Leaders in business and academia will tackle The Pathway to Digital Transformation as they engage in one-on-one interviews and panel discussions at the 8th Annual Future of Education Summit, by CNBC AFRICA in partnership with FORBES AFRICA. This free-to-attend, virtually hosted event takes place on Friday, 29 July from 10.30am to 3.30pm, and is set to lead the dialogue on digital solutions in the tertiary education sector.
"We're very excited to welcome global leaders who have navigated digital platforms and are advancing the access and functionality of this space for the continent," said Dr Rakesh Wahi, Co-founder of the ABN Group and Founder of the Future of Education Summit. "The time for adopting digital solutions is now, but navigating a path that overcomes the challenges faced by the continent requires collaboration. That's why we're so looking forward to the solutions-driven approach of our speakers."
Dr Wahi, who will be welcoming this year's audience, is a visionary entrepreneur who has been involved with early-stage investments in emerging markets for the last 30 years. He is a well-respected member of the investment community and has distinguished himself in the field of IT, telecoms, media, technology and education investments. Alongside his role in the summit and with ABN Group, Dr Wahi is Chairman of CMA Investment Holdings that has representation through its portfolio companies in over 20 countries.
The 2022 Future of Education panellists
Bradley Pulford, Managing Director for HP, is one of the high-profile speakers joining the Future of Education Summit. In his role as Managing Director for HP Africa, Pulford is keen to support and enhance the continent's rapidly accelerating economic growth and further HP's vision of diversity and inclusion.
Pulford is set to unpack the importance of digital equity in elevating the African education system during the Technology Challenges in Teaching and Learning panel discussion. recent research conducted by HP shows that, while educators are positive about the future of the profession, there is an urgent need to Boost their soft skills for future-proofing classrooms. During his discussion, Pulford will unpack how private-public partnerships contribute to elevating the education fraternity and providing long-term support for educators.
Pulford will be joined by Dan Adkins, Group CEO for Transnational Academic Group, responsible for teaching in the Foundation and Business programmes. With a solid grounding in the IT industry worldwide, and an MBA and a Post-Graduate Certificate in Business Research from Herriot-Watt University, Adkins is well-versed in the uses of technology in the tertiary sector. He has lectured at university level across a number of subjects, and has overseen the development of multiple foundation programmes while also providing seminars on education for TEDx.
Also speaking on the course is Prof Barry Dwolatzky, an Emeritus Professor and Director of Innovation Strategy at the University of Witwatersrand. Prof Dwolatzky, who has more than 30 years of experience leading students into the digital future, also serves as the Chief Visionary Officer for the Tshimologong Precinct, and is the Director and CEO of the Joburg Centre for Software Engineering.
He will be joined by Suraj Shah, Lead for the Regional Centre for Innovative Teaching and Learning at Mastercard Foundation (the Centre) who is responsible for the implementation of partnerships between the Centre and the various governments and ministries of education in Africa. He is currently aligning EdTech entrepreneurs with the governments of Rwanda, Kenya, Ethiopia and Ghana, with the view to scale up technology innovations to Boost teaching and learning in secondary education at scale. He is passionate about women's empowerment and nurturing innovation and research among in sub-Saharan Africa.
The course of Digital Transformation in Education will be taken on by Prof Gary Martin, CEO and Executive Director of the Australian Institute of Management since 2012. He is tasked with leading all aspects of the business, focussed on building leadership, management and workplace capability in Australia and internationally, across the corporate, government, not-for-profit and community sectors.
He is joined by Dr Kirti Menon, the Senior Director for the Division for Teaching Excellence at the University of Johannesburg who has served on national task teams with a research focus on access, exclusion and redress in higher education. As a Research Associate affiliated to the UJ Faculty of Education, Dr Menon is widely published in the fields of higher education, curriculum transformation, social exclusion and access.
Another expert addressing digital transformation is Prof Seth Kunin, Deputy Vice-Chancellor of Curtin University, Australia's seventh largest university – and one of the most international. Kunin's portfolio includes international relations; marketing, recruitment and admissions; transnational education through branch campuses and partnerships; study abroad and exchange; international scholarships; and quality.
Prof Mark Smith, President and Vice-Chancellor University of Southampton, brings in-depth knowledge to the panel having published more than 380 papers on advanced magnetic resonance techniques throughout his career. In his position at the university, he also holds a number of external appointments including membership of Higher Education Statistics Agency (HESA) Board; Senior Independent Member of UKRI EPSRC's Council; and board member of the Higher Education Funding Council for Wales, chairing their Research Wales Committee.
Unpacking Lessons from Covid & Developed World Transformation Strategies for African Education is another esteemed panel line-up, among them Prof Stan du Plessis, COO and Economics Professor and Stellenbosch University, a specialist in macroeconomics and monetary policy who has advised the South African Reserve Bank and National Treasury on macroeconomic policy.
Prof Kirk Semple, Director of International Engagement of Lancaster Environment Centre at Lancaster University; will share his insights garnered over 30 years in academia, specialising in environmental microbiology. In his current role, he's been involved in international activities and partnerships for the university, specifically in sub-Saharan Africa.
Prof Zeblon Vilakazi, Vice-Chancellor and Principal at the University of the Witwatersrand, has been instrumental in establishing South Africa's first experimental high-energy physics research group at CERN, working on the Large Hadron Collider. He has fostered international collaborative research as Director of iThemba LABS where he initiated a flagship rare, isotope beam (RIB) project. He has also played a role in securing a place for African academic partners in the development of practical applications through access to the IBM Quantum Computing network.
They are joined by Adetomi Soyinka, Director of Programmes and Regional Portfolio Lead for the British Councils Higher Education Programme in Sub Saharan Africa, with more than 15 years' experience working in the commercial and international development sectors and a demonstrated track record of achievement in the design and delivery of multiple youth centred projects across education, skills for employability and enterprise.
The British Council is collaborating on the summit, showcasing its commitment to investing in education and opportunity in Africa. Commenting on this, Soyinka said: "Education and innovation are critical pathways to Boost economic well-being of Africa's future, and being part of this summit aligns with our vision of connecting international education communities, identifing mutually beneficial collaboration areas, removing learning barriers, and facilitating partnerships between various higher education sectors in Africa."
