NBO Film Festival has announced its seventh edition, set to run from October 15 to 25, 2026, across four venues in Nairobi—Prestige Plaza, Unseen Cinema, Kaloleni Social Hall and Alliance Française Nairobi—according to a press release dated September 2, 2026.

The organisers said the 2026 festival will combine public screenings with community programmes, “City Dialogues” and filmmaker conversations, positioning the event as part of Nairobi’s broader cultural calendar. The programme will operate under the theme “Cinema for Us,” which the festival describes as a push for African audiences to access and experience African films locally.

The announcement comes as Kenya’s film and creative economy continues to broaden, with festivals and industry platforms increasingly serving as routes for distribution, networking and project development. For Nairobi, a multi-venue festival format can drive foot traffic for host sites and offer local filmmakers additional routes to reach audiences and engage potential partners, including regional and international industry players.

According to the press release, the festival will expand its competitive slate to three juried competitions. It will retain the Fiction Feature Film Competition and add two new categories: the Nick Wambugu Prize for Documentary and a Short Film Fiction competition.

The festival said it will announce the competition jury chairs on September 4, followed by competition selections on September 7.

Mbithi Masya, Artistic Director of NBO Film Festival, said the theme is designed to centre local audiences in African cinema’s growth. “Cinema for us means creating a space where audiences can discover, celebrate and engage with the stories being made across Africa and beyond,” Masya said. “We want this festival to be part of Nairobi’s public life and a place where people come together to experience cinema, exchange ideas, recognise excellence and imagine what comes next.”

For the first time, the festival will also mount a filmmaker retrospective, dedicated to Senegalese filmmaker Alain Gomis, with Gomis expected to attend both audience and industry events. The retrospective is supported by EUNIC (European Union National Institutes for Culture), the organisers said. The full retrospective line-up is scheduled to be revealed on September 9, followed by the announcement of the festival’s opening film and major Special Presentations on September 10.

Beyond programming for audiences, the festival said it will expand its industry programme, aimed at connecting filmmakers and professionals through the NBO Project Showcase, creative labs and professional exchanges. Such platforms can influence deal-making and co-production pipelines in East Africa by giving projects visibility earlier in development and widening access to mentors, financiers and commissioning editors.

In a timeline shared by the organisers, the festival trailer and ticket sales are set to launch on September 12, with the complete programme and screening schedule expected on September 14.

The organisers have not disclosed ticket prices, sponsorship figures or projected attendance in the press release. Key near-term milestones include the publication of competition selections, retrospective details and the opening-film announcement ahead of the October event.

Jägermeister will debut its Haus of Kühl experiential cultural platform in Nairobi on Saturday, September 26, 2026, taking over Sk8City at Diamond Plaza 2 from 6pm to 4am, the company said in a press release dated August 31, 2026. The event is positioned as the brand’s first entry into the East African market and will feature two South African acts—KMAT and MfanaTouchLine—alongside more than 36 Kenyan performers.

The company said Mariah and Sameer Bry will host the event, which is set to run across multiple stages and themed spaces. Jägermeister also listed Kenyan acts expected to appear, including singer Iyanah, dancers Ian Tico and Thee Iconic, and a DJ line-up that includes Basthma, Burugu, Calvin The Curator, Coco Kahi, DJ Lyta, DJ Mani, DJ Rayma, Hiribae, Jayeda, JM1, Kamz, Kaneda, Kiptala, Kurtiss E, Love, Mani, Monzo, Mura, Mtu Solo, Mr. Arkitech, N!k, Njeri wa Baaba & Santa Currie, Safari Oontz Collective, Selekta V, Selo, Shi, Sir M & Mista C, Suraj, The Vibe Initiator, Tinashe The DJ, Wembe Waves and Zhai.

The Nairobi edition expands a platform the company said it introduced in South Africa in 2023, with previous editions held across Johannesburg, Durban and Cape Town. The launch in Kenya comes as global beverage brands increasingly invest in live events and experiential marketing to build consumer engagement, a trend that has helped grow Nairobi’s nightlife economy and demand for event production, venue operations, security and creative services.

