Huawei Y9 2019

Published on: Oct 25, 2018


Huawei Mobile Kenya to officially launch Y9 2019 to the public

As part of the ongoing campaign for the launch of Huawei Y9 2019 phone in the Kenyan market, Huawei Mobile Kenya will host a public launch at Two Rivers Mall with an activation at TRM Mall along Thika Road respectively this coming Saturday , 27th October as from 10am until 6pm.

Among the activities scheduled are a draw where the public will be encouraged to buy the Y9 phone during the launch and get a chance to enter into a draw and win.  Attendees will also be encouraged to participate in other activities such as spin the wheel and win gift hampers.

Speaking at the public launch, Huawei Head of Eastern Africa Mobile Steven Li said, “We are delighted to announce the official launch of the Huawei Y9 phone in the market, which will be available in all our retail stores across the country. The phone which comes with amazing front and back dual cameras and a great 4000mAh battery is retailing at Kshs 24,990 both on Jumia and retail stores.”

The public will also be treated to entertainment by the renowned music group ELANI, and King Kaka who will also take time to engage the audience. Hosting the event will be renowned MC, Jalang’o.

Other celebrities scheduled to attend are Patricia Kihoro, Susan Wong and other leading influencers and key opinion leaders.

About Huawei Consumer BG

Huawei’s products and services are available in more than 170 countries, and are used by a third of the world’s population. Fifteen R&D centers have been set up in the United States, Germany, Sweden, Russia, India and China. Huawei Consumer BG is one of Huawei’s three business units and covers smartphones, PC and tablets, wearables and cloud services, etc. Huawei’s global network is built on almost 30 years of expertise in the telecom industry and is dedicated to delivering the latest technological advances to consumers around the world.




Published on: Oct 24, 2018



22nd October 2018 – Fast rising and talented artist Beryl Owano has released a new single titled “Utafilisika”. “Utafilisika” has been produced by Boy David and was co –written by Beryl Owano and J Mbeki, visuals by upcoming video director Job Ng’weno.

Watch Utafilisika –

Beryl explains her thought process behind the song saying: “A lot of people blame the ladies when the sponsor issue is raised leaving the sponsor out of the equation when in in reality both should be condemned and warned of the consequences of extra marital affairs on the family and society, the song is just my way of expressing how I feel about the whole issue and to also teach our young girls the importance of self-love and self-worth.

Me and You –

Slowly –

Utafilisika is the 7th single off her upcoming debut album set for release in 2019. Beryl is currently in the studio working on her album and will be unveiling plans for her brand soon. The song is now on boomplay, plans are underway to make it available to fans on all digital platforms,




Published on: Oct 24, 2018


Highly talented singer Yemisi Fancy brings all the sauce in her new single ‘Skempe’ featuring the evergreen, iconic duo, Skuki and produced by Krizbeatz.

With its rhythmic highlife vibe mixed with Yemisi Fancy’s syrupy voice and Skuki’s afro hip-hop style, ‘Skempe’ in a definite club tune. The new single comes ahead of her EP which is set to drop soon.

Signed to Meshtro Entertainment in 2017, she has since then put out hit after hit, killing all genres and beats brought her way, from “Disco” to “Gimme Love”. And now she is back with another one!

Listen to ‘Skempe’ here:

Yemisi Fancy is a Nigerian singer, songwriter and actress. She was born in Lagos on the 1st of October 1991. She graduated from the University of Lagos where she obtained her law degree (LLB).

As a child, she had always loved the art of music, dance and make-believe (acting). She started up in a dance group in 2006 and in 2012 went to the Royal Art Academy film school where she acquired her professional acting skills. In the year 2012, she landed herself a role in the M-net glamour series “Tinsel” where she plays the role of ‘Helen’.

In 2015, Yemisi Fancy finally decided to give music a shot professionally after years of preparation. She launched her debut single titled “Faraway”.

Yemisi Fancy derives her inspiration from life, experiences, sounds, poetry or anything that catches her ‘fancy’. She loves Afro Beat, R&B and Fuji music. At her leisure, she loves to watch movies, hang out with friends or listen to live music. Mostly extroverted by nature, she is a happy go lucky, fun and jolly person.

Yemisi Fancy is presently signed to Indie label, Meshtro Entertainment. She launched her first official single, ‘Oyari’ in January 2017 which is an afro house tune with a blend of Fuji produced by Sess.


