Framework Agreement for Multimedia Storytelling Services

Framework Agreement for Multimedia Storytelling Services

Terms of Reference

Framework Agreement for Multimedia Storytelling Services

Multi-Company Framework · Three-Year Agreement · Ethical Storytelling · Results-Based per Product

Contracting organisation: BRCiS (Building Resilient Communities in Somalia)

Contract type: Framework Agreement — Multiple Companies, Results-Based per Product

Duration: Three (3) years from date of signature, with annual performance review

Geographic scope: Somalia

Languages: English and Somali (standard); local Somali dialects as specified per assignment

Currency: United States Dollar (USD)

Reference: BRCiS-MEDIA-2026-001

Issue date: 2026

1. Background

The Building Resilient Communities in Somalia (BRCiS) Consortium has operated across Somalia's most shock-exposed communities for more than twelve years, implementing resilience programming with over 500 communities. BRCiS works at the intersection of climate adaptation, agroecological transformation, financial inclusion, housing and land rights, and community systems strengthening.

The stories generated through this work — communities restoring degraded land, women leading self-help groups through drought, families rebuilding livelihoods after displacement — are powerful but rarely told with the depth, creativity, and craft they deserve. BRCiS is establishing a three-year Framework Agreement with pre-qualified specialist multimedia storytelling companies to serve as its creative partners for the complete storytelling lifecycle: from story identification and pitch development, through field production, to active distribution and dissemination.

Inclusion in the framework does not guarantee a minimum volume of work. Commissions are issued on an assignment-by-assignment basis, triggered by an approved story pitch.

2. Ethical Storytelling and Team Diversity

Ethical storytelling is the creative and professional standard from which all work flows. BRCiS works with communities experiencing displacement, climate stress, food insecurity, and conflict. The stories of these communities carry weight: they can dignify or diminish; they can amplify community voice or extract it.

All companies working under this framework must demonstrate a deep, practical understanding of the following ethical storytelling principles:

• Do no harm. Every story choice is assessed for its potential impact on subjects, including exposure to security risks, social stigma, or retaliation. A written risk note is submitted to BRCiS before every field deployment.
• Dignity over disaster. Communities are represented as agents of their own lives, not as passive victims. Sensationalism, poverty aesthetics, and trauma-as-spectacle are unacceptable in any product produced under this framework.
• Genuine informed consent. Informed consent — explained clearly in the community's own language and dialect — is required for all identifiable subjects. Consent is not a form; it is an ongoing relationship between the production team and the community.
• Cultural sensitivity and authenticity. Stories must be told with genuine knowledge of and respect for Somali cultural contexts, social structures, gender dynamics, clan sensitivities, and local values. External narrative frames must not be imposed on Somali realities.
• Community voice and ownership. Where possible, individuals and communities have meaningful input into how their stories are told — not merely as subjects of documentation.
• Accuracy and accountability. All content is factually accurate and verifiable. BRCiS communities must be able to recognise themselves — truthfully and fairly — in the stories told about them.

Applicants must address their ethical storytelling approach in their application. Evidence of ethical practice must be visible in submitted portfolio samples. In addition the commitment must be visible not only in the teams that produce content. Authentic stories about Somali women, displaced communities, minority groups, and marginalised populations are best told by teams that include people from those communities — not as a token gesture, but as a genuine source of creative and editorial authority.

All companies on the framework must demonstrate the following minimum standards in the composition of their core production team:

• Women in meaningful creative and editorial roles. At minimum, 40% of the team members involved in any given assignment must be women, and at least one woman must hold a substantive creative or editorial role on every assignment. BRCiS strongly encourages women in lead producer, director, photographer, writer, or editorial decision-making positions.
• Representation of minority and marginalised communities. The team must include individuals who have lived experience of, or demonstrated deep professional engagement with, the communities being documented — including displaced communities, minority clans, and other marginalised groups relevant to the assignment. Companies must describe how they ensure this representation in their application.

3. How the Framework Works

The framework operates through a pitch-driven process. Companies actively identify and develop story ideas in close engagement with BRCiS, and propose them for approval. Production only begins once a pitch is approved.

