This Is Not A Book
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This publication is co-produced by Creatives Garage LTD and the Goethe Institut in Kenya. Any distribution, use or reproduction without prior consent of the aforementioned parties is unauthorized and strictly prohibited. Readers should be aware that the intellectual property rights of the work presented in this book remain the exclusive property of the artists or organisations they are attributed to. While every endeavour has been made to supply accurate information, errors and omissions may occur. Accordingly, Creatives Garage and the Goethe Institute in No creatives were harmed in the Kenya do not accept any liability for any loss or making of this book. damage which may directly or indirectly result from any However the proofreader may advice, opinion, information, representation or omission, have cried once or twice. whether negligent or otherwise, contained in this publication. Copyright 2021 Creatives Garage [email protected] www.creativesgarage.org 50nd3k4 2 50nd3k4 3
We are the ones waging wars We are the ones stubborn enough against the forces of can’t, to change the world throwing out maybeor you just shouldn’t guidebooks to forge new paths We are the ones who not only imagine what could be but also cre- ate what will be We are the ones who’ll be quoted in history books because we refuse to We are the ones whose minds conform they fear yet respect the strides we make We are the ones who don’t color within the lines but splash out of the limits We are the ones who use our We create melodies of the past, powers to gift the world with the present and future African narrative rewriting Reaching into depthless sources prepackaged stereotypes into of knowledge to form a new world. new possibilities Our World. 50nd3k4 5 50nd3k4 4 50nd3k4 4 50nd3k4 5
Our I believe they’ll let us out soon. They’ve given Ok seriously though, this tongue in cheek partners me some free time to write this letter. We only forword is a pure reflection of the amount ever get 4 hours of time to of hard work we’ve put in this book. In it we ourselves and that’s for sleep. However, soon use emerging and existing tech to present a we might even be let out into the sun! collection that spans multiple disciplines. A self Imagine, going out there and not having to taught engineer who builds electric email support at **** because the friggin wheelchairs for the differently abled, hubs that software they sold us to make this book isn’t are forges for wild creative endeavours, and working right. art that blurs the world between fantasy and reality are only a tiny representation of what They said we couldn’t do it last year. They you’ll find within. said it was impossible. “WELL ANGIE LOOK. LOOK AT WHAT WE’VE ACCOMPLISHED! Whether you’re reading the digital version or WE”RE PUBLISHING A BOOK WITH AR! AND the print version of this book you’re bound to I ONLY LOST HALF OF MY HAIR GETTING enjoy what you find in these pages IT DONE!” Ok, I’m getting too excited but maybe that’s ok. I mean this is possibly one of the most unique books ever published in East Africa. A one of a kind presentation of Kenyan art, innovation and music. It took hours of agonising design work, video shoots, phone calls, edits and re-edits for the edits, “can you make the font just a little bigger”s, and all sorts of seemingly mind f***cking setbacks. -Liz K I have to get back now. There’s a zoom Festival Founder meeting in a few and I might get the chance to mute my mic and shout “FUUUDGE” if we have to delay going to print again. It’s only happened three times before. What joy. 50nd3k4 6 50nd3k4 7
192 Fundi wa saa 10 Sondeka AR Scanner 200 The Art of 11 The Goethe Institut 221 Stylus slingers 12 The making of Sondeka ALT 284 Content is King 14 The genesis 293 Podcasts 26 Decolonizing the arts 299 Life in Colour 33 Ole Sondeka and BW Stache 305 Wordsmiths of our time 58 Art and Tech 325 Meet the future of funny 64 I am More 331 Creatives doing Dope Sh*t 70 Cash Crops 342 In portrait 74 Gaming 346 Books in our collection 78 Contemporary Art 353 Journey through Music 98 Alternative markets 369 Trail blazers 102 Films 120 The way of the Avandu Festival Aleya Kassam Wanjira Kinyua Crew Evans Yegon 126 Rise of the new bold Director Glady Mwende Izzy MB Papa Vinyasa David Muturi Liz Kilili Gcho Pevu JR Pencil King Nyakundi Isaboke Dale Kotengo Kins of Spade Meeraj Vaghela Martin Santuri 128 Ditoro Design and Chief Nyamweya Naish Wainaina Partner Location FESTIVAL Zack Adel Adam Ahsan Lava latte 140 Boda Tales Layout Mwas Githinji Chez Sonia CURATOR Thayu Wamvii Karen Village AND Editor Dakchesa Comics Photography Acacia Collective 150 The 40th Day Avandu Studio Mini Cheps Alchemist Adam Kiboi Illustrations Ronny Onkeo The Junction Mall 156 Innovators Thayu Robert Ochieng Village Market Feysal Nair Packaging Vic Mutua Writers Anoop Pradeep Rosemary Nyambura Kenyaa Mzee 160 Lux in Tenebris Rasha Kayemba Asaph Muchura Judy Adurani Festival Partners Steve Odipo Ashley Mwalimu Pepi Noisily Gestival - UK 164 kanairo Liz Kilili Kennedy Kyalo Elactric South - South Africa Adam Kiboi Naish-Oh-My Voice Over Mutheu Mbondo Naddya Contemporary Art Table of Contents187 Apps Sitawa Namwalie Tara Light Muthoni Gathecha Lindsay Obath Steve Okuku 50nd3k4 8 50nd3k4 9 50nd3k4 9 50nd3k4 8
The Goethe Institut Building Intercultural Relationships Through the Arts The Goethe Institut is the cultural institute of Recently they worked with Cultural Video the Federal Republic of Germany and has for Production and Black Rhino VR on African 60 years played a crucial role in carrying out Spacemakers, a virtual reality Germany foreign cultural and educational docu-fictional film on creative spaces in policy. While some people interpret this to Nairobi. mean that they only do German Language courses and exams, it’s only a part of what Goethe Institut also helped organise they do. Kenya’s first celebration of LGBTIQ+ films OUT Film festival in collaboration with The The Goethe Institut in Nairobi helps build British Council, ISHTAR, Iranti, None on intercultural relationships by working to expose Record, NGLHRC, and Gay Kenya Trust. European audiences to work by African artists and supporting cultural organisations such as Creatives Garage. 50nd3k4 10 50nd3k4 11 50nd3k4 11
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Circa 2012 run of the mill “everything is going to sh*t and I can’t just sit here and wait for it to get better I need to do something about it” moments. That edit session brought to reality (we’re still not saying what Liz was editing) the glaring reality of their creative career. Liz had scraped the bottom of their financial barrel to put together pilots for TV shows. The hopes and pilots for these shows ended up being discarded by guards or disregarded by TV execs (more on this nonsense here/on page xxx). 8k phone cameras weren’t a thing back then. Filming a pilot needed a sound guy, a camera guy, an editor and cast members who couldn’t always be “Maina Who Works For Miraa” every time. Unless something changed, Liz realised In 2012 the founder of Creatives Garage sat that taking and editing sh**y filming opportunities in their house in Ngumo trying to edit (some (stop asking what the gig was) would remain their decrepit project) with a laptop that could barely reality. With that realisation came questions scrape past its login screen and a dark cloud “Why am I doing this alone? Where do other cre- of sadness draped over them. This is before atives go to share knowledge, frustrations and meet they were known as the ‘Chief Mechanic’ in people who can help/work with them? For example, creative circles or “Gru’’ in the office. Have if they needed help on a TV pilot.” you ever tried editing while depressed? It’s not An idea pierced through the cloud of desponden- easy, especially when part of your depression cy (is the overly dramatic imagery selling this? We stems from your work and the reason you hope it is). Portfolio reviews are chances for artists have to do it. Mind, this wasn’t just any melan- to have their work evaluated by their peers and other cholic early morning edit session. It was your experts in their fields. Behance had just put out a call 50nd3k4 14 50nd3k4 15 50nd3k4 14 50nd3k4 15
