Jenga CCI – Global Project for Cultural and Creative Industries (CCI)

JENGA CCI logo © Goethe-Institut

About the project “Cultural and Creative Industries"

The project “Cultural and Creative Industries” is implemented by the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH on behalf of the German Federal Ministry for Economic Cooperation and Development (BMZ) and in cooperation with the Goethe-Institut. It improves employment and income opportunities for creative professionals in six partner countries; Lebanon, Jordan, Iraq, Kenya, Senegal, and South Africa and operates mainly in the music, fashion, design and animation sectors. In addition to promoting the development of entrepreneurial, digital, creative and technical skills through training programmes, the project aims to strengthen the framework conditions and the ecosystem of the cultural and creative industries. 
 

Projects

perFORM © Shem Obara The perFORM Music Incubator, a joint initiative between Muthoni Music Entertainment (Muthoni Drummer Queen) and the Goethe-Institut Kenya, is a  12-weeks live performance and music business incubation programme. It aims at providing an enabling environment for artists to conceptualize, rehearse and showcase well developed live shows.
perFORM follows a well-laid down process to achieve its objective:




Filter:     Filtering the practitioners’ ideas and establishing existing gaps
Order:    Developing a sequential execution plan
Refine:  Refine artistic, business and entrepreneurial skills
Master: Through guided practical application to achieve artistic business and entrepreneurial mastery.

perFORM has developed 7 curricula in 7 professions, namely: sound engineering, light engineering, artists & songwriters, artist management, music publicity, event production and music production.  
Over a time-frame of 12 weeks (classwork-teaching of the 7 curricula and a residency for rehearsal and showcasing), the curriculums are delivered through: 
 
  • Business management and entrepreneurial skill development: Live, in person classes facilitated by industry professionals resulting in
  • opportunities to access financing
  • Artistic development: Songwriting, engineering and production workshops led by master professionals as well as weekly live performance rehearsals
  • Creative goods production: production of a 30 minute live performance showcase by each participating artist and producer to grow market demand
  • Industry networking sessions to facilitate mentorship, apprenticeship and employment opportunities
  • Pipeline development to attract a greater volume of current and future industry practitioners, with a bias towards women
Overall, the curriculum for the first 3 cohorts was designed to provide a creative environment offering soft business skills delivered in an appropriately meaningful way. The consistent thinking behind the design was that in order to impact on learning, attendees must be engaged and enthused by content and teaching methods.
In addition to the three cohorts that taught over 80 musicians and creatives, perFORM has furthermore pushed into the digital learning space with podcast sessions freely available to anyone online. This time round the model of a general edutainment approach was introduced engaging the alumni facilitators of the previous cohorts and invited professionals in the creative sector into conversation-style podcasts. Five episodes were produced touching on different topics: Branding & Marketing; Artist Development; Music Production; Events & Management; and Art Direction & Visual Identity.

 
SOTA © Lameck Orina State of the ARt (SOTA) is a joint initiative between the Goethe-Institut Kenya and BlackRhinoVR that sets out to use immersive technologies to change the way art is created and experienced. 

SOTA developed a curriculum (training guide, tutorials, explanation videos and annotated content) which creates a relationship between virtual and augmented reality and soft skills (business development, communication, proposal writing, digital marketing strategies and tools). 
The curriculum aims to demystify and deploy XR technologies in a theoretical and experimental context, by equipping participants with the necessary skills to develop virtual and augmented reality concepts that are relevant to current economic needs and subsequently influence their employability and business savviness within art and technology spaces as early adapters of virtual and augmented reality. 
 
In 2019, SOTA 1.0 created the foundation for an unprecedented evolution of art. It allowed a fusion between art and tech visionaries; and Virtual and Augmented reality opened a world of possibilities for creative artists.  
 
After its second phase, SOTA 2.0 has broadened the initial vision to integrate visual art forms with Virtual and Augmented Reality and deployed these technologies in a learning and experimental context while building capacity and exposing artists and tech enthusiasts into these new technologies and functional soft skills. 

