Published on: Jul 19, 2019

With a career only spanning across five years, Nigeria’s award-wining artiste Mr. 2Kay has chart-topping singles including “Bad Girl Special”, “Pray for Me”, and “Belema”, major collaborations and two albums to show. His latest and second: ‘ELEVATED’ is a beautiful body of work that expresses Mr. 2Kay’s growth as an artiste, both vocally and
musically. Mr. 2Kay has in the past scored several hits and collaborations with top Nigerian stars including Flavour,
Iyanya, Timaya, Chindima, Patoranking, Doray, Idahams, Cynthia Morgan and Seyi Shay. Among awards Mr. 2Kay has bagged over the years include Artiste of the year in the Niger Delta for over two years in a row and Best collaboration at Nigerian Entertainment Awards – New York in 2015. The album “ELEVATED’ includes collaborations with top Nigerian acts artistes including Efya, Cynthia Morgan, Harrysong, Idahams and Lil Kesh. He asserts that his visit to East Africa will present him with his first time opportunity to work with East African acts – something close to his heart. He is in Kenya to promote the new album and his latest single/video – “Banging” a bona fide feel-good track and if you listen you can feel that both Mr. 2Kay and Reekado brought their best
in the studio: the result is an incomparable synergy set to unite music fans from West to East Africa.

Discovered sat down with him to find out a little more about Abinye David Jumbo aka Mr. 2Kay.

Where do draw your inspiration from?
My inspiration was given by God and my day to day life and my environment. I grew up with my mom, who was a petty trader. I wasn’t born with a silver spoon so life wasn’t as rosy. We had to find our way. I went out there to help my mother hawk stuff on the street then come back home with money to put food on the table. While other kids were in school I was doing that for over three years. It affected me psychologically and the only thing that kept me going is music and my love for music. That’s how I found music. I became a friend and a lover.

People in your field that you admire?
Wizkid, Davido, 2Face Idibia and Tiwa Savage. Being in the same industry they have influenced me personally on how they are growing in their music. Looking back they went from nothing to something and if they can get to the point that they are now, I also can do that.

How do you influence the youth of Nigeria?
There is a slum in Nigeria, Potokat called the Waterside, I grew up there. A lot of people believe that if I can make it out of there they can also do the same. I inspire and encourage people through my music. It’s my way of telling people to be strong and courageous and no matter how long it takes there is a light at the end of the tunnel. I am my music, it’s my voice, so through that I mentor youth. I talk to them also on my social media platform about staying away from drugs and working hard to reach your goals.

Why did you decide to come to Kenya? (March 2018)
I am doing an East African tour and when you talk music and talk about East Africa you have to come to Kenya. I am super excited to finally come into Kenya as my first stop in launching my brand in East Africa. I’ve been working hard to create content for my fans and it’s time to meet and share with them on a one – on – one basis. I’m here to promote my album ‘Elevated’. You know, moving from one point to another. I feel like I have elevated form all obstacles, rejection, failure, tribalism and life struggles as well. ‘Banging’ is the perfect song to introduce me to my East Africa because it represents all my sounds as an urban contemporary artiste. I want to connect with
my fans so East Africa. While I am here I would love to meet Nameless because he is a legend in the business.
I would also love to work with Sauti Sol, I love their song Melanin.

How did Nigeria get their unique sound?
Nigerians are very consistent with what we do. We are very innovative. We research a lot, listening to different African sounds, bringing them together then come up with our own. The Nigerian sound is very dominating,
we make you like it, force it to you. You hear it the first time and you may not like it, but the next time you will be like, ‘Oh that’s my jam,’ that’s what the Nigerian sound does to you. We don’t stop pushing until we are on top.

Biggest creative challenge?
I don’t have much of a challenge when it comes to creating my music. I work with people who understand the industry and everything about it. So to be honest, I don’t face any challenges when it comes to creating.

How do you manage to stay on top?
Consistency is important, doing your research trying to know what’s new, and staying updated. It’s the same as your I Phone the way you always update it, it’s the same way with your craft. You have to keep upgrading yourself, because if you don’t people will forget about you. People like new thing, think ahead of time, and plan ahead of time.