for creatives to self organise portfolio reviews in and activists to meet and work towards social their country and this gave Liz the idea to host their change. Early 2013 own. Sure, we admit this was not original but it was Art was (who are we kidding it still is) considered ‘DOING SOMETHING’. more of a hobby than a career path. Our sec- Liz’s friends helped them register Creatives Garage at However, coming up with the idea for an event isn’t ond intern didn’t think that, she even dropped the Ministry of Lands as a trust. Why are trusts reg- the same thing as hosting one. Gigs like this need out of law school to work at CG. Her parents did istered at the Ministry of Lands? We don’t know, but money, space, seating and a host of other things agree with this sentiment and two weeks into her Creatives Garage was finally legit. Still broke, but legit. that Liz didn’t have sitting about. Add to that zero tenure with us they came for her. It’s hard to de- The newly registered trust survived on hope, prayers event experience, no staff, no budget and an office scribe the fight that followed but she (the intern) to several gods and the goodwill of the creatives and that could fit possibly 2 other creatives squeezed won. She eventually did quit her unpaid intern- interns who joined. Our first official office was the size in so tightly you would need a crowbar to pry them ship at Creatives Garage to go back to university of a public toilet, little more than a glorified corridor. out. but not to study law, she went on to study media. Getting to your desk if you were late was like playing Like another ray of sunshine in Liz’s dreary world, That little bit of drama aside, Liz’s friends started human Tetris in a BM (Before Michuki, the the British Council came to the rescue like a knight to buy into their idea and helped align the goals government minister who told Kenyans that 14 seater in shining armour (too much? Yeah we thought so of Creatives Garage. The events had changed vans should only have (drumroll) 14 people in them (mind blown). We were all shocked to learn too). The British Council had already been support- from portfolio reviews into temporary spaces this) packed matatu. Some people would have to get out if you needed to get to the back. ing various arts programmes such as WAPI. After where creatives from all walks of life would come hearing Liz’s pitch they offered space for the portfo- together, (cut through the bureaucracy and bull- lio review. 40 creatives attended this first event and sh** that populates our various creative indus- 6 portfolios were reviewed. The artists networked, tries) to collaborate and push the boundaries of contacts were exchanged, people learnt stuff etc the creative scene. etc etc. The gig was over and it didn’t Mid 2013 seem like much had changed or been done. Time to head back to Liz met Mwalimu Gregg Tendwa a multimedia artist an unfulfilling life in the arts. and afro-futurist who would later go on to found Ubuni- Liz did not factor in Euticus. Euti- cus fu Hub in Machakos. Gregg bought into the idea of was a promising spoken word performer who Creatives garage and helped Liz pitch it to Hivos. That was in much the same situation as Liz meeting resulted in the first round of funding for Cre- when he attended the portfolio review. atives Garage. He emailed Liz looking for a job or attachment or “an anything”. The first gig With the funds from HIVOS, CG moved out of the had made an impact in his life and this glorified toilet to a new suite of offices in the Green- spurred Liz on to turn one event into a house building on Ngong Road. The funding also went series of them. The next few events were to hosting the first-ever Sondeka Festival, a 50-hour held at Pawa 254, a hub for journos, artists festival celebrating the 50 years Kenya had been inde- 50nd3k4 16 50nd3k4 17 50nd3k4 16 50nd3k4 17
pendent Mercy Myra performed and so did (the then upcoming, now A-listers) H_art The Band. down Kirichwa Road where they spotted a ‘Too-Let’ sign. We quickly paid for our new office and set up shop. We had a music stage and the entire Green House building was turned into a giant art space with live art cre- The first thing we did, held an event called ‘Good Riddance Chris’ in honour of the Greenhouse Manager. ation by legends like Feysal Anthony Nair, Brian Omolo and Joey Ng’ethe. (plus the new space had a garden, Greenhouse had no green spaces, this could our bitterness showing, just (We’re still in year one by the way. It’s all moving very fast, isn’t it? That’s what happens with good ideas) green paint smh) Sondeka was in its 2nd year. 2014 2015 The GreenHouse building is close to Kibera, Kenya’s largest informal settlement. Young women and girls living in Kibera often Our new space quickly became a thriving hub of finance reports. However, those were far outweighed drop out of school for a variety of reasons and activity. Music became a big part of Creatives by the benefits of having producers just down the hall. these women would eventually still need to earn a Garage and we opened an in-office recording A collective of DJ/Producers called EA Wave (Ukweli, living. One of Creatives Garage’s first programmes studio. Having a recording studio in the office did Sichangi, Hiribae, Nu Fvnk and Jinku) worked with was Sanaa Initiative. The project nurtured the have its drawbacks, no amount of soundproofing artists like Jojo Abot, Pilani Bubu, Labdi Ommes and creative talent in these women from Kibera to could make any place quiet enough for quarterly Janice Iche in our studio. The studio became a sort of provide them with access to income-generating activities that don’t put their lives in danger. This same year we started Expressions, a weekly open mic open to anyone and everyone could come showcase their skills. This event was epic and even drew talent from Mogadishu (we kid you not Fam). Unfortunately, this is the same year there was an incident at one of our events(we’ll dish the tea of this for a crate of tonic water and three bottles of gin, the good stuff). Greenhouse’s security team beat up one of our staff members and dragged him to the building’s basement. We later had to bail him out from a po- lice station. Following this, the management at Greenhouse gave Creatives Garage a 2-week eviction notice. Their rea- son? Some of our members had dreadlocks and wore ‘dirty jeans’ and thus we posed a ‘security risk’. Frustrated and angry Liz walked out the building and 50nd3k4 18 50nd3k4 19 50nd3k4 18 50nd3k4 19
