he would have loved to be with us today but the doctors advised him otherwise. As always, he shared with me some words of wisdom which I would like to share with you today.

He said to me “men must speak but God must speak as well”. He said if he were at present at this conference, he would have told the African National Congress (ANC) to work with us because we worked with them while they were in exile and prison. He said to me we must stand firm on our values of integrity, excellence, trustworthiness and transparency and work with the ANC to take our country forward.”

The theme of the conference was: “Lessons of the past 50 years…opportunities and challenges for SMMEs in the next 50 years”.

As a fighter for the creation of solid black businesses, NAFCOC was key in establishing businesses such as Africa Bank in 1975, black-owned retail company Black Chain in 1977, and the building concern, African Development & Construction Company.

Reverend Joe Hlongwane, said that the organisation has been around through the toughest times of the Apartheid regime.

“Ladies and gentlemen, I can declare today without fear of contradiction that NAFCOC will still be alive in 50 years,” he said.

According to Hlongwane, faith has kept NAFCOC strong through apartheid and all the hard times they faced.

“If we could survive apartheid we can survive anything. If we can persevere and do business under apartheid then anything is possible.

Small Business Development Minister, Lindiwe Zulu, congratulated NAFCOC on their 50th anniversary and said small businesses should learn more from them.

“We will continue to look up to NAFCOC to help us reignite the spirit of entrepreneurship that refused to surrender to the viciousness of apartheid and its determination to make black people permanent drawers of water and hewers of wood,” said Zulu.

She added that NAFCOC has fought for black business people to obtain their space in the mainstream South African economy, and they continue to do so to date.

FIFA+

Millions of fans in 114 countries enjoying FIFA+ live coverage of FIFA U-20 Women’s World Cup Costa Rica 2022

2 months ago TOPAFRICANEWS

Aside from the live match coverage, FIFA+ will also be the home of premium editorial content for the tournament, tracking news, interviews and analysis throughout

By THANDISIZWE MGUDLWA

CAPE TOWN, South Africa, August 12, 2022/ –The world is currently enjoying another global football extravaganza, this time around in the form of the FIFA U-20 Women’s World Cup Costa Rica 2022.

And this is all thanks to FIFA+.

The FIFA U-20 Women’s World Cup 2022, which is being hosted in Costa Rica between 10th and 28th August this month, is set to be broadcast live for free on FIFA+ in over 100 territories.

FIFA, the world football governing body, has promied that this live match coverage will bring audiences from across the globe all new access to tomorrow’s stars of the women’s game.

Furthermore, the tournament will be live for fans in trophy hopeful nations Brazil, Germany, Ghana and Nigeria, and in major women’s football hubs like England and Sweden.

And the 16-team tournament, held in Costa Rica, which kicked off with Germany against Colombia on 10th August, before the final is played in San Jose on 28th August, 2022.

Moreover, matches will be live on FIFA+ in 114 countries, including tournament hopefuls Germany, Brazil, Ghana and Nigeria.

The FIFA U-20 Women’s World Cup has long been a hotbed of emerging talent, with previous stars including USA’s Sydney Leroux, Germany’s Alexandra Popp and Dzsenifer Marozsán, and Nigeria’s Asisat Oshoala – who stars in Episode 3 of the FIFA+ Original Series, Icons.

Charlotte Burr, FIFA Director of Strategy, Development, and FIFA+ commented, “After a summer that has seen women’s football capture the hearts and minds of fans around the world, with continental champions crowned in every major region, we’re delighted to be bringing the stars of tomorrow to the world on FIFA+.

For years, the FIFA U-20 Women’s World Cup has been a fascinating window into the next generation of superstars in the women’s game, and 2022 promises to be no different. Costa Rica will provide a stunning backdrop to elite football and drama aplenty – we’re excited to be bringing fans around the world closer to the tournament and the future stars of the women’s game.” Aside from the live match coverage, FIFA+ will also be the home of premium editorial content for the tournament, tracking news, interviews and analysis throughout.

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ENTREPRENEURSHIP OF AFRICA

Kwikstore allows African Entrepreneurs to create their own online stores & sell online from their Smartphone!

KwikStore is a free ecommerce storefront solution that allows any African business owner, merchant, social vendor entrepreneurs and SMEs to create their own online stores

By Thandisizwe Mgudlwa

Kwikstore, an Easy-To-Use E-Commerce solution to help African Merchants sell online from their Smartphone has hit the continent with a big bang.

KwikStore is a free ecommerce storefront solution that allows any African business owner, merchant, social vendor entrepreneurs and SMEs to create their own online stores/

Kwik Delivery is expanding its offer of digital services with the launch of KwikStore –  adding yet another exciting service to the already sensational offer it brings to African business owners and
social vendors.

KwikStore is a free ecommerce storefront solution that allows any African business owner, merchant, social vendor entrepreneurs and SMEs to create their own online stores literally in 5 minutes without any technical knowledge and to run his or her business directly from a
smartphone.

HOW DO YOU LIKE THAT?

Social vendors can link their KwikStores to their social media accounts, automating the sale, fulfilment, inventory management and delivery process, giving them the possibility to focus on sales and marketing, explains the group.

Furthermore, KwikStore is a free-to-use feature of the Kwik Delivery app and requires no down payment nor service charge apart from standard payment gateway fees.

Merchants can fully customize their KwikStore to their brand. Once an order is approved by the merchant, payment is processed automatically through payment partners and a Kwik rider is automatically dispatched to the pickup location; or the order can be picked up directly by the
customer.

KwikStore requires a Kwik account but can be used independently of the Kwik Delivery platform, allowing merchants to use the delivery solution of their choice or to sell anywhere in Africa, in areas not yet covered by the Kwik Delivery platform.

“KwikStore is a milestone in establishing Kwik as the one-stop-shop for African merchants to run and grow their business from their smartphone” declared Romain Poirot-Lellig, Founder & CEO of Kwik.

“We will continue to expand our offer of innovative digital services focused on enabling African merchants to grow their business with all the benefits that technology brings.”

“We are very proud to have developed KwikStore in Nigeria with our growing software development team” declares Olivier Decrock, Cofounder & CTO of Kwik.

“Kwik is strongly committed to build its development capacity in the country.”Kwik was founded in 2018 to provide groundbreaking online services to African merchants in the fields of delivery, fulfilment, and payment.