Step 1 — Story Identification and Pitch Development

Companies on the framework are expected to maintain ongoing engagement with BRCiS's programme — attending quarterly briefings, following programme developments across Somalia, and proactively developing story ideas. This engagement is not separately remunerated; it is the professional contribution expected of a creative partner, recognised through the commission when a pitch is accepted.Story ideas emerge from genuine engagement, including:

• Regular conversations with BRCiS field staff, programme managers, and community facilitators.
• Visits to programme areas and communities as a creative observer.
• Monitoring BRCiS publications, reports, and social channels for emerging themes and untold stories.
• Identifying characters, communities, or moments with the potential for compelling storytelling.

When a story idea is ready, the company submits a Story Pitch to BRCiS, which must include:

• A short narrative description of the story — who it is about, what it shows, and why it matters now.
• The BRCiS programme area, community, or theme the story connects to.
• The proposed product format (one of the six standard formats in Section 5) and the rationale for that choice — why is this format the right vehicle for this particular story and audience?
• The target audience and proposed distribution approach.
• An all-inclusive unit cost proposal for the product (using the pricing structure in Section 7).
• An estimated timeline.
• Any do-no-harm or sensitivity flags identified at this stage.

BRCiS will respond to pitches within ten working days: approved, returned for revision, or declined. Approval triggers a Purchase Order and formal assignment contract. No production work begins before the Purchase Order is issued.

Step 2 — Production

Once a pitch is approved, the company moves into production. The unit cost agreed in the pitch covers the full cost of delivering the product — from detailed planning through to final file delivery. Planning and production are integrated under a single unit cost and a single results-based payment schedule.

Production encompasses all of the following, as required by the specific product and assignment:

• Detailed production planning: schedule, logistics, field coordination, interpretation needs, consent management approach.
• Written do-no-harm and risk assessment, submitted to BRCiS at least five working days before any field deployment.
• Field deployment to BRCiS programme areas across Somalia, which may include remote rural locations, IDP settlements, pastoral zones, and peri-urban areas.
• All production activities appropriate to the commissioned format: photography, filming, audio recording, interviewing, writing, illustration, or artist collaboration.
• Consent management: obtaining and documenting informed consent, in-line with NRC Informed Consent guidelines, in the appropriate language and local Somali dialect for all identifiable subjects.
• Full post-production: review and editing, colour grading, sound design, subtitling, translation, captioning, format adaptation, and file delivery.
• Language delivery: English and Somali (standard) are the default. Local Somali dialects may be specified in the approved pitch.

Step 3 — Distribution and Dissemination (Phase 3, Separately Contracted)

Where an approved pitch includes a distribution component, Phase 3 is contracted separately using the distribution rate card in Section 6. Companies must demonstrate active distribution networks in Somalia and must activate these on behalf of BRCiS when distribution is commissioned. Activities include:

• Media partnership placement: Somali and international radio stations, TV channels, online news outlets, and digital media platforms.
• Influencer and creator network activation: Somali social media creators and digital community voices.
• Social media campaign management: scheduling, boosting strategy, platform-specific adaptation, and community management.
• WhatsApp community dissemination: structured sharing through Somali community networks and broadcast channels.
• Post-campaign analytics: documented reach, impressions, engagement, airtime secured, and qualitative feedback.

4. Required Capabilities

All companies on the framework must demonstrate genuine capacity across the following areas. Sub-contracting specific functions is permitted but must be disclosed and approved by BRCiS.

Multimedia Production

• Capacity to produce all six standard product formats defined in Section 5.
• Professional-grade equipment and software for video (4K capable), photography (minimum 24MP), audio (professional field recording), and post-production.
• In-house or contracted creative talent for visual art, illustration, and creative expression formats.

Language and Cultural Competence

• Strong command of Somali (written and spoken) and English (written and spoken).
• Capacity to work in local Somali dialects — companies must specify which dialects they cover.
• Human translation capability for all Somali-language content. Machine translation is not acceptable.

Distribution Networks

• Named media partnerships with Somali radio stations, TV channels, or online outlets with documented reach.
• An active social media influencer or content creator network with reach into Somali and Somali diaspora audiences.
• Capacity to independently manage social media campaigns and WhatsApp dissemination.

