Issue IV: It's Giving | Kenga Magazine by Kenga Magazine

The Afro Gen Z Magazine

Kenga: ISSue IV

BARAK JACUZZI Feeling the Nairobeat IT’S GIVING The Creative Rebellion of Youth

The Afro Gen Z Magazine

Kenga: EMMANUEL OSAHOR Faire un Geste IT’S GIVING The Creative Rebellion of Youth

ISSue IV

The Afro Gen Z Magazine

Kenga: ZONNA In Her Bag IT’S GIVING The Creative Rebellion of Youth

ISSue IV

The Afro Gen Z Magazine

Kenga: ISSue IV

SYLVIA GATHONI Head in the Game IT’S GIVING The Creative Rebellion of Youth

The Afro Gen Z Magazine

Kenga: IT’S GIVING The Creative Rebellion of Youth

ISSue IV

on the cover

TEAM ceo x publisher

Arinze Obiezue Design director

Jean Quarcoopome

creative director

Andrew Djan-Sampson

COMMUNITY MANAGER

Kevin Mensah

Art Curator

Whitney Chinonye Ernest Staff photographer

Brian Kinywa

Style EDITOR

Victoria Audu

Literary EDITOR

Anna-Maria Poku Kenga Issue IV is our ode to the edgy, controversial, and progressive corners of youth culture in Africa, through an exploration of the popular Gen Z phrase “It’s Giving.” Gracing our primary headline cover for the issue is Barak Jacuzzi, a Kenyan emcee, rapper, actor, and radio personality who uses his voice, brand, and style to influence Gen Z culture in Nairobi, Kenya. Cover Star Barak Jacuzzi

Styling & Outfits Barak Jacuzzi Nairobi Apparel District

Photography Brian Kinywa

Production Arinze Obiezue

ARTS X MUSIC EDITOR

Kamuya Mwangangi

Contributors William Muyayalo Prosper Ishaya Anthony M. Kwavah Amy Salganik Seun Oderinde Emmanuel Oyeleke Mehdi Sabik Ikechukwu Okonkwo Olamide Rufai Paola Idrontino Andrew Antwi Mous Lamrabat Michelle Ngelechei Johnmark Kimiywe Barak Jacuzzi Asi Renie Elizabeth Boateng Alioune Seye Assata King Lisa Lapauw Mathew Mumo Abbigail Francis Delphine Ezigbo Deon.oi Yaa Dufie Lisa Ikirez Nii Nai Mr Sampong

Stacy Moraa Zechariah Mako Nairobi Apparel District Abou Sarr Nene Mahlangu Guy Kouekam Shabloolim Arinze Ugoji Precious Ashmond Oppong Fidel Boamah Grey Area Studios SJ Williams William Muyayalo Wanjiru Thirima Ashton Laurence Maria Besie Sylvia Gathoni Kwame Koda Elijah 'Elie' Obati Marie Junicker Sanne Schoofs Wanjiru Wambugu Adeola Sanusi Bijou Baidoe Dennison Osei Edem Kwasi Adjah Kuln'Zu

Kenga:

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Publisher s Note One of the things I love the most about the Gen Z phrase “it’s giving” is that it can be a complete sentence on its own, used to convey approval, as well as a phrase that precedes a snappy praise or a snarky shade. It’s such a versatile phrase. I just love it! What makes it an even more fascinating phrase is that it’s almost as ambiguous as it is subjective. There’s no universal consensus on what can be said to be “giving”. Yet, we all have a fair sense of what ‘gives’ and I guess, ‘givesn’t’. As an aesthetics-driven generation, Gen Z uses "it's giving" to adorn things and people that are as beautiful as they are authentic and inspiring. To create Issue IV, we collaborated with over 60 creatives from all around the world to create editorial representations of their varied interpretations of the Gen Z phrase “it’s giving”. And, boy, did we create magic! Each contributor in this issue created work that added colour to the cultural kaleidoscope that emerged from the diverse stories featured in this issue. In Issue IV, we spotlight the stories of young Africans who are pushing

against the grain, pioneering their fields, and quietly changing the world—stories of young Africans who are truly ‘giving’! In conversation with Jean Quarcoopome, our design director, Emmanuel Osahor unpacks the stereotypes of being a lawyer by day and ballerino at night in Nigeria. In his cover interview, Barak Jacuzzi discusses his artistic becoming and discloses the new project he’s releasing next month while giving us all the tea on the stereotypes about Kenyans that are lowkey true. This issue is our ode to the edgy, controversial, and progressive corners of youth culture in Africa. In the spirit of this, we experimented a lot in this issue, from editorial sections to story angles and even layouts to make the reading experience a lot more fun and natural as you flip through. As our team continues to learn and grow with each issue, we’ll continue pushing the boundaries of editorial curation and design to consistently create issues that you love—issues that are truly GIVING!

ARINZE OBIEZUE Publisher

Emmanuel Osahor

Style Spotlight: Sylvia Zonna Gathoni

Metaverse Fashion

He’s a lawyer. He’s a ballet dancer. He’s doing the damn thing at age 24.

The content creator talks fashion and why following trends is boring AF.

Meet the Afro Gen Zs taking fashion into the metaverse.

How the reigning Queen of eSports in Kenya is playing to win.

WIN A FREE PRINT MAG Participate in Kenga's #OopsieChallenge by finding 50 or more unique grammatical, spelling or design errors in Kenga Magazine Issue IV and submitting your compilation + their justifications to www.kengadigital.com/submissions

05 Swazzi: The Fresh Prince

06 2022: The Year in Lyrics

Meet the stylist behind Our roundup of the the looks of Asake and lyrics that stirred and rocked Afro Gen Z other Nigerian stars. culture in 2022.

Barak Jacuzzi

Ghana’s Fancy Street Carnivals

Behind the becoming of one of Kenya's most culturally influential entertainers

The costumes, the music and the energy at the famous +233 street carnivals

CONTACT US Looking to collaborate with, advertise with, or get featured on Kenga? Contact the publisher at: arinze@kenga.io

photography: ASHMOND OPPONG model: RICHMOND BOSSMAN

Faire un geste From the court of law to the dance floor, EMMANUEL OSAHOR consistently delivers his best performance. “I put my heart into what I do, because what comes from the heart gets to the heart”. The 24-year-old performer is every bit as impressive off the stage. His Slum to Stage initiative provides young kids with a platform to learn dance and express new sides of their innate creativity. Here, Emmanuel shares how he balances two diverging careers, the importance of knowing yourself, and why this stage of his life is all about love.

photography: SEUN ODERINDE costume: BALLET ROSA HOMME make up: VISION NGBRENI story & art direction: JEAN QUARCOOPOME

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On any given day, Emmanuel is a full time lawyer, ballet dancer and dance instructor. His multifaceted career is held together by a passion to consistently show up as his best self, and to never be held back by negativity or doubts. In this interview, the stage is set for Emmanuel to open up about his journey, and how he’s learnt to dance in the face of stereotypical biases.