Tackling the Transformation of Higher Education Leadership is Prof Malcolm McIver, CEO and Provost of Lancaster University in Ghana. He's an experienced academic and education manager with a successful history of working in the higher education industry, international education, and transnational education.
Jon Foster-Pedley, Dean and Director of Henley Business School in Africa – the first school to be accredited by The Association of Africa Business schools (AABS) - will also lend his expertise to the panel. Henley forms part of the Henley Business School UK, a leading global business school with campuses in Europe, Asia and Africa. He boasts 45 years of international working experience as a professor of innovation, MBA director, director of executive education, designer and director of numerous executive education programmes, and lecturer in strategy, innovation and executive learning. His interests are economic and educational transformation, sustainability and business evolution.
Jaye Richards-Hill, Director of Education Industry for Middle East and Africa, Microsoft Corp, will also provide her unique perspective on the course when she joins the panel. She has more than 30 years of international experience in teaching and training in the education and corporate sectors. Richards-Hill has also worked on government-level projects, including the recent Operation Phakisa Education Lab for the Office of the President in South Africa; and the Scottish Qualifications Authority Future Models of Assessment group; and was a member of the ICT in Education Excellence Group - a collective of education experts which advised the Scottish Secretary of State for Education on reforms to the national eLearning project and technology-driven transformation.
For the panel discussion on The Schools Business: Digital Transformation in Formal K-12 Schooling and Supplementary Tutoring, audiences can look forward to hearing from Edward Mosuwe, Head of Gauteng Department of Education, responsible for the overall leadership and management of the department, as well as serving as the accounting officer. Mosuwe has extensive experience in education having served as an academic at the then Technikon Witwatersrand (now the University of Johannesburg) and as a policy developer and a bureaucrat within the public service at national level.
Joining Mosuwe on the panel is Stacey Brewer, Co-founder and CEO of Spark Schools, an independent private school network which provides high quality, affordable education to previously underserved communities. Dean McCoubrey, Founder of the multi-award-winning EdTech Digital Citizenship Program and MySociaLife - teaching pupils media literacy and online safety – also joins the panel. He brings valuable insight into online learning, currently training Child Psychiatry Units on the latest online challenges to child development. Dean has also spoken at the World Innovation Summit for Education in Qatar (2019), The World Education Conference in Mumbai (2020) and World Mental Health Congress (June 2021), alongside many local education and mind health events.
Yandiswa Xhakaza, Director and Principal of UCT Online High School – one of the event sponsors -will join the discussion, bringing her expertise as an educationalist with significant experience in South Africa's basic education sector.
"I'm delighted to be joining the Future of Education Summit this year as a key speaker on behalf of UCT Online High School, our extended team of teachers, learning designers and support coaches," said Xhakaza. "I will be discussing UCT Online High School's successes to date, market impact, learning technology advancements and unpacking the issue of the digital divide. Along with Valenture Institute, we're committed to accelerating access to world-class high school education, so that we can unleash South Africa's potential."
The 2022 Future of Education individual speakers
This year's keynote address will be given by Prof Andy Schofield, Vice-Chancellor of Lancaster University and an award-winning theoretical physicist working in the area of condensed matter physics specialising in correlated electrons. He studied Natural Sciences followed by a PhD at Gonville and Caius College, Cambridge where he was appointed to a Research Fellowship in 1992. He moved to the USA in 1994 working at Rutgers for two years before returning to Cambridge.
During a one-on-one session, Bello Tongo the CEO of Tongston Entrepreneurship will discuss the course Incorporating Entrepreneurship Thinking in Education from Primary to Tertiary Levels. Tongo has extensive experience as a multi- multi-award-winning entrepreneur, educator and industry leader whose company is one of the top 50 global education organisations according to the Global Forum for Education & Learning.
Prof Tshilidzi Marwala, the Vice-Chancellor of the University of Johannesburg and recently appointed Deputy Chair of the Presidential Commission on the Fourth Industrial Revolution will also engage in a one-one-one interview focusing on Transformation in the Education Sector. As an accomplished scholar with multi-disciplinary research interests – artificial intelligence in engineering, computer science, finance, social science and medicine – Prof Marwala will bring unique insights into this topic.
Included in this year's one-one-one interview is Robert Paddock, the CEO and Founder of Valenture Institute, a social enterprise turning physical limitations into digital opportunities by enabling students to choose an aspirational school regardless of their circumstances.
Don't miss out on these dynamic discussions that unlock technological potential for the tertiary education space! To book your place at the free-to-attend Future of Education webinar, register here https://hopin.com/events/future-of-education-summit-29-july-2022.
CNBC AFRICA in partnership with FORBES AFRICA extended thanks to the sponsors, The British Council, HP and the Transnational Academic Group, and UCT Online High School.
HP has revealed the results of its first education-focused survey in Africa, which sheds light on teachers’ skillsets and how learning experiences for students can be improved in South Africa and Nigeria.
The research supports HP’s education programme in Africa, which aims to provide the right technology and skills to the education sector.
As the effects of the pandemic continue to be felt on the education system, schools must navigate the imperative to catch up with national curriculums whilst providing future-proof classrooms and learning environments.
“Teachers perform a pivotal function in our society, not only in shaping the minds of future leaders and preparing students to take on the jobs of the future, but also inspiring and enabling better learning outcomes,” says Brad Pulford, Managing Director of HP Africa.
Understanding the realities of 21st-century teaching, 10 skills were identified in the study as crucial to future proofing learning. The majority (7 in 10) of teachers surveyed agreed that creative, innovative, critical, and entrepreneurial thinking, as well as digital literacy, are very important.
Crucially, one in three teachers say they could benefit from additional training to Boost their skills in the above-mentioned areas, and that the development would have an enormous impact on the pedagogy.
Access to adequate resources and technology is key
Educators face numerous challenges which can negatively affect teaching outcomes, such as a lack of basic materials. 82% of teachers surveyed noted access to instructional materials and supplies as a problem, and a further 89% said access to adequate technological resources is an issue – a crucial aspect of teaching that has been overlooked for over a decade but has been brought to the fore by the pandemic.