Ephraim Manana Snr, Culture & Experiential Marketing Manager at Jägermeister, said the company viewed Nairobi as a key creative market. “As a Culture Brand, bringing Haus of Kühl to Nairobi for the first time is an exciting milestone for us because Nairobi is a city with such a powerful and constantly evolving creative pulse,” Manana said. He added that the concept aims to extend beyond music by incorporating “music and dance to fashion, art, discovery and community.”

According to the press release, programming will be split across a Main Stage, a Dance Stage focused on underground sounds, and a Silent Disco curated by Studio Can-V featuring emerging DJs through head-to-head battles. The company also outlined additional areas, including a “Manifest Speakeasy” space offering tarot readings, a “Meister Market” streetwear pop-up featuring brands Pesos and HAGT, and a gaming zone with activities such as giant Jenga and console games.

The company said the event will also include a “Safe Now Zone,” described as a wellbeing and support area for guests to “pause, hydrate, recharge and access support from the event team when needed,” framing it as part of responsible enjoyment measures.

For Kenya’s creative economy, the arrival of a structured international brand platform signals potential for more cross-border bookings, higher production budgets and new commercial opportunities for local DJs, dancers, fashion labels and visual artists. It may also increase competition among venues and promoters as brands shift spend toward owned events with tightly curated line-ups and on-site merchandising.

Jägermeister said tickets are available via Hustle Sasa. The company has not disclosed ticket prices, expected attendance, or local partners involved in event delivery in the press release. The next milestone will be the release of additional operational details—such as gates and security arrangements—and confirmation of the full performance schedule ahead of the September 26 date.

Spotify has named Grammy-nominated jazz vocalist, songwriter and playwright Somi as its EQUAL Africa Artist for August, the streaming company said in a media statement dated August 7, 2026, in Nairobi.

The announcement coincides with the release of Somi’s 13-track album, What Does It Take to Bloom?, which Spotify said was released on August 7 under Salon Africana. The project is co-produced by Somi and Benjamin James of Nigerian highlife duo The Cavemen., and includes guest appearances by The Cavemen. and jazz saxophonist Lakecia Benjamin, according to the statement.

Spotify said the album was recorded across Dakar, Lagos, Paris and New York City. The company also cited “We’re All Falling” as the project’s lead single.

The selection places Somi—born in Illinois to parents from Rwanda and Uganda—within Spotify’s EQUAL Africa programme, a platform the company says is aimed at highlighting women artists from the continent. In the statement, Spotify described Somi’s music as blending pan-African rhythms with contemporary jazz and noted that she became “the first African woman ever nominated in a Grammy jazz category,” with a nomination for Best Jazz Vocal Album for her live album Holy Room.

Phiona Okumu, Spotify’s Head of Music for Sub-Saharan Africa, said the artist’s recognition aligns with the programme’s focus. “Somi's artistry is a powerful testament to the rich, transcendent legacy of African jazz and storytelling,” Okumu said. “As a barrier-breaking artist who continues to carve out space for African women on international stages, she perfectly embodies the spirit of the EQUAL programme.”

Somi said the programme’s focus on women creators reflects industry realities. “To make music as a woman to lead bands, build a label, and hold onto your own voice, is to work in rooms that weren't designed for you. That work is often invisible and rarely without cost,” she said. “EQUAL matters to me because it insists that women's voices don't just belong here; they shape what this industry becomes.”

Why it matters for Kenya’s music and streaming economy

Spotify’s Africa-facing initiatives are increasingly relevant to Kenya’s creative economy, where artists and labels are seeking wider distribution and improved monetisation through digital platforms. While the company did not provide Kenya-specific metrics in the statement, it positioned the EQUAL Africa programme as a route to “connecting” women artists with audiences “across the continent and beyond.”

For Kenyan music businesses—artists, managers, publishers and event promoters—such platform-led editorial programming can influence discovery and streaming performance, which in turn can shape touring demand, brand partnerships and cross-border collaborations. Somi’s album production credits and multi-city recording footprint also reflect the growing regional and global networks that African artists tap into as streaming platforms expand their playlists and artist-marketing programmes.

Spotify’s scale

Spotify said it has 751 million monthly active users globally, including 290 million Premium subscribers, and is available in 184 markets. The company attributed these figures to its own corporate information included in the statement.