communal space in the building for the artists working in tandem with workshops we held downstairs for musicians, DJs and producers. We didn’t just record music in the studio, we played it as well. The Friday Chillout was a post-work get 2016 together that quickly became our most popular regular event. It was a chance to laugh, have fun, drink and dance the evening away. Graphic designers working in agencies got a chance to rant about their Many amazing things happened in 2016 but they were stifled creativity and freelance writers could complain about delayed payments and artists could celebrate all overshadowed by our greatest achievement of the new commissions. It wasn’t just fun and games, it also provided an informal platform for knowledge year. We published our first book! Femmolution Volume transfer on topics such as intellectual property rights or designing for African audiences without the stuffy One is a collection of stories, poetry, non fiction, music feel of a classroom or seminar. photography and visual art by revolutionary women The event’s popularity continued to grow until living in and from Kenya. our neighbour K**i K****a began making constant noise complaints. It got to a point where the police sat outside our offices every Friday praying that we went past the 2017 11 pm ‘curfew’. One day we almost did, so they arrested Riding on the high of adding “Publishing House” to our business cards, we created a line of shoes. one of our crew and confiscated our equip- The idea was simple in its description, hell in its implementation. We planned to ment. He was released hours later and the take a product from the design stage to market. In the early 2000s, the Ken- equipment returned to us. The police yan government tried to create a national dress via a public competition. This presence every Friday became a running was the latest of many such competitions whose results faded into obscurity. joke in the office, ‘ free government Rather than lump Kenya’s diverse cultural background into one single security’. outfit, Creatives Garage went the other way. We started work on This is the same year we also creat- a line of boots that we called. Shoejaa, inspired by pre-colonial ed Lebo; one of our largest heroes from Kenya’s 42 tribes. multimedia projects. It was con- Our naivety turned this into a failed movie that in- ceptualised to draw out the prejudices held by cluded; fundi’s delaying the prototypes, receiving an different societies and cultures in Kenya, order of leather that was far below the quality expect- Uganda (by working with Ugandan refugees ed, one fundi completely blocking our calls and messag- domiciled in Kenya) and Luxembourg. The es, and a poorly planned sojourn into China that ended key focus was how these stereotypes affected with us lost in Guangzhou. the lives of the LGBTQ+ community members. The project’s multimedia installations included digital The year’s projects did not all end in disaster. There were art, photography, short films & poetry fused with some amazing projects such as I speak, a project about the music. The work created for this was displayed at women of Tana River County. The residents of Tana River exhibitions and showcases in the three countries and have lived with famine, flooding and intertribal conflicts that through social media dialogues and advocacy cam- paigns. 50nd3k4 20 50nd3k4 21 50nd3k4 20 50nd3k4 21
Office hopping aside, 2018 was a year of more wins as well. We won the Google Impact Challenge and start- have left many dead for decades. The project ed building Kalabars, a digital Content On Demand platform (that we have shamelessly plugged all over this gave a voice to all the women working hard book). to make ends meet for their families. We also partnered with The Junction Mall to start Art at The Junction. Kenyan artists who felt locked out of Women whose sacrifices have been more conventional galleries in Nairobi who only had Instagram and Facebook as the only way to display their ignored yet have made a lasting im- art were given a chance to participate in a weekly open-air gallery. This opportunity meant a lot for the artists pact on their communities. While the most of whom made their first sales at Art at The Junction. principal geographical location for the We also self-published our first photobook Prosexsive. The Prosexive project seeks to encourage open project was Tana River County, CG pushed the project’s outputs, short documentaries and narrative pieces, via digital media to a Kenyan and global audience. Travelling to Tana River was exciting; we needed police escorts for some parts of the journey and it felt like we would never arrive, especially after another 50 Kms of nothing but scrubland and savannah But it was worth it, not just for the project outputs but in the forever family creatives garage found with Jawariya, Maria and Aisha We started our first masterclasses, support queer refugees from the region this is a success… dialogue regarding sex and sexuality. It’s a daring project and one that we approached carefully. Any time an arts organisation decides to tackle topics such as sex and sexuality they run the risk of government censorship with associated fines and even jail time. Despite the risk, we hosted 3 talks and 4 exhibitions. The latest output 2018 under Prosexive is a photobook that visually explored depictions of sex in African society. Our funders decided it wasn’t enough ‘African’ enough, so we decided to publish it ourselves. 2018 started rough. Our landlord at Kirichwa road decided to knock down the buildings on the property and build a block of apartments. We were once again without an office. We moved to a new space on Galana Road and started settling in but once the creatives started 2019 coming to the office we were asked to move again. The neigh- bours made complaints and the large number of people with Sondeka Festival had had rousing success over the past years but we decided to go the extra mile. Instead of dreadlocks and ‘dirty jeans’ who came to our office (Deja just showcasing artists on stage, we started our own awards ceremony. Creatives Garage believes that appre- Vu much?) posed a “SECURITY RISK”. We weren’t even ciation is a fundamental human need (it sits up there next to WIFI). The Sondeka Awards aim is to bridge the there long enough for the ink to dry on our new business gap between mainstream award ceremonies and innovative talent in Kenya. This after the fact display of prop- cards. Thankfully we found a new office just nearby on er acknowledgement for their extraordinary efforts in the arts earnestly builds their confidence and encourages Wood Avenue. them to continue passionately in their work. 50nd3k4 22 50nd3k4 23 50nd3k4 22 50nd3k4 23
2020 The future We’re now working towards a future with more Safaricom, The Junction Mall, Village Market (honestly 2020 was honestly a sh** year for the arts all over the world. Venues were content. So far we’ve helped artists get their work this list is endless, this book comes with a pencil so we closed, live shows cancelled and going outside became detrimental to your out there at events or online. Now we want to help can fill in anyone we missed in the margins) and health. To cushion the blow to the arts industry, Creatives Garage shifted the artists create more content and get the content out everyone else who has made this journey possible. bulk of its output online. The first quarter of the year was dedicated to two there. We’re creating tools, working to build online events. The first was Lock in Festival, aimed at having creatives, alternative markets and distribution channels for Our community of creatives has grown from a single especially those considered underground, earn some money during the content, mobile and web apps, Augmented Reality intern (shout out to Euticus once again) to a small lockdown through incorporating tip jars and donation options during and Virtual Reality experiences and learning society of 13 000 artists from different mediums, walks performances and on the Festival website. platforms. We’re also going to do a lot more sto- of life, social classes, races you name it. They believe We also moved the Sondeka rytelling that’s focused on the African Narrative in us, embrace us, constantly correct us, and encour- Awards online (reminding people through film, tv and web series, graphic novels, age our madness. that they’re the sh** couldn’t be music and poetry. stopped by a pandemic!). It’s been a tough, long journey with credit due to It has taken the dedication of everyone who has ever the artists and creative industry stakeholders we’ve worked at CG starting again with Euticus (first member Creatives Garage isn’t just a worked with over the years. Organizations such as and first employee, we should throw him a party. ) queer-friendly space a lot of the Africalia, Google, Facebook, HIVOS, British staff are queer as well. Pride Month Council, The Swedish Embassy, German Embassy, It has taken the vision of The chief mechanic who even means a lot to CG and in 2020 we The Goethe Institut, The Netherlands Embassy, though they pick-up surfed (inside joke that has recognised that not everyone can openly celebrate their queerness. Stories Of Pride was an Africa Culture Fund, Africa No Filter, Airtel, Bozza, something to do with that terrible editing job that we opportunity for CG to give those people a voice. The project was not popular in some corners. Some IPS, Funktion Master, KECOBO, Forum Syd, THe mentioned at the beginning) still dared to dream. people thought queer people would be forced further in the closet whereas we should be pushing them Awesome Foundation, Adobe, Pernod Ricard, out (some people don’t realise that being out and not facing any risk is not a privilege everyone has FFS). However, it was largely accepted and appreciated by the community. 