Still, an overwhelming majority, 95%, believes that technology can have a positive benefit in the teaching environment and can raise learners’ engagement in lessons.
The Covid-19 pandemic thrust the importance of technology in classrooms into the spotlight, bringing new opportunities and pressures to teachers around the world.
The shift has not been without difficulties, with 45% teachers ranking ICT skills as a challenging facet of the role – outpacing other elements like active teaching, homework marking and lesson planning. At the same time, 85% of survey respondents confirmed new skills in this area would have the greatest influence in their ability to teach.
Beyond technology, at least 50% of teachers report having too many learners in their classrooms which impedes quality learning, and 71% say they require more time to assist individual learners. Luckily, despite these challenges at least 95% of teachers are optimistic about their jobs and roles in shaping the future leaders of tomorrow.
Fit for purpose
HP’s Innovation and Digital Education Academy (HP IDEA) programme plays a critical role to bridge the skills gap – in fact, it forms part of HP’s goal to accelerate digital equity for 150 million people by 2030.
This immersive teacher development programme is designed to enable educators to develop and access new learning modalities in select schools in South Africa, Nigeria, and other 14 markets across Africa, the Middle East, and Central Asia.
“Through the HP IDEA programme, our aim is to ensure that educators are equipped with the latest tools and best practices in teaching and learning, and ensure they too are ‘future-fit’. Understanding the educational landscape and where we can provide support and expertise is key to its success,” Pulford adds.
Pulford concludes: “We aim to expand and evolve HP IDEA through partnerships with local governments and complementary support for educators to ensure that drives results in the lives of pupils – collective action will make a real impact.”
Ajey Nagar has 47.4 million followers on YouTube across two channels and another 15.9 million on Instagram. He publishes roasting videos, comedy sketches (a series of short, amusing scenes or vignettes), and live streams. Entertainment video maker Faisal Shaikh has 58 million followers on Josh and another 28 million on Instagram.
The duo are just a handful of nearly 50 million creators on global platforms such as YouTube and Instagram Reels and new homegrown platforms such as Josh, Moj and Chingari who make a living out of social media. They have endeared themselves to vast audiences by turning their skills at dancing, singing, acting, motivational talk, and even education, into lucrative economic opportunities.
It is a major non-metro phenomenon. On Moj, Arishfa Khan, with 13 million followers, is a native of Shahjahanpur in Uttar Pradesh. Divya Upadhay, who creates content around romance and heartbreak, and has 9.2 million followers, hails from Indore. Almost 300 kilometres away in Gairatganj, Himanshu Srivastava, whose staple genre is dance, has garnered 5.3 million followers, while Ambala’s Amit Sobti, a specialist in comedy videos, boasts of 2.4 million. In fact, 60-65% users of Indian video platforms live in Tier-II cities. Among the global ones, YouTube’s share of Tier-II cities stands at 40-45%, while for Instagram it is 30-35%.
Besides YouTube and Instagram Reels, they are being powered by the growing popularity of local video platforms. Of the estimated 448 million-plus social media users in the country, at least 160 million have used one of the local platforms such as Josh, Moj and Chingari. According to estimates by RedSeer Consulting, these apps together have four times more creators than China-based TikTok.
Analysts at business research and market intelligence firm PGA Labs peg the local creator ecosystem at $300-400 million, with a potential to reach $4 billion by FY26. Digital marketing company Dentsu International puts the domestic market around $200 million. In comparison, the global creator economy stands at around $104 billion, according to Dentsu.
But it’s the fast-expanding economic opportunities that have set the buzzers in the ecosystem. In the past, creator income depended heavily on revenue share from platforms. Not anymore. New revenue streams are opening up income potential — at least for top creators.
Ad monetisation, live commerce, influencer marketing, shoppable commerce, paid partnerships, personal merchandise, virtual gifting and the existing — non-fungible tokens (NFTs) — are just some of the emerging income models that have gained traction to make creators a self-sustaining ecosystem by itself. Top creators such as Ashish Chanchlani, Ajey Nagar aka CarryMinati and Bhuvan Bam are estimated to earn anywhere between ₹8 and ₹15 crore annually.
The industry has already grabbed investor eyeballs — over $2 billion in venture capital (VC) funding went into sectoral start-ups between 2018 and 2021, with nearly 75% coming in 2021 alone, according to Kalaari Capital. And unlike most other sectors, the pandemic didn’t play spoilsport. Earlier this year, investors shrugged off macroeconomic uncertainty to back Josh parent VerSe Innovation with $805 million in funding at a valuation of $5 billion, the biggest start-up funding deal so far this year.
So, how do creators make money from social media?
Dharavi boy Adnaan Shaikh was crestfallen when an overnight directive by the government in June 2020 put TikTok out of business in India. Shaikh, who had been posting video content on the Chinese short video app since 2016, had garnered some 14-15 million followers on TikTok. He also posted videos on Facebook, YouTube and Instagram, featuring bike stunts and roles from inter-college competitions. But the TikTok setback is now history.
Today, Shaikh is an exclusive content creator with Josh across genres, including dance and fitness. The 27-year-old, who has over 20 million followers on the platform, tries new things to diversify his content slate. He not just gets the bulk of his earnings from platform associations — where platforms pay creators upfront for creating a certain number of videos — but also monetises his content by collaborating with brands such as Amazon and TVS Motor. “Today, I earn so much that I have shifted my family from Dharavi,” says Shaikh, whose popularity has fetched him opportunities to participate in music videos, adding to his revenue streams.
Be it Shaikh, or Payal Dhare, who turned a full-time YouTuber after graduation, or mass comm graduate Sana Sultan Khan, whose skills at creating content fetched her roles in Indian music videos, scores have found a footing in India’s bustling social media creator ecosystem.
Although the number of macro or big creators (those with more than one million followers) is still small — a low single-digit percentage, according to analysts — the segment has still carved out specific niches: Be it Ranveer Allahbadia in the fitness and motivation space with 11.9 million followers across YouTube and Instagram or Bhuvan Bam in the comedy and entertainment space with 25.5 million subscribers on YouTube.