What comes next

Spotify indicated it conducted an interview and Q&A with Somi as part of the EQUAL Africa feature for August. The company and the artist did not disclose any financial terms linked to the selection, nor did the statement outline additional campaign dates beyond the August programme window.

Spotify has opened the Greasy Tunes Café Kitchen in Nairobi in partnership with The BAG, marking the start of a 12-day pop-up that runs from July 15 to July 26 at Heltz House, the company said in a media statement dated July 16, 2026.

According to Spotify, the Nairobi activation is the third edition of Greasy Tunes after Johannesburg in 2023 and Lagos in 2025. The company said the concept is built around curated food and community-led programming that links music discovery with local cultural experiences.

The opening night was co-led by The BAG, which Spotify described as a Nairobi events and nightlife platform. Spotify said the launch was designed around how young Nairobi residents gather “around food, sound, conversation and community,” with street food culture positioned as a central theme.

Spotify said the café kitchen was created in partnership with Jikoni Studio Nairobi, and that the menu was developed “alongside local Kenyan chefs.” The company added that the food offering is intended to reflect Kenyan street food culture within a venue built for music and community programming.

The programme includes collaborations with local creative communities and event brands, including Studio 18, The BAG, BluePrint, Fishermans Experience, Bambika TV, Assembly, Ongeza Volume, Standup Collective, Nakili Session and Strictly Soul. Spotify said the calendar will also feature two live podcast recordings from Mic Cheque Podcast and 30 Percent Podcast.

Spotify said its internal listening data informs the concept’s focus on food-related moments. “Spotify listening data from June 2026 shows that for Nairobi listeners aged 18 to 24, the dinner-adjacent window between 6pm and 9pm is the largest food-related listening period in the dataset, accounting for 20.9% of all daily Gen Z music listening in the city,” the company said.

Agnes Opondo, Artist and Label Partnerships, East Africa at Spotify, said the data points to a blended local-and-global listening pattern among young users. “What stands out in this data is not just that Kenyan artists dominate the dinner playlist, but that they sit naturally alongside names like Dave, Tems and Drake. That tells you something about how young Nairobians experience music. They are not choosing between local and global. They are moving between both in the same evening, and Kenyan artists are holding their own in that mix. For anyone working with East African talent, that is a powerful signal,” Ms Opondo said.

Spotify also disclosed that Kenyan artists appear on seven of the top ten tracks streamed by Nairobi’s 18–24 listeners during the 6pm to 9pm window, led by Ywaya Tajiri, and including Wakadinali, Mutoriah, Toxic Lyrikali, Sauti Sol and Njerae. The company added that regional collaboration also featured in the same listening mix, citing Alikiba and Bien, alongside international acts.

For Kenya’s creative economy, the activation signals continued competition among global platforms for mindshare in local music and youth culture—an audience segment that is increasingly central to marketing budgets across telecommunications, consumer goods, hospitality and live entertainment. Pop-up experiences that blend music, food and community events also reflect a wider trend among brands seeking offline engagement to complement digital consumption, particularly in Nairobi’s nightlife and events sector.

Spotify said it is working with 12 communities and partners to host 20 events over the 12 days, spanning “food and music to podcasts, comedy, sport, fashion and live cultural programming.” The company did not disclose financial terms or expected attendance figures.

The pop-up is scheduled to conclude on July 26, with Spotify indicating that Greasy Tunes is positioned as a multi-city series, following previous editions in South Africa and Nigeria.

Six artists in Tusker’s Base to Billboardz (B2B) programme performed original music publicly for the first time on July 7 at Nairobi’s K1 Klub House, as they prepare to release a collective album later in August.

According to the press release, the jam session featured Muringi Matheri, Manasseh Shalom, Zawadi, Chris Barr, Njuguna and Ras Amor, and was positioned as a preview of music produced during a mentorship and recording process that began in February. The event drew music fans and industry stakeholders, the statement said.

The milestone comes as Kenyan brands increasingly deploy music platforms as part of broader youth and culture-facing marketing strategies, while the country’s creative economy continues to attract corporate sponsorship and structured talent development models. For Kenya’s music sector, programmes that bundle training, production support and performance slots can influence how quickly emerging acts professionalise and monetise their work through streaming, live shows and brand partnerships.