by JEAN QUARCOOPOME JEAN: Emmanuel, what’s your local Nigerian name? So I’m from the Igbo EMMANUEL: tribe, and my native name is Chifumnaya. It means ‘God loves me’. I love that, thanks for sharing! Okay, let’s get into it. Have you always wanted to be a lawyer? It was something I actually wanted to do personally. Initially, I actually wanted to be a newscaster. That was because I would see them on TV always well dressed and speaking all this good English. And then my dad would always make me stay up to watch the news, right? So I always want to be a newscaster. Of course, through education, I just felt that I wanted to be a lawyer. Being a lawyer was someone I actually wanted on my own. My family wanted me to be a medical doctor, but I felt that wasn't working for me. But you know how it is with African parents. So long as I said I want to be a lawyer, that worked just fine with them. So yeah, I actually wanted to do this. That's why I actually keep doing it for now. That's interesting. Talk to me about ballet. How did you first fall in love with it? It's crazy. Okay, so I was sitting down in my room one day, and then this girl calls me up to go with her to this dance studio to borrow costumes for an event. So I'm like “Okay, why not? I'm not doing anything.” So we went. And, Jean, when I stepped into the dance studio, I am being 100% honest with you, it was like those Indian

movies when the world just slows down and the music changes, it feels like your head is in the clouds, right? To be very honest with you, I felt that way. For a moment, I felt like I belonged there. Seeing the dancers in their costumes and then, hearing the music, looking at the wooden floor, the mirror, I could resonate with this place. I think I was 15 or 16 at the time. And I walked up to the dance instructor and signed myself up. I was already in the 200 level in university, studying law at the time. When I got back to school, I just spoke to a couple of friends and told them that I wanted to start ballet classes. Of course, you can imagine the reactions! Like, ‘Are you serious? Ballet? For a man??’ Some of them were like, ‘We’re already in uni, why don’t you just chill and finish school?’ But later I asked a certain group of my other friends and they were like ‘Go for it!’. So I went! And my teachers were six- and seven-year-olds! But that was just because the instructor in the studio at that time was in her final year of uni, so she didn't have time for the training. So I was literally being trained by the much younger students in the academy. Just imagine those little kids telling me ‘Please, Mr. Emmanuel, put your legs this way.” I will never forget that. As you move so gracefully between the law and the arts everyday, what’s the most powerful lesson you’ve learnt so far? I'll say that the most powerful lesson to me is really short and it’s this: show up regardless. Right? I think that when I am being a lawyer I show up 100%,

and when I am dancing I’m in it 100%. It's just like you taking off one cloak and putting on another. And I think that what has been able to help me achieve this is the fact that I was learning how to dance while I was in uni. So, right from those early days, the need to balance two different worlds was already being set up in my life. I'm actually just thinking back now and I'm like, yo, there were times where I had to watch the time and be like ‘Okay, this is the last lecture for the day, and I’ve got dance class soon.’ So I’ll quickly have to grab my bag, get a bus, and head straight to the dance studio. I actually never partied for those five years in school and, honestly, that was because of dance. I was dancing every Saturday for five years. I'm not joking. It was all very demanding, even in those early days. So yeah, I think showing up regardless and giving 100% when you show up is one important lesson that I’ve learnt from both parts of my life.

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Show up regardless… When I am being a lawyer I show up 100%, and when I am dancing I’m in it 100%

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That's very powerful, and very Afro Gen Z as well—showing up in demanding spaces and just doing the most and being the best so people know just who you are. Now I want to shift gears a bit and talk about your ‘Slum to Stage’ initiative. What was the biggest factor that inspired you to start it?

It's not money for me, to be frank. Of And if I’m not dancing, I’m teaching. course, we need the money to pay So I'm sure you'll be asking me how I bills, right? There are some feelings find time to unwind, for relationships that money cannot buy. Sometimes and all that. Other parts of my life do money just cannot buy the happiness suffer, but this is the phase I'm in now, that you feel in your heart. You know? and I'm dealing with it. So again, it's the need to show up 100% in these places. I see my clients As a Black man, how do you deal as people who I have to help, as with the stereotypes surrounding opposed to people who pay me, your passion for dance and ballet, Okay, I currently work as an right? I see my clients as people who especially in a context like Nigeria? international trainer with Mind Leaps, really need my services. You really an organization in the US that brings have to help these people. So I show I've just learnt to block the outside dance to underprivileged kids in up for them. Even the kids at dance noise, and then show people who I Africa. They have centers in Kenya, classes too, and also the audience, am regardless of the labels or the Rwanda, Guinea, and Mauritania. I who watch me dance. I see them as stereotypes and all. Cuz, at the end of have taken trips to Rwanda teaching people who I left with my presence; the day, quite honestly, people fall in these children, and it's been very people who need to experience my love with the person, you humbling. The same organization art. Showing up for them is what has understand? Which is why I put my took me to Guinea to train over 44 been keeping me so far. But then, of heart into what I do. The reason is adults in dance, and then it struck me, course, I also make sure I schedule because what comes from the heart ‘“Why is this company not in Nigeria?” my days accordingly. So I have a 9 to gets to the heart. Sure, if you ever saw I’d traveled to Rwanda and been to 5 job, right? What I do is that I go in me perform you might ask questions Guinea. All the kids there kept saying, the morning—and I don't know how like ‘why is a man dancing this way’, “Mr. Emmanuel, you changed our my boss will react when he reads this, but you will still connect with the art lives forever. So I asked myself, but yeah—, I report in the office at at the same time. “What are you doing for the kids back 9AM and I have my dance clothes in home in your own country?” That was my bag, so that during the office Talk to me about the Heineken City the day I made up my mind that I was lunch break hour, I can run away to Tour and your performance. I going to come back to Nigeria and do the studio. So I’m literally in the back realized that was posted as a something where I could channel my of a taxi, changing into my leotards on highlight on your IG. experience and skill into making the the way to the dance studio. Then, on lives of the kids in my community my way back, I change into my suit for Heineken was hosting the better through dance. the office. Yeah! But sadly, other Champions League Cup Tour around parts of my life suffer. If I’m Africa. So there was an event in Lagos not working, I’m dancing. where Burna Boy and others performed How do you balance it and then the Cup came to Abuja. So I was calall, Emmanuel? How do led up by Kaffy, the Guinness World Record you balance being a lawyer, a holder for the longest dance party (55 hours, 44 ballet dancer, and a dance and moveminutes). She’s one of the dance celebrities ment instructor altogether?

photography: EMMANUEL OYELEKE

“I am at a very interesting phase in my life where I'm beginning to shed old skin.”

photography: EMMANUEL OYELEKE

“I’ve decided that it's okay for people to not like me. In this stage, I’m being vulnerable with myself, having more compassion for myself.”

photography: EMMANUEL OYELEKE

Kenga: in Nigeria. She called me up for the job and told me the Cup is coming to Abuja and she needs me to pull in dancers for a performance. So when we came in, I didn't expect it to be that big—the stage, the lighting. Because the original plan was for it to just be a flash mob. That’s what was pitched by the client. We weren’t expecting anything super big so we literally had to come up with new dance routines on the spot! Basically, that was what stood out for me for that performance. Another exciting thing for me was the trust that Kaffy had in me to execute such a spontaneous performance that we put together on the spot. It was challenging, but it was actually fun. Would you say that was the highlight of your dancing journey so far? I’d say the highlight so far was the AMVCA, the African Magic Movies Choice Awards show. That was when I performed for Yemi Alade. And, again, that dance routine was choreographed less than 24 hours before the show. My performance that night led to my performance on Nigerian Idol. You see, that’s that thing about showing up 100% again. Have you always been this confident in your craft and talent? What were you like growing up, and have you changed over time? I am at a very interesting phase in my life where I'm beginning to shed old skin. I’ve been reading Oprah’s book, ‘What Happened to You’ and I'm beginning to trace back and look at the patterns of my life and ask myself questions like, ‘why are you acting this way?’ I grew up in a traditional African home where my parents were disciplinarians, so I had to always come first in class. My siblings

cover Story didn’t set much of an example, so the mantle kind of fell on me to be responsible for my parents’ happiness. I was the child who went to school and came back with good grades, not even because I cared, but because I knew my dad would wake me up in the middle of the night if I didn't come home with good grades. Like when I graduated from school, I did not graduate with a first class. Because of that, my dad said he wasn't going to come for my convocation. He called a family meeting the next morning with all my siblings and my mum, and said I lost my focus in life when I started dancing. Now, that statement followed me into adulthood, where I second-guess everything I do. You said I’m a confident person, but what you don’t know is that when I travelled to Lagos for the AMVCAs,, I kept asking myself, ‘Emmanuel, is this what you should be doing? Have you lost your focus in life? Should you just pursue your law career and become a judge?’ So, basically, that’s the childhood I had; I was quite the people pleaser, just playing to the gallery—especially with my parents and family just to protect the peace. But right now, I’m at that very interesting stage in my life where I’ve decided that it's okay for people to not like me. In this stage, I’m being vulnerable with myself, having more compassion for myself. And, now, I have more confidence because I know that I am not a child anymore. I'm an adult and I can make decisions and trust myself. That's awesome. I feel like we've unpacked so much! There’s so much to take away and learn from your story, Emmanuel. Drop some gems for Afro Gen Zs out there on finding the inspiration to pursue their passions.