Now in its third cohort, SOTA 3.0 aims to recruit new artists that will go through the well-refined curriculum based on the lessons and feedback of the previous two cohorts; and will also expose the artists into newer technologies in the XR spaces.

After the 3-month training, participants work on a public output (exhibition) of their creations. The exhibitions of the two already facilitated cohorts (NOMA! In 2020 and USONI in 2021) set the pace in being the first of their kind in East Africa and were accompanied by a series of framework events focussing on artist and industry talks as well as school visits from primary, secondary and tertiary levels to grow the ecosystem.
 
Artworlds is a distance-learning podcast which is a co-production between the School of Arts and Technology (SCAT) of the Technical University of Kenya (TUK) and the research group “Netze” of the Academy of Media Arts in Cologne (KHM), and facilitated by the Goethe-Institut Kenya. 

The podcast is based on interviews with individuals who are successfully navigating the terrain of global artworlds and offer invaluable ideas and insights borne out of their personal experiences and journeys.  

Each season consists of 8 to 10 episodes, with the process allowing access to a broad range of interviewees and fostering an emerging partnership between the two co-producing institutions. Two staff members (1 to supervise content, 1 to supervise production) and 4 to 10 students from each institution work together to produce a season during the Industry Based Learning semester. Students learn both the practical and the conceptual sides of producing a podcast.

The particular, embedded knowledge of the “Artworlds” is narrated through stories and anecdotes; it is a dynamic and experimental education platform designed to be easily assimilated by listeners. Instead of the traditional lecture-based input where students are forced to learn at specific times, this contemporary approach gives agency and control to the students.

Currently, listeners can access season 1 of the podcast here: www.artworlds-podcast.net as well as on Spotify. In the podcasts, the students interview 4 artists in Nairobi and hear an amazing array of stories and anecdotes. Shared themes in these stories are: the financial challenges that were overcome; the importance of self-belief and tenacity; that becoming an artist is a journey; working collectively to share tasks and the economic burden; and exploring new models of collaboration as a way of sustaining your art practice.
 
The Goethe-Institut Kenya, in partnership with DADA Trust and BlackRhinoVR, developed a training program to enable female filmmakers and creatives to expand their general skill set into the field of VR/360° Filmmaking as a resilience measure to cope with the changing scene during times of a pandemic. 

The training program opens up new markets for women, who have been affected gravely by the pandemic. The project wishes to support female creatives in the overlap of tech and creation, which is one of the sectors most promising to develop resilience during and after the pandemic, and to participate in the recovery of the activities of cultural actors.  
The gender disparity in the tech sector is eminent where non-male actors are less represented. Female filmmakers in Kenya who fall under this category get a rough start and mostly lag behind in technical experience which negatively affects their exposure, skillset and income levels.

This program levels the playing field and ascertains women’s accessibility and acquisition of new skill set in an innovative manner and venturing in the new media of VR/360° as new adapters of this technology.

The training consisted of 15 women and run for 2 months with students going through two intensive masterclasses: 360° Film Production and an introductory Immersive Journalism course. The training culminated with a three day showcase of the students’ final productions, accompanied by a thorough framework programme alongside the showcase itself.
 
Santuri © Santuri East Africa The music sector is one of the sectors most affected by the pandemic. With the cancellation of numerous live events and closing of music venues many practitioners within this sector found themselves stranded. In partnership with Santuri East Africa, a training programme has been developed to enable musicians to improve their technical skillset, venture into different music production methods and distribution possibilities. The aim is also for people in the music sector to better cope with a changing scene during times of a pandemic; and to use the knowledge and skills acquired in music production and distribution to access new markets and audiences, and to generate additional revenue through a diversified portfolio.

The SEMA intermediate course, targets new and upcoming music producers with basic production skills. It includes modules on mixing and mastering, innovative music production techniques and performance skills, the cultural and sub-cultural contexts of electronic music, digital distribution, copyright, and career development.
Students can learn from both regionally and globally recognized educators and artists, in addition to accessing a wide array of cutting edge software and hardware, courtesy of tech companies such as Ableton, Native Instruments, ADAM Audio, Shure, Izotope and others.
The students also have the opportunity to take part in exciting extra-curricular activities which allows them to showcase their skills and make meaningful connections of benefit to them long after completing the course. 