How do you deal with public criticism?
You have to be strong, God and prayer helps in that area. Staying focused as well. Critic are out there to help you build work better and to grow your talent. Besides there will always be negative comments out there. I don’t like focusing on the haters, I pay attention to the positive comments, people who love me and what I do.

What is your message?
Put God first in everything that you do. Believe in yourself and what you do. Just because it’s not paying up today it may pay up tomorrow. Don’t give up and start jumping from one thing to another. Believe that what you’re doing is going to work out.

What is your favorite song in your album?
God can bless anybody. I talk about myself in that song. Listen to it you’ll understand me more.



Published on: Jul 18, 2019


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We live in a society where persons with albinism are dehumanized. They are perceived as magical beings or
ghosts. That’s the worst expression of marginalization and discrimination, especially in East Africa where many
are killed for their body parts for use in witchcraft.

When Agoro Adhiambo, told me that she had a friend with albinism ( Michael Ogochi). I knew that we could
use that golden chance to be a voice for persons with albinism

The Brief was to come up with a campaign using portraits to raise awareness and educate the society that colour
of the skin don’t matter. We are all the same. The superstition and stigma associated with albinism should stop.

They are human beings just like us.

The society gave me a wrong preconception that a person may encounter bad luck if they touch the skin of a
person with albinism or turn into one. I have only encountered good luck since I did the project.

Let’s not discriminate people with albinism, we should love them.

For this specific project I got inspired by Angelina D’auguste, Yulia Taits and Justin Dingwall using their passion
for spreading awareness of albinisim through photography.




Published on: Jul 17, 2019

In 2016, FilmAid and Kevin Waire (Wyre), a renowned music artist in Kenya, collaborated on the promotion of The World Food Programme Bamba Chakula in Kakuma Refugee Camp. General observations were noted on the level of interests, talent and opportunities in music as an industry for youths in Turkana. Soon after discussions followed
as to how a music project pilot could feed into FilmAid’s new livelihoods programmes in 2017 and thus “Finding Stars” was born. A Market analysis was conducted in 2017 by FilmAid where the findings demonstrated existing
market opportunities for entrepreneurs in photography, film and audio-visual production, digital media and journalism. It presents opportunities in the current resident country, country of origin on voluntary repatriation and third country on resettlement. The findings showcased that majority of youth in Kakuma expressed interest and
appreciation on the potential in sustaining regular income and earnings from undertakings in audio-visual and film production, journalism and photography.

FilmAid in collaboration with Kevin Waire (Wyre) piloted a music project engaging two young and talented artists and FilmAid’s Media students under the Filmmaking, Journalism, photography and entrepreneurship training program. This project promotes youth economic empowerment through music audio (music composition, song arrangement, and recording techniques e.t.c), video production, music journalism and industry driven promotion that focuses on uplifting livelihoods, skills development and entrepreneurship for refugee and host community. It is expected that the project will encourage and engage the talented young musicians to create an opportunity.

In addition to training tangible skills and providing psychosocial relief, any music productions created would raise the profile of the artists’ and students’ talents’, skills and abilities so that they can earn income, secure industry
driven employment and or become business entrepreneurs as well as promote FilmAid’s work in the media and development sector.

About FilmAid:
FilmAid is an international development and humanitarian communications organization that harnesses the power and influence of media and the arts to respond to emergencies as well as promote social change through dialogue in order to protect the wellbeing of displaced and vulnerable populations by building stronger, healthier, and more informed communities around the world.

FilmAid is guided by the following Core Principles:
• A participatory, culturally respectful and inclusive approach, engaging beneficiaries in needs assessment, management and implementation of the programs
• Investment in capacity building and local sustainability
• Working with and supporting the work of local NGOs and beneficiaries
• Avoidance of political and religious bias while creating lasting benefits for beneficiaries that extends beyond the scope of The Client’s immediate programs.



Published on: Jul 16, 2019

How can art lead a dramatic social change? There has always been a natural connection between creativity and
social change. Generations of artists and creative thinkers have employed protests songs, paintings and other visual arts to stoke activism and raise awareness of oppression, inequalities and injustice. Is it enough to draw on walls, take pictures and compose songs? Is this enough to deliver the message we need to? The role of creatives in social change goes beyond individual artists and collectives. The power of art is such that it can reach out to communities throughout the world to transform lives and bring about social reform.