Call For Applications –

Published on: Oct 19, 2018


Call For Applications – The Next 100 African Startups Initiative

IFC, a member of the World Bank Group, and Egypt’s Ministry of Investment and International Cooperation (MIIC) put out the last call today to Kenyan start-ups to apply for ‘The Next 100 African Startups Initiative’ designed to strengthen the entrepreneurship ecosystem across Africa. The deadline for applications is October 21, 2018. Interested entrepreneurs can learn more details about the initiative and submit their applications via the website –

The Next 100 African Start-ups initiative, will select up to 100 promising entrepreneurs based in Africa and connect them with business leaders, international investors, financial institutions, and policymakers at the Africa 2018 Forum in December in Sharm El-Sheikh, held under the patronage of Egypt’s President Abdel Fattah Al Sisi. The initiative is part of IFC’s broader efforts to boost entrepreneurship in the Middle East and Africa by helping start-ups access much-needed financing, receive advice, and break into new markets.

“This initiative is a reflection of our faith in the bright young minds of our continent, and our commitment to ensure that entrepreneurs are equipped with the tools they need, including finance, advice, and networks, that would enable them to innovate and grow.” said Sahar Nasr, Egypt’s Minister of Investment and International Cooperation. “Through nurturing the entrepreneurship ecosystem, we believe we can unlock the potential of African youth to become more globally competitive and to more actively contribute to the development of their communities.”

Over the last two years, IFC has provided close to $65 million in funding to technology companies and start-ups in the Middle East and North Africa, while working alongside leading accelerators and venture funds like Wamda, Flat6Labs, and Algebra Ventures.

Shared from IHUB



Published on: Oct 18, 2018


Hi guys, we found a very interesting article about creative funding.

Challenges of funding creative industries in Africa


Creative industry players — entertainment and art — in almost all African countries single out lack of funds as the major hurdle in their quest to promote and sustain the industry. They say both governments and the private sector do not have policies on the industry and neither do they consider it a priority.

Yet this industry is a multi-billion dollar spinner on other continents.

The 7th Congress on East African Cinema held during the 2010 Amakula Kampala International Film Festival recently, brought industry players from the region together to deliberate on how to attract financing from the banking industry and other lenders.

According to Nuwa Wamala-Nnyanzi, the chairman of the National Arts and Crafts Association of Uganda, an artist must make a case for what he or she produces and its worthiness before a financial institution can grant a loan. One has to prove its potential and relevance to a prospective investor or collector. “If I bought your piece of art today, will it gain value over a period of time? Banks therefore want to know how they will recover their investments.

“Banks are also looking for intellectual property rights issues, intellectual entertainment or nourishment, psycho-social values and fiscal value (re-saleable or mortgage value). For this to happen there has to be government support for the arts industry right from its infancy through the education system,” says Wamala-Nnyanzi, a visual artist and consultant.

“We also need to work on our integrity and good image because it is only the credible ones that will get financed,” he observes, adding that: “Banks need to support us through long-term financing, but governments have to recognise our industry first by subsidising us as it is done in South Africa. I operate an art gallery without subsidising my income like running an Internet café on the side.

“Our products are visual and unique because you cannot buy a painting every day, unless they are gifts. The profiles of buyers of my works also keep changing — it is not the same consistent buyers. I am not able to track them and tell their wants,” he says.

Steven Gathongo, head of credit at KCB Uganda Ltd, emphasized the importance of the credibility of the borrower, who has to belong to a group or company in order to qualify for funding.

“We need to predict a potential borrower’s cashflow. Is he signed up to a producer? Do you have an events manager? We want to see if your money is coming in a very specific way. If you are selling one CD this month and the next one after six months, it becomes difficult to get finance,” Gathongo said, adding: “A bank loan is there to boost your project and income because you will have risked your money in the initial stage.”

The public in general and the finance sector often take the creative industry as not being a serious business, though the industry has proved to be a big revenue generator for the economy provided there is an infrastructure to support it.

“The players have to package and organise it as a serious business to be guaranteed of financial support. It is hard to finance somebody performing live. Selling records is much more predictable compared with live performances because with the latter it is hard to tell the attendance numbers. For example, broadcast rights for international football are more profitable than gate collections. Piracy should be fought in all its forms so that artists can earn more from the sales of their products,” Gathongo said.


Most financiers come in for purposes of advertising and marketing products. The potential financiers also look out for trade volumes to act as security and a guarantee to plough back their investment. Governments on the other hand have to grapple with “more important” issues like poverty, natural and man-made disasters, provision of education and health, and development of physical infrastructure.