The Advanced Electronic Music course is designed for advanced music producers. The course offers producers with a proven track record an opportunity to take their music to a new level – from experimental production techniques, building live performances, advanced mixing approaches and developing release strategies.

A third pillar of the programme is the ‘Train-the-Trainer’ which is dedicated to give music educators active in electronic music the skills and techniques to deliver even more impactful teaching. Artists who have not professionally taught before also gain essential skills for designing and delivering music education. 
Participants build a toolbox of cutting-edge approaches that empower their students to achieve better results and inspire them to greater levels of creativity and innovation. 
The course is led by internationally recognized electronic music educators, working to develop an approach that is both globally relevant, and regionally contextualized.

As the project runs into its next phase, two additional beginners’ courses have been introduced with each course incubating 20 participants that have the passion for music and desire to learn basic knowledge in electronic music production in a 4-week masterclass course.
They get introduced to music production, beat making, track deconstruction, recording and sampling, audio manipulation, basic mixing, song-writing and inspirations among other topics before concluding with a project work.

 
In the pre-Covid-19 period, the use of both online and physical spaces to conduct workshops, studio sessions and live music performances was in high demand.
As the Covid-19 measures obviously affected the use of these physical spaces, online platforms remained attractive, indicating the urgent need to increase resources to support these new digital marketplaces, which would eventually have a positive impact on the incomes of creatives and artists.

Due to the digital transformation caused by Covid-19 pandemic, presentation of work and services online is a challenge for many of these creatives and artists.
To enhance their capacity to market their work and increase revenue, JENGA CCI in partnership with Lantern Training implemented 3 cohorts of Soft Skills trainings for creatives and artists. The training focusses on artists and creatives that have the chance to learn different skillsets in order to uplift their business strategies: how to tell their stories through writing skills, engaging their audience through communication skills and monetizing their work by developing an entrepreneurial mindset among others.
 
Open House © Paul Munene In collaboration with Gig Dynamics, Goethe-Institut’s Jenga CCI Project is aiming to further taking steps towards linking and training event technicians like, engineers and stagehands in Kenya, in order to meet professional needs, while at the same time enhancing the pool of relevant skills in this region. For the Gig Dynamics Open House Tech Edition the theme “Education and Expertise” was selected for sustainability – building on the importance of having a solid technical and professional knowledge on how to make gigs, events and concerts that may require such services.

The project entailed a kick-off event, which is the first edition of the programme facilitating workshops in stage design/set-up, lights and sound engineering for live events. The participants get a hands-on first dive into those worlds and prepare the actual set-up for the live performances at the end of the training.

The workshops also include application of best practices associated with "agile" methodologies, and point to the professional approach to be followed after the event. The opportunities to share knowledge, collaborate on projects and grow the network of skills in Kenya, are key to the success of the initiative.

In addition to three days of workshop and performances from well-established artists, the second edition additionally hosted a talk between the biggest Music Festival stakeholders in East Africa, including the organisers of Nyege Nyege Festival in Uganda and Marafiki Festival in Tanzania; local Kenyan stakeholders in the creative and culture industry like Good Times Africa and MyChoiceTV Limited from Kenya  as well as other regional and local stakeholders.


 
The Goethe-Institut is providing stipends for the participants of several capacity building programmes, funded by the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) and implemented by its local partners.

Africa Digital Media Institute, which is a leading training institution in the field of creative media in Kenya in partnership with GIZ and Goethe-Institut aims at building the capacity of young creators to develop and sell their cultural products on the online marketplace through the programme “Digital Media Incubator”

The goal of the project is to equip Kenya’s young creatives, specifically 2D animators, music artists, music producers, and podcasters, to make, promote, and sell products online. Creatives were particularly affected by the COVID-19 pandemic as many were cut off from their livelihoods by the event prohibitions. The 6 months incubator programme includes practical technical trainings, distribution support and masterclasses in Music Production, Music Artist Development, 2D Animation and Podcasting. The project will culminate in a showcase of work created during the programme.