Changes in consumer behaviour are behind the rise of the creator economy, say analysts at Kalaari Capital. “Consumption patterns of Indians have evolved. They want to follow people they identify with and consume products that showcase their individuality,” they add. This has led to a shift in power, with companies chasing individual creators, instead of the other way round.
“Video has become a way of carrying-forward stories,” says Ajay Vidyasagar, regional director, APAC at YouTube partnerships. In a young country led by Gen Z and millennials who use smartphones to socialise, interact and thrive on the app economy, what better way to reach them than through digital videos? And when the videos feature influencers like a 21-year-old Payal Dhare or 26-year-old Nischay Malhan, who form a part of their own culture and milieu, the messaging bears credibility. “My followers are from the 18-24 years age group. I plan to get into personal blogs as people want to know about my personal life,” says Dhare, who makes gaming content and has over two million followers on YouTube.
“People need not travel to Bollywood studios to create videos. They can do it while practising yoga or dancing, using editing tools like filters that we provide them with,” says VerSe Innovation founder Virendra Gupta.
The numbers speak for themselves. According to a recent report by independent consulting firm Oxford Economics, YouTube’s creator ecosystem contributed ₹6,800 crore to India’s GDP in 2020, supporting nearly 6.83 lakh full-time equivalent jobs. It includes profits and earnings of creators, money spent by them on goods and services in their supply chain while producing content and off-platform revenues such as brand partnerships resulting from their association with YouTube.
Credit, however, goes to TikTok for giving birth to the local creator ecosystem and taking short video consumption to the hinterlands, says Umang Bedi, co-founder, VerSe Innovation. “TikTok started the revolution of focusing on creators when it came to short-form videos.”
A bunch of creators have carved out a space for themselves in the ecosystem, with millions of followers.
Ajey Nagar’s primary YouTube channel currently has 36.2 million subscribers. His Instagram page has another 15.9 million followers. Nagar is touted as Asia’s leading YouTuber (in terms of followers). His brand association covers companies like HP and ASUS India, and he is currently the digital brand ambassador of gaming platform WinZO and the ambassador of Arctic Fox India. “In contrast to the consumer economy, where customers just bought what was offered through mass media and marketeers, the creator economy has enabled individuals like me to participate, interact and add value to the whole blockchain,” says Nagar.
Digital content creator Ashish Chanchlani, who specialises in comedy and entertainment, has 28.5 million subscribers on YouTube. In 2018, Chanchlani tied up with Bollywood star Akshay Kumar ahead of the release of the latter’s sports flick Gold. He was invited for the promotion of Rohit Shetty’s Sooryavanshi last year. He also represented India at the premiere of American superhero movies Avengers Endgame and Spiderman: No Way Home. His recent brand collaborations have been with companies such as Airtel, Dream11, Netflix and Amazon.
Bhuvan Bam launched his YouTube channel BB Ki Vines in 2015 and became a rage online for his funny videos. The channel currently has 25.5 million subscribers. Bam is among the first independent creators to cross 10 million subscribers on the platform. He has around 14.7 million followers on Instagram, and has also starred in a short film, Plus Minus, which earned him a Filmfare award. His situational comedy show, Dhindora, hosted by YouTube, became the first limited Indian web series to clock half a billion views on the platform. The brand ambassador of The Man Company has also partnered with the likes of Dubai Tourism, NBA and the Manchester Football Club.
Faisal Shaikh is among the country’s top influencers with 58 million followers on Josh and 28 million on Instagram. He focuses on entertainment videos. “Content creators now play an important role in driving messages and telling stories,” says Shaikh, who has tie-ups with Voot, Polycab and trading platform Binomo, among others.
YouTuber Gaurav Taneja, popularly known as Flying Beast, forayed into the space with a fitness channel in 2017. Today, he has around 11.1 million followers on the platform across three channels, with brand tie-ups, including Nestle, Samsung, Realme, Gillette and Beardo. Taneja curates content around fitness, lifestyle and travel. Besides, he shares his daily life experiences through his videos. “New-age firms have allocated 100% of their marketing budgets to influencer marketing. Big brands are gradually taking to the idea as well,” says Taneja.
Agrees Amit Bhadana, who has garnered 32.9 million followers across YouTube and Instagram via comedy and entertainment videos. “It is the beginning. In the coming decade, the creator economy will create many more jobs.”
Besides Taneja, another popular creator in the fitness and motivation space is Ranveer Allahbadia. He runs eight YouTube channels and has a subscriber base of 10 million. His Instagram handle beerbiceps has 1.9 million followers. The first independent creator in the country to be associated with Spotify for his exclusive podcast, The Ranveer Show, Allahbadia has partnered with brands such as Skoda and WOW Skin Science.
In fashion/lifestyle, Masoom Minawala is one of the few creators from India to have walked the red carpet at Cannes Film Festival thrice in a row for L’Oreal Paris and attended the Paris Fashion Week multiple times exclusively for luxury brands, including Louis Vuitton and Christian Louboutin. “The creator economy has given me a platform to transform my goals into initiatives that are actually close to my heart,” says Minawala.
The list is never ending, and the space ever expanding. A host of new creators, including Niharika N.M. and Kusha Kapila are already making waves. Niharika, who has 4.45 million followers across YouTube and Instagram, is the first creator to collaborate with Southern superstars Yash, Mahesh Babu, Prateek Kuhad and Siddharth, and mark their debut on Reels. She has also tied up with Bollywood actors Ranbir Kapoor, Ajay Devgn and Shahid Kapoor to name a few. Her video starring Mahesh Babu and Sesh Adivi has been viewed more than 32 million times on Instagram. Her reels receive 6-8 million views on an average. Niharika’s brand collaborations include companies like Myntra and Netflix. Delhi girl Kusha Kapila, an active Instagrammer, will be seen in Netflix series Masaba Masaba Season 2. She has also been actively working with brands like Olay India.
Creator economy is not only about glitz and glamour. In a space that is adding hundreds every day, entry barriers are minimal, and affordable smartphones have made accessibility fairly easy, deepening competition.
Monetising content is, therefore, no child’s play. In fact, Kalaari Capital estimates that only 1,50,000 professional content creators in India are able to monetise their services effectively. Macro creators often get paid more for regular content they create for short video platforms due to the sheer extent of their reach, while the not so well known ones earn around ₹10,000 per month, say experts.