10 stories were read out and recorded by voice actors and 10 more will join this in a limited edition book for publication later in “Here’s to the crazy ones. The misfits. The rebels. The troublemakers. the year. chance to tell their stories to the world. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. We closed off 2020 with an intense collaboration with Facebook Africa. Real People Real Stories is a You can quote them, disagree with them, glorify or vilify them. About the series of mini docus featuring Kenyans who have used their creativity and innovation to inspire their only thing you can’t do is ignore them. Because they change things. They communities. push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do” - Rob Stilton 50nd3k4 24 50nd3k4 25 50nd3k4 24 50nd3k4 25
Tell me your name Does it call you? Tell me your name does it speak you? Does it hear you? Does it feel you? Does it love you right back, When you speak it out loud? In the night? Tell me your real name! Tell me your real name! 50nd3k4 26 50nd3k4 26 50nd3k4 27 50nd3k4 27
Decolonizing the mind means Cross has been concerned with racial/ethnic identity theory estern thought and science on deconstructing the thoughts, preferences STEP ONE: fects of W and values that derive from a colonial way and the negative ef Americans, specifically the need for of thinking. This is a process that inevitably DECOLONIZING THE INDIVIDUAL ARTIST. the psychology of Black leads to more fundamental questions. “psychological liberation under conditions of oppression.” - Decolonization once viewed as the formal How I see, how I think, how can I create, process of handing over the instruments of What are my influences? The purpose of this literature review is to discuss the stag government, is now recognized as a long- Who are you? es of Black identity development among Black students in Who are you talking to? higher education attending predominantly White institutions term process involving the ferent stages of nigrescence, bureaucratic, cultural, linguistic and Why can’t you hear each other? (PWIs). I also explore the dif psychological divesting of colonial power. As an artist who you are is your superpower. which is the process of becoming black (cross, 1991). How to harness your superpower. Indigenization Make indigenous; subject to Do we need to do the work for white people too? Research on Black identity development is critical for student fairs professionals because it can serve as a foundation af - , com native influence. ferent developmental processes that to help understand dif - A look at the colonised mind Black students may experience in college. Ultimately 1. Filled with shame petency in Nigrescence can help influence how student af fairs professionals help support Black students as they learn 2. Invalidates our African experience Addi- to navigate their racial identity in college. referred to it as “an identity change process as a 3. Is unable to see what is around us fairs professionals can help Negro-to-Black conversion experience, the kind WILLIAM E CROSS JR. AND NIGRESENCE. , student af forts made by 4. Has a double consciousness tionally of process that could be seen in Black behavior 5. Creativity is compromised and this aid in persistence and retention ef during the Harlem Renaissance” (Cross, 1991, p. leads to bad art because of a desire to colleges. 189). Cross (1991) re-considered the theory as copy from the west. William E. Cross Jr. (born 1940) is a theorist and a resocializing experience, one that transforms a 6. Sees the world through the white lens researcher in the field of ethnic identity William Cross developed Nigrescence theory preexisting identity (e.g., non-Afrocentric identity) , development, specifically Black identity andiver 7. Salman Rushdie’s wrote rubbish as he in 1971, a theory considered the seminal Black to one that is was becoming a writer because he did development. He is best known for his racial identity development model (V Afrocentric. nigrescence model, first detailed in a 1971 orrell & Fhagen-Smith, 2002). When not know that he was a person of two Cross, W THE ORIGINAL FIVE ST identities. publication, and his book, Shades of Black, Cross wrote about Nigrescence in 1971, he NIGRESENCE AGES OF published in 1991. Cross’s nigrescence model expanded upon the work of Black psychologists Stage 1 Pre-encounter: depicts the identity to be who came before him, and created an important changed; foundation for racial/ethnic identity psychology. Stage 2 Encounter: isolates the point at which the It has proved a framework for both individual and person feels compelled to change; collective social change. Throughout his career, 50nd3k4 28 50nd3k4 29 50nd3k4 28 50nd3k4 29
healthy and to have a high self esteem. In contrast Blacks who accepted the values of Stage 3 Immersion Emersion: describes the vortex of identity change; and White society were believed to suf self-esteem. fer from self hatred and, as a result, low Stages 4 and 5: Internalization-Commitment: describe the habituation and . internalization of the new identity INTERNALIZA TION ST AGE AGE ENCOUNTER ST Internalization encompasses a transition period where one is working through the At the same time, challenges and problems of a new identity (Cross, 1991). During this time people move . People in the encounter stage must work around, slip through, or even away from how others view them to how they view themselves. Cross (1991) stated shatter the relevance of their ideology and worldview - “the internalization marks the point of dissonance resolution and reconstruction of ones The encounter stage encompass others must provide some hint of direction in which to point the person to be steady state personality and cognitive style” (p. 220). Black people begin to think crit resocialized or transformed (Cross, 1991). ically about their new found racial identity and how it has shaped their life. es two steps, encounter and personalize. In the encounter step, an event - event evoked on they embrace what it means to be Black and have Black self-love that they exude into the As a result happens that shapes how one views their race. Personalize occurs when an personal impact the result of a action as the universe. Most importantly individual takes . Cross (1991) pointed out that the encounter “need , “Black identity functions to fulfill the self protection, s world view social anchorage, and bridging needs of the individual” that person’ not to be negative” (p. 197) for the event to have impact and steer a person INTERNALIZA towards Nigrescence. What matters is that the encounter has a personally TION-COMMITMENT ST AGE significant impact to be the catalyst to spur The person has not yet changed, but commits to Internalization-commitment focuses on the long-term interest of Black af change in their thinking. change. Cross (1991) said that “immersion is a extended amount of time (Cross, 1991). fairs over an This stage is now combined with AGE strong powerful dominating