EZIKO POWER

Eziko empowers jobless by teaching them how to take heat in the kitchen

Sbongiseni Tshazi and Sandile Sayedwa enjoy a drink at Eziko Restaurant in Langa. | HANNES THIART

Published Oct 5, 2021

Written by

Thandisizwe Mgudlwa

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It has a training arm where even non-matriculants can learn to become top chefs

CAPE TOWN - Eziko restaurant, one of the Cape’s top eateries, showcases Africa’s offerings to the world including home cooked traditional food.

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This 80 seater facility offers a wide variety of traditional African food as well as Western cuisine.

Located in the heart of Langa Township just 15km from the centre of Cape Town, Eziko also prides itself for its educational and training arm, the Eziko Cooking and Catering School.

The school was established in 1996 by former Langa High School teacher and resident, Victor Mguqulwa.

This entrepreneur’s on a mission to address the high unemployment rate blighting township communities, which according to Mguqulwa, cannot be solved by formal education alone.

Mguqulwa says a community can only develop if its people start taking responsibility for their problems and their future.

He attests to the approach that you must, 'teach people how to fish rather than catch the fish for them'.

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And so Eziko school is dedicated to providing people with life and career-oriented skills in cooking and catering, and to “empower” them to find employment so they can provide for themselves and their families.

Students are taught in a spacious room with tables and chairs for theory, and a kitchen for practicals. Eziko has produced many accomplished chefs over the years, one of them being Ntlalo Jordan, the chef and owner of Jordan Ways of Cooking in Langa.

Students are carefully selected and begin their training at the Eziko Cooking and Catering Training Centre where they gain some basic experience in the Eziko Restaurant.

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They are then placed in one of Eziko’s sponsoring catering establishments for an intensive 6-month programme.

The business's motto of 'come share the taste of Africa! - Eziko Restaurant', has proven to be a testament to its ability to offer best in African cuisine.

Eziko has won numerous awards and one of the highlights of this 25 year old institution, was when former president Nelson Mandela gave Eziko a certificate of appreciation in 2000. It is an accolade that rightfully holds pride of place for the restaurant.

Jordan speaks highly of the experience he gained after his training at Eziko, and how it enabled him to open his own restaurant. “I did my three-months internship at Cape Town International Convention Centre. After that, I have worked in different places gaining experience. I even went as far as Liberia in 2018. And on my return, I decided to open my own restaurant.”

Eziko doesn't require its students to have passed matric, as many children from the townships drop out of high school for various reasons.

This is rooted in the belief that: “Not having matric does not mean someone cannot pursue his or her desired career. That is why we don’t focus on academic results. And besides, not everybody can be an academic. That is why there are vocational studies like a chef.”

“We are happy to be here, we are here to compete, to win,” says Eziko Cooking and Catering Training Centre director, Eugene Roxo.

Cape Times

A LEGACY

Iconic Timmy Kwebulana, A legacy shaping African film 

 

By News Ghana

-

January 21, 2022

-THANDISIZWE MGUDLWA

Timmy Kwebulana continues to shape the African world of entertainment.

Born in Cape Town in 1941, “Bra Timmy” became involved in theatre and film as a result of his early passion for music.

After touring and recording with Dollar Brand (Abdullah Ibrahim) in 1977, he was hired as an actor by the Space Theatre.

Bra Timmy, who hails from Langa, Cape Town, worked also with legendary South African writer, playwright and director Barney Simon, at the Market Theatre in the 1980s.

Bra Timmy started acting in The Question.

In 1975, Bra Timmy went to London with the musical KwaZulu where they showcased African culture in its best form.

Bra Timmy performed in Zakes Mda’s plays Dead End, We Shall Sing for the Fatherland and Holy Moses and All That Jazz at the Market Theatre.

He also did The Mighty Gents and Call Me Woman. Earlier in the 1970s, Bra Timmy had worked for The Space, performing in Lysistrata S.A., A Flea in her Ear, Nongogo, Patty Hearst and Three Courteline Comedies.

He went on to work with Barney Simon at the Market Theatre in the 1980s, helping to create and performing in Born in the RSA (1985).

Bra Timmy appeared in the Little Theatre’s production of Somewhere on the Border in 1987.

His film and TV experience includes The First Time Settlers, Drome van Gruis, Westgate II, 1922 and Nag van Vrees.

Bra Timmy has appeared in Kwasindwezama, Abakwazidenge, Ingqumbo Yeminyanya, Unyana Womntu, Uthando Lwethu, Shooting Stars, Forced Love and Isikizi among others.