With deep-pocketed investors on board, short-video platforms are rolling out different monetisation models to maximise creators’ earning potential.
Brand endorsements in paid partnerships: The most lucrative model is often in collaboration with a group of influencers who promote a product in a mini web series or other long-format category by prominently displaying them through the course of the video. Standalone collaboration is preferred only when the creator is big, says Praneet Singhal, associate director at PGA Labs. For example, in one of the Season 2 episodes of Dice Media’s mini-web series Operation MBBS available on YouTube, a local brand’s grooming product for women was featured visibly. High Street Essentials (HSE), the parent company of women’s fashion brands FabAlley and Indya, often taps creators to promote giveaway campaigns. “For brands like us which derive 50% of their business from online channels and acquire 70% of customers online, collaborations with influencers help in building credibility. If one were to see a FabAlley ad on Facebook versus hearing about the brand from a Category A fashion influencer like Masoom Minawala, it would make a massive difference in terms of perception of the brand credibility,” says co-founder and CEO Shivani Poddar. For micro and nano creators, the partnership can be in the form of a barter system where the brand gives creators their products in exchange for deliverables.
While popular creators can earn ₹70-75 lakh a month depending on the nature of the deal, category A influencers can lock up a few long-term brand deals of say ₹1-2 crore each. At times, they are package deals, entailing collaboration across platforms — for instance, brands pay creators for a deal involving endorsements on Instagram by way of a video reel or a story on YouTube and through a post on LinkedIn, explains Viraj Sheth, CEO and co-founder at influencer marketing and talent management agency Monk Entertainment.
Ad monetisation: This model is leveraged by YouTube, Chingari and Josh to incentivise creators, who get a share of the revenue from every ad viewed by users through the course of the video. It is often referred to as the cost per view (CPV) model, explains Aayush Tiwari, vice president, talent management and music business, Monk Entertainment, which works with top creators such as Niharika N.M. “For every ad watched, there’s a relative fee. At the end of the month, creators are paid the total amount monetised via ads for their videos,” adds Tiwari. While YouTube shares around 55% of its ad revenues with creators, Chingari gives around 30%. Josh’s ad revenue share depends on the brand and the reach of the creator.
Popular creators earn anywhere between ₹20 lakh and ₹40 lakh a month through YouTube ads, says Sheth. These are influencers whose videos net 20-40 million views per month. Brands place YouTube ads typically incorporated in between the content streamed on the channels of various creators. D2C brand Bombay Shaving Company, for instance, taps into this mode of marketing at times. “We usually run YouTube ads in an influencer’s general content,” says Deepak Gupta, COO, Bombay Shaving Company. “In terms of longevity, YouTube influencers work the best for us as the content stays there for a longer time.”
Live commerce: This model allows influencers to endorse branded products. Followers can make real-time purchases by clicking on the ‘buy now’ option embedded within the video. Influencers get paid by brands. While macro creators usually go for fixed payment, micro creators are often paid in kind, or through voucher-based commission where the influencer shares a coupon code on her page, and depending on the number of purchases, the brand pays a commission to the creator. “Mega creators may sometimes charge over ₹1 lakh for posting five live streams,” says PGA Labs’ Singhal.
Online fashion giant Myntra often ropes in influencers to host live shopping events on its own live commerce app Myntra Live. “Myntra has a deeply integrated strategy towards collaborating with the thriving creator ecosystem across use cases such as a buzz building for our marquee events and campaigns on social media,” says Pragya Priyali, director, social commerce, Myntra.
Platforms have developed their own ways of monetising using this model. They make money by charging a commission each time a product is sold. Moj has partnered with Flipkart to drive its live commerce strategy. Influencers can choose products they wish to endorse on Flipkart’s marketplace. Users keen to buy them are directed to the e-tailer’s website via a link placed within the video. The e-commerce giant recently launched #SelfcarewithFlipkart wherein it leveraged an expansive network of influencers — five prominent creators across segments were roped in to promote certain products and a link to the Flipkart website was embedded within the video to enable users to make purchases. “Working with influencers helps us in connecting with the right audience,” says Kanchan Mishra, senior director, consumables (FMCG), general merchandise and home, Flipkart.
India’s live commerce market stood at $150 million in FY22, according to PGA Labs. Analysts estimate the gross merchandise value (GMV) of live commerce through short videos to touch $5 billion by FY27. Big creators, however, do not usually engage in live commerce. Small to mid-sized creators typically subscribe to this model, which is often characterised by bulk deals wherein creators can get up to ₹2,000-15,000 for a long-term deal, says Sheth of Monk Entertainment.
Influencer marketing: “Brands operating in the lifestyle, electronics segments and digital economy are showing a keen interest to rope in influencers for promotion,” says Shashank Shekhar, senior director, content strategy and operations, Moj & ShareChat. Moj runs an influencer marketplace connecting brands with influencers. The marketplace features cost slabs detailing the amount influencers charge brands on a per video basis. Moj’s influencer marketing model has been leveraged by a diverse set of companies, including Amazon, Disney India, Airtel, Dabur, ITC, Zivame, Ponds and SBI. The amount depends on the size of the brand and scale of the campaign, and can vary from ₹10,000 to ₹2 lakh per video, says Shekhar. “As and when creators’ base of followers expands, their price increases,” he adds. The platform gets a commission for every campaign it facilitates. Josh is also planning to launch an influencer marketplace soon.
Influencer marketing is one of the most popular forms of monetisation. Around 77% of creators depend on brand deals for revenues. PGA Labs estimates India’s influencer marketing business to have touched $120 million in FY22, with a potential to reach $450 million by FY27. However, influencer marketing is not always transaction driven. “For a brand, it is not always about activating paid collaborations with these influencers. Sometimes we may just want to interact with them and have them post about a campaign organically if they believe in the concept,” a PepsiCo India spokesperson said.
