External opportunity

Request for Proposal TV Drama Production Partner

GirleffectNakuruPosted 03/11/2026

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About this role

<h1>Procurement Summary</h1> <table> <tbody> <tr> <td> Item </td> <td> Details </td> </tr> <tr> <td> RFP Title </td> <td> TV Drama Production Partner for TUKI Season 2 </td> </tr> <tr> <td> Procurement Method </td> <td> Open competitive tender </td> </tr> <tr> <td> Eligible Applicants </td> <td> Qualified production companies, agencies </td> </tr> <tr> <td> Location </td> <td> Kenya </td> </tr> <tr> <td> Contract Period </td> <td> Approximately 6–8 months </td> </tr> <tr> <td> Anticipated Delivery Period </td> <td> December 2026 to July 2027 </td> </tr> <tr> <td> Reporting To </td> <td> Designated Create or Programme Lead </td> </tr> <tr> <td> Clarification Deadline </td> <td> 11 November 2026 </td> </tr> <tr> <td> Proposal Deadline </td> <td> 30 November 2026 </td> </tr> <tr> <td> Proposal Currency </td> <td> Kenyan shillings </td> </tr> <tr> <td> Submission Email </td> <td> suppliers@girleffect.org </td> </tr> </tbody> </table>   <h1>WHO WE ARE</h1> Girl Effect is an international non-profit that builds media girls want, trust, and need. From chatbots to chat shows and TV dramas to tech, our content helps young people, especially adolescent girls and young women (AGYW) in Kenya, Tanzania, Ethiopia, Nigeria, India, and South Africa to make empowering life choices and changes. We create safe spaces for girls, sharing facts and answering questions about health, nutrition, education, and relationships, empowering girls with the skills to negotiate and redefine what they are told is possible “for a girl.” Our reach is 50 million and counting. We’re using technology to reach girls at scale so every girl can choose to be in control of her body, her health, her learning, and her livelihood. Because when a girl unlocks her power to make different choices that change her life, it inspires others to do so, too. She starts a ripple effect that impacts her family, community, and country. That’s the Girl Effect. <h1>BACKGROUND</h1> Tukisonga is a Kenyan youth brand designed for young people aged 18–24. It uses an integrated multimedia ecosystem to deliver relevant social and behaviour change content. Its flagship television drama, TUKI?, explored how young people navigate economic empowerment, relationships and sexual and reproductive health. The first season was broadcast on television and distributed through YouTube, radio adaptations, community screenings and supporting digital content. TUKI Season 1 and the wider Tukisonga ecosystem reached more than five million young Kenyans. Audience research found that viewers considered the content entertaining, authentic, relevant and trustworthy. Evaluation findings also indicated increased confidence in discussing sexual and reproductive health, greater acceptance of contraception and increased reflection on gender roles within relationships. Girl Effect is now developing TUKI Season 2 as part of an expanded Tukisonga and WAZZII multimedia programme focused on adolescent girls, young women and young men aged 15–24 in Nairobi and Nakuru. <h1>OBJECTIVE</h1> Girl Effect is expanding the Tukisonga multimedia behavior change platform alongside WAZZII, our AI-powered WhatsApp chatbot. This joint initiative aims to boost contraceptive adoption, challenge existing social norms surrounding SRH care-seeking, and enhance STI prevention among adolescent girls, young women, and young men (AGYW/ABYM aged 15–24) across Nairobi and Nakuru. Central to our multimedia ecosystem, the TV drama series serves as a key driver for our behavior change communications. TUKI is returning for its second season to explore new environments, storylines, and character journeys. We are seeking an established production partner to produce an 8-episode drama series that builds on the first season's success. The series will guide our audience from initial awareness toward active engagement, encouraging informed decision-making regarding their health, education, and economic well-being. We require an experienced production house capable of managing the full end-to-end production of the youth-centered drama series, while continuing to genuinely reflect the lived experiences of young people in Kenya. Impact metrics from the inaugural season highlight the platform's effectiveness: <ul> <li>Expansive Audience Reach: TUKI? Season one and its supporting content connected with over 5 million young Kenyans, earning strong praise for authentic storytelling and engaging entertainment.</li> <li>Positive Behavioral Outcomes: Evaluation data confirmed increased confidence in discussing SRH topics with partners, greater acceptance of contraceptive use, and deeper reflection on interpersonal gender dynamics.