And From 2007 to 2010, he portrayed Bra Vic Tau, the founder of Shooting Stars F.C., on the e.tv drama series Shooting Stars.

Bra Timmy also appeared as a guest star in an episode of Mzansi Magic’s Chandies in 2012.

The Namibian newspaper in its March 12, 1999 article Seen On The Pot Of Kin, says of Bra Timmy, “HIS contrite expression has become a household phenomenon on Namibian television as the shebeen owner serving a local beer to Namibian sporting heroes, Harry Simon and Elifas Shivute.

He is none other than the South African veteran actor, Timmy Kwebulana, currently on location with the cast of Kin. This is the Cape Town-based actor’s fourth visit to the country, which he considered as his adopted land.

Timmy is playing the supporting role of a straight policeman, Nangola who protects the wildlife in the north of Namibia against poachers. The only thing which bothers him at the moment is the grueling sun in the Namib desert.

Previous visits to Namibia include acting in movies that were shot all over the country to as far as Grootfontein. These movies are; “On the Road”, “Red Elephant” and “Heart of the Matter.”

Kwebulana admits that the stage is his preference because he started off his rich and varied career as a stage actor in Johannesburg. His first big break came when he got a part in the hit-play, “Meropa” from the pen of Louis Burke and Joan Brickhill. The play became a cult and was staged for eight months at the Tricycle Theatre in London. From there is was taken to the world famous theatre festival in Edinburgh, Scotland. This was the actor’s first overseas visit.

The film was written by Elaine Procter from London and is produced by Bard Entertainment from the UK.

At a time when stage work was very scarce for most Black actors, television was introduced in South Africa. Suddenly opportunities blossomed. Like many other struggling actors at the time, Kwebulana auditioned and got his first part on the black box in the series, “Back to Back”. This new found career rocketed him to fame in other television series, sitcoms and dramas such as “Seventh Street,” dealing with the fashion world and “Double Shift” in which he played a defense lawyer to a man who killed his wife.

Timmy also did radio and television commercials for the South African and Namibian markets and played cameo parts in the many international movies that were shot in Johannesburg. His first big movie part was in the original King Solomon’s Mines, not the revised one with Richard Chamberlain in it, he is quick to add.’

Due to the ever rising crime-rate in Johannesburg, the legendary actor and father of four children, packed up and permanently moved to Cape Town. He also runs a theatre company and on his return from Namibia he is organising an international theatre festival for community groups from all over Africa,” reported The Namibian.

In the sitcom Scoop Schoombie, Kwebulana played TJ Mthembu, The Bystander’s spineless, golf-addicted editor who represents the greatest of white fears: that there is an emergent, black manager-class of office buskers who would rather be outside playing sport than inside doing work.

COMMUNITY EMPOWERMENT

Phandulwazi advances Collaborative Learning & Development for people to “Reach Their Dreams” Revamp and relaunch marked for 2023

• Ndokwa Reporters
• 30 November 2022
• Education, News, World News

By Thandisizwe MGUDLWA

CAPE TOWN/South Africa: Phandulwazi Educational & Development Centre in Langa, Cape Town is mobilising stakeholders to to advance Collabarative Learning & Development.

According to Phandulwazi, Collaborative Learning will foster collaborative planning and development.

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Since its inception in 1988, Phandulwazi Educational & Development Center has given birth to Ulwazi Youth Centre, Phandulwazi Educare Centre and another branch in Mthatha, Eastern Cape province among other developments.

At its inception, the founder Zora Mehlomakulu was driven by a desire to see people reach their full potential in life.

Previously called Phandulwazi Workers Skills Development Project, the organisation is situated on 13 Johnson Ngwevela Street in Langa (ZONE 5 (opposite Zone 16) Cape Town, South Africa.

The Phandulwazi (Searching for Knowledge) concept, which is a skills’ development and multipurpose centre, is really based on promoting Collaborative Learning & Development through partnerships and cooperation with mostly like minded groups.

The sharing of information, resources and ideas greatly influences the Collaborative Learning & Development model.

Phandulwazi (Searching for Knowledge) exists to develop, nurture and train people, youth and children, families, enterprises to become economically self reliant, to build communities and impart to others, skills, knowledge, information, resources and a user friendly networking nerve group for the intellectual, spiritual, emotional and socio-economic development of all people, so that we can all live happy, healthy, fulfilling, prosperous lives and achieve our full potential in this great life.