I would say go for it. Like if something has been on your mind for the longest time, I advise you to just do it. Right? Just make the decision to do it and everything will fall into place. As Africans, I want to believe that we are very spiritual people. What that means is we have a host of ancestors behind us who are cheering us on; who are, for some reason, guiding us. So go for it. You are prepared in ways that you don't even realise. Thank you so much for that, Emmanuel. Let’s do a quick lightning round and then we'll be done. Are you ready? Yes. Spotify or Apple Music? Apple Music. Text or calls? Calls. Tattoos or piercings? Tattoos. Favorutie Nigerian slang. Omooooo! Yeah it has to be that because honestly it’s a lot. It’s plenty.

Lmaoo I feel you. Thank you so much for sharing, Emmanuel. Definitely. Thank you, Jean.

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“I felt like I belonged there. Seeing the dancers in their costumes, hearing the music, looking at the wooden floor, the mirror, I could resonate with this place.”

photography: EMMANUEL OYELEKE

photography: MEHDI SABIK styling: MAISONARTC MARRAKECH model: ABOU SARR

photography: ALIOUNE SEYE models: AHMAD CISSÉ (left), PAPE DIOUF (right)

photography: ALIOUNE SEYE models: PAPE DIOUF (left), AHMAD CISSÉ (right)

Zonna

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In Her Bag

photography + set design: EMMANUEL OYELEKE hair: TONY AIGBOGUN styling: ZONNA makeup: @FLAWLESSTOUCHBYMIA

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Stylist, interior designer and creative director are just some of the titles fashion icon Zonna has under her belt. From discovering fashion in a conservative Nigerian university to Instagram content creation, Zonna sits with Kenga on a deep dive into her career and journey as a creative in the Nigerian fashion and design industry.

by VICTORIA AUDU Edgy minimalist, centered on neutrals, androgynous and sultry that’s how Nigerian fashion creator, stylist and creative director Zonna describes her unique style. Zonna, whose full name is Afamefuna Uzonna Sandra, started as a fashion blogger. She first discovered her interest for fashion and content creation in her final year at Covenant University, Nigeria. “I didn’t really have [an] interest in fashion. Towards my final year [in university], I started to dress better and became [the] fashionista that year.” At Covenant University, Zonna had a dress code to abide by. With a ‘dress how you want to be addressed’ philosophy on modesty and a strict emphasis on corporate attire, strapless tops were banned, dresses and skirts had to be a particular length and tight fitting clothes were a no-no. Although she had a strict dress code to fit into, she played around with it and channeled her style mainly to the clothes she wore outside of school. Outside the wall of her university, she was free to put together outfits that truly expressed who she was as a person. And it wasn’t as easy as simply getting up and throwing the first thing she saw. There was a formula of some sort. It was at this time that she developed a thought process for putting together an outfit that has stayed the same for her ever since. First, she considers if there’s

a dress code. This determines the overall look she’ll be going for. Then, she builds a silhouette in her head to determine what kind of style she’ll don. Next, she finds inspiration for the style, particularly from her favorite creators such as Oumayma Elboumeshouli (@oumaymaboumeshouli) and Juliette Foxx (itsjuliettefox). Sometimes she finds inspiration on Pinterest where she finds a picture to match her vision. With the resources at her disposal, Zonna set on a new path of fashion and style. She began to draw inspiration from fashion bloggers and creators and even from the iconic reality show, America’s Next Top Model (ANTM). ANTM is a seasonal reality and game show where contestants battle to become the next top model. Each episode has challenges for the models to face where posing, walking and styling are crucial to win. Watching the show as well as reading posts from bloggers became bible to Zonna as a young fashion novice. As a content creator, ANTM was simply the best guide on how to pose and take the best pictures for her feed. “I got inspiration on how to pose and take pictures mainly.” Even with the posing and pictures down, every content creator still needs a level of confidence to put themselves out there. It was from fashion bloggers like Romeo’s Fashion that she developed her confidence. Although, just like all creatives - and particularly because

of the noise of the over-saturated fashion industry - Zonna had to deal with comparisons. The content creation space in Nigeria focuses heavily on regular posting and sky rocketing engagements. This unfortunately creates a culture of mediocrity. Creators and even some brands just want to get content out as soon and as much as possible to keep the audience engaged because they know frequent posts bring the numbers. Then they begin to dwindle on the quality of their posts, negating the fact that some viewers may see a post, engage with it, but it doesn’t even move them to purchase a product or service. But Zonna never sacrifices quality for quantity: “I care because that's what I want to be seen.” Your feed or layout is pivotal to brand success. It’s a digital mood board and showroom all in one. The reason is simple, it’s easier to get attention to your page with an organised layout. Then once you’ve secured the attention, the content is what makes them stay. Starting as a blogger, Zonna made the shift to Instagram amidst the changing digital culture. Luckily, making content has always come naturally to her and so she never had to force inspiration. She just conceives the idea and takes her time to plan and execute it. “I cannot post in real time. I take the picture, edit it and plan my feed.” Because of the effort put into her

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posts, she’s not as consistent as some of her peers. But she understands the value she brings to the space and for brands and doesn’t get intimidated by the frequency of others' posts.

not as drawn to the excesses of runway couture sown and trimmed to be seen but never adorned. While the unique pieces are unwearable, everyday pieces are repetitive and lack inspiration.

Past content creation, Zonna also has a number of fashion and style inspirations. Over time, these inspirations have changed and evolved. Presently, she looks up to Nigerian designer Kenneth Ize for his originality and authenticity. He’s known for making all his creations from scratch as well as sourcing directly from local traders. First debuting on the Paris runway in 2020, Ize has since become a household name in fashion but still remembers home with a factory in Ilorin where most of his fabric is weaved. It is not only his impeccable collections that inspires Zonna, but also his authentic care and involvement in the Nigerian textile space.

“There are a lot of designers who… don’t create wearable clothes. The smaller brands who make everyday ready to wear outfits go to the same place to shop materials.”

Another inspiration is Andrea Iyamah who Zonna has previously worked with. While working there, she saw the ins and outs of production. “I worked there for a while and saw the back and forth - especially with the swimwear.” Andrea Iyamah is owned and self-titled by the Nigerian designer. The brand was established in 2011 and has since seen features in Vogue, Forbes and Instyle, among others. It’s also particularly known for its unique swimwear which Zonna is fond of. Zonna believes strongly in originality and authenticity. In a highly saturated industry like fashion, she appreciates this even more. Because of the Nigerian condition and its adverse effects on creativity, she laments the shortcomings of the creative industry in terms of quality, wearability and even creativity itself. She loves fashion for wearability sake, and is

Outside of content creation, Zonna also works as a creative director. She has a separate Instagram page (@zo.studio) where she posts her curations and works for other creators and brands. Her first role was earned by the combination of luck and work. Someone had stumbled on her Instagram page and loved the arrangement and composition of her feed so they contacted her needing a creative director and she obliged. They loved the work she did on that project and has since worked with them up until this year. As a creative through and through, Zonna also began her own line of handmade interior design furniture.