</li> </ul> Audience Trust and Relevance: Follow-up participant surveys affirmed that youth regard the Tukisonga ecosystem as a highly credible, relatable, and educational source for SRH guidance. <h1>WHAT YOU WILL DO</h1> The production company would partner with Girl Effect to produce a branded youth-focused series rooted in and resonant with the realities that young people in Kenya face. The series must embody the spirit of the times, with a premise authentic to contemporary youth culture.  The characters should be relatable, multi-layered, and complex. We follow them on a journey of self-discovery and change as they fail, forge friendships, find mentors and find mental resilience in their adulting journey.  The characters will negotiate through our behaviour change framework, modeling positive journeys for our audience.  The production workflow spans four distinct phases, adhering to international multi-platform drama standards and incorporating local Kenyan regulatory, language, and distribution requirements: <ol> <li> Development Phase:</li> </ol> <ul> <li>Assembling the writers' room and securing an experienced head writer with proven expertise in youth drama and Social and Behavior Change (SBC) messaging.</li> <li>Collaborate closely with GE-appointed Create, SBC, and safeguarding consultants throughout narrative development.</li> <li>Finalize show Bible, character arcs, episode outlines, and obtain formal sign-offs.</li> <li>Conduct pre-testing and focus group reviews of draft scripts to validate tone, authenticity, and SBC alignment.</li> <li>Develop dual-track script adaptations concurrently for both TV broadcast and the accompanying radio drama series.</li> <li>Establish master pre-production schedules, technical pipelines, and safeguarding protocols.</li> </ul> <ol> <li> Pre-Production Phase:</li> </ol> <ul> <li>Production Planning & Scheduling: Build comprehensive production master schedules, budgeting frameworks, and risk management strategies across TV and radio workflows.</li> <li>Casting & Talent Management: Conduct inclusive casting calls for youth actors representing target demographics; negotiate talent contracts, performance rights, and multi-platform image releases.</li> <li>Location Scouting & Permitting: Secure all shooting locations, film licenses, municipal permissions, and Kenya Film Classification Board (KFCB) filming permits.</li> <li>HOD & Creative Team Assembly: Recruit top-tier creative heads (Director, DoP, Line Producer, ADs, Production Designer, Sound Recordist, Editor, and Sound Mixer).</li> <li>Technical & Workflow Specifications: Establish technical shooting specs (Full HD/4K capture, color space, audio channel mapping) and file asset management protocols.</li> <li>Shooting Script Lock: Oversee final script polishes, table reads, and scene breakdowns for locked shooting scripts.</li> <li>Contracts & Legal Clearance: Execute binding cast/crew contracts, location agreements, copyright assignments, and music licensing clearances.</li> <li>Multi-Platform Asset Preparation: Plan ancillary production captures, including behind-the-scenes (BTS) footage, actor interviews, podcast integration, and digital/social promo clips.</li> <li>Safeguarding & On-Set Safety Setup: Implement child/youth protection policies, HSE protocols, and risk mitigation strategies across all filming sites.</li> </ul> <ol> <li> Production Phase:</li> </ol> <ul> <li>Principal Photography (TV Series): Execute principal photography over a minimum 2-month window (~5 shoot days per episode) using high-grade camera, lighting, and sound gear.</li> <li>Radio Drama Studio Recording: Conduct dedicated studio voice recording sessions with the cast to capture full-length dialogue and soundscapes for the 8-episode radio drama adaptation.</li> <li>Directing & On-Set Quality Control: Lead episode direction to preserve artistic vision, performance authenticity, language nuances (English, Kiswahili, Sheng), and SBC fidelity.</li> <li>Ancillary & Promo Content Capture: Simultaneously capture digital-first assets, behind-the-scenes (BTS) featurettes, cast interviews, social media reels, and high-res promo photography.</li> <li>Production Management & Reporting: Maintain smooth operations, weekly progress updates, budget tracking, and real-time troubleshooting.</li> <li>Safe & Compliant Set Operations: Enforce youth safeguarding measures, on-set safety standards, and transparent stakeholder communication throughout filming.</li> </ul> <ol> <li> Post-Production Phase:</li> </ol> <ul> <li>Editorial & Assembly (Offline & Online Cut): Execute offline edits, rough cuts, fine cuts, and locked picture assemblies for all 8 TV episodes.</li> <li>Sound Design, Score & Audio Mixing: Produce master audio mixes (dialogue cleaning, ADR, sound effects, Foley, original musical score, and audio stems) for TV and radio broadcasts.</li> <li>Color Grading & Visual Effects: Apply professional master color grading and complete required title sequences, lower thirds, and visual effects (VFX).</li> <li>Localization & Subtitling: Deliver comprehensive English SRT subtitle packages for digital/YouTube CC and burnt-in subtitles for non-English/Sheng dialogue.