 
The Goethe-Institut is providing stipends for the participants of several capacity building programmes, funded by the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) and implemented by its local partners.

DigiIntermediaries Bootcamp is a GIZ initiative in partnership with Fak’ugesi African Digital Innovation Festival, aiming to foster COVID-19 resilience of the digital creative industries through ensuring that digital creatives and intermediaries are able to both maintain and increase access and visibility with online and digitally led methodologies.

This is a unique bootcamp aimed less at training and more at claiming and framing – finding ways to sustainably grow the Digital Creative Industries in Africa and framing the roles, needs and ecosystems of intermediaries in the digital gaming and immersive media sectors through providing the participants with an opportunity to participate in modules that focused on: 
  1. Understanding the Value Chain 
  2. Monetization & Customers, including new & emergent streams. 
  3. Partnerships, Content & IP 
  4. Mobilising Governments, Policy & Advocacy
The modules were led by a number of well-known and dynamic industry experts, speaking on their work and experiences, and engaging discussion on the gaps, opportunities and difficulties. 

The bootcamp programme included multiple networking opportunities, for intermediaries and industry professionals in Africa and abroad for the digital games and immersive media market. 

Participants had an opportunity to submit proposals for a funding pitch, selected proposals attended a mentorship and pitch training focus, and were be given an opportunity to present their intermediary based projects to multiple investors, platforms and festivals. From the pitch, 3 participants were selected for commissions via Fak’ugesi Festival.
 
The Goethe-Institut is providing stipends for the participants of several capacity building programmes, funded by the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) and implemented by its local partners.

The goal of this training is to improve the employment and income prospects of creative professionals in Kenya. The series of courses provides the selected participants with better business and legal understanding and various tools relevant to their fields that will help them flourish effectively within any commercial and organizational setting.

The training programme, implemented by GIZ in partnership with Goethe-Institut and HEVA Fund, aims to up-skill young entrepreneurs into building sustainable and local products to strengthen and support the culture and creative industry and its actors.
A dynamic 12-week programme has been designed which involves a guided session for the participants, a field day, guest visits and personal work time for every topic namely:
  • Understanding creative entrepreneurship
  • Building blocks for a healthy creative business
  • Knowing where your money is
  • Understanding the laws and regulations for creative businesses
  • Understanding your product
  • Branding and marketing
  • Digital Integration in creative business
  • Route to creative business finance

After a successful first cohort of diverse creative professionals with experience in operating a business, the second training is a Women-Only Cohort. The goal of this training is to improve the employment and income prospects of business women in the creative industries in Kenya.
The project looks into innovative support models for actors in the creative field, focusing mainly on the sub-sectors of music and digital industries like gaming, animation and new technologies, including virtual and augmented reality.

 
The Creatives Business and Professional Empowerment Project was a collaboration between JENGA CCI and the Technical University of Kenya (TUK). This project supported the industry with basic and in-depth training aimed at professional and business development. 
These were facilitated through workshops, breakaway discussion forums, industry visits and open forum discussions, training in the areas of marketing, audience development, branding and product development, communication, financial management and networking.
The Copyright Project is an initiative in collaboration with WiBO Culture Artcellerator, a social enterprise that incubates and accelerates creative solutions for the changing world. Since 2016 WiBo Culture applies design thinking approaches to bring forth new solutions to the poorly structured and managed creative economy in Kenya.

The Copyright Project plans to educate and enable paralegals to administer the basic intellectual property management services at the grassroots. This initiative contributes to the array of long term solutions enabling socioeconomic resilience and sustainable livelihoods for creative entrepreneurs.  Within the pilot phase of the project an IP management handbook tailored for the Kenyan creative economy shall be tailored and utilized to educate paralegals throughout various counties of the country. Woking closely with the Kenyan Copyright Board (KECOBO) the Copyright Project will train and certify IP management agents (certified IPMA), who will be destined to work from Huduma Centers in four counties in Kenya. 