Image : Photograph by Nishikant Gamre
Shoppable commerce: Still under experimentation, shoppable commerce will leverage the behavioural trend of consumers. Users will be shown suggestions of shoppable items an influencer wears through the course of the video, and will be directed to the links of e-commerce marketplaces selling the product. Josh is experimenting with this model and plans to launch it soon. “Users want to engage with content when they shop. When they engage with videos on Josh, we want to isolate objects and suggest shopping nudges. That’s where the market will expand and we will have a larger role to play,” says Gupta.
Cashing in on Tech
For tech-led companies, innovation is the mantra, which includes monetisation as well. Firms have introduced a set of mechanisms to help creators make money.
Merchandise: This feature allows creators to showcase merchandise crafted by them on various channels, helping them reach a wide audience. Bhuvan Bam launched his everyday streetwear brand, Youthiapa, through YouTube’s merchandise feature, ‘Merch Shelf’, in 2017. Today, more than 20.7 million of Bam’s followers can browse for merchandise, from tees to caps and masks, by accessing his store on BB Ki Vines. There’s also Youthiapa.com, the official store for BB Ki Vines merchandise. Famous influencer Prajakta Koli, who recently starred in Bollywood movie Jugjugg Jeeyo, has also introduced her merchandise brand MostlySane on The Merch Garage, a creator-driven premium merchandise platform.
“YouTube is a good source of income for creators,” says New Delhi-based Nischay Malhan, who goes by the handle Triggered Insaan. Malhan, who has 26 million followers across three YouTube channels, ends up making more than ₹1 lakh during peak season via the platform’s monetisation avenues.
Sheth of Monk Entertainment says big creators have the potential to rake in ₹20-50 lakh per month through the merchandise model. However, most brands tend to die out after the initial push. “Beyond a certain point, people don’t really bother buying a t-shirt from a favourite influencer. A repeat product is bought for the quality and not just for the influencer as much,” adds Sheth.
Virtual gifting: It is another strategy Moj is looking to scale up. During a live stream, fans can gift items to their favourite creators. The products can be later redeemed in exchange for money. To be sure, people purchase the products using money, but since the interaction between the user and the creator happens virtually, the digital version of the product is extended during a video engagement. Moj has various digital tokens, including ‘Love It’ and ‘Crown’. The ‘Crown’, for instance, is a digital token fashioned in the form of an animated crown. One token costs around ₹150. Pooja Rajput, a Moj creator earned ₹40,000 through ‘Crowns’ from a single stream in February. However, the virtual gifting market is still in its nascent stage, and PGA Labs’ Singhal says it has the potential to touch over $1 billion by FY26.
Web3 all the way: Video sharing app Chingari is going the Web3 way. The platform plans to allow creators to fashion their videos in the form of NFTs that users will be able to buy. “These NFTs have a utility attached to them. Users who buy those NFTs will be eligible for a 10% share of a creator’s daily earnings from Chingari,” says co-founder and CEO Sumit Ghosh. The platform will charge a 5% fee for every NFT minted. The firm has already created a token-based economy — it has introduced crypto token Gari, listed on global exchanges and on CoinDCX in India. Every day, some 50,000 of these tokens are mined and creators are distributed a certain amount depending on the extent of their activity and visibility on the app. “The tokens can be sold on exchanges and exchanged for money,” says Ghosh. The other idea is to establish a creator metaverse. “We want to sell virtual experiences on the platform,” adds Ghosh. About 700 million videos are created on the platform every month, and Chingari plans to cash in on them.
“Creators need to venture into newer monetisation formats that focus on the creator-entrepreneur algorithm like the launch of D2C brands or investments in edtech, fintech, ecommerce and other sectors,” says Nagar.
Some platforms have launched creator-focused funds while others have crafted growth initiatives to add to the development of the ecosystem.
YouTube has launched a $100 million Shorts Fund that will be distributed through 2021-22. Eligible creators will be able to claim a payment from the fund every month.
Moj is broadening its creator ecosystem through the Moj For Creators (MFC) programme under which it aims to create 1 million superstar creators (those with a wide following) within the next three years. The programme includes training, spotlight programmes, boot camps, influencer town halls and workshops on industry trends. Anybody aspiring to be a creator can sign up for the programme. Already, over 100,000 have joined MFC, and the platform has set a target of facilitating creator earnings worth ₹3,500 crore. “Our top creators have been able to earn upwards of ₹2 lakh a month,” says Shekhar.
Josh, meanwhile, has launched Josh All Stars, a training academy for short-video creators. Individuals will have the opportunity to get mentored by a team of experts and celebrities across categories like music, dance, fashion and food. The idea is to groom creators, help them understand the entire gamut of content creation and build their presence across social domains. Josh says the academy aims to produce ‘India’s next 10,000 stars.’
India’s creator economy is largely a platform play. Someone’s pain became others’ gain when the ban on TikTok spurred the emergence of a clutch of homegrown apps, also nudging global firms to take a shot at the short-video space. A mix of local and global players, including Josh, Moj, Chingari, YouTube and Instagram Reels, are shaping up the country’s creator ecosystem. They are discovering and lending voice to a diverse set of creators, spending significant amounts towards their development, leveraging their expertise in tech to launch a spate of digital tools for easy content creation, and innovating on the product side to widen monetisation avenues for them.
“YouTube videos are being created in languages like Santhali and Chokri (Nagaland)... Everybody has a story to tell, a voice to share and if that can actually happen in a meaningful manner, with scale, it will travel well,” says Vidyasagar. In the beginning of 2019, YouTube had over 1,000 creators in India with a subscriber base of 1 million. Today, the platform has 4,000, and the number is growing by 50% year on year, adds Vidyasagar.
“There are people from small towns and cities who have developed a national following because of Reels,” adds Paras Sharma, director, media partnerships at Facebook India (Meta). There are around 90,000 Indian creators on Instagram with more than 10,000 followers, around 40,000 with over 100,000 followers and around 10,000 creators with more than 1 million followers, according to Kalaari Capital.
Homegrown apps Josh and Moj launched operations post the TikTok ban, and have already scaled up significantly. Josh, for instance, has over 15 million active content creators, including popular names such as Adnaan Shaikh, Sameeksha Sud, Faisal Shaikh, and Faiz Baloch. Bedi claims Josh has 153 million monthly active users (MAUs) and 74 million daily active users (DAUs). “Short videos are a very expensive business. A lot of investments go into AI, ML, understanding content and personalising it for users to keep them engaged,” he says.