Brigid Wambua, Senior Brand Manager for Tusker at Kenya Breweries Limited (KBL), said the showcase demonstrated the impact of mentorship and practical training on artists’ readiness to perform original work in front of audiences.

“These artists have challenged themselves creatively, refined their craft and gained the practical skills needed to build sustainable careers. Seeing them perform their own music before a live audience is a powerful reminder of what can happen when talent is matched with the right support, mentorship, and platform. This is only the beginning of their journey, and we are excited to see how they continue to grow beyond the album launch,” Wambua said.

KBL said B2B is not structured as a traditional music competition, describing it instead as a career accelerator for artists who already have released music, live performance experience, a growing fan base and “at least one million career streams.” The company said the programme aims to bridge the gap between emerging talent and mainstream reach through mentorship, industry exposure and professional development.

In the selection process, the six artists were picked from an initial pool of 30 musicians, the press release said. The shortlist was developed by musician Bien working with a panel of industry experts, after which public participation and further evaluation produced the inaugural collective.

KBL said the cohort has received coaching led by Bien and other industry professionals in areas including vocals, songwriting, dance, performance and the business side of music. The statement also cited access to professional recording sessions, master classes and “curated industry exposure.”

For Kenya’s entertainment and advertising markets, structured programmes such as B2B can deepen the pipeline of commercially viable talent, while providing brands with content and live-event formats that can be scaled nationally. If the planned album and performance circuit gain traction, it could add to the growing calendar of ticketed events and brand-sponsored tours that support venues, promoters and service providers across the live music value chain.

Next, KBL said momentum from the jam session will feed into the group’s collective album launch in August, after which the artists are expected to continue performing as part of the Oktobafest 2026 artist lineup “across the country.”

Kenyan filmmaker Likarion Wainaina will premiere his new psychological thriller, Anam’s Wake, at Prestige Cinema on 31 July 2026, with additional screenings scheduled from 1–2 August 2026, according to a press release dated 24 June 2026.

The film is written and directed by Wainaina and produced by Wanjiru Njoroge, with cinematography by Enos Olik, the statement said. The cast includes Marima Wanjiru (as Anam), Sam Omondi, Peter Kawa (as Mason Ebale), Vanessa Okeyo (as Amani Ebale), Ruth Apondi (as Aunt Kavata), Pras Jadi (as Kwame Ebale), Gathoni Mutua (as Zuri Ebale) and Brenda Ngeso (as Nyawira).

The release positions the film within a growing pipeline of locally made features seeking theatrical audiences in Kenya, where premium cinema venues in Nairobi have increasingly served as launch pads for domestic films alongside international titles. The planned multi-day screening window also reflects a distribution approach that relies on concentrated opening weekends to build word-of-mouth and media attention.

Anam’s Wake is set against the backdrop of African mourning rituals and traditions. The story follows Anam, described in the press release as a professional mourner trained to summon Death and negotiate the passage of souls. While she guides others through loss, she remains emotionally numb after her mother’s death 16 years earlier. The film’s plot centres on Anam’s first solo ritual at the Ebale family home, where a wake “spirals into a chilling ordeal” as family secrets surface and Anam confronts unresolved grief, according to the release.

Wainaina said the project drew from personal experiences of grief. “Anam’s Wake was born from my own journey through grief. After attending numerous burials in early 2024, I became fascinated by the way sorrow often stays hidden, only to return with overwhelming force later,” he said in the statement. He added: “This film explores that terrifying truth, that unprocessed grief waits in the shadows, ready to consume us.”

Producer Wanjiru Njoroge said she was drawn to the cultural grounding and thematic focus of the script. “Anam’s Wake is the kind of film I entered this industry to make—deeply rooted in African culture yet universal in its themes,” she said. Njoroge added that the story explores “grief, family secrets, identity and a young woman navigating the tension between tradition and her own path,” and pointed to its reliance on subtext: “What drew me to the project was its trust in silence and the emotional weight carried in what remains unsaid.”