</li> <li>Post-Production Quality Control (QC): Conduct strict technical QC checks to ensure compliance with broadcast specs (1080p / 24fps / stereo audio normalization) and digital formats (YouTube 16:9 and social 9:16/1:1 cuts).</li> <li>Stakeholder Review & Feedback Loops: Manage structured revision rounds incorporating feedback from Girl Effect Create, SBC, pre-testing panels, and technical review teams.</li> <li>Regulatory Submission & Compliance: Submit final TV cuts to the Kenya Film Classification Board (KFCB) for official age-rating certification before public release.</li> <li>Final Asset Master Packaging: Deliver broadcast-ready master video files, unmixed audio stems, radio drama masters, promotional suites, cue sheets, and digital archives.</li> </ul> EXPECTED DELIVERABLES <ul> <li>End-to-end production of 8 complete 24-minute episodes of TUKI Season 2 formatted for broadcast TV and digital platforms, including YouTube.</li> <li>Promotional and marketing content suite: overall show trailers and individual episode trailers in horizontal (16:9) and vertical (9:16) formats, plus social media shorts/cut downs and digital promotional assets.</li> <li>Comprehensive subtitling package: standalone SRT files for English closed-captioning (CC) on YouTube/digital platforms and hard-coded subtitles for non-English, non-Kiswahili, or non-Sheng dialogue.</li> <li>Radio audio adaptation: 8 fully produced audio episodes rewritten for sound broadcast upon receiving final draft TV scripts (maximum 20-minute audio script length per episode), featuring in-studio voice recordings, sound effects/foley adapted from the TV show, custom soundtracking, and full post-production mixing.</li> <li>Behind-the-scenes (BTS) package: at least 12 featurettes (up to 5 minutes each) capturing cast, crew, and producer interviews, along with high-resolution promo/BTS photography.</li> <li>Creative development & packaging: complete story arc, episode scripts, graphics package, visual identity, and VFX tailored for high-profile youth drama.</li> <li>Technical post-production specifications: master deliverables in broadcast-ready formats (Full HD 1920x1080 .mov with 24-bit stereo WAV audio, master color grade, final sound design, and unmixed audio stems).</li> <li>Regulatory & compliance clearances: KFCB content classification ratings, music licensing cue sheets (including original music/track releases), location release agreements, talent releases, and copyright documentation.</li> <li>Insurance & risk management: comprehensive production and equipment insurance, third-party liability coverage, and strict health, safety, and youth safeguarding protocols for sets and locations.</li> <li>Monitoring, evaluation & feedback integration: structured workflows to incorporate feedback from focus groups, SBC pre-testing, and Girl Effect review teams into script revisions and edit cuts.</li> <li>Final project delivery package: organized master backup on external hard drives containing raw camera footage, project files, audio stems, SFX libraries, and administrative documentation.</li> <li>Management and reporting documentation: weekly production updates, cost reporting against budgets.</li> <li>Compile and prepare a comprehensive series media package (including pitch decks, synopses, high-resolution promotional posters, trailers, and full episodes) and actively submit it to domestic, regional, and international film festivals and competitions.</li> </ul> <h1>FEEDBACK AND REVISION ROUNDS</h1> <h2>The fixed base price must include:</h2> <ul> <li> Up to three consolidated review rounds for the creative treatment, series bible, character arcs and episode outlines; </li> <li> Up to three consolidated review rounds for each episode script draft; </li> <li> Up to two consolidated review rounds for casting, locations, production design and wardrobe; </li> <li> Up to two consolidated review rounds for each rough cut; </li> <li> One consolidated review round for each fine cut; </li> <li> One final technical and compliance polish after picture lock; </li> <li> Up to two consolidated review rounds for each promotional-asset batch; and </li> <li> All corrections required to meet the approved brief, script, specifications and quality standards. </li> </ul> Girl Effect will appoint one focal point to coordinate consolidated feedback and approvals. Feedback from individual stakeholders will not constitute formal instruction unless issued or confirmed by the designated Girl Effect focal point. Corrections required because an output does not comply with the approved brief, script, specification, rights requirements or agreed quality standard are not additional creative revision rounds. <h1>RESHOOTS, REWORK AND CORRECTIONS</h1> The production partner will bear all costs of reshoots, re-recording, re-editing or other corrective work resulting from: <ul> <li>Failure to follow an approved script or production plan;</li> <li>Poor technical quality;</li> <li>Missing or unusable coverage;</li> <li>Continuity errors;</li> <li>Inadequate sound recording;</li> <li>Equipment failure that should reasonably have been managed;</li> <li>Unauthorised creative or technical deviations;</li> <li>Cast, crew, location or scheduling failures within the partner’s control;</li> <li>Failure to secure the required permits or rights;</li> <li>Loss or corruption of footage;</li> <li>Failure to meet broadcast, digital or regulatory specifications; or</li> <li>Any other production partner error, omission or breach.