Mohalla Tech-owned Moj has a daily active creator base of around 3 million, covering almost all Indian languages, says Shekhar. “We are seeing more and more niche categories coming up: Sports content; new-age short gaming videos; rappers and singers coming from different parts of India who create vernacular content,” he adds. A user spends 34 minutes on an average per day on Moj, and post the acquisition of social network MX Taka Tak, the platform’s MAUs have increased to around 300 million from 160 million.
“I am getting to witness humour and comedy in such a way that it’s not just restricted to Bollywood or one particular region like Mumbai. There is diversification of content,” says Ashish Chanchlani. “You will see billionaires coming out of it (creator economy), businesses emerging from it, going forward,” he adds.
The creator ecosystem runs on FOMO (fear of missing out), adds Sheth of Monk Entertainment. With competition heating up, young creators lured by algorithms who push their video views to millions need to be mindful. “They need to put in efforts to stay relevant,” he adds.
“We live at a time where reinvention is essential, and you may need to reinvent as frequently as every three months,” says Ranveer Allahbadia. “The future will be regional. It’s a tough market, so you need to bring something very original, very fresh to the table.”
If Ryan Goolic McClean’s team runs out of time while tending to a giant hogweed site, he rearranges other work.
“I will reschedule a different project so we have enough time for giant hogweed,” he said. “Not only is it a natural concern and could crowd out native species, but the human health impact is a huge priority on a regional and statewide basis.”
Once, natural disasters may have seemed rare and sporadic. No more. Even though it’s just the end of July, the U.S. has seen extreme weather events this summer including flooding, wildfires, tornadoes, and extended triple-digit heat waves. The Center for Disaster Philanthropy is monitoring similar disasters around the globe and the National Oceanic and Atmospheric Administration is predicting increased activity in the Atlantic hurricane season, which lasts from June to November.
As a rule, wealth management focuses on three areas of advice: investments, taxes, and estate planning. But losses of physical and financial assets to weather-related disasters have the potential to obliterate investment gains and tax savings generated through sophisticated financial planning. This makes helping clients prepare for such disasters crucial, especially when you consider that 84% of Americans live in areas that have experienced some form of natural disaster in the past three years and that 71% of Americans don’t have a detailed natural disaster emergency plan, according to a 2021 Wells Fargo survey.
In addition, helping clients protect and manage their wealth in the event of a disaster brings with it the unique opportunity to build trust and add value to your clients’ overall plans while you ride out market and weather volatility together. Here is a three-step action plan to get you started in discussions with clients.
The basics. Regardless of their proximity to disaster-prone areas, every client should have these essential safeguards in place:
· An emergency fund to cover three to six months of expenses.
· Cash at home in case of an urgent evacuation or a power outage that impacts ATMs.
· Digitally scanned and saved copies of important documents, including insurance policies, bank and brokerage account statements, passports, and driver’s licenses. Hardcopies of the originals should be stored in waterproof, fireproof boxes.
· A video or hardcopy inventory detailing valuable assets along with their make, model, serial numbers, receipts, and appraisals to assist with insurance claims.
Wealth protection mindset. To remain effective, all financial plans need to be updated periodically and this holds at least as true for plans to cope with increasingly disruptive natural disasters. Do your clients have adequate coverage for their financial and physical assets? If they reside or own property in high-risk areas for floods or wildfires, such special protections may be difficult and expensive to source. High-value jewelry, timepieces and collectibles that are easily misplaced or damaged may also require separate appraisals, riders, or policies to be sufficiently protected.
Keep in mind that high-net-worth individuals need to protect themselves from two principal types of losses—property and liability. A wealth protection review should consider both. Umbrella insurance policies can help limit a lot of exposure if they are structured correctly but require an understanding of underwriting and other technical factors. If you don’t have access to such expertise in-house, find a partner that can complement your practice and provide specialist expertise as needed.
Beyond self. Planning for a natural disaster focuses on helping clients protect themselves, but it can also be an ideal time to discuss charitable giving to others affected by such catastrophes. Doing so can help you better gauge their level of philanthropic interests, goals, and motivations.
For instance, of all the charitable giving aimed at supporting communities impacted by disasters, more than half is given for the immediate relief of victims, as opposed to longer-term recovery or preparedness, according to the Measuring the State of Disaster Philanthropy 2021 report. Depending on their interests and resources, clients can allocate a defined portion of their assets for such charitable donations, direct their money to a specific response fund, or formalize their giving with a vehicle like a donor-advised fund.
If they have private foundations, be sure clients are aware of a unique capability that permits them to grant funds directly to individuals and families in need instead of funneling donations through a public charity. In times of emergency, this can enable the support to reach disaster victims much faster. Additionally, remind them that natural disasters create and amplify a wide range of needs in the realms of housing, healthcare, education, food insecurity and mental health—one of which will likely align with the giving goals of those altruistically inclined.
Hannah Shaw Grove is the chief marketing officer of Foundation Source, the nation’s largest provider of management solutions for private foundations. The firm works in partnership with financial and legal advisors as well as directly with individuals and families.
After four years as the A/NZ vice president and managing director for HP, Michael Boyle has been named HP’s global head of large format go-to-market.
Boyle started with HP in 2015, initially joining as the vice president for Asia Pacific and Japan before leading the A/NZ business.
Prior to joining HP, Boyle worked with Canon and spent more than 13 years with printing services specialist Oce, which was purchased by Canon in 2010.
As part of the new global role, Boyle will be relocating to Barcelona, but not before a new successor is named for A/NZ.
“We have a strong leadership bench across Australia and New Zealand and are confident this will be a seamless transition,” a HP spokesperson said.
In a LinkedIn post, Boyle said “from speaking with partners at the Elevate roadshow to catching up with the HP team, it’s been a busy few days. But it’s moments like this, where I’m spending time with the team and our partners, that I’ll miss the most.”
Earlier this year, HP Inc. has expanded its Amplify Impact partner programme to an additional 24 countries, including New Zealand, in a move that sees the sustainability initiative extend to no fewer than 43 countries worldwide.