As we searched for content for our ‘Trends’ pages, we used the key words “art and its impact on social, political and economic change.” We came across an article on the Bored Panda, ‘Powerful street art pieces that tell the uncomfortable truth -And just as art can inspire political action and resistance, so too do the walls of the city become canvases for important street art messages. The graffiti and street art on this list is perfect for spreading messages about environmentalism and climate change to a wider audience.

This street art uses simple slogans and provocative images to spread important and inspiring ideas in ways that are easy to remember. Such art can inspire people to action or at least remind them about important issues that they may have forgotten’.



Published on: Jul 09, 2019

Guess who is trending, they are. It’s occasionally worthwhile taking a moment to acknowledge that there are still really good bloggers out there who are influencing their respective fields.  Every day the sites below have hundreds of hits due to the content they post. Below is –according to us- some of the best digital platforms in Africa.

Best Digital Marketing

Gotta Quirk South Africa.

We are a border-less agency of over 2400 digital savants, storytellers, technologists, makers and relentlessly curious minds. Across the globe, we are united by a love of making what’s next. Together, we blur the lines between strategy, creativity and technology to discover business and human motivations, and to create solutions that empower both. Ultimately, our approach puts clients and people at the center of everything we do. Because we believe that digital not only has the power to impact brands, but also create amazing human experiences.

Best Blog

Joy Kendi Kenya

Joy Kendi offers a first look at fashion trends including insightful reviews, full collection slideshows, backstage beauty, and street style.

Best Instagrammer

Gareth Pon South Africa

South African Photographer, Filmmaker, and Influencer. Follow his social media accounts, you’ll quickly find that Gareth has the envied job of working for and consulting with big brands, traveling the world while doing so, and all the while maintaining a top-notch Instagram feed.

Music  it’s Popular East African Website Providing to you Entertainment News, New Music(Audio,Video), Celebrities Gossip, Love Tips, Love Stories and Fashion.

Events and Entertainment

Nairobi Now ( is a space where various activities and events taking place in and around Nairobi are posted to create awareness among active seekers about the local arts and culture scene.



Published on: Jul 09, 2019

Celebrity branding or celebrity endorsement is a form of advertising campaign or marketing strategy used by brands, companies, or a non-profit organization which involves celebrities or a well-known person using their social status or their fame to help promote a product, service or even raise awareness on environmental or social matters. Endorsement is a channel of brand communication in which a celebrity acts as the brand’s spokesperson and certifies the brand’s claim and position by extending his/her personality, popularity, status in society or expertise in the field to the brand. In a market with a very high proliferation of local, regional and international brands, celebrity endorsement was traditionally thought to provide a distinct differentiation. But over the years, many aspiring brands in Africa have jumped on to this celebrity endorsement bandwagon. In Kenya brands such as Marini Naturals and Pauline Cosmetics have joined the celebrity endorsement and branding route.

Make sure you’re clear on the difference between a celebrity endorsement and celebrity branding.  An endorsement is the traditional paid statement sort of advertising, where the celebrity is paid to say nice things about your product. Celebrity branding is all about using a celebrity’s position of prominence to start a conversation. It’s meant to make your product more visible, to get people talking about it and genuinely considering its merits.

No two products are the same, and no two situations are the same, but celebrity endorsements are almost always a powerful boost to a brand.

Essentials of Celebrity Branding;

Attractiveness of the celebrity: This principle states that an attractive endorser will have a positive impact on the endorsement. The endorser should be attractive to the target audience in certain aspects like physical appearance, intellectual capabilities, athletic competence, and lifestyle. It has been proved that an endorser that appears attractive as defined above has a greater chance of enhancing the memorability of the brand that he/she endorses.

Credibility of the celebrity: This principle states that for any brand-celebrity collaboration to be successful, the personal credibility of the celebrity is crucial. Credibility is defined here as the celebrities’ perceived expertise and trustworthiness. As celebrity endorsements act as an external cue that enable consumers to sift through the tremendous brand clutter in the market, the credibility factor of the celebrity greatly influences the acceptance with consumers.