5. The Six Standard Product Formats

BRCiS has defined six standard storytelling formats, selected for their proven impact and relevance to BRCiS's audiences and distribution channels in 2026. Short-form vertical video leads reach on TikTok, Instagram Reels, and WhatsApp. Carousel formats achieve the highest engagement rates on LinkedIn (median 21% engagement per post). Long-form documentary retains audiences seeking depth and credibility. Audio and creative formats serve communities unreachable through visual-first channels.

All framework companies must demonstrate capacity to deliver all six formats. When submitting a story pitch, companies must identify the proposed format and explain why it is the right vehicle for that story and audience.

F1: The Mobile Clip

Short vertical video· 60–90 seconds· 9:16· 1080×1920px

Best for: TikTok· Instagram Reels· WhatsApp Status· X (Twitter)· YouTube Shorts

The Mobile Clip tells one human story in one sitting, with authentic sound, a strong visual hook in the first three seconds, and minimal text overlay. It should feel immediate and real.

Deliverables

• One edited 60–90 second vertical video (MP4 H.264, 1080×1920px).
• Subtitles in English and Somali (SRT format).
• One 15-second teaser cut for Stories/Status.

Minimum quality standards

Authentic feel; strong opening hook; ambient Somali sound; Somali-language narration or dialogue with subtitles; shareable without prior context.

F2: The Photo Story Carousel

Swipeable photo-caption sequence · 8–12 frames · square or portrait

Best for: Instagram · LinkedIn · Facebook · WhatsApp (as PDF or image sequence)

The Photo Story Carousel is the highest-engagement format on LinkedIn in 2026 (median 21.77% engagement rate, 196% above video) and one of the strongest performers on Instagram. It combines editorial photography with concise, emotionally intelligent captions to guide audiences through a story one frame at a time. It is a sequenced story, not a slideshow — ideal for community impact stories and field reportage aimed at institutional audiences.

Deliverables

• 8–12 edited, captioned photographs as a carousel (1080×1080px or 1080×1350px per frame).
• Captions in English and Somali per frame.
• Opening and closing text (one paragraph each).
• LinkedIn PDF version.
• Raw high-resolution photographs included in archive.

Minimum quality standards

Narrative arc across frames; each image able to stand alone; captions add information not visible in the photograph; consistent but not sterile editing style.

F3: The Impact Documentary

Long-form documentary film · 10–15 minutes

Best for: YouTube · Vimeo · BRCiS website · Donor screenings · LinkedIn video

The Impact Documentary is BRCiS's flagship format for audiences seeking depth: institutional donors, policy communities, peer organisations, and engaged diaspora. Long-form video generates ten times more views and three times higher save rates than short-form for this audience. The documentary follows one to three community protagonists across a real narrative arc — produced to broadcast quality, capable of standing alongside documentary journalism from international outlets.

Deliverables

• One edited 10–15 minute documentary film (1080p minimum, 4K preferred; MP4 H.264 master + ProRes or DNxHD archive).
• Full English and Somali subtitles (SRT and burned-in versions).
• One 2-minute trailer cut for social promotion.
• Raw footage archive transferred to BRCiS.

Minimum quality standards

Broadcast quality; narrative arc with real protagonists who speak for themselves; professional colour grade and sound mix; no stock footage.

F4: The Online Photo Report

Visual web story· 15–25 photographs with extended captions and narrative text

Best for: BRCiS website · The New Humanitarian · ReliefWeb · Medium · Email newsletters

The Online Photo Report is long-form visual journalism — a photographic essay published as a designed web page or scrollable article. It combines written reportage with documentary photography. For BRCiS, this format serves institutional audiences, humanitarian sector peers, and engaged global readers who want depth. Think photojournalism at the standard of The New Humanitarian: rigorous, visually strong, and emotionally resonant.

Deliverables

• 15–25 edited, captioned photographs (minimum 300 DPI, IPTC metadata).
• 800–1,500 word narrative text in English (Somali version per assignment brief).
• Designed web layout (ready-to-publish HTML or editable design file).
• One social teaser graphic (1200×628px) for link sharing.