The congress found that one of the biggest challenges for the industry is how to package and promote intellectual property initiatives for presentation to financiers. Intellectual property rights may be difficult to quantify because it is not a tangible item.

According to economist William Kizito, administrative structures are also lacking in most creative groups, particularly theatre companies in Uganda. The so-called leader in most cases handles almost everything, such as writing the script, recruiting artists, paying them and booking venues. “This kind of set up makes it difficult for bankers to come in. Bankers need clear administrative structures and not a one person operation. Bankers need to see control mechanisms. For example, they will need to follow the credit, turnover and banking history through the group’s bank account and not an individual’s account,” Kizito told the congress.

“Bankers also need long-term clear perspectives of a given creative production and not just one short film. In the longterm, bankers are able to recover their funds because they provide finance through credit cycles. They are not interested in short-term because inflation and market trends are always changing,” Kizito added.

Financial literacy is also vital for the industry because the borrower needs to have the minimum basics of finance in order to understand the requirements of borrowing and payments. The artists should also know what kind of products ae offered by banks, and if they cover the creative industry.

Sarah Nsigaye, an independent Ugandan filmmaker, believes that the financial sector in Uganda does not understand or have human resources and expertise to handle the creative industry. “If you approached a bank with a film production proposal, the management should be able to have the expertise to read through the script and see if it will get returns on investment. Of course, the bank will also look at your business plan, target audience and distribution,” she said.

“And banks should consider our productions and distribution network as security. For example, Uganda has over 2,000 video halls that are distribution points for films in the country,” Nsigaye said.

An independent regulatory body is also needed to promote professional ethics in the industry, the lack of which has created loopholes. Legal registration of the production company is also important besides having a physical address.

According to Wamala-Nnyanzi, artists need to operate in formal settings and pay taxes. He advises thus: “It is important to have a physical address, have up to date books of account, receipts, cashflows and audited accounts.

“We need government intervention to ensure that our products are bought as national policy to promote the industry,” Wamala-Nnyanzi argues. “The reason being that our products are inspired by Uganda’s cultural heritage, which will go along way to make Ugandans proud and as patriotism.”

“The government has to create a conducive environment through a lot of sensitisation. For example, by buying art products on a sustainable basis; then the banks would see the potential of the market. Hip-hop artistes have attracted financial sponsorship from various sectors because they are crowd pullers. The government can create the attention and other institutions will follow through by buying art to display in their areas of operation,” Wamala-Nnyanzi told The EastAfrican.

The issue of copyright is at the heart of every modern undertaking and in particular a wide range of economic activities are generally identified as “cultural industries.” Since 1986, the cultural industries have registered steady growth in Uganda — probably faster than the whole economy. A few indirect indicators show the recent development of the various sectors, sub-sectors and segments that are directly and indirectly related to the copyright industry. It is estimated that between 2004 and 2008, Uganda’s exports of cultural goods and services were valued at $20 million. In terms of employment, about 100,000 people countrywide are employed in economic activities that are dependent on copyright material. Museum and heritage contribute about 35 per cent; multimedia 15 per cent; visual arts 13 per cent; and the music industry 10 per cent, according to a mapping survey commissioned by the Uganda National Commission for Unesco in 2009. Local music VCDs and DVDs and local films dubbed Ugawood have over the years acquired a good standing in the cultural industry in Uganda.

According to independent Kenyan filmmaker Mburu Kimani, the River Road productions also known as Riverwood video industry exploited the lack of local content in the local broadcast industry. “They weren’t professionals in the broadcast industry. For the businessmen, it was not art but business.

“We the professionals were forced to go down there and work with the businessmen. The businessmen were churning out volumes targeting the masses. They cut costs and didn’t care about issues like packaging. A DVD goes for Ksh300 and to beat the pirates we market the latest products through FM radio and public service vehicles commuter taxis (matatus). By the time pirates come in, you have made your profits,” Kimani said.

“The government did not drive River Road. It started with very low quality productions and it is now improving because we have brought in the professionals who use better technology. We make films and sell them through this network. We tell simple Kenyan stories using local actors. Now banks are coming to us for possible financing because of our successful model,” Kimani added.

Kimani is however bitter that the Kenyan media industry does not buy their productions preferring to purchase from abroad under the pretext that River Road lacks quality. “We as independent filmmakers, are pushing for more local content because our target is the local market after all.” The Kenyan government has declared that 40 per cent of broadcast content must be locally produced.