For Kenya’s creative economy, new theatrical releases can have knock-on effects for jobs across production, post-production, marketing and exhibition, while also strengthening the case for local content investment and wider distribution partnerships. The press release also notes the film drew on “extensive cultural consultation and local knowledge,” positioning authenticity and cultural representation as a core production consideration.

Wainaina is best known for directing Supa Modo, which premiered at the 2018 Berlin International Film Festival and was selected as Kenya’s submission to the 91st Academy Awards, according to the release. The statement also describes him as co-founder of Kibanda Pictures and credits him with directing multiple Kenyan television productions.

Next milestones will likely include further details on screening times, ticketing and any wider rollout beyond the initial Prestige Cinema dates, as well as additional marketing materials such as trailers and press-kit assets referenced in the release.

ÀLKÉ, a pan-African cultural institution founded by Lulu Shabell, has unveiled what it describes as a long-term institutional framework to protect African cultural intelligence, strengthen intellectual property (IP) ownership and build infrastructure to scale Africa’s creative economy, the organisation said on June 17, 2026.

The announcement, issued from Nairobi and Cape Town, positions the framework around mechanisms for “ownership, licensing, enterprise development, and long-term capital formation,” according to the press release. ÀLKÉ said it is seeking to address Africa’s relatively small share of the global creative economy by developing African-led institutional structures that translate cultural authorship into protected and investable value.

The move comes as global trade in creative products and services expands. UN Trade and Development (UNCTAD) reported that creative services exports reached $1.4 trillion (about KES 181.3 trillion) in 2022, while creative goods exports reached $713 billion (about KES 92.0 trillion). UNCTAD data also showed developing countries increased their share of global creative services exports from 10% in 2010 to 20% in 2022.

For Africa, UNCTAD estimated the continent’s share of the global creative economy at about 1.5% in 2022, up from 1% in 2018, with exports of $2.4 billion (about KES 310.3 billion) in creative goods and $4 billion (about KES 517.2 billion) in creative services in 2022.

ÀLKÉ argued that institutional investment could materially raise Africa’s contribution to the sector. It cited Boston Consulting Group (BCG) projections that, “with the right structural investment,” Africa’s creative economy could generate between $150 billion and $160 billion annually by 2030—about KES 19.4 trillion to KES 20.7 trillion (US$150–$160 billion).

“Africa has always been a source of cultural innovation, but too often the systems that turn that innovation into lasting economic value are built elsewhere,” said Lulu Shabell, Founder of ÀLKÉ. “ÀLKÉ exists to help change that by building institutions that protect authorship, support enterprise, and create durable economic benefit from African cultural intelligence.”

In the statement, ÀLKÉ described itself as “more than a brand or event platform,” and said its work will include preservation of indigenous design knowledge, support for African creative enterprises, and development of “permanent structures” aimed at keeping value generated by African cultural expression within African communities.

The organisation also linked its approach to Kenya’s legal and policy environment. It pointed to constitutional provisions that recognise culture as foundational to the nation, call for promotion of IP rights, and require legislation to ensure communities receive compensation or royalties for the use of their cultures and cultural heritage. Regionally, it cited the African Regional Intellectual Property Organization (ARIPO) Swakopmund Protocol, which provides protection for traditional knowledge and expressions of folklore against misappropriation, misuse and unlawful exploitation.

For Kenya’s creative and cultural businesses—spanning film, music, fashion, craft, design and digital content—the focus on IP and licensing frameworks is likely to resonate as firms and creators seek to monetise content across borders while protecting ownership. In recent years, policymakers and industry groups in East Africa have increasingly emphasised enforcement, rights management and royalty collection as key barriers to scaling creative enterprises and attracting capital.

ÀLKÉ said it will continue developing several pillars of its model, including an educational framework, a venture studio approach, a craft preservation strategy and an endowment structure. The institution said these elements will be advanced “through a series of forthcoming announcements.”

ÀLKÉ, a pan-African cultural institution founded by Lulu Shabell, has outlined what it described as a long-term institutional framework to protect African cultural intelligence, strengthen intellectual property (IP) ownership and build infrastructure to scale the continent’s creative economy.