sensation that is con internalization. Cross (1991) explained that “consequently other than to repeat what IMMERSION-EMERSION ST stantly energized by rage [at White people and - has already been said about internalization a more dif ferential look at culture], guilt [at having once been tricked into internalization-commitment awaits the results of future research” ). Ritchey 104 • The immersion-emersion stage of V thinking Black ideas], and ermont Connection • 2014 • V The olume 35 Nigrescence addresses the most According to Benjamin et al. (1998), Black developing a sense of pride [in one’ identity development model helps “Blacks begin to shed a poor self worth and move sensational aspect of Black identity s Black self, toward embracing a positive Black self definition” . development, for it represents the vortex of Black people, and Black culture]” (p. 203). This is the ultimate transformation, A taking place when someone achieves a healthy racial identity psychological Nigrescence (Cross, 1991). sense of rage that is part of the immer and privilege are interwoven into society . Racism, domination, - sion-emersion stage can be a catalyst for Black . It is during this stage that Black people will As a result, “racism and race related stress students to seek out history may be experienced at the cultural, individual and institutional levels” (Johnson & begin to shed their old worldview and , art, and music that Arbona, 2006, p. 1). construct a new frame of reference with represent a culture they never knew existed. This can be experienced by Black people as well as other people with subordinate identities, which is why having a healthy racial identity is important for the information they now have about race. According to V all students, no matter someone’ andiver et al., (2002), Black people s race. According to Benjamin et al. (1998): Healthy can feel a variety of dif racial identity development is achieved when Blacks progress through a in dif ferent emotions expressed series of linear stages commencing with degrading thoughts and feelings about them ferent ways. If Blacks accepted being Black selves and other Blacks accompanied by idealized beliefs about Whites, and ends with then, they were assumed to be psychologically - internalized positive feelings about themselves, other Blacks, and other racial groups. 50nd3k4 30 50nd3k4 31 50nd3k4 30 50nd3k4 31
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As the world advances so does the way society creates, distributes and consumes art. Technology has allowed creatives more avenues of success in their careers and made art more accessible to the people of the world regardless of location. Tech can reduce the number of problems faced by artists allowing them to focus on creating. Creatives Garage has started work on projects that will CryptoSoko revolutionise the arts in Kenya by taking advantage of existing and emerging NFTs are digital tokens on a blockchain NFTs and minting them as well as technologies. that represent unique items. Digital art helping them get their work onto NFT or even physical assets can be markets. We also plan to give artists to represented in this way with their mint new non-fungible-tokens for work ownership tied to an NFT. Creatives created by Kenyan artists. The Garage has started working on a commissions from the sales of the programme called, CryptoSoko, to train NFTs would be directly pumped back Kenyan artists on crypto art, creating into the programme to help other artists get into crypto art. 50nd3k4 58 50nd3k450nd3k45959 50nd3k4 58
Miliki Miliki is a decentralised App that Creatives Garage and a group of developers are building on the Ethereum Blockchain. Miliki will allow Kenyan artists to upload, distribute and control the licensing options of their work. Blockchains are immutable, records on a blockchains database once entered cannot be edited. This means that musicians will always be able to prove ownership of their work. Further giving control over their music to musicians themselves will eliminate the need for third parties such as CMOs who are currently one of the only avenues that musicians have for pay from airplay. ALT Radio is creating, collecting and archiving Kenyan music, and spoken word content (podcasts, poetry readings, spoken word performances). ALT Radio would not only contain more recent contemporary music but will also present digitised versions of music that is at risk of disappearing. This includes tracks that exist on old cassettes, records and CDs as well as music performed by various ethnic groups around the country. 50nd3k450nd3k46060 50nd3k4 61 50nd3k4 61
Simul8r Our time outside has increasingly been curbed any major city, Nairobi has many different faces and just being outdoors has become akin to and in the CBD all of these are shown. Through danger as we adjust to the new reality of living Simul8r explore different areas of a bustling during a global pandemic. metropolis that started as a colonial railway depot that now boasts architectural feats as well Months of longing to see different cities and as historic landmarks. spaces got us to the point of asking ourselves, ‘if we can’t go could we possibly experience Karura and Nairobi are evolving aspects of these spaces in the comfort of our houses? Kenya’s history and future, Through Simul8r The answer to this was why not! We have explore them as they are now. However, we will built a prototype Simulator called Simul8r that continue recording and documenting these allows users (without a VR headset) to explore places so that eventually you can look back 6 landmarks and places of interest. It not only years from now and walk the streets or the for- acts as a novel way to explore existing places est as it was today. but as an archive for spaces such as our first featured location that are slowly disappearing For the beta version, we shot these spaces and or constantly changing. For our public Beta we are showcasing them as normal HD videos test, we present one of Nairobi’s greatest but in our second prototype, we plan to use 360 features, Karura Forest and parts of Nairobi’s videos to give you a more diverse feeling of Central Business District. these spaces. Karura forest was gazetted in 1932 and used A fork of Simul8r will be added to our to be 2627 acres. It however now has been upcoming eCommerce website. Not only will reduced to almost half its original size due to potential clients be able to view artwork by encroachment and development. Ironically Kenyan artists but they will do soo in a 3D/360 one of the buildings on land carved out of the degree/Virtual Reality environment. To achieve forest is the United Nations Environment this we have started digitising paintings and Programmes’ global headquarters. sculptures by Kenyan contemporary artists who are working with Creatives Garage. The first Nairobi’s Central Business District is the cohort of artists in our virtual galleries are part of centre of government and commerce for one Creatives Garage art at the junction project that of Africa’s most powerful economies. Like was put on hold due to restrictions on move- ment and congregations. 50nd3k4 62 50nd3k4 62 50nd3k4 63
‘I AM MORE’ explores the beautiful as we all as complicated relationship many people who live in townships have while living in an area many look down upon. As the title suggests, it is saying I AM MORE than my circumstances, more than the area I come from, more than what outsiders may see in a community so many of them only pass judgement as they pass through it. By using portraits of the children at Injongo Educare in Mfuleni, we speak life into the future of the community and focus on the youth, as so many times in these conversations we forget about the younger generation and tend to focus on the older generation. With these portraits mixed with 24k gold leaflets, I am to show how life in this area can be surrounded with golden moments, that there are gems to be found even when the rest of the world does not believe so. I AM MORE also touches mainly on the misconception that children within these communities cannot experience fun. That there is only the bad to focus on and very little good if any. I aim to shed a spotlight on the little things that make everyday a fun experience unique to the children living in the community. 50nd3k4 64 50nd3k4 65 50nd3k4 64 50nd3k4 65