The other options would be for the artists to use royalties as collateral or belong to savings and co-operative societies as a way of getting additional finance.

“Funding to artistes will contribute to the emerging global culture. Uganda has comparative advantage with the beautiful and much sort-after visual arts like batiks, mats, baskets and bark cloth items, but these are nowhere to be seen,” said Wamala-Nnyanzi.

Unfortunately, the current Ugandan government does not support the industry. “In the 1970s, commercial banks supported us by buying our works for displaying in the banking halls. When the National Resistance Movement (NRM) government came to power it set us back because promoting the arts was not part of its agenda.


Africa Content Creators’ Summit

Published on: Oct 16, 2018


Hivos announces the Africa content creators’ summit.

Hivos East Africa is organizing a summit on the rise of a new generation of content makers and their role in propelling alternative spaces that bolster free expression. The summit will take place on 4-5 December 2018 in Nairobi.

While the role of critical voices in the shrinking civic space continues to grow dimmer globally, Africa has not been left out of this margin. Threats and intimidation to avenues of freedom of expression such as the mainstream media, bloggers, artivists, activists and human rights have been on the rise in recent times. But even with these harsh realities characterized with regimes that have become intolerant to criticism, there is a new crop of content makers that have begun to bud. These content makers: artists, filmmakers, gamers and musicians are igniting social debate using online platforms.

It is within this context that Hivos East Africa is bringing together content creators from Africa who use digital platforms to create and distribute their work.

This inaugural event will provide an opportunity for the content creators to discuss the challenges and opportunities around content creation in the continent and come up with innovative solutions that would shape the agenda for the Africa context and its subsequent growth.

During the event, Hivos East Africa will execute an innovation competition that will award the three most innovative ideas with up to Euros 5000 seed funding for innovations that address sustainability of online content in Africa.

Under the theme: ‘Redefining the Africa Context Online’ the summit aims to counter Africa’s online narrative that has been greatly influenced by the Western world through dominance on the digital spaces. Topics of discussion will evolve around:

  • Influences of the African context online
  • Innovating for African Content online.
  • Sustainability of Content and,
  • Diversity and Inclusion online.

The overall flow of the summit will feature panel, online discussions and a call to action on the future of the African Content online. Some of the contributions from participants will be made in the upcoming Internet Governance Forum in Paris, France and the African Crossroads in Marrakech, Morocco.

We invite interested parties to partner with Hivos through nomination of panelists and sponsor participants to attend the event.


Feel free to contact our Project Officer, Sylvia Musalagani for further information: +254 254 725 451 729 or but please note registration to the conference is by invitation only through this link.  Registrations close by 9 November 2018.

About R.O.O.M

At Hivos East Africa, we are giving R.O.O.M to young content creators and artists to continue to add a voice to the shrinking civic space through dialogue, debate and dissent. Through the new program: Resource of Open Minds (R.O.O.M) project is supporting the work of creative content curators such as musicians, artists, filmmakers, gamers and other media producers who are using online platforms to ignite social debate. We believe by giving R.O.O.M to a new generation of artists, society can benefit by expanding spaces of civic freedom where citizens do not have barriers to influence the choices and decisions of the established order.



Published on: Oct 16, 2018


Mzazi Willy M Tuva and The Million Team Kenya- a key International player in global financial market consulting, advisory, training and mentoring service, last Friday were joined by some of the local celebrities at a meet and greet  to mark their entry into the Kenyan Market.
TMT has entered the Kenyan market with a vision of becoming a major player in provision of Online Forex Trading Education. Through their professional teachers TMT-Kenya is aimed at providing world class and advanced knowledge on financial markets for a fraction of what other international companies’ charge for the purpose of investing and trade financing in different international products.
TMT- Kenya will keenly focus on career men and women in diverse fields, students in higher institutions of learning and form four leavers in Online Forex Trading. This is a skill that will empower the youth to make money in the Forex Markets as they carry on with their mainstream career courses.
Professional citizens of this country, Kenya and beyond will have an additional source of income where they can make profits through Forex Trading at the comfort of their home or offices. We train students to become seasoned Forex Traders and guide them on how to access the advanced trading platforms from incredible brokerage firms.
TMT-Kenya is a registered company set to bridge the gap between unemployment crisis in Kenya and business opportunities offered by global financial markets.
Present during the Meet and greet were local celebrities – Bahati, Mr. Seed, Refigah of Grandpa records, DJ Flash, Mwafreeka among others.