Meaning transfer between the celebrity and the brand: This principle states that the success of the brand-celebrity collaboration heavily depends on the compatibility between the brand and the celebrity in terms of identity, personality, positioning in the market vis-à-vis competitors, and lifestyle. When a brand signs on a celebrity, these are some of the compatibility factors that have to exist for the brand to leverage the maximum from that collaboration.

Celebrity endorsements – Do’s and Don’ts

All brands must be aware of some of the important aspects of celebrity branding as discussed below:

Consistency and long-term commitment: As with branding, companies should try to maintain consistency between the endorser and the brand to establish a strong personality and identity. More importantly, companies should view celebrity endorsements as long-term strategic decisions affecting the brand.

Three prerequisites to selecting celebrities: Before signing on celebrities to endorse their brands, companies need to ensure that they meet three basic prerequisites, namely the endorser should be attractive, have a positive image in the society, and be perceived as having the necessary knowledge (although it might be difficult for a celebrity to meet all three prerequisites).

Celebrity–brand match: Consistent with the principles discussed earlier, companies should ensure a match between the brand being endorsed and the endorser so that the endorsements are able to strongly influence the thought processes of consumers and create a positive perception of the brand.

Constant monitoring: Companies should monitor the behavior, conduct and public image of the endorser continuously to minimize any potential negative publicity. One of the most effective ways to do this is to ensure that celebrity endorsement contracts are effectively drafted, keeping in mind any such negative events.

Selecting unique endorsers: Companies should try to bring on board those celebrities who do not endorse competitors’ products or other quite different products, so that there is a clear transfer of personality and identity between the endorser and the brand.

Timing: As celebrities command a high price tag, companies should be on the constant lookout for emerging celebrities who show some promise and potential and sign them on in their formative years if possible to ensure a win–win situation.

Brand over endorser: When celebrities are used to endorse brands, one obvious result could be the potential overshadowing of the brand by the celebrity. Companies should ensure that this does not happen by formulating advertising collaterals and other communications.

Celebrity endorsement is just a channel: Companies must realize that having a celebrity endorsing a brand is not a goal in itself; rather it is one part of the communication mix that falls under the broader category of sponsorship marketing.

Celebrity ROI: Even though it is challenging to measure the effects of celebrity endorsements on companies’ brands, companies should have a system combining quantitative and qualitative measures to measure the overall effect of celebrity endorsements on their brands.

Trademark and legal contracts: Companies should ensure that the celebrities they hire are on proper legal terms so that they do not endorse competitors’ products in the same product category, thereby creating confusion in the minds of the consumers.

The important aspect that companies must note is that celebrity endorsements cannot replace the comprehensive brand building processes. As branding evolves as a discipline companies must be extra cautious to utilize every possible channel of communication rather than just a celebrity endorsement. When all other steps in the branding process is followed and implemented, then channels such as celebrity endorsements can provide the cutting edge as it did for Nike and many others.



Published on: Jul 05, 2019

I am Njerae; a singer-songwriter, a storyteller and a self taught rhythm guitarist. I am a Sauti Academy graduate and a psychology student at the University of Nairobi.

Which famous musicians have you learned from

I try as much as possible to listen to all genres of music. I believe this way i am able to learn much more as every sing artist has their own way of singing certain notes and phrasing certain words. My all time favorites though are Jhene Aiko, Drake, Rihanna and Sauti Sol.

What was the inspiration for the first song you wrote/ or piece of
music you put together?
The first song i every wrote is called Hope. I wrote it back in 2012. The song is basically inspired by the story of Joseph Kony, the leader of the LRA in Uganda. At the time everyone was talking about Joseph Kony but I felt like my peers did not really understand what these young children were really going through, so i wrote the song in the form of a story about a young boy who was abducted and turned into a child soldier.

Describe your first moment on stage, what feeling did you get, were
you nervous
The first time I performed by myself on stage was at a school arts competition. I was very nervous and in the back of my mind i knew that i was definitely not going to win because of my nerves. However, i got on the stage and everything changed. I felt like i put on this mask and no one could tell what i was really feeling except for what i allowed them to see from the song. To my surprise, i actually won two awards and from then on i knew that on the stage, you can be whoever you want to be.