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Although she manages three different pages with different purposes, content creation has never been difficult for her

Inspired by her love for wooden deco, she began this new journey in August, 2022 by watching YouTube videos. “I think the scope of work matters so YouTube was helpful. I’ve watched at least 30 YouTube videos.” She learned solely through the videos and practice. And while some believe that YouTube is not an effective learning tool, her masterful work begs to differ. She began small with a community of creatives and those in the fashion industry to promote her products and plans to expand over time. This community has been her support through this time with purchases, referrals and simple online support in engagements. Although she manages three different pages with different purposes, content creation has never been difficult for her. Any difficulty she faces when creating content mostly arises from non-fashion centred brands who give very detailed briefs for what they expect her to produce. This harpers the extent to which she can move creatively and keeps her in a box she must abide with. It’s often challenging, but not impossible. The most tasking job has been marketing for her business, Zo Culture. This includes marketing the page as well as the collection to potential clients and buyers. Despite her love for fashion, Zonna does not actively consider having her own fashion line. So far, all that occurs is a passive thought for a merch line for her interior design brand, but according to her, that’s still a while off thought for sometime in the future. Zonna has never been one to divert from who she is. She makes sure to show up exactly as she is without posing for external validation.

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“When I notice that everyone’s doing it, I hate it. It’s always important for me to have my own style.”

photography: IKECHUKWU OKONKWO styling and set design: ZONNA

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That is why although she is an active participant in the fashion industry, she admits to her lack of interest in fashion shows - which explains why she attended just day 1 of the Lagos fashion Week but still managed to show up and out as her authentic self layered in a white wrap crop top and satin skirt paired with a men’s sized black oversized blazer. The blazer, a thrifted lucky find, which she admits is her favourite item in her wardrobe unfortunately has seen one of its last days in the sun as Zonna admits she wears it too much and has given it a much needed break. Her disinterest for fashion shows would also explain why she does not care too much for the eccentric displays and prefers more wearable items. Rather than not caring, Zonna has a strong distaste for over popular trends. “When I notice that everyone’s doing it, I hate it. It’s always important for me to have my own style.” She’s especially passionate about originality in the industry striving to be different and having something to offer that others don’t. “If you look like everybody else, you won’t stand out. It’s a really saturated industry.” This philosophy stays true to her even when offering advice to young creatives. A tale as old as time, Zonna recounts it once more for fashion creators just starting in the Nigerian industry. She says; “Stay true to yourself and your craft. Coming into an industry like fashion, try and find what makes you unique. Don’t let the noise get to you. Focus on the value you have first and the followers and numbers will come.”

photography: BAMISEBI ADEBAYO styling and set design: ZONNA

THE KIDS 'RE ALRIGHT JOIE DE VIVRE

photography: ANDREW ANTWI styling: ASSATA KING models: Tori Paige, Jada Gomez, Aanu Ariyo, Assata King, Perrin Tomlin, Juliet Webb, Camryn Honesty, Lamar Dargan

photography: Grey Area Studios styling: Samuel Mensah & Mr Sampong model: Mikayla Chogtaa Wontuo

photography: GREY AREA STUDIOS styling: SAMUEL MENSAH & MR. SAMPONG model: MIKAYLA CHOGTAA WONTUO

photography: FIDEL BOAMAH Model: BASI

photography: GREY AREA STUDIOS styling: SAMUEL MENSAH, MR. SAMPONG models: MIKYALA CHOGTAA WONTUO, DENZEL ARYEEQUAYE

photography: GREY AREA STUDIOS styling: SAMUEL MENSAH, MR. SAMPONG

Kenga:

artwork: NENE MAHLANGU

ART

Kenga:

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artwork: NENE MAHLANGU

photography: ANDREW ANTWI model: ASSATA KING

photography: ANDREW ANTWI models: ANASTASIA GELIN (left), TEMI SEGUN (right)

photography: ASHMOND OPPONG model: CANDICE @icandeedoll

photography: ASHMOND OPPONG model: Ellen Osabutey @ellen.oa

SYLVIA GATHONI, known in the gaming world under the moniker ‘QueenArrow’, is a 24-year-old Kenyan eSports athlete who is the first Kenyan gamer to be named a Forbes 30 Under 30 honoree. As a globally competitive player of the 3D game Tekken, Sylvia’s achievements decorated her with another laurel as she became the first Kenyan Red Bull athlete. In addition to being an elite gamer, Sylvia is also a law graduate at the Kenya School of Law currently studying for her bar exam. story: ARINZE OBIEZUE photography: BRIAN KINYWA styling: NAIROBI APPAREL DISTRICT

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Throughout our conversation, Sylvia maintained her famous quiet confidence, responding to each question with a deliberate reluctance that showed me the degree of thought Sylvia injects into her every word. In this exclusive interview with Kenga, Sylvia shares the lessons and challenges from her journey becoming the monarch of eSports in Africa.

by ARINZE OBIEZUE ARINZE: What’s the one game you make all your friends play?

SYLVIA: Hahaha. Honestly, this is kind of a tough one to answer, but I’d have to say Ghost of Tsushima. I’m a huge fan of adventure and RPG games outside of fighting games. I especially enjoy those that are set in historical settings. In this case, Ghost of Tsushima is a game by Sucker Punch Studios set during the First Mongol Invasion of Japan and you’re playing as the samurai Jin Sakai in his quest to free Japan from the Mongols and at some point, he learns that the traditions of the samurai will not be fully effective in this bid, so he has to learn a new way to save his homeland. The story coupled with the gameplay and graphics made it all the more rewarding. People say it is basically Assassin's Creed based in Japan, but I think it's actually even better. I think the mechanics are also a really interesting part of the game. You can play multiplayer with your friends. That's one of the things I like doing to unwind after a long day of school or when I just don't feel like playing Tekken. What’s the hardest thing to learn when you made the switch from 2D Mortal Kombat to 3D Tekken? Tekken is very heavily based on movement. Since you just don't move towards your opponent or backwards, you actually have the option of moving into the foreground or the background. I think learning how to utilise those kinds of movements was something that I found very difficult to adapt to. It's something I still sometimes have to remind myself how to do because the movement is actually part of the

larger ame plan. Some characters have weak sides, like some characters who are weak to sidestep left or sidestep right. For example, let's say, Claudio Serafino; he's weak to sidestep left. If I step some of his moves to his weak side, they're going to miss and I'll be able to punish him for that. That's a huge part of the game plan and will basically make you better at the game. That was something that was really tough to adapt to. What’s the achievement you’re most proud of in your career so far? How long do you have? Hahahaha. I have several achievements that I'm super proud of. As you should! But what would be your top three? The first, I'd say, was making the Forbes 30 Under 30 list last year. The second is the amount of travelling that I got to do. I never really expected that I'd be travelling to all these countries as a speaker and as a competitor. I got to represent Kenya at the inaugural CANOC Esports Series in Guadeloupe and placed highly at the event and, hell, brought back home a gold medal for Kenya from that event. Other achievements so far I’m proud of are being a speaker at top eSports events like the Commonwealth eSports Forum in the UK, the Next World Forum in Saudi Arabia and Africa Games Week in South Africa. Attending these events gave me a lot of perspective and added to my knowledge and showed me that there was more to me than I thought there was to begin with. I never really imagined that I would have the strength and power to

talk about the things that would matter with such passion and conviction. The third is, in October of last year, I became the first Kenyan Red Bull athlete. Do you know you’re so inspiring? I’m curious though, why gaming? And how did you know you could play competitively? I always loved playing video games as a kid and I think it's just always been one of those places where I could just lose myself as someone who loves thinking a lot about things. Video games are a way for me to explore the world and add to my knowledge as I couldn’t get everything from books. When I learned that I could play professionally, that was in 2017. After making fourth place in my first Mortal Kombat tournament, I realised that maybe there was some potential to this and I wasn't really doing it for the competition per se, but I just enjoyed the rush that came with competing and I just had fun, if that makes any sense. One of the hardest parts of gaming is memorising moves, rules and sometimes cheat codes. How do you do it? I don't know if I'd call it memorising, but I think you just need to break it down in a way that will make sense to you. There's a reason why fighting games tend to be a niche genre is because some of these games, especially the legacy ones like Street Fighter and Tekken, have a lot of depth to them and there are a lot of rules to the game. I think what made it easier was, first of all, having a coach who was someone who could guide