HP’s Amplify Impact partner programme focuses on providing its partners with ways to benefit from improving sustainability practices, offering training, sales and marketing resources, as well as a return and recycling program for end-of-life HP products.
The global hardware vendor described the programme as a first-of-its-kind partner assessment, resource and training program that provides over 10,000 partners with the opportunity to join HP in its efforts to generate meaningful impact on climate action, human rights and digital equity.
Error: Please check your email address.
We have over 20 computing laboratories equipped with machines ranging from HP dual-boot, all-in-one computers in the Computer Science laboratories to specialist machines. Student work is stored and backed up on dedicated high performance network file servers.
A wide range of industry-standard, general purpose and specialist software is available to support teaching. Many software packages are freely available to students via open source and similar licensing (for example Linux and Java) and all students have access to Microsoft Office.
On campus, the main Kimberlin Library offers a space where you can work, study and access a vast range of print materials, with computer stations, laptops, plasma screens and assistive technology also available.
As well as providing a physical space in which to work, we offer online tools to support your studies, and our extensive online collection of resources accessible from our Library website, e-books, specialised databases and electronic journals and films which can be remotely accessed from anywhere you choose.
We will support you to confidently use a huge range of learning technologies, including Blackboard, Collaborate Ultra, DMU Replay, MS Teams, Turnitin and more. Alongside this, you can access LinkedIn Learning and learn how to use Microsoft 365, and study support software such as mind mapping and note-taking through our new Digital Student Skills Hub.
The library staff offer additional support to students, including help with academic writing, research strategies, literature searching, reference management and assistive technology. There is also a ‘Just Ask’ service for help and advice, live LibChat, online workshops, tutorials and drop-ins available from our Learning Services, and weekly library live chat sessions that give you the chance to ask the library teams for help.
We offer an equitable and inclusive approach to learning and teaching for all our students. Known as the Universal Design for Learning (UDL), our teaching approach has been recognised as sector leading. UDL means we offer a wide variety of support, facilities and technology to all students, including those with disabilities and specific learning differences.
Just one of the ways we do this is by using ‘DMU Replay’ – a technology providing all students with anytime access to audio and/or visual material of lectures. This means students can revise taught material in a way that suits them best, whether it's replaying a recording of a class or adapting written material shared in class using specialist software.
As the world emerges from the COVID-19 pandemic and prepares for its first post-pandemic school year, the results of a new Khan Academy survey of teachers offers hope for a brighter future and, at the same time, reaffirms education’s deep commitment to staying laser-focused on recovery.
The findings show:
We wholeheartedly agree. Mastery learning ensures each student has the opportunity and incentive to master a concept before they stop working on it. It’s the philosophical core of Khan Academy, and decades of research shows that mastery learning works. …Read More
Google has released a specialized version of its Chrome OS designed give new life to old PCs and Macs by turning them into Chromebooks. The system is called Chrome OS Flex and was introduced as a beta product earlier this year and now is available for free to the public. If you have an abandoned laptop tucked away in your home office, you can likely install Flex and have an alternative machine for a family member or a backup for your primary computer. A win for you and a win for the environment.
If you are not familiar with Chromebooks, the essential difference from a PC or Mac is that they must be connected to the internet to work. This is known as a cloud-first system. Back in 2011 when the units were first launched, the need for an internet connection was problematic. Wi-Fi was not everywhere and data was very expensive. Today, that picture has dramatically changed. No internet is a valid reason to not work in most offices, and entertainment is impossible — few computers even come with a DVD drive now that streaming is the norm and updates are delivered over the internet.
While the Flex program is designed primarily for businesses and schools with large numbers of aging computers, individuals can also give the transformation a try. In other words, you don’t have to be an IT specialist to do it. There are three steps to the process, but before you start, you’ll want to check Google’s certified device list to see if your computer is on it. If it is, you’re cleared to proceed with certainty that Flex will work. If not, know that Google is continuing to add to the list, and that Flex may still work. “We’re working on more certifications every day, and even if your device isn’t yet certified, you can still try Chrome OS Flex,” wrote Thomas Riedl, director of product, enterprise and education at Google.
You will need three items for this project. First, a computer running the current version of Chrome browser. You will use this machine to create the USB installer. Second, you’ll need a USB drive with 8 gigabytes or more of storage. You can use a used drive, but anything on it will be erased. I recommend buying a new USB. Third, the old machine that you will convert to a Chromebook. Minimum requirements include: Intel or AMD x86-64-bit compatible device, 4GB of RAM, 16GB of internal storage, the ability to boot from a USB drive and full administrator access.
The first thing to do is to install the Chromebook Recovery Utility. Open Chrome browser and go to the Chrome web store. Search for “Chromebook Recovery Utility,” open it and then click “Add To Chrome.” When prompted, click “Add extension.” You should now see a small wrench in the top right of your browser window near your user icon if there’s room. If not, click on the puzzle piece icon and pin the extension to the window. Make sure it is toggled on.
Next you will create the USB installer. Launch the Chrome Recovery Utility extension. Click “Get started” and then click “Select a model from a list.” For both boxes (manufacturer and product), choose Google Chrome OS Flex from the dropdown list. Click “Continue” and insert your USB drive when instructed. Follow the directions to create the installer, which may take a few minutes. When you get a message that your recovery media is ready, remove the USB.
Last part! Make sure your target device is off. Insert the USB, press the power button and immediately press the boot key for your computer. Each manufacturer has a boot key, and here are some common ones: Dell and Lenovo F12, HP F9, Toshiba F2 or F12. If you don’t see your manufacturer, you can search for the boot key. Select your USB installer as the boot device.
After you have successfully booted Chrome OS Flex from your USB installer, you can permanently install Chrome OS Flex, erasing the computer’s existing OS and replacing it with Chrome OS Flex. If you’re not yet ready to install Chrome OS Flex, you can temporarily run it using the USB installer. This allows you to test the new system and make sure everything is working. As long as you keep your computer turned on, you won’t have to use the USB again. When you’re ready, install Flex permanently.
Leslie Meredith has been writing about technology for more than a decade. As a mom of four, value, usefulness, and online safety take priority. Have a question? Email Leslie at firstname.lastname@example.org.