What are your fondest musical memories?
I started singing at the Kenya Music Festival and between 2003 and 2012 that’s basically all i ever did. My fondest musical memories would have to be the trips i would take with my peers to KMF. We all sort of learned each other in a new way, made new friends and new memories that would last a lifetime.

 Do you have any gigs we should look out for?
I have several small gigs that i perform at; you can keep yourself updated if you follow my instagram @Njerae.


#ColabNowNow 2019 by Maputo Fast Forward, Fak’ugesi African Digital Innovation Festivals and The British Council

Published on: Jul 05, 2019


The British Council invites young digital creatives to take part in the third edition of ColabNowNow in partnership with Maputo Fast Forward and Fak’ugesi African Digital Innovation Festivals.

ColabNowNow will select 11 digital artists from Africa and the UK to develop cutting edge digital artworks through collaborative artmaking and storytelling. Applicants will apply with proposed projects which will then be developed with artistic and technical facilitators. Together they will create a collaborative exhibition to be launched on 11 October 2019 at the opening of the Maputo Fast Forward festival.

ColabNowNow has been developed by the British Council as a space for the leading minds in digital art in Africa and the UK to connect, collaborate and learn from each other in a safe, supportive and enabling environment. Do you think you have what it takes?

Curious to see what the ColabNowNow creatives made in 2018? See their online exhibition here .


We’ll be answering all your ColabNowNow questions during a public webinar on 17 July 2019, 3pm UTC. Please click here to register.

Who we are looking for?

Are you a daring artist or storyteller working in a digital medium and living in Africa or the UK?

Are you open to collaborating with other artists/storytellers?

Do you want a chance to see your collaborative work shown across Africa, the UK and extensively online?

  • Artists can include, but are not limited to: visual/graphic artists, architects, technical artists, programmers/coders, music/sound artists, performers and animators.
  • Storytellers can include, but are not limited to: writers, photographers, filmmakers, videographers, bloggers and vloggers.

Visit here for more information.


Grinnell $100,000 Prize for Social Innovators

Published on: Jul 04, 2019

Grinnell College invites nominations for the 2020 Grinnell Prize. The Grinnell Prize of US$100 thousand will be awarded to individuals who show creativity, commitment, and extraordinary accomplishment in effecting positive social change.

Past nominations have spanned a diversity of social issues related to agriculture and hunger relief, conservation and environment, and many other thematic areas.  The closing date for nominations is 07 October 2019. About the Grinnell Prize 

Nomination Criteria

  • Nominees must be nominated by a third party.
  • Nominees may be a single individual or a team of two people who are working together.
  • Nominees must consent to their nomination. This consent must be given in the form of a letter (if you are nominating two individuals for collaborative work this letter should come from the two jointly) that will be uploaded to the nomination form. This letter must be written by the nominee(s), be in PDF format, and include:  
    •  A statement indicating their willingness to be nominated for this prize;
    • A statement indicating confirmation that they will have completed an undergraduate degree(s) between the years of 2003-2019 and noting the name of degree-granting college or university;
    • A brief (2-3 paragraph) description of their social innovation work noting:
      • the social justice need they are addressing;
      • what they feel is innovative in how they are addressing the need;
      • the ways in which they are addressing systemic issues related to the need; and
      • the current and planned impact of their work.
  • Nominee(s) must have earned a bachelor’s degree (or equivalent) between 2003 and 2019.
  • Nominees should be a force for social justice. They should have identified a concrete social justice need, designed creative and socially just solutions to address that need, and made a substantive impact through their hard work and dedication.
  • Nominees should have demonstrated the essence of Grinnell College’s broad liberal arts education through serving the common good and demonstrating expertise in the areas of critical thinking, innovative problem solving, and measurable systemic change making.
  • Nominees must not be widely known outside their immediate community or field.
  • Nominees may be nationals of any country.
  • Nominees DO NOT need to be affiliated with Grinnell College. 
  • Nominees must have sufficient English fluency to engage with the Grinnell College Community.
  • Nominees must be able to provide in English any supplemental information required as part of the selection process.


Is Africa Following Or Setting Creative Trends?

Published on: Jul 03, 2019


By Tapiwa Matsinde of Shoko Press

I found this to be a very interesting yet difficult question to answer, and having done my best to do so at the time, the question has stayed with me as I felt it was a really important one that warranted a much deeper explanation to the answer I gave, my initial feeling being that Africa is neither following nor setting trends.