Kenga: me, had more experience in the game and would tell me, “I think you need to work on this and this. Don't approach the game like this, rather do it in such a way,” which made it easier. Number two, with this being the age of the internet, people post recordings of their gameplay and post tutorials on YouTube. Having these people who share that knowledge to the public proved essential for me. I guess also taking your time with the game as everyone learns differently was integral in my growth as a player. Don't be so hard on yourself when a concept isn't really easy to grasp the first time. Trust me, everyone wants to be like their favourite professional in a particular game, but you need to take it at your own pace, otherwise you're just going to frustrate yourself, and nothing good comes out of that. What does your practice schedule look like to be able to play at such an elite level? Right now, I've put Tekken in the back for a bit with my bar exams coming up and all, but when school is not much of a priority for me, I like to take two or three hours out of my day to at least practice movement and also look through my gameplay footage and lab scenarios out from the mistakes I made during my matches. If I have some time, I’ll also go to my coaches or play with them online, whichever works. When I play with them, they tell me: “You need to work on this, you need to work on that.” That really helps me a lot. If I'm not really able to put my hands on my controller and actually practise physically, I’ll just watch YouTube or Twitch matches of people who play the same character that I do, but at a much higher level. This helps me pick up stuff that helps me understand my character better and improves my overall game

cover Story knowledge. How did your parents support your decision to take gaming professional? Well, my parents are African parents, so I guess you can kind of relate to this. Video games weren’t really a thing when they were growing up, so they weren't able to really wrap their heads around it. They’d ask questions like, “Why would you go playing video games? Why not just focus on your studies? Aren’t you gambling?” Actually, at first, they didn't support it at all, but now I'm an adult and I don't even live in the same county as them, so there's nothing much they can really do about it. I think, at some point, it's also up to you to help them put the dots together by showing meaningful progress. As I started getting some more publicity from major media houses like BBC, CNN, The Asahi Shimbun, they started to understand. I guess the one thing that really helped them understand was me making the Forbes 30 Under 30 list. When that happened, they were like ‘Okay, fine, this is real, this is legitimate.’ Earning money through gaming and eSports and getting invited to speaking engagements definitely did the trick to win them over.

What setbacks did you face when you were just getting started and how did you overcome them? The setbacks I have faced are many. First of all, from a logistical point of view, gaming is not a cheap activity to engage in. The price of consoles and the price of internet bundles/fibre makes it really difficult for people to get into this space. Secondly, the laws don't really help because the popular perception is that gaming is gambling from a legal perspective. So again, that doesn't really help matters. From a systematic point of view, being Black, being a woman, being African, means I embody three marginalised identities. Thirdly, being from the African region doesn't really help matters because Africa isn't really the focal point for the global gaming and eSports community. We're not really the first on people's minds when it comes to investing in the region or hosting global gaming competitions. I know we have what it takes to compete at the highest level but we just need to be given a fair shot. If there are few to no eSports opportunities within your own country, you're forced to travel a lot to other places to at least get or look for the opportunities that you need. And that’s not cheap. How did it feel when you found out you were the first Kenyan gamer to be featured on the Forbes 30 Under 30 list for Africa? I was hella shocked. Think: Pikachu reaction level of shock. So I'd been invited to the Forbes 30 Under 30 Summit in Botswana. But here's the thing; you go into a room and you deal with some weird imposter syndrome when you hear people who are there with businesses, startups, and are just visibly comfortable in their own skins.

“The setbacks I have faced are many. First of all, from a logistical point of view, gaming is not a cheap activity to engage in.”

photography: BRIAN KINYWA outfit: NAIROBI APPAREL DISTRICT styling: SYLVIA GATHONI

“From a systematic point of view, being Black, being a woman, being African, means I embody three marginalised identities.”

Kenga: But me, I’m very introverted. Someone came up to me and said, ‘Hey, what do you do?’ My response was, ‘I’m an eSports athlete. I play video games,’ and I thought I was kinda lame compared to everyone else. I was like, ‘What am I even doing here?’ I didn't even think that I would actually make the list because I'd not only been invited to attend the Summit, but also to have some photography taken of me as a semifinalist for the list. They said it wasn't a guarantee that I had actually made the list. A month or two later, they emailed me saying that they wanted to do a video call, so we jumped on the call and they asked me some questions. I answered like, “My name is so and so. I do this, I do that.” They then put me on mute and then a message came up saying, ‘Congratulations. You are officially part of the Forbes 30 Under 30 Class of 2022.’ I was trying so hard not to scream so loud as I was in school at the time when I got the news. I couldn't tell anyone yet until they gave us the go-ahead. But that was really exciting!

cover Story to look like. To solve these problems and create these systems, we need to go for a pan-African approach, because I've been to several countries here in the African region, and you actually see that our systems and our problems are more or less similar. Maybe instead of trying to approach each issue alone, why not reach out to one another and help each other? There are more than enough resources for us if we can just get our shit together as a continent. My final desire for the gaming and eSports ecosystem here in Africa which ties into the

What vision do you have for eSports in Africa? The vision I have for eSports in Kenya and the African region as a whole, first of all, is that we have a sustainable ecosystem that equips us with the resources we need as gamers here in Africa so that we don't always have to fly out to get the opportunities that we need. Number two is—and this is kind of tied to that whole building a sustainable ecosystem system is—having laws and regulations that actually make it possible to grow and stop making gaming and eSports an expensive field to get into. My third vision is for there to be a strategic plan on the continent for what we want the future of our eSports industry as a whole

pan-African approach I was speaking about—is having a visa-free continent that makes travel less expensive and less bureaucratic. This is not just an African problem, but a global problem that needs to be addressed once and for all, especially if we are talking about growing the eSports industry in Africa and the world. I feel we need to do away with visas as a whole because some countries have punitive visa systems and having that kind of restriction feels like you are being punished for being born in a particular country. No one chooses to be born where they are born. That is

up to fate and what is fate but the hand of God? In this day and age, we keep talking about the world becoming a ‘global village’, so our own laws and policies need to reflect that reality. I keep hearing these buzzwords that Africa is a strategic partner and equal but the reality on the ground is super different. The rest of the world needs to wake up to the reality that they cannot keep ignoring us forever on this matter and there will come a time that if they do not give us a seat at the table, we will have to create our own and it’ll even be bigger and better and they will walk their own paths alone. Malcolm X is said to have said ‘The penalty one pays for avoiding the path of righteousness is walking whatever path they choose alone.’ What does that righteousness look like for me? This is by asking our respective countries and governments to remain true to the very foundations that they claim to stand upon i.e.: the foundations of truth, liberty, justice, equality, inclusivity and diversity for all. Until visa-free access becomes a reality for everyone, global eSports events need to be held in countries that have fair, or even visa-free, access if countries with punitive visa regimes are not willing to relax their visa policies for the participants coming into the country. That’s so powerful. I can’t wait for this vision you’ve described to materialise. Just before we wrap up, without knowing anything about my gaming skills, do you think you could beat me at Mortal Kombat? Mortal Kombat? I don't play it as much. There's a high probability you might actually have a chance against me. Yeah, but when it comes to Tekken, you’re finished.

Kenga: Physical books or digital books? I’m torn. With physical books, there's that nice feeling of having a book in your hands and actually being able to bookmark and grasp it. The smell of the book at home leaves me in my special place mentally, but in the spirit of environmental consciousness, I'm starting to have more respect for digital books.