The announcement, dated 17 June 2026 and issued from Nairobi and Cape Town, comes as global creative trade continues to expand. UN Trade and Development (UNCTAD) data cited in the statement shows creative services exports reached $1.4 trillion (about KES 181.3 trillion) in 2022, while creative goods exports totalled $713 billion (about KES 92.0 trillion). Developing countries increased their share of global creative services exports from 10% in 2010 to 20% in 2022, according to UNCTAD.

ÀLKÉ pointed to Africa’s relatively small position in this market. It cited estimates that Africa’s share of the global creative economy stood at about 1.5% in 2022, up from 1% in 2018, and that the continent exported $2.4 billion (about KES 309.9 billion) in creative goods and $4 billion (about KES 516.5 billion) in creative services in 2022.

ÀLKÉ said its model is intended to narrow that gap by “creating mechanisms that support ownership, licensing, enterprise development, and long-term capital formation.” It also referenced BCG projections cited in an original essay, stating that with structural investment Africa’s creative economy could generate between $150 billion and $160 billion annually by 2030 (about KES 19.4 trillion to KES 20.7 trillion per year).

“Africa has always been a source of cultural innovation, but too often the systems that turn that innovation into lasting economic value are built elsewhere,” said Lulu Shabell, Founder of ÀLKÉ. “ÀLKÉ exists to help change that by building institutions that protect authorship, support enterprise, and create durable economic benefit from African cultural intelligence.”

The institution described itself as an entity focused on preserving indigenous design knowledge, supporting African creative enterprises and establishing structures that allow value generated by African cultural expression to remain with African communities. Its stated areas of work include preserving and commercialising indigenous knowledge systems, supporting creative ventures with “scale-ready infrastructure,” and creating financial structures aimed at compounding value “across generations,” according to the statement.

The announcement also connected the framework to Kenya’s legal and policy environment. ÀLKÉ cited provisions in Kenya’s Constitution that recognise culture as a foundation of the nation, call for promotion of IP rights, and require legislation to ensure communities receive compensation or royalties for the use of their cultures and cultural heritage. It further referenced the African Regional Intellectual Property Organization (ARIPO) Swakopmund Protocol, which addresses protection of traditional knowledge and expressions of folklore against misappropriation, misuse and unlawful exploitation.

For Kenya’s business landscape, the focus on IP ownership and licensing speaks to a longstanding challenge in the creative sector: creators and communities often struggle to convert cultural production into bankable assets and predictable revenue streams. If institutions can standardise documentation, rights management and licensing pathways, stakeholders say it could improve investability for creative ventures, increase export readiness and support formalisation—areas that matter as Kenya positions itself as a regional hub for cultural production, design and digital content.

ÀLKÉ said it will continue developing what it termed its educational framework, venture studio model, craft preservation strategy and endowment structure, with additional announcements planned.

Rolling Stone Africa (RSA) and ON Kenya have launched Voices in Motion, a storytelling platform they say is designed to support emerging African creators and expand how the continent’s sports stories are documented and distributed. The initiative was launched in Nairobi on June 16, 2026, and will culminate in a Creative Summit scheduled for July 29 to August 2.

According to the organisers, the platform targets photographers, filmmakers, writers, videographers and digital creators, with a focus on building skills and providing access to mentorship and industry networks. The programme is positioned around sports storytelling, with the organisers citing a gap between Africa’s elite athletic performance and the depth of narrative coverage around athletes’ experiences.

In their statement, RSA and ON Kenya said African sporting achievements are frequently covered “through external lenses,” which they argue can limit attention to the cultural context, personal sacrifices and community stories behind athletic success. The organisers said Voices in Motion aims to invest in local storytellers as a way to influence how these narratives are captured and shared.

“Across Africa, we have extraordinary athletes whose achievements inspire millions, yet many of their journeys remain unseen,” said Navalayo Osembo of ON Kenya. “Through Voices in Motion, we are creating pathways for young creators to develop the skills, networks and opportunities needed to tell these stories authentically and powerfully. We believe that the future of sports storytelling in Africa should be shaped by Africans themselves.”