Minimum quality standards

Photojournalism standard; extended captions (50–100 words each) adding context not visible in the image; narrative text that holds independently of the photographs; people’s names and ages.

F5: The Audio Story

Radio feature or podcast episode · 4–8 minutes · with optional 30–60 second radio spot

Best for: Somali radio stations · WhatsApp audio · Podcast platforms · BBC Somali / VOA Somali (pitch)

Radio remains one of the most powerful storytelling mediums in Somalia, with reach into rural and pastoral communities with limited internet connectivity. The Audio Story also serves diaspora podcast audiences. A well-crafted radio feature — told through voices, ambient sound, and minimal narration — can communicate BRCiS impact with extraordinary intimacy. This format may include spoken-word poetry or traditional oral storytelling forms, connecting with Somali audiences who have one of the richest oral traditions in the world.

Deliverables

• One edited radio feature or podcast episode (4–8 minutes; WAV 48kHz/24-bit master; MP3 320kbps broadcast version).
• Somali-language primary version with English transcript.
• One 30–60 second radio spot version for broadcast placement.
• WhatsApp-compatible MP3 (compressed for easy sharing).

Minimum quality standards

Clean dialogue with natural ambient sound; authentic voices; Somali language primary with English transcript; culturally appropriate music or sound where used.

F6: The Creative Expression Piece

Original poetry, song, or spoken-word performance · 2–5 minutes · audio and visual

Best for: YouTube · Instagram · TikTok · WhatsApp · Radio · Live events

Somalia has one of the world's richest oral literary traditions. Poetry (gabay, geeraar, buraanbur) and song are central to how Somali communities process, celebrate, and advocate. The Creative Expression Piece commissions original work from Somali artists, anchored in a BRCiS-related theme — climate, resilience, women's leadership, land rights, or community solidarity. The result is a produced audio-visual piece that functions as both art and advocacy, reaching audiences who do not engage with conventional development communications.

Deliverables

• One original creative work commissioned from or co-created with a Somali artist.
• One produced audio-visual piece (2–5 minutes; 1080p video + clean audio master).
• English translation and transcript.
• Behind-the-scenes content: 5–10 photos + one 30-second social clip.
• Artist biography for publication.

Minimum quality standards

Authentic creative work, not a staged performance; culturally grounded; artist retains moral rights; BRCiS acknowledged in credits.

6. Phase 3 — Distribution and Dissemination Rate Card

Distribution and dissemination are priced separately from production. Where a story pitch includes a distribution component, BRCiS will commission Phase 3 separately. Companies must provide their unit rates for each service below and must describe, specifically, the networks and channels through which they will deliver each service. BRCiS evaluates distribution proposals on both price and network quality.

Media buy-throughs (paid social media boosting and paid broadcast slots) are the only costs reimbursed at actuals plus a 10% management fee. All other distribution costs are as quoted in the rate card.

Broadcast Media Placement

See the table in the TOR.

Digital and Social Media Dissemination

See the table in the TOR.

Analytics and Reporting

See the table in the TOR.

7. Use of Artificial Intelligence in Content Production

Artificial intelligence tools are increasingly part of professional multimedia workflows. BRCiS does not prohibit the use of AI tools where they enhance the quality, efficiency, or accessibility of professionally produced content. However, the use of AI in storytelling about real communities raises significant ethical questions — around authenticity, consent, accuracy, and the integrity of community voice — that require clear boundaries and strong human accountability.

The following policy applies to all content produced under this framework. It is built around a simple principle: AI may assist human craft; it may not replace human judgment, fabricate reality, or misrepresent the people and communities whose stories are being told.

Permitted — Assistive AI Tools

The following uses of AI are permitted without specific disclosure, as they enhance rather than replace human professional work:

• Automated transcription of interviews and field audio (e.g. Otter.ai, Whisper), provided all transcripts are reviewed, corrected, and verified by a human team member before use.
• AI-assisted noise reduction, audio cleanup, and audio restoration in post-production, where the underlying recording is authentic field audio.
• AI-assisted colour grading and exposure correction tools, where the underlying footage is authentic field material.
• Grammar and spelling assistance tools for written content, used as an editorial aid only — the writer remains responsible for all content, accuracy, and tone.
• AI-generated subtitle timing and formatting, provided subtitles are human-translated and human-reviewed for accuracy and cultural appropriateness.
• AI tools for file organisation, metadata tagging, and archive management.