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”If they do not give us a seat at the table, we will have to create our own and it’ll even be bigger and better”

TikTok or Instagram? Instagram. The only things that annoy me about Instagram are the bots and the ads. Friday night indoors or Friday nights at the club? I hate clubbing. Wow. Yeah, that's a whole other story. I prefer my Friday nights inside with a cup of passion and lime tea. That's very specific. Yeah, very specific. Tea in my hand, watching Netflix, or if not Netflix, watch playing some video games like Assassin's Creed, Ghost of Tsushima or Dragon Age. When you think of a relaxing Saturday, would you think of chilling at the beach or going on a hike? The beach! Last year's trip to Guadeloupe proved to me that the beach is where it's at. Travelling by road or by air? Air. Yes, outside of my own paranoia of plane crashes, yeah. Bounty or Snickers? Snickers. I'm a Snickerhead.

photography: BRIAN KINYWA outfit: NAIROBI APPAREL DISTRICT styling: SYLVIA GATHONI

Kenga:

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he Metaverse: an iconic buzzword that has defined and dominated the 2020s. While tech bros and gals are taking our lives online into

the digital realm, fashion designers haven’t been left out. 3D design silhouettes first garnered viral attention in 2020 when Congolese designer Anifa Mvuemba put on a virtual fashion show featuring curvy silhouettes. This virtual show gathered attention on Twitter acclaiming hundreds of thousands of retweets and likes. It opened a new world of possibility for average internet

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words: VICTORIA AUDU photography: DEON.OI model: BIJOU BAIDOE

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users who finally understood the extent of advancements technological fashion convergence. in Since this viral post, virtual fashion shows have been a recurring trend and designers, local and luxury alike, have moved into the Metaverse craze.The Metaverse itself is a digital platform that replicates real life in terms of possibilities in recreation, work, trade and even fashion. One added advantage is the perceived expansion of space and time, connecting people around the world. Now, the world is quickly shifting to making

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metaverse a normality for lifestyle and Africa is catching up. Nigerian visual artist and designer, Idiat Shiole is one of those bringing Africa up to speed. The 24-year-old started as a ‘tech babe’ and transitioned from fashion illustration to 3D fashion after meeting up with Kerry Murphy, the founder of The Fabricant,the first virtual fashion house in the world on a mission to remove gatekeepers and create a new fashion economy with equal opportunity and financial rewards. As a Black hijabi woman, Shiole has experienced first-hand the benefits of the digital world. She believes the

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metaverse has granted her more opportunity to design and grow than the physical fashion industry has. “Moving into digital fashion was an all new ballgame for me because obviously nobody cares about who you are or what you have. All they care about is the creativity that you can bring to the table. “I've had several calls and at the end of the day people see me and they're like, oh. But my work has already spoken for me before. It's different from what I used to know in the physical world.” This avenue for diversity and

inclusivity in the workplace has greatly propelled metaverse fashion ahead of traditional fashion. It has an added advantage for those whose reality is filled with discrimination and prejudices. This inclusivity has also shifted into affordable prices for metaverse pieces as well as ‘buy one get one free’ deals with luxury fashion brands where an online purchase validates a coinciding physical claim as well. But availability doesn’t make metaverse fashion cheap. The Fabricant, for instance, sold a $9,500 tradable and traceable digital piece called Iridescence on the blockchain. While some might say that metaverse

Kenga: pieces have no real value because they aren’t physically wearable, this value presents itself in its originality and transparency according to Idiat. “The three most important thing[s] that I see in the metaverse are originality, transparency, and sustainability. So these are things I think brands that are moving into [the] metaverse are thinking about and are looking forward [to].” This originality translates to epic creativity that doesn't make players choose between fashion and sustainability. In their 2022 report, Roblox, the gaming company, partnered with the Parsons School of Design to survey 1000 US Gen Zers. They found that the majority of Gen Z players said that they change their avatar’s clothes at least every week and 2 out of 5 also confirmed that digital fashion expression is more important to them than that in the physical world. This greatly ties in to the accessibility and transparency of the metaverse with a system that does not allow prices of items to shuffle higher or lower depending on who has worn it. Another difference and strong oneup that metaverse fashion has over physical fashion is sustainability. Physical clothing production releases CO2 and wastes water so digital fashion has opened avenues for fashion lovers to collect pieces without the waste that comes with overconsumption. Not to mention, metaverse pieces can be worn physically, all you need is the AR/VR set to see them styled. Celebrities are even wearing digital pieces on the red carpet. IoDF even has celebs such as Kristen McMenamy and Kehlani wearing their AR garments. The Metaverse is definitely the future

Article in the present. And as the fashion industry continues to grow in it, Africa is setting its feet firmly into the bandwagon. Shiole says Africa, although not there yet, is on the come up in the metaverse space. “We’re just coming, we’re not there yet.” Among companies keeping Africa up to speed on the fashion trends is Thrill Digital. Thrill Digital is a leading innovation in 3D technology. It is a web3 studio building the future of virtual experiences in the metaverse including creating and organising virtual fashion shows. Thrill Digital was created by Nigerian web3 product specialist, Alexander (Delz) Erinle in 2020 as the metaverse began receiving massive buzz. On the innovative team is Adekunbi Ajai, a virtual environment lead architect. Ajai started out in graphic design, interior design and digital painting searching for a career that mixed architecture and art when Delz reached out to her. Her work features a balance and blend of maximalist expressions of art in experiences, parametricism and in general, modern architecture. She boasts as being both an artist and a designer and believes that this work will be displayed in museums for future generations. “I have designed and modelled 3D retail spaces to be explored through virtual reality for consumers to purchase clothing items. I have contributed to bringing life to the first product Astraverse.” If you’re new to the metaverse and wondering what platform to try to maximise your fashion expression, Astraverse is a smart choice. Astra is a virtual world on the blockchain for fashion games where players can compete to win authentic luxury

fashion in real life, earn in-game tokens while playing and spend these tokens on NFT clothes for their custom avatars. Ajai emphasises that world building is a team effort including the contributions of animators, researchers, artists and much more. “Regarding my work, I cannot minimise the contribution of my colleagues. Teamwork and collaboration are the foundation of success. They support me in so many ways and are my rock.” Building the African metaverse with space for fashion and expression has all hands on deck, including the efforts of freelancing university student Emmanuel. Emmanuel, 20 is a self taught visual artist focused on manifesting fashion in the metaverse. Switching from digital art to 3D fashion in 2021, he focused on making clothes centred on y2k fashion aesthetics, streetwear, Nigerian alte and punk. He’s no stranger to gaming since he was younger playing the likes of Sims, IMVU, Moviestar planet and Club Penguin. These games required players to style their avatars with expressive fashion available on the game. ‘I'm a creative, I love creating and I’ve always loved digital art.’ With a genuine love for fashion and exposure from his stylish mother, it was no surprise that the gaming was subservient to the wide options for fashion expression. Yet, even with this intense love, Emmanuel doesn’t see the virtual fashion industry surpassing physical fashion in pop culture relevance. “Without physical fashion, virtual

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fashion wouldn’t even exist. I don’t really think it's ahead of virtual fashion because fashion evolves and virtual fashion takes inspo from the physical.” The conclusion for Africa’s position in web3 technology and the metaverse fashion industry is simply that it's up and coming with rapid growth. Commercially, Ajai says we’ll need to embrace the new technology and equipment, i.e. headsets to open up major possibilities. “The artistic scene will benefit from web3 technology because those with little access to materials can electronically create and exhibit art.” Whether it’s focused solely on digital living or stretched into physical appreciation, the metaverse fashion industry is here to stay. Although with major steps like Meta’s #flexnaija for creators in Lagos, Nigeria, considering the number of those shut out by financial or socio-economic divides, we’ll have to wait for the next couple of years to decide if Africa will be at the forefront of the revolution along with the Eurocentric world. But one thing is for sure; Gen Zs will be there plunging it forward in its sweet time.