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Back in the day, around 2000 or so, at the side – waiting to be unleashed as needed, as Kuona Trust, artists would throw around this the artist continued in the creation of their term “cash crop”. “Hio ni cash crop”, artists masterpiece. Some artists seemed to make cash would point out to each other knowingly... crops on demand – when there was a need for humorously. It didn’t take long to understand quick money. what was meant by this. “Cash crop” was the term used for art work that was created, quite Back then, cash crops were still hand made - quickly and clearly with the intention to make hand painted or hand sculpted or hand printed some quick cash. by the artist. So they were actual real artworks but in smaller scale. The cash crop has since Cash crops were small, quickly done, not too evolved and grown - the cash crop is now known much time or materials taken to make them, as merchandise. not pricey. They’d be the kind of pieces that if a visitor stopped in at the studios, as they In many museums and studios around the world, often did, and had a little cash to spare, she’d from the most renowned centres of art, there will easily be able to leave with one of those little almost always be an attached gift shop. In it you cash crops. Some artists always seemed to will find, postcards by the big names of the arts have cash crops, stashed away, set aside, on – artists long gone and who’s work is no longer available unless its at an auction at one of the leading art auction houses – umbrellas and pens and cups and more. Other than these works of the old masters that you can then take home on a printed cup, most will also have products with work from the current exhibitions – serving as a momento for show goers to take home. Most guests will not be able to purchase any originals, in many cases, there are no originals to be “Cash crops” purchased, unless by the billionaires of this world, but surely even you and I can have the The story of art merchandising in Kenya pleasure of taking home a pen, with a small print of a favourite artist. By Mutheu Mbondo 50nd3k4 70 50nd3k4 70 50nd3k450nd3k4 7171
A chronology of art merchandise One of the earliest makers of real art in Kenya merchandise in this country, is an artist called Kioko Mwitiki. He might not see himself as a Around 2010, a company formed by the merchandiser but as artists made cash crops in author, Mali Ya Mali, sort to expand the the studio, Tom Ogonga, lead printmaker in possibilities of merchanding for the Kioko seemed to already have an art factory – Nairobi, made bags quite early Kenyan art sector. Working with artists where he created his well known metal animal on. What was interesting about from Patrick Mukabi to Yassir Ali, the sculptures in many multiples and working with Tom’s form of merchandise was company made notebooks and metal assistants. He seemed like he got in this game, that he didn’t opt for the route of buttons and tshirts with Mukabi’s on a serious scale, well before other artists printing or painting his art onto women and notebook covers and bags Dennis Muraguri must be came along. You will know Kioko’s work (and the bags, he instead chose to list with Charles Ngatia’s colourful paintings. included in the story of art legacy) when you see all those popular metal the names of some of the best Working with artist Wambui K. Collymore merchandise in Kenya. His sculptures of animals sold in many places now. known Kenyan artists. Pretty on one of her exhibitions, “Your Name matatus lent themselves Those begun with Kioko - his originals you will cool. So you’d walk around Betrays You”, the company and the artist so naturally to printing on see at the Jomo Kenyatta Airport - in the fields, carrying the names of artists made limited edition merchandise for the pouches and tshirts and the herds of migrating wildebeest and marching printed onto the bag – say their show. fridge magnets. life-size elephants. names; know their names. Around the same time that Tom Ogonga was creating his bags with names, his good artist friend, Michael Soi, begun to paint onto small The late beloved Ngene canvas bags. Onto the bags, he would paint There are artists who are completely against the idea of merchandising and who Mwaura created books and simplified single faces of women, similar to the had rather starve than have their artwork printed on a tea pot. For them, printed stunning colourful faces you’d see on his art. He begun slowly, merchandising is a cheapening of their work. And then there are those who love tshirts, magnets and with not so awesome canvas, and quite small merchandising and see it as an opportunity to expand the possibilities - of artists coasters with his bags, gifting them to friends and his daughter making quicker, more consistent money and for expanding the access of the arts Ngene-fied masks and as he continued to experiment with the format. to the people. There is still so much possibility - some museums around the world creatures. His books were A few years later, his bags, are well known art have become very sophisticated with their merchandising –making stunning packed with humour and his merchandise here in Nairobi and limited edition pieces that are highly coveted. There is still an interesting and own dose of quizzical beyond. promising journey for the Kenyan art “cash crop”. lightness and mind-expanding sweet story lines. His tshirts were gems. 50nd3k4 72 50nd3k4 73 50nd3k4 73 50nd3k4 72
Bazuu is similar to charades but focuses on categories and answers easily recognizable to Kenyans. Players act out the word shown on the screen of the player whose turn it is. In Weza Interactive’s 2D mobile adventure you play as one of two Mzito’s and travel across levels inspired by 15 key locations from all over Africa, as they seek to purge a corruption that has plagued the continent. Mzito is the first game in a fictional universe that Weza Interactive continue to build on. Mobile games have become much more than just something to keep you occupied while you’re on the toilet. They’re full-on vehicles for entertainment, education and even awareness creation. Mobile games have been known to help alleviate stress and thus players’ mental health. They take up minimal space on devices that fit neatly into our pockets so yes...you can still take them to the loo with you. It’s always better than reading the ingredients on the can of air fresh- ener 50nd3k4 74 50nd3k4 75 50nd3k4 74 50nd3k4 75
Where is Ole Sondeka is an alternate reality game based on the origin story of Sondeka’s mascot. Players are encouraged to solve puzzles, perform actions in the real world and interact with one of Ole Sondeka’s ‘fundis’ to trace the location of Ole Sondkea and save creativity from the evil Rada is a multiple choice quiz spread Bwana Stache. More info on Ole Sondeka’s story is available across 5 categories with questions and on page 35 answers littered with satire. The questions change monthly but the categories all remain the same. The name “Rada” comes from the sheng word for “be attentive” as the questions are tricky and require a second glance Adventures of Jebet is a 3D mobile application game that mainly In the Cheza Zone children get an targets children between ages of 5 to 10 years. However, being an opportunity to learn from a bunch of interactive game, it can still be played by adults or anyone mind-stimulating games. There are fill in the fascinated by the computer. This is an interactive and educational blank word games, number puzzles, image game that seeks to show a simulation of Nairobi town and hurdles matching games, colour identifying games that people go through daily. The game is appealing to all children and colouring books with pictures of women who are fans of computer games. from different Kenyan ethnic groups. 50nd3k4 76 50nd3k4 77 50nd3k4 76 50nd3k4 77