Permitted with Mandatory Disclosure

The following AI uses are permitted but must be disclosed to BRCiS in the production notes submitted with each deliverable:

• AI-assisted translation used as a first draft, provided the translation is reviewed, corrected, and approved by a human native speaker of the target language or dialect before finalisation. Machine translation alone — without human review — is not acceptable under any circumstance.
• AI tools used to assist in research or story development, provided all factual claims in final content are independently verified by the human journalist or researcher.
• AI-generated background music or ambient soundscapes, provided these are clearly not presented as field-recorded sound and are used for atmospheric purpose only.
• AI upscaling or enhancement of archival images used for contextual illustration only — never as primary documentary evidence or as a substitute for original field photography.

Prohibited — AI That Fabricates, Synthesises, or Misrepresents

The following uses of AI are strictly prohibited in all content produced under this framework, without exception:

• AI-generated imagery or photographs presented as documentary evidence or as representations of real people, places, or events. All photographs submitted as documentary images must be original field photographs taken by the production team.
• AI-generated video footage, synthetic B-roll, or digitally fabricated scenes presented as authentic documentation.
• Synthetic voiceovers that replicate or impersonate the voice of a real community member, interviewee, or public figure — whether or not that person's consent has been obtained.
• AI-generated text presented as quotes, testimony, or statements attributed to real people, whether community members, programme participants, or BRCiS staff.
• AI-generated narratives or written content presented as journalism, field reportage, or factual documentation, even if subsequently edited by a human.
• Deepfake or face-swap technology applied to real individuals in any context.
• AI tools that process or analyse identifiable personal data about community members without explicit informed consent from those individuals.

Human Accountability Requirements

Regardless of what AI tools are used in production, the following apply to every deliverable submitted under this framework:

• A named human professional is responsible for the editorial accuracy, ethical integrity, and factual correctness of every deliverable. AI tools do not dilute or transfer this responsibility.
• All quotes, testimony, statistics, and factual claims must be traceable to a verifiable human source. The production team must retain interview recordings, field notes, or source documents and must make these available to BRCiS on request.
• All photographs and video footage submitted as documentary evidence must be accompanied by basic metadata confirming the date, location, and photographer, consistent with the production schedule in the Production Plan.
• Any AI tool used in the production of a deliverable must be listed in the production notes, with a brief description of how it was used. This disclosure is a condition of payment.

Evolving Standards

AI capabilities and industry norms are changing rapidly. BRCiS will review this AI use policy annually in consultation with framework companies and will update it as needed. Companies that identify emerging AI tools or practices that should be permitted or prohibited are encouraged to raise these during the quarterly review process.

If in doubt about whether a specific AI tool or application is permitted, companies should ask BRCiS before using it — not after. Undisclosed use of prohibited AI tools is a breach of contract and may result in rejection of deliverables, withholding of payment, and removal from the framework.

8. Financial Proposal — All-Inclusive Unit Cost Model

All production costs — planning and production combined — are priced as a single all-inclusive unit cost per product. The unit cost covers everything required to deliver the product: creative development and planning, all field crew time, travel and logistics within Somalia, equipment (owned or rented), post-production, human translation, and file delivery. There is no retainer, no overhead line, and no separately reimbursable expenses for production.

Unit costs are submitted as part of each story pitch. BRCiS will assess the reasonableness of the proposed unit cost alongside the quality of the pitch. Companies that submit unusually low unit costs will be asked to explain how they intend to maintain quality and ethical standards at that price.

For framework evaluation purposes, Annex C asks companies to submit indicative unit costs for each of the six formats. These indicative costs are used for benchmarking only; the unit cost agreed for each assignment is the one included in the approved pitch.

Unit costs are indicatively fixed for Year 1. At the start of Year 2 and Year 3, companies may submit a request for rate adjustment with supporting evidence. BRCiS reserves the right to accept, negotiate, or decline proposed adjustments.