</li> </ul> Girl Effect-requested material changes to an already approved script, output or specification will be handled through the formal change-control process. <h1>CHANGE CONTROL</h1> No additional fee, expense or extension of time will be valid unless approved through a written change order signed by Girl Effect’s authorised representative. A change request must state: <ul> <li>The requested change;</li> <li>The reason for the change;</li> <li>The affected deliverables;</li> <li>The cost impact;</li> <li>The timeline impact;</li> <li>The effect on cast, crew, rights, locations or other commitments;</li> <li>Available alternatives; and</li> <li>The consequences of not approving the change.</li> </ul> Material changes may include changes to: <ul> <li>Episode quantities or duration;</li> <li>Approved scripts or storylines;</li> <li>Locations;</li> <li>Principal cast;</li> <li>Shoot days;</li> <li>Languages;</li> <li>Technical specifications;</li> <li>Delivery formats;</li> <li>Promotional-asset quantities;</li> <li>Rights periods or territories; or</li> <li>Approved delivery dates.</li> </ul> The production partner must not incur additional costs, commit Girl Effect to third-party expenditure or proceed with changed work before receiving written approval. Delays or costs resulting from the production partner’s underestimation, poor planning, supplier failure or failure to identify foreseeable requirements will not qualify as approved changes. <h1> MANAGEMENT AND WORKING ARRANGEMENTS</h1> The production partner will report to Girl Effect’s designated Create or Programme Lead. The partner will: <ul> <li>Appoint one senior account or executive production lead;</li> <li>Maintain an approved project plan and critical path;</li> <li>Provide weekly written progress reports;</li> <li>Maintain a budget tracker, risk register, issues log and decisions log;</li> <li>Provide regular production and post-production demonstrations;</li> <li>Escalate material risks promptly;</li> <li>Attend agreed creative, technical and safeguarding meetings; and</li> <li>Obtain written approval for material creative, production, rights, safeguarding and budget decisions.</li> </ul> Girl Effect will provide consolidated feedback through one designated focal point. <h1>WHO YOU ARE</h1> SKILLS, EXPERIENCE  AND EXPERTISE: <ul> <li>Credentials: You have expertise in producing long-format TV shows/dramas and have been in the industry for a significant time.  </li> <li>Background: A diverse clientele for different industries, such as corporate clients, non-profit organizations (preferred), government agencies, and private individuals. </li> <li>Project Management: Ability to effectively manage projects, coordinate teams with diverse skill sets, ensure successful execution from start to finish, and have a strong work ethic to execute the project within the intended timeline with support from the GE  team.</li> <li>Local Market Knowledge: Strong understanding of local trends, landscape, and cultural nuances to tailor creative outcomes that resonate with the target audience in the country you are working. </li> <li>Time and Budget Management: Proficiency in delivering the project on schedule and within budgetary constraints, ensuring efficient allocation of resources and adherence to financial targets.</li> <li>Creative Ideation: Skill to generate innovative and unique ideas aligned with our objectives and target audience(girls and women), fostering creativity and pushing boundaries to deliver outstanding creative work. You will have a proven ability to work with subject matter experts and ‘translate’ their expertise into appropriate content for the target audience. </li> <li>Multi-platform Expertise: Proficiency in creating content for various communities (small and large). Experience in health-related content/Behavior change content production in the field of Sexual and Reproductive Health and Rights would be a massive bonus. </li> <li>Branding and Storytelling: Capability to craft compelling narratives and storytelling techniques that effectively communicate the Girl Effect message, create emotional connections, and build brand loyalty.</li> <li>Collaboration and Teamwork: Demonstrated ability to collaborate effectively with clients, creative teams, copywriters, and stakeholders to bring ideas to life, fostering a collaborative and productive work environment.</li> </ul> Language: Effective communicator and writer in English and Kiswahili, Sheng, able to synthesize, communicate, and simplify complex language concepts per the needs of girls and young women. <ul> <li>Safeguarding: Experience working with young adults and understanding of policies involved when working with minors.