Yes, we understand that this chapter title invokes images of art from long-forgotten villages that should be in museums. While the work we show in this chapter is Stephen Otieno, also known as Okuku is a Different artists have different inspirations to their museum-quality it’s by no mean old. Traditional art in this Kenyan born artist based in Nairobi. He does art pieces. Okuku is inspired by hardworking wom- sense is contemporary art created using traditional drawing, painting and graffiti; charcoal on paper, en who go through a lot to make ends meet for techniques, eg sculpting, moulding or painting. Too often pen and ink on paper, acrylic on canvas, spray their families. Currently he is working on a series we get caught up in the digital world and with the paint on wall as the main medium. He likes art called “Mama Mboga” (woman selling groceries). pandemic, it’s harder and harder to go out and since it is a passion that he started way back in It’s a story that shows how hardworking women appreciate grand installations or go to a gallery viewing. primary school where he would draw diagrams that are and the struggles they go through to make So here we profile some of the most amazing traditional teachers would use for instruction in class. ends meet. Okuku aspires to show the world how artists in Kenya. Teachers would ask him to draw art pieces of great and important mother and child are for the diagrams as maps, science class drawings to aid future of a Nation. in instruction in class. It is here that he realized his passion for art. 50nd3k4 78 50nd3k4 79 50nd3k4 78 50nd3k4 79
Okuku works on different pieces that are either University, Panafric, National Museum among others on commission or personal pieces that depend and also participated in several Manjano Exhibitions on his inspirations. He also does murals on in Nairobi Kenya. commission basis. The graffiti are becoming popular in major parts of the town recently he Okuku notes that the art space in Kenya is growing did a mural in Nairobi Eastleigh estate that got and it class for concerted effort from all stakeholders people interested in his work. He sells his art in to take part in ensuring a thriving industry. There is exhibitions and on online platforms. It Is dire need for the government to increase support becoming interesting in recent days as many by funding spaces where artists can share experi- local people have embraced art and are able to ence and gain market access. Okuku is optimistic buy art during the exhibitions. As opposed to the that through his inspiration of women and children, past where most artists would wait for foreigners the society will get inspired to embrace and respect to come and buy the art pieces. Okuku’s work women to the works and struggle they go through. has been exhibited in several group exhibitions at the Village market, Alliance Francaise, Nairobi 50nd3k4 81 50nd3k4 80 50nd3k4 81
Evans Yegon, popularly known as Yegonizer, is a visual artist from Bomet, Kenya. He is known for a style called vibrantism with which he portrays his subjects using colourful strokes of acrylic paint. He studied art at the Buruburu Institute of Fine Art between 2006 and 2008 and has been practising art professionally since then. Yegon has exhibited his work at the Nairobi National Museum, Little art Gallery Nairobi, Artcaffe Westminster, Cultural Heritage Arusha and the Kigali City Tower. He is currently working on a series of title portraits in circle frames using Kenya’s people to show its true face. 50nd3k4 83 50nd3k450nd3k48282 50nd3k4 83
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The art scene in Kenya is full of artists David Muturi Mwai, is a 20 years and who have over the years mastered the a 3rd year student at The Technical art from learning by themselves. No University of Kenya pursuing Bachelor formal school is able to nurture upcom- of Engineering in Civil Engineering. He ing artists to realize their full potential was born and raised in Tharaka Nithi at a young age. One such story of a county which is in the Central part of young artist is David Mwai who has Kenya. attended secondary school at scaled the heights of the industry to Nanyuki High School, in Laikipia county reach the level he has reached to date. and currently in Nairobi for my university studies. 50nd3k450nd3k486 86 50nd3k4 87 50nd3k4 87
David is a self-taught artist doing rattle cans, and with time he has made a lot acrylic, oil, spray painting and pencil arts. of improvement. He has received a lot of sup- He started doing arts at a young age of port from his parents, friends, organizations, about 10 years old. Over the years he has and that is exactly what has made me grow made achievements and improved on his up to this point. art works. Apart from art, he also loves swimming, It has been an enjoyable but tough jour- writing movie scripts and science articles: he ney of intense practice and trying out loves being futuristic, adventure and ‘speed’. many ideas and techniques while still in He looks forward to improving on his art the unpredictable art market. He has tried pieces, by trying on new ideas and improving to master the art of spray painting using my market globally. 50nd3k4 88 50nd3k4 89 50nd3k4 89
Dale Kotengo is a Kenyan born artist/painter Directing and eventually Production Design. who started his career in The Kenyan He had dedicated a total of 15 years in film and Theater platform after studying graphics theatre when he decided to leave to go back to design in college. He started as a stage working on his painting. Mentored by his artist manager in theatre right after school and Mother from age 13 year to 19 years, he felt worked his way to set designing in 5 years. it was about time he went back to his humble His first job in the film industry was as props beginnings and told his own stories. Dale master but he lThe film industry then came mostly works with acrylics on canvas, however, knocking where he started as a props he sometimes does mixed media pieces. His master, moved on to set design and work capitalizes on Afrocentric themes and construction, Art surrealism expressionism. 50nd3k4 90 50nd3k4 90 50nd3k450nd3k491 91
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Lindsay Obath is a visual artist who enjoys of darkness. Her work allows viewers to working with imaginative landscapes and explore the landscapes she imagines and the human body. Using her body painting, lose themselves in her mindscape. she has collaborated with several visual artists around East Africa to create art that She plays with lines and shapes, creating celebrates the intricately sculpted beauty illusions, visual representations, helping her that is the human form. Her paintings on bring intricate ideas to life. Lindsay creates canvas celebrate a vast colourful waves wherever she goes with her universe that shape shifts in colourful lay- bespoke, unique and edgy art. ers and intricate shapes amidst moments Behance : https://www.behance.net/ah_this Instagram : https://instagram.com/ah_this?igshid=12h3mei4k1szv 50nd3k4 94 50nd3k4 95 50nd3k4 94 50nd3k4 95