9. Payment Structure

All payments are results-based and tied to the delivery and acceptance of agreed products. See the table in the TOR.

Phase 3 distribution payments follow separate milestones: 50% on campaign launch confirmation; 50% on submission and acceptance of the post-campaign analytics report.

BRCiS provides written feedback on submitted deliverables within seven working days of receipt. Late delivery of more than five working days without prior notification may result in a 5% reduction in the relevant milestone payment. No advance payments will be made.

Companies are responsible for their own taxes, VAT, and social security obligations. All deliverables must be submitted against valid invoices referencing the assignment Purchase Order number.

10. Eligibility and Selection Criteria

Eligibility

Applicants must meet all of the following:

• Registered company legally constituted in Somalia or Kenya, with demonstrated operational presence and networks in Somalia.
• Somali-owned or Somali-led, or a company with a Somali creative director or lead in a substantive decision-making role.
• Demonstrated capacity to deliver all six standard product formats — sub-contracting is permitted but must be disclosed.
• Existing and active distribution network in Somalia: named media partnerships and a social media or influencer network with documented reach.
• Ability to receive international payment.
• No conflict of interest with BRCiS member organisations or BRCiS donors.

Selection Criteria

Ethical storytelling practice: Quality of written statement and evidence in portfolio of dignified, community-centred, culturally sensitive storytelling.25%

Portfolio quality and range: Technical quality, narrative strength, and format diversity across at least four of the six formats. Evidence of experience in Somalia or comparable humanitarian contexts. 25%

Distribution network quality: Specificity and credibility of named media partnerships and influencer networks; documented reach and previous placement outcomes. 20%

Format capability: Evidence of genuine in-house or contracted capacity across all six formats, including Audio Story and Creative Expression Piece.15%

Unit cost and value for money: Reasonableness and transparency of indicative unit costs relative to quality demonstrated. Value for money, not lowest price.10%

Team and contextual knowledge: Depth of knowledge of Somali social, cultural, and humanitarian contexts; language and dialect capacity. 5%

11. How to Apply

Interested companies must submit the following documents. Incomplete applications will not be evaluated.

• Company profile (max 3 pages). Legal status, ownership structure, Somalia operational presence, core team, and sub-contracting approach for any capacity gaps.
• Ethical storytelling statement (max 1 page). Describe your approach to ethical storytelling, how you obtain and document informed consent, and give one concrete example of a decision you made to protect a community or individual subject.
• Creative portfolio. Minimum 15 samples across at least four of the six standard formats. Include at minimum: one video, one photo story or report, one audio piece or transcript, and one written content example. For each sample, provide a brief production note of 3 to 5 sentences on context, approach, and ethical considerations.
• Distribution network statement (max 2 pages). Name your media partners, describe your influencer or creator network, and provide at least one documented example of a previous distribution campaign with reach outcomes.
• Team CVs (max 2 pages each). Include Somali language and dialect capabilities for each team member.
• Financial proposal. Complete Annex C: indicative unit costs for all six product formats and the distribution rate card.
• Two client references. Organisation name, contact details, assignment description, and brief outcome summary.

12. Contractual Conditions

• All intellectual property in deliverables produced under this framework is assigned to NRC in perpetuity, royalty-free, for non-commercial institutional, advocacy, and communications purposes. NRC may adapt, translate, and redistribute all content without further permission or payment.
• Companies may include completed works in their portfolio with NRC's prior written consent. Commercial licensing to third parties requires NRC's written approval.
• Companies are engaged as independent contractors. They are solely responsible for their own taxes, VAT, social security, and insurance.
• Companies must hold valid liability insurance and ensure all field personnel are covered by personal accident insurance before any field deployment. NRC is not liable for incidents involving company personnel.
• All personnel deployed on NRC assignments must sign NRC’s Code of Conduct before their first deployment.
• Content featuring BRCiS communities or programme activities that the company intends to publish independently requires prior written clearance.
• BRCiS may terminate individual assignment contracts with 48 hours' notice if security conditions change materially; partial payment will be made for work completed and documented.
• BRCiS may remove a company from the framework with 30 days' notice in the event of persistent quality failures, safeguarding breaches, or conduct inconsistent with BRCiS's values.