Phandulwazi has been addressing challenges like unemployment, skills shortages, crime, underdevelopment, poverty among other societal ills plainly due to the partnerships in has forged over the years.

This has been done with the collaboration and cooperation with stakeholders & shareholders including government departments to bring about a peaceful and prosperous society. Some of the independent groups Phandulwazi has worked with over the years include Ikamva Labantu a charitable Trust that has helped millions of people across South Africa. Ikamva promotes sustainable socio-economic change in the most vulnerable communities.

Another group,Ilitha Labantu provides services for women and children affect by violence in South Africa.

Some of the milestones for Phandulwazi include “kulula.com plants 1 250 trees in Western Cape in celebration of Youth Day” in 2011; 67 minutes spent with children by the Early Learning Resource Unit (Elru) in 2016; Reach Your Dream programme; Afternoon classes for bead making; Lungelo Health Care Centre Community Development and many other programmes.

The 34 year old organisation has been looking at a number of projects, programmes and campaigns in addressing the challenges we face in our country; and especially Cape Town with the special focus being on the under-served communities, these are clearly areas that suffer the most from everyday hardships of urban & rural lifestyle due to historical and current imbalances.

For example, over the years we have positively impacted, equipped and empowered more than 1000 people through multiple programmes with our partners on various artisan skills, business and entrepreneurship programmmes to mention but a few. And our work has resulted in the creation of jobs.

The organization was born out of a need at a time when there was unemployment and generally a skills crisis, which by the way still confronts the country.

The organization further targets different organs of society including the media, civil society, business, labour and governments to promote collaboration and communication on issues affecting various sectors and to further lobby for the government’s support in promoting the interest of stakeholders and attending to the needs of the communities accordingly.

Phandulwazi media blogs further express and reflect the work, vision and mission of the organisation with a viewership of more than 400 000. The blogs are Africa Biz (http://africa-biz.blogspot.co.za); The African Recorder (http://theafricanrecorder.blogspot.co.za); Choose n Grow (https://choosengrow.blogspot.com); & TM Publishers (https://tm-publishers.myshopify.com).

Phandulwazi is big on enterprise and skills development and the transfer of skills, information, knowledge and resources, promoting networking, participation & involvement and boosting of capacity building for the business and the private sector broadly.

As it is approaching its 35th Anniversary in 2023, moves are in place to revamp and relaunch this proud and glorious institution to be more relevant and in line with the modern challenges facing communities in South Africa and elsewhere.

On this front, we can list the Ikamva Youth Alumni | Facebook … 2022 organized by the Phandulwazi Educational & Development Centre in Langa, … “Support them on their journey to reach their academic potential.”

The current main operations are Outreach programmes including, children’s workshops by Encounters, youth groups, Afterschool programmes (Equal Education Foundation), and business workshops, to name a few.

Other organisations have a working relationship with Phandulwazi and community structures from youth & women groups, the elderly, etc.

The revamp of Phandulwazi includes the partnership Space Academy and Business Exploration Company (PTY) Ltd with a mission to provide research-focused interventions to bridge the performance gap, directed by legendary Pule Keswa.

Space Academy and Business Exploration Company (PTY) Ltd milestones include creating, implementing and evaluating a programme to establish and run a Youth organisation in Noupoort (Northern Cape); Preparing a tertiary directorate for a Strategy Review session ( UCT Human Resource Directorate); Setting up an organizational mechanism for 8 Cooperative working under Township Patterns and Conducting strategy planning workshops for Think Twice organisation.

These are serve to further support the Collaborative Learning & Development model.

Phandulwazi is one of the early enterprises in South Africa to be formed on the basis of the Black economic empowerment (BEE) programme.

On this front we call on investors, businesses, and industries to partner with groups like Phandulwazi for mutual benefit and to create jobs for locals while these enterprises stand to thrive, an example here is the retail giant, Boxer.

And community ownership should be around 49 – 51% agreement, subject to negotiations.

Phandulwazi’s association with Kwaito music, through our Kwaito Star programme is inspired by our love for the youth. We believe Kwaito has succeeded in reflecting the good, the bad and the untidy sides of South African ghetto life.

Kwaito is a weapon against the status quo. It also seeks to promote initiatives and entrepreneurship rather than depending on other people or the government for empowerment.

Kwaito has entertained and inspired millions of youths and elders in South Africa and abroad to seek to do good, be good and do better in life among its many achievements.