Gwen Madiba, Editor in Chief at Rolling Stone Africa, said the initiative is intended to strengthen the capacity of storytellers who work closest to the communities where sports talent is developed. “Every record broken, every sacrifice made and every triumph achieved deserves to be documented by storytellers who understand the communities and cultures from which these stories emerge,” she said. “Voices in Motion is about ensuring that Africa not only produces world-class athletes but also world-class storytellers capable of sharing these journeys with the world.”

The organisers said the Creative Summit will bring together athletes, journalists, storytellers, industry leaders and aspiring creators for training, collaboration and mentorship. They did not disclose the summit venue, programme partners beyond RSA and ON Kenya, or the budget for the initiative in the statement.

For Kenya’s creative economy, the initiative lands as brands and publishers increase spend on digital-first sports content and athlete-led narratives, particularly across video and social media formats. The stated focus on mentorship and practical training aligns with an industry shift toward multi-skilled creators who can shoot, edit and publish across platforms, as sports coverage becomes more creator-driven and audience-led.

If implemented at scale, the programme could also expand professional opportunities for Kenyan freelancers and small production teams that support sports federations, talent agencies and sponsors. However, the long-term impact will depend on selection criteria, the depth of mentorship, and whether participants receive paid commissions or pathways into sustained work after the summit.

RSA and ON Kenya said applications will open for aspiring creatives from across Kenya to participate in the Voices in Motion programme, with successful applicants expected to receive mentorship, industry exposure and access to the Creative Summit. The organisers have not announced application dates or cohort size.

Red Bull has crowned dancer Zack The Great as the 2026 Red Bull Dance Your Style Kenya national champion after the competition’s national finals held on May 24, 2026 at the Tsavo Ballroom, Kenyatta International Convention Centre (KICC) in Nairobi, the company said in a press release dated May 25.

According to the statement, the national finals brought together 16 Kenyan street dancers in head-to-head battles, with Zack The Great winning the title after a final against first runner-up King of Smiles. The winner will represent Kenya at the Red Bull Dance Your Style World Finals in Zurich, Switzerland on October 24, 2026, where Kenya will be among 51 participating countries, Red Bull said.

The event adds to Nairobi’s growing pipeline of large-format youth and creative economy events hosted at major venues such as KICC, as brands continue to invest in live experiences tied to music, sport and cultural participation. For Kenya’s creative industry—spanning dancers, choreographers, event production crews and content creators—such competitions can create income opportunities through performances, workshops, sponsorships and digital distribution.

Zack The Great, quoted in the press release, said the title carried personal and community significance. “Being crowned the Red Bull Dance Your Style 2026 champion is something truly special. I am grateful for the support, the love from the community and the opportunity to represent something bigger than myself,” he said. He added: “Kenya is full of energy, culture and incredibly talented dancers, so being recognized among such amazing talent means a lot to me.”

He also pointed to the challenge of competing abroad. “I think the biggest challenge will be adapting to a completely new environment and atmosphere. It will be my first time competing on such a major international stage,” Zack said, adding that adjusting to the crowd and overall experience in Zurich would take time.

Red Bull said the Kenyan champion will receive an all-expenses-paid trip to Switzerland (value not disclosed). The company did not provide cost details or local economic impact estimates for the Nairobi event.

In addition to the competition battles, Red Bull said the Nairobi finals featured appearances by international dancers, including MT Pop (named as the 2024 Red Bull Dance Your Style World Champion), Luwam (identified as a finalist at the 2024 world finals), Luciano (identified as the 2025 Netherlands champion and global finalist), and Verb (identified as a two-time South Africa champion in 2022 and 2023, and a 2023 global finalist). The press release added that the visiting dancers conducted workshops for members of Kenya’s dance community while in Nairobi.

The 2026 edition was the sixth Kenyan edition of the global competition and launched in March, with qualifying rounds held in Mombasa and Nairobi before the KICC finale, according to Red Bull. The format is audience-judged: spectators vote for winners after each battle using red and blue LED wristbands, the company said. Red Bull also said all urban dance styles are accepted except break dancing, which is not included in the competition’s rules.

Looking ahead, attention will shift to preparations for the Zurich world finals in October, where Zack The Great will compete against national champions from other markets. Red Bull has not announced any further Kenya dates beyond the completed 2026 season, but the company’s statement positions the event as an ongoing annual platform within its local calendar.