Past Projects

Twaweza Communications Limited is a strategic communication institution established in 2000 and based in Nairobi. Working in the areas of public policy, media and culture for sustainable development Twaweza Communications is committed to increase public knowledge and action through research, training, advocacy and documentation for accessibility, agricultural policy, and sustainable environment, equity in gender relations, accountable leadership and people centred governance.

For JENGA CCI, Twaweza Communications delivered training and workshop sessions for various creative practitioners as well as contributed to policy advocacy, capacity building and knowledge exchange.

Imara Round Tables
Seven round table forums were held between April and November 2019. The themes covered included Entertainment Law and Intellectual Property; Opportunities for Cooperation in Film, TV and Digital Media; Skills and the Future of Creative Industries; Creative Industries in Urban Environment; The Gaming Industry in Kenya; Tourism and Cultural Industries;  and Trade and Cultural Industries. Participants included creative sector stakeholders from education institutions, legal profession, government agencies, creative industry practitioners among others.

Policy Advocacy
Often using results from the Roundtable series, Twaweza Communications continues to engaged various stakeholders in the development of policy for the Creative Sector.  In July 2019, Twaweza participated in the review of the Department of Culture and Heritage Strategic Plan. They have also facilitated workshops on the National Culture Policy and Bill and continue to engage and advise on policy.
HEVA Fund is an East African Company that believes in the transformative social and economic potential of the creative sector in the East African region. Since their inception, they have sought to be at the forefront of helping producers of cultural goods and services in Kenya and in East Africa to build high-value, profitable businesses, where new ideas will come to life, and where the highest potential for great profits, great jobs and happy people will be found.
In collaboration with JENGA CCI, HEVA Fund has designed a facility focused on young women in creative enterprises, looking to increase their production capacities, launch new product lines, invest in new technology and expand their distribution networks in the East African market. HEVA Fund is an East African Company that believes in the transformative social and economic potential of the creative sector in the East African region. Since their inception, they have sought to be at the forefront of helping producers of cultural goods and services in Kenya and in East Africa to build high-value, profitable businesses, where new ideas will come to life, and where the highest potential for great profits, great jobs and happy people will be found.
In collaboration with JENGA CCI, HEVA Fund has designed a facility focused on young women in creative enterprises, looking to increase their production capacities, launch new product lines, invest in new technology and expand their distribution networks in the East African market. The Young Women in Creative Industries Fund is directed at supporting the applicants‘ working capital needs as well as acquisition of production assets. Alongside the financial investment, business support and learning facilities to improve the productivity of successful beneficiaries will be provided in the following ways:
  • Investments in production, inventory and logistics technologies
  • Support increasing the unit value of a product by product development
  • Increasing access to necessary post-production capacities

Research Reports

In 2019, Jenga CCI commissioned Santuri Media to conduct research resulting in the report: Stories and Studies of Gaming in Kenya, Tanzania and Rwanda.

The Gaming Industry in Kenya and the broader East African region has increasingly been a point of interest, and potential growth within the creative and cultural sector. According to the 2018-2022 Entertainment and Media Outlook: An African Perspective by Price Waterhouse Coopers, the video game industry grew at a rate of 21.2% in 2016 and is projected to grow at a rate of 13.2% between 2017 and 2022. The Goethe-Institut, Nairobi continues to engage with the gaming industry through workshops, roundtable discussions, exhibitions and longer-term funded projects. In 2019, Jenga CCI commissioned Santuri Media to conduct research resulting in the report: Stories and Studies of Gaming in Kenya, Tanzania and Rwanda. 

The five articles in the report can be read below:
-Analogue to Digital: The mechanics of gaming and the metagame
-Fast and Curious: The multiple actors in gaming and emerging technologies in Kenya
-Beyond hunting games and banking on betting: The example of Tanzanian Gamers and Academics
-This industry is big, bigger than Hollywood: Expanding gaming and production in Rwanda
-Kenya, Tanzania, Rwanda: Onward Together, Forging an Inclusive community.