People and the youth especially, can now engage and empower themselves through our Kwaito Star app: https://soundcloud.com/discover

YouthsCareer.com which is, is another partner Phandulwazi is now working with to achieve our aims and objectives. YouthsCareer.com is an informative online portal, The portal hosts Job Opportunities, Scholarships, Internships, Volunteering and Tenders all in one place.

Rainbow Talent Agency has also joined in: https://www.rainbowtalent.co.za/.eduweb.africa has also come on board as another valuable future partner for Phandulwazi. eduweb.africa is the only comprehensive online platform to offer educational resources for parents, schools, students, school suppliers and teachers by creating a central informative digital space.

Phandulwazi is currently engaging with more possible partners.

Phandulwazi’s committee of Phandulwazi reaches out to the public as we love everybody.

We strongly believe that every human being matters, everybody has a story to tell and everybody must be supported to fulfil their God-given purposes.

That is why we encourage people, organisations, institutions, industries, and sectors to engage and interact with us through advice, suggestions, partnerships, donations, proposals, business plans etc, on how to rebuild our society for the benefit of everybody. You can connect with Phandulwazi through our page Phandulwazi KwaLanga on Facebook.

Thandisizwe Mgudlwa is the Director at Phandulwazi, an award-winning journalist, and bestselling author of the children’s book, Kiddies World. He holds an MBA in Entrepreneurship from the Regenesys Business School.

Multiple Award Winning Artist SeaBee is Kwaitofabulous

I Wanda Why Album Stills Motivates Millions Of People

• Ndokwa Reporters
• 6 November 2022
• Entertainment, News

Sibi Motloung

By Thandisizwe MGUDLWA

JOHANNESBURG/ South Africa: He’s debut album, I Wanda Why, in the early 1990s will go down as the hit that propelled Kwaito to become the global brand it has become. That’s the one and only, SeaBee. Real name, Sibi Motloung.

Be it at home, shebeens, taverns, radio stations, TV stations, taxi ranks, hostels, train stations, nightclubs, parties and other celebrations I Wanda Why has continued to receive overwhelming from the millions of people who are been touched by the South African classic.

The man some have proudly duped as ‘Sebokeng’s Finest’, turned the world of South African music around forever, especially the new music genre Kwaito, with that legendary and unforgettable album, I Wanda Why, album.

It has also been stated by others that the key to the album’s success what the magic touch of “Spokes H”, who composed, produced, and arranged all tracks.

The iconic album consisted of six songs: I Wanda Why, Stoppa, Slowdown, People’s Party, Thiba and the favorite for many people, Homeboy.

Till this day, I Wanda Why album stills motivates millions of people. Back then, while the political leaders were ‘scratching their heads as to what to provide the youth with, SeaBee, Spokes H, Chilly Bite and the rest of the Kwaito pioneers gave the Mzansi youth direction and leadership.

The success of Kwaito is proof that fact. Hitting the airwaves in South Africa in 1993 on the Mighty Good Sounds imprint, according to Rush Hour, “Sea Bee’s debut album was a hit in the earliest days of kwaito, the house-infused soundtrack of a newly democratic nation.While it may have been Sea Bee’s release, key to the album’s success was the magic touch of Spokes H, who composed, produced and arranged all the tracks. Sea Bee would soon disappear off the radar, while Spokes remained an influential and popular figure in SA until his untimely death in 2013.

The latest release on DJ Okapi’s Afrosynth Records removes two tracks from the original six-track album, keeping four of the choicest downtempo dancefloor bombs – ‘Home Boy’, ‘I Wanda Why’, ‘Thiba’ and ‘Stoppa – all heavy on the bass, with uplifting vocals and unique lyrics guaranteed to not let any discerning (or aspiring) DJ down – ever!”

The real story behind, I Wanda Why’s success is that it inspired a generation and others to follow about what is marvelous, fantastic and greatness that can come from the Ghettos.

Although it was originally released in 1993, I Wanda Why continues to be enjoyed by all and sundry in South Africa and elsewhere. Thank you to our legends. Kwaito Stars.

 

 

You are here

South Africa’s Kwaito Music: New Language Of The Youth

Thandisizwe Mgudlwa March 10,2022

 

Photo: Twitter

30 years on since Kwaito hit the streets of Soweto before spreading rapidly throughout South Africa, the music genre is sure to be the 'talk of town' for many years and decades to come.

Like all great and blossoming genres throughout history, the Kwaito industry would do well to welcome the wide variety of perspectives on its originality, its purpose or what it is about and the good, the bad and the untidy, learn and improve from these.