Having thought that, my mind then switched slightly, leaning towards the latter that Africa is sort of setting trends and then I bounced back to my original instinct of neither, a response which I have a feeling that most people will passionately disagree with me – told you it was a difficult question!

So let me explain why I think that at the present moment Africa is neither following or setting creative trends. Starting with the first part of the question, which is easier to answer because at the moment Africa’s designers and creatives are playing by their own rules, enjoying the high level of freedom that they have to create and find their own way, and therefore are definitely not following trends. This freedom is enabled by an industry still in its infancy where rules and regulations have yet to be set, where not having to answer to a board of decision makers who tend to consider things from a commercial aspect at the expense of creative expression.

But with regards to setting creative trends, I don’t feel that Africa is quite there; yet. And that is not a bad thing. I say that because I don’t think we should be concerned with setting trends, mainly for the reason that trends are fickle, they come and go and what is happening across Africa is not a trend! It is a shaping of the present, setting the foundations for the future, working towards building something better, creating legacies.

Yes, Africa is very much in vogue at the moment, the continent is being feted by the global world from curators to collectors, which I think is more to do with the creative world being intrigued by the level of creativity coming out of the continent, the seemingly unstoppable ingenuity, and how Africa’s designer/makers are offering up solutions to some of the world’s most pressing problems, and these are all industry defining factors that the world can no longer afford to ignore, and is, therefore, watching closely, reaching out to connect and trying to make sense of it all. But despite the strides being made Africa is still battling the oft-negative stereotypes and it is the stereotypes that tend to dictate the Africa-related trends.

Africa has been a source of inspiration for designers the world over for decades -and continues to be so- who in ‘borrowing’ from Africa’s creativity have been the ones to define the so-called ‘Africa’ related trends, trends that regularly revisit the stereotypical themes of tribal, animal print to variations of safari chic. These stereotypes are so deeply ingrained in perceptions of Africa, just Google or search Pinterest for African design and images of the new diverse aesthetics being created are hard to find, usually buried towards the bottom of the page.

People like to hold onto what’s familiar so when new ideas are introduced resistance tends to occur. With this in mind, it is going to take time to change global perceptions of Africa. And it is up to us as Africans to change those perceptions, to control the narrative and thereby setting the trends that will happen.

The work is underway. Africa’s designers, artists, bloggers, journalists, commentators, curators, social media content generators are all doing their bit to push back against the stereotypes, working hard to change the narrative. And when it comes to setting trends I think it will be interesting to see what happens when the much anticipated IKEA African Designers collection launches in 2019. Why is this important? Well for one thing when it comes to African design it is quite expensive. Most of what is currently being produced targets the high-end customer and IKEA is a mainstream brand with a wide budget friendly reach and it is within these types of consumer segments that trends take hold.

Trends typically follow a bell curve whereby you have the early adopters, the influencers, the cool kids, those unafraid to mix it up and try something new. And where the cool kids go the masses eventually follow thereby cementing the trend. When you apply the bell curve to African creativity, of which we are just scratching the surface, I think that we are still at the start of the bell curve and are not yet near the top of the curve. So whilst the cool kids are picking up what is happening with African creativity, the masses have yet to follow.

Yes so-called African print went crazy popular for a while, and Afrobeat is invading popular music, but think about it for a minute, does all this mean that Africa is actually setting creative trends? I often hear people when seeing the work of an African designer exclaim ‘that’s amazing!’, then in the next breath say ‘…but I wouldn’t know what to do with it’, ‘…how to wear it’ and so forth.

And it is for these reasons that I believe that for now, Africa is not so much as setting trends but rather creating something that transcends trends, something that has longevity, something that will inspire generations to come.

Shoko Press is an independent publisher of illustrated African art books that capture slices of the exciting contemporary creative arts and social cultures shaping a modern and dynamic Africa.

Written and produced in collaboration with some of Africa’s leading creative practitioners and cultural commentators our beautifully presented content in areas such as, art, design, photography, fashion, architecture and lifestyle will take you on a journey to not only discover new narratives that will inspire and enrich, but also ones to cherish and help preserve for future generations.