photo: DressX

LOOK KULOSA UP CLOSE . ALL UP IN YOUR FACE.

photography: OLAMIDE RUFAI model: Abigail Francis

photography: OLAMIDE RUFAI model: ABBIGAIL FRANCIS designer: DELPHINE EZIGBO set assistant: ADEOLA SANUSI

photography + costume design: PAOLA IDRONTINO model: WILLIAM MUYAYALO

photography: MOUS LAMRABAT production: MARIE JUNCKER makeup: SANNE SCHOOFS styling: LISA LAPAUW model: ABOU SARR

photography: ANDREW DJAN-SAMPSON model: LENA MORTON

photography & model: LLOYD JONES #ShotOniPhone

photography: ASHMOND OPPONG model: @stylewithfoya

Kenga:

Credit: Guy Kouekam

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Kenga:

Credit: Guy Kouekam

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photography: ASHMOND OPPONG model: @1boypottey

photography: Wanjiru Thirima styling + model: Stacy Moraa

photography: WANJIRU THIRIMA styling + model: STACY MORAA

here is a call to the mystical, to exist as more than a physical body, as multiple limbs, heads or bodies, expanding the realm of felt experience. This is AFROSURREAL.

photography + creative direction: KULN'ZU makeup: SABRIN OSMAN model: JERRY OUMA

he concept of the paisley-faced guardians came up as a negotiation of visibility, where love and loving cross between a public political affair and a private one: in an age where loving is consumed, queerness vilified or glamourized.

photography + creative direction: KULN'ZU makeup: SABRIN OSMAN model: JOHN OLIMA

The Fresh Prince of Fashion SWAZZI is the 24-year-old self-made style concierge behind the looks of a long and impressive roster of clients, including Asake, Flavour and Tiwa Savage. But his experience styling the biggest names in Nigerian music isn’t all there is to him. From his impressive breadth of knowledge on fashion’s seasons, to his ideologies on the relationship between fashion and music, Swazzi goes deep; breaking down why style - real style - is more than just ‘drip’.

story: JEAN QUARCOOPOME photography: ARINZE UGOJI PRECIOUS outfit: LOOK DIFFERENT MARQUE styling: SWAZZI

Kenga: JEAN: How would you describe yourself and the work that you do?

SWAZZI: I would say I'm a very simple and easygoing person. I love fashion. I've always been a fan of looking good because looking good is good business, and looking good also attracts everything. And I would describe the work I do as something iconic. I always use the word iconic because I always believe that every project, everything I do should be just so. What has been your history with fashion? Where did it all begin? My history with fashion goes way back. The name Swazzi first came up when I was still in secondary school. Because, back then, I was one of those guys who always made sure everything I wore was neatly ironed. I even had five different socks for every day of the week. So people started calling me “swag boy”, “swag guy”, and that’s how I eventually branded myself and my personality. But I actually didn’t start off as a fashion stylist or fashion designer. I started off as a music artist, and even got to work with artists like Davido. But, while I was in music, I realised that most of my followers on social media were following me not just because of the music, but because of my style. So style and fashion naturally became a very big part of my brand, but it took me time to actually want to do this styling thing and get into fashion. Though, I'd always had plans of going into fashion as a designer with my own clothing line. And then COVID

interview came in as a blessing in disguise because, during lockdown, I became influencer for boohooMAN - and that really made me realise how much I want to get into fashion, because I really loved the work I was doing during that time. Shortly after that, I created an Instagram page for my brand - Lifestyle Lagos. Even before I officially launched the brand, I got a call from Ric Hassani asking me to style him for his ‘Thunder Fire You’ music video. So that was it for me. From there, that was how every other thing evolved. As you’ve become a professional stylist, how do you identify the personal style of your clients? Most times, when a client reaches out to me, the first thing that comes to my mind is that they don’t want the same looks that they’re used to. When they reach out to me, it’s because they want a mix of their personal style and mine as well. So I start off looking into the client’s personal style, finding out what they like and what their everyday style is. Then I try to find a way to infuse my own personal style with theirs, and come out with something that meets in the middle. But I always try as much as possible to not take the client’s style away from them, you know? For example, if the client is known for a certain style, like wearing palazzo pants and a shirt, it's left for me to figure out how I can incorporate those items, but make it more iconic. To me, it's always about trying to see how I can improve a person's style. I also try as much as possible not to mix up my clients’ styles as well. I won’t recreate

the same style for different clients. Your work involves a lot of inspiration, right? Who's a stylist that most inspires you and your work? Most times, I am inspired by things around me. Sometimes it’s my mood and how I’m feeling, and, other times, I’m inspired by my clients too. Because, at the end of the day, the client is the priority, so I need to make them feel comfortable in whatever I'm putting them in. On social media, I follow the work of other stylists like @luxurylaw. I love how he always tries to mix the whole vintage style and bring it into the future. I look up to Hollywood stylists like Kollin Carter who styles Cardi B. I also watch a lot of fashion shows for inspiration. That’s how I learnt that, each year, there’s always two seasons in fashion. So I figured that means fashion changes twice a year, which means if I’m going to make an impact, I need to be ahead of each change. So I watch all the presentations of each collection on YouTube, just trying to see what direction fashion is going in, and then deciding how I’m going to get ahead of things. Fascinating! When it comes to styling your clients, for example, Asake’s look in the ‘Loaded’ music video, where you had him in a full fit from the latest Adidas x Gucci collab, how do you source for such rare items? When it comes to someone like Asake, I always work with TG Omori. But first things first, Asake is already

Kenga: a very fashionable person. I don’t know if people know about his style, but he knows what he wants when it comes to fashion. When you are working with people like TG Omori and Asake, you need to bring in greatness and your A-game. You need to bring something different to the table. It's just different when you’re styling someone that knows and loves fashion, and is ready to spend on it without minding how much it costs, because they just want to look good. With such clients and projects, we don’t limit ourselves. We always try to go over, but always in a way that maintains the truth that he is a stylish guy. So most times, we go for collections that are very fit with his style. Sixty percent of the time, we custom-make the clothes here in Nigeria. But we also source from other African brands and beyond. So we find what pieces fit with the project, then we order it. But, sometimes, we plan ahead because, with music artists, one minute they’re out of the country on vacation, the next minute they want to shoot a music video. And then you don’t have enough time to plan looks for the artist and the entire cast. So planning and ordering ahead is very important. Which artists do you work with and what has been your favourite project to work on so far? I work with a lot of artists at the moment: Tiwa Savage, Simi, Flavour, Mercy Eke, Joeboy, Chike and, of course, Asake. My favourite project to work on was the Buga music video for Kizz Daniel and Tekno. It was really

interview challenging for me and I love when I'm challenged. I think we styled about 200 looks for that video because there was this carnival scene in the video. So we had to custom-make the looks to fit that scene. Some of the items for the looks, we had to hire and ship them from different states. We also didn’t shoot in one state. We shot in Lagos for about 348 hours, then in Abuja and in Nasarawa State. It was fun, but also very challenging. It taught me a lot about myself and how much I can do on set - in terms of contributing to ideas and everything. So that’s my favourite project. I also enjoyed working on Asake’s ‘Organize’ music video because it was challenging as well. When it comes to music videos, we don’t have a lot of time to prep. It’s always like three days. And I personally enjoy custom-made looks - because, if anything happens to the piece, I know I can fix it. So it means we have three days to make all the pieces. And for the ‘Organize’ video, we had to style about 100 students in school uniform outfits. Sometimes it’s mentally draining, I won’t lie; even for the rest of my team. But I always have fun doing these things because, at the end of everything, I’m always proud that we actually did it, and then we toast the glasses of wine. Talk to me about your team. How many are in the team and how do you work together to bring projects to life? I have a team of 10 workers and 5 interns. It's a beautiful thing to be working with these people. They go

out of their way to make my ideas happen, from sourcing fabrics to designing looks. They work like crazy. On some projects, I'll keep everyone awake so I can monitor and follow up, and every one of them will be awake through the night. Like, I’ll drop a message in the group chat and everyone is replying at 1am. I text again at 2am and they’re all still actively replying. Because, sometimes, we need to deliver that same day for something like a shoot at 9am. So it’s a beautiful thing to be working with these people because I think, without them, I won't be able to be doing all these things at once like handling a full music video, working with TG Omori, and collaborating with all the directors. It’s a collective at the end of the day; it’s not just me and my ideas. I'm good at letting them come up with their own ideas as well. My team is doing an amazing job and I’m proud to have them in my corner. Are you partial towards styling musicians? No, I don't just style musicians. I also styled some red carpet looks for AMVCAs last year. I remember one of the looks I styled was featured as ‘Top 5 Male’ looks on the red carpet— and that's like the biggest red carpet in Nigeria. But I think maybe because I have been in the industry before as a music artist myself, I feel like I can understand them. I know what they need at a certain point in time. So, yeah, I love working with music artists because it gives me room to be creative and to do whatever I want to do with style. And I think Afrobeats is