</li> </ul> ATTITUDES WE ARE LOOKING FOR:  <ul> <li>Teams comfortable with complex organizational structures and multiple stakeholders </li> <li>Comfortable with shared decision-making </li> <li>A team that makes informed decisions and takes actions</li> <li>Enthusiastic about working with, talking to, and interacting with people across cultures and geographies - this work will require extensive conversations, presentations, documentation, and fire-fighting </li> <li>Highly empathetic and context-sensitive - able to balance conflicting needs and priorities decisively </li> <li>Mission-driven and cares about making a difference in young people's lives and society's vulnerable sections.</li> </ul> The bidder must be based in Kenya or demonstrate substantive production operations in Kenya. <h1>PROPOSAL SUBMISSION</h1> Your proposal, should you be interested (Max 20 pages excluding script sample), should cover the following: Technical Proposal <ul> <li>Your understanding of the brief and why you feel you are well-placed to advise us on this. It would be a definite plus if you could demonstrate previous experience in having produced comedy or drama series.</li> </ul> Content <ul> <li>A brief synopsis of their creative idea - just as a reference for how they would approach drama in this landscape.</li> <li>Controlling idea, dramatic question, premise, logline, and a statement of intent </li> <li>10 pages of sample dialogue/script - can be from previous production </li> <li>Series creative treatment and visual approach</li> <li>Cast suggestions aligned with Wazzii  brand positioning and core target audience </li> </ul> Credential/Profile/CV <ul> <li>Production companies must prove their capacity to produce the series as captured in the evaluation criteria.</li> <li>Key Creatives must demonstrate relevant experience in the scripting and production of long-form drama and/or comedy series. </li> <li>Please showcase any previous work that you consider relevant to what we are trying to achieve, how we approach our work, and the audience we cater to. </li> <li>Must have a minimum of 3 years' experience in producing long-form drama </li> <li>Crew credentials </li> <li>Production house showreel.</li> <li>Your Preliminary Creative ideas that can help land the key messages with our audience - we will support your team in scripting. Still, we are keen on understanding disruptive and engaging storytelling ideas that can help carry the weight of the messaging.</li> <li>Approach - How would you approach making sure that we produce a youth series that cuts through the noise and stands above the rest of the dramas that dominate the Kenyan  landscape</li> <li>Production schedule - Incorporate a detailed work plan with a timeline for the implementation in the proposal. This includes a preliminary list of the crew, equipment, and board location suggestions. </li> <li>Reference - Provide at least three references for similar contracts with a description of the service provided and the contract periods of performance.</li> <li>Quality-control and rights-clearance approach;</li> <li>Approach to radio adaptation and promotional content;</li> <li>Evidence of capacity to deliver the complete scope;</li> <li>Three contactable client references;</li> <li>Key assumptions, exclusions and dependencies</li> </ul> <h3>FINANCIAL PROPOSAL</h3> The financial proposal must be submitted in Kenyan shillings and include: <ul> <li>A fixed all-inclusive base price;</li> <li>Cost breakdown by development, pre-production, production, post-production, radio, promotional assets and handover;</li> <li>Personnel and crew costs;</li> <li>Cast and talent costs;</li> <li>Equipment and studio costs;</li> <li>Location, permit and regulatory costs;</li> <li>Transport, accommodation, catering, security and logistics;</li> <li>Music, archive and third-party rights;</li> <li>Insurance;</li> <li>Post-production and data-management costs;</li> <li>Applicable taxes shown separately;</li> <li>Reimbursable expenses shown separately;</li> <li>Clear assumptions and exclusions; and</li> <li>Optional unit rates.</li> </ul> The fixed base price must remain firm for the approved scope. Bidders must provide optional unit rates for: <ul> <li>One additional television episode;</li> <li>One additional radio episode;</li> <li>One additional principal photography day;</li> <li>One additional studio recording day;</li> <li>One additional trailer;</li> <li>One additional social-media cutdown;</li> <li>One additional behind-the-scenes featurette;</li> <li>Additional subtitling or language adaptation;</li> <li>Dubbing;</li> <li>Additional review rounds arising from Girl Effect-requested material changes;</li> <li>Any proposed rights renewal where a perpetual licence cannot be secured.</li> </ul> Optional services may only be commissioned through written approval and are not guaranteed. <h1>EVALUATION </h1> Proposals will be evaluated in the following order: <ul> <li>Pre-screening;</li> <li>Technical evaluation; and</li> <li>Financial evaluation.