The Kwaito industry has been growing fast. Indeed Kwaito is becoming increasingly competitive.

Expert opinion is that the newfound freedom gave South African musicians easier access to international works and a greater ability to freely express themselves.

And as a result, Kwaito has also been known as the expression of this 'new freedom', and many anti-apartheid chants have been used as lyrics for Kwaito songs.

Kwaito has also been called the music that defines the generation who came of age after apartheid. Its pulsing dance beat evolved from styles such as mbaqanga and dancehall, as well as house and disco.

Schools in the townships were unable to fund programs such as music classes to enhance the learning experience of their students. As Kwaito did not require a formal knowledge of music theory, large spaces to rehearse, and expensive instruments, it was easily accessible to individuals in these downtrodden communities.

Moreover, Kwaito stars in South Africa are seen as celebrities who influence the culture, language, and economy of the nation in ways that were impossible during the years of governmentally imposed segregation.

TS, Ghetto Ruff, Kalawa Jazmee, and Bulldogs are the main recording companies that have discovered Kwaito musicians.

Jam Alley was a South African talent show that has been a venue for many young Kwaito artists like Mandoza, Mzambiya, and Zola, as well as other pop stars. Some Kwaito artists have even transcended a musical career. Zola, for instance, hosted a talk show called Zola 7 on SABC1.

Interestingly to know, is that the commonalities between dancehall and Kwaito are in fact rooted in a deeper relationship between South Africa and Jamaican music.

African Reggae artists like Côte d'Ivoire's Alpha Blondy and South Africa's own Lucky Dube were popular throughout the continent during apartheid.

And Alpha helped shed a negative light on the oppressive regime when he compared apartheid to Nazism.

Many currently renowned Kwaito musicians grew up listening to Jamaican music, and Stoan, a member of Bongo Maffin, explained in an interview just how necessary an outlet this kind of music was: the representations of Black people imported into the country during apartheid were singularly negative ones, and Jamaican music was one of the few imported forms that celebrated Blackness and gave ghettoized Black youth in South Africa something to embrace and identify with.

As he describes it, "If we had to look at any other example of Black people off the continent who have found their essence, it's Jamaicans. For us, for South Africans after the curtain was lifted, after we could see other things besides what was presented to us on television which was Blacksploitation movies and stuff like that, buffoons, you know the picture of us. Any other picture of a successful Blackman was him behaving like a caricature of himself. Jamaicans brought another element to a picture we had of us as an out of body experience. Yeah, so I think you'll find that a lot of people, you know, have been touched by the culture, in South Africa, within 10 years."

It is also important to incorporate the attitude that Kwaito musicians have. Many critics have a very biased and Western point of view on the genre. Kwaito rose from a ghetto culture, and most critics always look at Kwaito in a cultural-studies context rather than looking at the ethnomusicology side.

What makes Kwaito stick out is the fact that the music is always associated with a cultural context that brings out some extra meanings and messages. Furthermore, Kwaito is considered by some critics as aggressive township music.

In South Africa, some Kwaito music producers say that the genre is comparable to hip hop; it is only comparable because it has become more than just a genre of music but rather a movement in which people can create their own identities with their own values.

As Thokozani Mhlambi states in his article Kwaitofabulous, "In Kwaito music, the emphasis lies not in the poetic essence of the lyrics but rather in the instrumental arrangement and the 'danceability' of the composition. Therefore I disagree with writers such as Maria McCloy, the author of ‘'Kwaito: Its history and where it’s at now, who criticize Kwaito, claiming that very little time and effort is put into Kwaito production.... This criticism overlooks the music’s multiple social contexts such as parties, street bashes, and clubs. These are social venues where people are more in pursuit of leisure than engaging in intellectual discourse."

Not only does Kwaito resist a sense of Western based oppression by remaining apolitical, but it also resists trends and Western influence in and of itself via mode of production. Kwaito, as Mhlambi affirms, has remained the music of its people, which is the music of the South African youth after the struggle who wish to pursue rest and relaxation as opposed to dwelling on the past. The term Kwaito is a clear sign that oppression is not something to be, or that will be forgotten. The danceability and poetry inherent to Kwaito, however, shows a reversion to better times—to cultural integrity.

Through kwaito music, artists and youths collaborate to create, through music and dance, a realm where the struggle does not exist. 

 

 

 

AFRICAN MUSIC POWER

Entertainment

Orin Fund charts new era for African music

ByTHANDISIZWE MGUDLWA

-

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

-

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.