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You know when you leave school filled with show into Kazi Kanisa charity work, for some- brilliant ideas for how you’re going to change thing. No worries though, she gets to keep the the world. How as a film student your TV intellectual property rights. shows could be easily pitched to broadcasters and even before the ink was dry on your The bullsh** does not end there. The same certificate, you were sure success was a thing happens in music, if you want a song given. The naiveté and ignorance that comes to play on the radio you have to grease a with youth is sometimes astounding. Trying few palms before the gatekeepers give you to get the right person at the stations to listen a chance. You’re not even trying to get paid to you was hard. I remember the gate guards royalties, your days of fighting CMOs for your asking me to leave DVDs with my pilot epi- money are still far off. All you want is your foot sodes with them. To this date, I have a sneaky in the door. feeling that they had a special bin behind their desks labelled “For fools with no friends in Many creatives in Kenya (and around the high places”. The producers I did manage to world) face constant barriers such as these get in touch with would instruct us to dumb ‘gatekeepers of content’. Getting your books down our content for Kenyan audiences”. “A on shelves, music on rotation in stations and phrase they use to this day with the same any spot on a local TV station can be lack of shame. daunting. Traditional media is controlled by cartels and if you don’t know the ‘right people’ A friend told me that she was asked to pay a shauri yako. Unless you’re like those people percentage of her budget to one of the ‘gods’ who walk past government offices and ten- who work in TV programming after her show ders fall on your head with the first deposit was commissioned by one of Kenya’s major already cleared then it can feel like you’re broadcasters. The %ge required amounted to screwed. whatever profit she stood to make, turning her Things are shifting though, Lil Nas x (yeah, that guy with the Satan shoes) started 50nd3k4 98 50nd3k4 98 50nd3k4 99
aggressively marketing Old town Road on web via ******* (network name censored because Before Spotify became the it word for Kenyan artists on or offline. What’s more, you can actually pay by twitter. Being online 24/7 and Tweeting about a #lawsuits) you can easily and quickly connect to following their Africa launch Mdundo was working to bonga points, Safaricom PLCs loyalty points which project multiple times a day isn’t the right the world. Social media has exposed creatives to get Kenyan musicians paid for their online streams and are finally good for something other than airtime strategy for everyone, but given the prolific demographics that their peers from a few decades downloads. Barely anyone I know actually buys the when you’re really broke. nature of Lil Nas X’s Tweeting habits, it makes ago had little to no access to. Getting your work music they download to their phones. Youtube sense that he promoted “Old Town Road” on out to your audience as a Kenyan artist can be downloaders and dodgy torrent sites are likely One of the toughest jobs in film production is Twitter several times a day. His lighthearted easier with the right tools. It’s not just about getting responsible for their playlists. However, since 2016 Md casting. Sending a whatsapp screen grab to fifteen approach — here even Tweeting about, well, online and telling the world “NEW TRACK OUT undo has allowed people to LEGALLY download and “casting groups’’ and hoping you get the right Tweeting, paired with a video of himself LIKE SUBSCRIBE SHARE”, clenching your but- stream music from Africa. They share the income actors for your available roles isn’t the way to go dancing — demonstrates his playful, self-aware tcheeks and hoping for the best. generated from their mobile website and app with about. Rafiki Hub connects casting directors and approach to promoting his work. At this point, The future of our arts’ survival is alternative artists 50-50, a god send for artists who realise that film producers to their database of highly talented the original version of “Old Town Road” had markets. These are tools, websites and services other mobile streaming services take up to 70% of the and capable actors. They aren’t just limited to film already reached the top spot on the Billboard that bypass mainstream media’s hurdles and profits generated from musicians’ work. and television but can connect performers from Hot 100, but Nas used Twitter to keep the gatekeepers and allow you to actually get you varied industries to their first auditions or dream conversation flowing around the remix with Billy seen/heard and eventually PAID! Here are some of My Movies Africa is one of Phat Africa’s brands. If gigs! Ray Cyrus. the tools that we think are absolutely amazing and you’ve had a tough time finding Kenyan films to watch are helping shape the future of the creative online (LEGALLY) they are one of your best bets. While These tools and markets along with tens of others In Kenya, unless you’re connected to the industry. everyone and their auntie is trying to make netflix’s available to Kenyan creatives are how we next big Kenayn find, My Movies Africa are helping destabilise the current status quo of content kenyan film makers actually get paid for their work. On distribution. Soon we hope that the dreams of up my movies africa viewers can rent or buy films to watch and coming or even established artists aren’t held up by greedy execs, radio hosts, casting agencies. A thriving creative economy is one where anyone with the ability has the opportunity to participate and benefit from it. https://mymovies.africa/ www.mdundo.com 50nd3k4 101 50nd3k4 100 50nd3k4 101 50nd3k4 100
The drought ravages on as a lone woman travels the scathing land searching for KIU water. Things however get complicated By Njiiri Karago when she has an unexpected encounter on the way to a trade stop. 50nd3k4 102 50nd3k4 103 50nd3k4 102
A short film about the fighting against the misconception Mankind resorts to desperate measures of Jihad. Written by Arnold Asin. Directed, shot & edited by in an effort to keep a devastating virus AL HARBGatehi Nderitu Mwaniki. Starring Zonda Kenneth, Igi Ike RESILIENCE out of the Safe Zones. Confronted by By NMK Films Iriga, Arnold Asin, Ryan Asin, Abdalla Athman, Kibui Karita By Njiiri Karago their own desperate circumstances, & Jepkoech Kendagor. Thando and his brother, Themba, resort to abandon the community and comforts of Safe Zone C to return to a place of distant memories… 50nd3k4 104 50nd3k4 105
ALICE By Liz Kilili Valerie, seems to be the sole survivor of the KOVONA 168 pandemic. She was KOVONA 168hiding in her house and finally tries to get By Creatives Garage out to see what the pandemic has left behind. When she sets out of her house she realizes that she could be the only sole survivor. This is a race of her looking for someone else… “The year is 2021, We live in smart homes where everything is connected. Mary, a 25-year-old lives in this world. Her phone, TV, lights, doors are all connected to ALICE a home device that takes voice commands making everything smart and easier to live. She wakes up one day and realizes that Alice has gone all crazy and has now taken command of her life. 50nd3k4 106 50nd3k4 107
OPENING ACT By Kins Of Spade Moments to a general election, a young IT specialist finds himself in a KARATApredicament as his wife is kidnapped by This is a short film in three scenes. The first is of a By Robert Munuku unknown assailants who then blackmail mother’s plea to her daughter. The intermission is of him to compromise the upcoming ballot. find prey and the end is a letter to a daughter. 50nd3k4 108 50nd3k4 109
THE REALITY Idah, a diligent hardworking girl, is PRINCIPLEtrapped in a mysterious dark room and faces of against Igor in a fight moderated By NMK Films by a mysterious shadowy figure. After numerous attempts to win she accepts her fate and is freed. Ever wondered what would happen if your wallet was stolen and you decided to MANDINYOchase down the thief. Mandinyo is a short By Creatives Garage film that follows the tragic tale of a wallet. 50nd3k4 110 50nd3k4 111