</li> </ul> The criteria against which proposals will be evaluated are listed below: Technical Evaluation <ul> <li>Understanding of the brief and proposed creative approach: 15%</li> <li>Relevant long-form drama experience and quality of work samples: 15%</li> <li>Production methodology, work plan and capacity: 15%</li> <li>Proposed key team and Kenyan market experience: 10%</li> <li>SBC, youth, language and safeguarding approach: 10%</li> <li>Quality control, rights, risk and scope-management approach: 5%</li> </ul> Technical Total: 70% <ul> <li>Financial proposal and overall value for money: 30%</li> </ul> Total: 100% Girl Effect may request written clarifications, invite shortlisted bidders to present their creative and production approach, conduct reference checks and due diligence, or request a best-and-final offer. The lowest-priced proposal will not necessarily be selected. <h1>PROCUREMENT TIMELINES</h1> <ul> <li>Terms of reference published: 4 November  2026</li> <li>Questions/Clarification Deadline:  11 November  2026</li> <li>Deadline for responses from GE: 14th November 2026</li> <li>Deadline for proposal submission: 30th November 2026</li> </ul> <h1>CLARIFICATION PROCESS</h1> Bidders may submit clarification questions to suppliers@girleffect.org by 11 November 2026. Use the email subject: Clarification Question – Kenya TV Drama Production To ensure a fair and transparent open-tender process: <ul> <li>Girl Effect will not provide substantive responses privately to individual bidders.</li> <li>Relevant questions and responses will be compiled into a consolidated FAQ.</li> <li>The FAQ will not identify the bidder that submitted each question.</li> <li>The FAQ will be shared with all prospective bidders.</li> <li>Bidders are responsible for reviewing the FAQ and formal tender updates.</li> <li>Verbal information will not amend the RFP unless confirmed by Girl Effect in writing.</li> </ul> <h1>HOW TO APPLY</h1> Submit the technical and financial proposals as separate attachments to: suppliers@girleffect.org Applications must be received by 30 November 2026. Use the email subject: TV Drama Production Partner – TUKI Season 2 – Kenya Late, incomplete or incorrectly submitted proposals may not be evaluated. Only shortlisted bidders may be contacted during the evaluation process. <h1>GENERAL AND COMMERCIAL TERMS</h1> <ul> <li>Contracting and Payment: The successful bidder will sign Girl Effect’s standard services agreement and statement of work. Payment will be linked to satisfactory completion and written acceptance of agreed milestones.</li> <li>Pricing: The accepted base price will be fixed in Kenyan shillings. No cost increase will apply without an authorised written change order.</li> <li>Taxes: Applicable taxes must be shown separately. Girl Effect will deduct withholding tax where required by Kenyan law. VAT should be included where applicable.</li> <li>Third-Party Commitments: The production partner may not commit Girl Effect to cast, crew, location, music, equipment, travel or other third-party costs without authority under the approved budget.</li> <li>Expenses: Only expenses expressly identified in the contract or approved in writing in advance will be reimbursable.</li> <li>Insurance: The production partner must maintain appropriate production, equipment, employer and public-liability insurance.</li> <li>Intellectual Property and Rights: Girl Effect will own all commissioned work and production materials, subject only to approved pre-existing or third-party rights.</li> <li>Confidentiality and Data Protection: The production partner must protect Girl Effect’s confidential, personal and sensitive information.</li> <li>Safeguarding and Conduct: Appointment is subject to satisfactory due diligence, reference and safeguarding checks. The production partner must comply with Girl Effect’s safeguarding, ethical, anti-fraud and code-of-conduct requirements.</li> <li>Subcontracting: No material part of the assignment may be subcontracted without Girl Effect’s prior written approval. The lead bidder remains fully responsible for subcontracted work.</li> <li>Conflicts of Interest: Bidders must disclose any actual or potential conflict of interest.</li> <li>Tender Costs: Girl Effect will not reimburse any cost incurred in preparing or presenting a proposal.</li> <li>Right to Award: Girl Effect may clarify, negotiate, amend, suspend or cancel the process; reject any or all proposals; award the full or partial scope; or make no award.</li> <li>No Commitment: Publication of this RFP does not commit Girl Effect to enter into a contract.</li> <li>Equal Opportunity: Girl Effect welcomes proposals from agencies with diverse professional, creative and cultural backgrounds and a strong understanding of the communities and audiences we serve.</li> <li>Proposal Validity: Proposals must remain valid for 90 days from the submission deadline.</li> </ul>