“It’s not just the music, it’s the style and the personality. Fashion plays a major role in an artist’s career today”

photography: ARINZE UGOJI PRECIOUS outfit: LOOK DIFFERENT MARQUE styling: SWAZZI

“I think we should focus on having brand-faced music. So, before trying to have a hit song, try to build a personal brand.”

Kenga: going global right now and fashion is one thing that people appreciate all over the world. So it’s not just about the music. Most times, it’s also about the fashion; how good you’re looking and how you’re appealing to your fans. This, together with the music, is what makes up a brand for an artist. So you need to make your brand with this and that. I always try to take artists out of their comfort zone of just making music, and I bring them into fashion. That’s why I love working with musicians. This is actually a perfect segue to the next question. How would you describe the relationship between music and fashion? Music and fashion go hand in hand. You can't just say you're a musician without being fashionable. Because look at musical artists around the world like Beyoncé. If she was just a singer and not as fashionable and as intentional about her style and brand, I don't think she would be Beyoncé. As a musician, it’s not just about the music, because there are some days when you might not have a hit song that is popping at a point in time. To me, I feel like recording the music and everything is about 30 percent. The other 70 percent is what fashion can do, because fashion plays a major role. You can see that in the generation of African artists like Asake, Kizz Daniel and Rema. You can see how Ayra Starr is bringing back miniskirts, and a lot of people are looking up to her. It’s not just the music, it’s the style and the personality. Fashion plays a major role in an artist’s career today, which is why I think music and fashion go hand in hand.

interview Facts! I can see that with bigger artists like Kid Cudi as well. He hasn’t been hot on the music scene, but he’s been very present in fashion, attending Louis Vuitton shows and collaborating with KAWS and HumanMade. Right! I think we should focus on having brand-faced music. So, before trying to have a hit song, try to build a personal brand. I know someone like Mayorkun, for example, had a period where he wasn’t dropping any songs. But, in that time, he had so many endorsement deals and he was working for so many brands. Why? It's not just because he's Mayorkun the musician. It's because of his personal brand and what he is doing with that brand. Look at Rihanna with Fenty. As an artist, she was passionate and intentional about her style and her makeup, not just her music. Now, she’s built her own community. Have you faced any criticisms or prejudice while working as an African man in the fashion and style industry? The world is changing. Before social media, a lot of people weren’t aware of a lot of things. But that’s changed now. Though, in my hometown, I do get those comments about what I do being a woman’s job. I even remember when a client’s husband asked her “Is he going to be standing there while you’re changing?” You know, stuff like that. I don't really pay attention to criticism or how people react. Nothing gets to me. I might learn from a thing like that, but I don’t let it affect how I feel.

Love to see it! You talked in the past upcoming bag line collections. But what for Swazzi?

and I have about your and other else is next

Next thing for me, this year, I still have a lot of clients reaching out to work with me, and the team and I are now deciding the nature of our relationship with them; whether short or long term. But, personally, I’m looking to launch my own bag line as part of my collection for Swazzi Originals. I've been working on it for a while now and I'm taking my time. I paused for a while and went back into production and the drawing board, and got all the fire again. I’m also working on my ready-to-wear line. I’m working on travelling more this year, sourcing fabrics all over the world to find something different that people haven’t really tapped into yet. This is what’s next for me.

Nice! Thanks so much for your time. I appreciate you a lot. Thank you too.

photography: ARINZE UGOJI PRECIOUS outfit: DALTIMORE styling: SWAZZI

Kenga:

artwork: NENE MAHLANGU

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Kenga:

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artwork: NENE MAHLANGU

20 22 Kenga:

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The The Year Year in in Lyrics Lyrics As Afro Gen Z continues to deepen their relationship with music, 2022 was a fascinating display of how they use song lyrics as a language to express their thoughts, feelings and their edgy personalities. The year was colored with lyrics dropped in conversations, forming IG captions and tweets, and becoming new lifestyle concepts (y’all Pushin’ P?). From TikTok audios to club anthems and heartbreak ballads, here’s Kenga’s roundup of the lyrics that dominated the year.

Curated by: Kamuya Mwangangi Words: Jean Quarcoopome

Kenga:

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Last Last Last Last -Burna Burna Boy Boy

Billie Billie Eilish Eilish -Armani Armani White White

E don cast, last last, na everybody go chop breakfast Shayo, Shayo

Bitch, I'm stylish Glock tucked, big t-shirt, Billie Eilish Propped up, fucking it from the back on an island Heard they talkin' crazy 'bout my name, now it's silent Mile high, run that shit back

Cuff Cuff It It -Beyoncé Beyoncé We gon' fuck up the night, Black lights Spaceships fly (spaceships fly) Yeah, unapologetic when we fuck up the night Fuck up the night We gettin' fucked up tonight

Kwaku Kwaku the the Traveller Traveller -Black Black Sherif Sherif Of course I fucked up Who never fuck up hands in the air, no hands? Still I can't believe (can’t believe) You know what I mean (what I) I was young what you expect from me?

Rich Rich Flex Flex -Drake Drake & & 21 21 Savage Savage 21, can you do somethin' for me? (Yeah) Can you talk to the opps necks for me? (Okay) 21, do your thing 21, do your thing (21) Do your thing, 21

Finesse Finesse -Pheelz Pheelz ft. ft. BNXN BNXN Ahhh, finesse (Ge ge ti) If I broke na my business (Ye ye) Ama shana e go bright o (Ge ge ti) Folake for the night o (Ge ge ti)

First First Class Class -Jack Jack Harlow Harlow I been a (G), throw up the (L), sex in the (A.M.), uh-huh (O-R-O-U-S, yeah) And I can put you in (First class, up in the sky) I can put you in (First class, up in the s—, upup in the s—)

To To the the Moon Moon -Jnr. Jnr. Choi Choi & & Sam Sam Tompkins Tompkins Sit by myself Talking to the moon

Kenga:

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Pushin’ P Gunna & Future Pushin' P, I'm pushin' P, pushin' P, I'm pushin' P, yeah (Know what I'm sayin') Pushin' P, I'm pushin' P, pushin' P, I'm pushin' P, yeah

Hamba Wena Deep London & Boohle Hamba wena, hamba haa Hamba wena, hamba haa Hamba wena, hamba haa

Hurricane Kanye West ft. The Weeknd & Lil Baby See this in 3D, all lights out for me All lights out for me, lightning strikes the beach Eighty degrees, warm it up for me Finally free, found the God in me And I want you to see, I can walk on water

About Damn Time Lizzo In a minute, I'ma need a sentimental Man or woman to pump me up Feelin' fussy, walkin' in my Balenci-ussies Tryna bring out the fabulous

Easy on Me Adele Go easy on me, baby I was still a child Didn't get the chance to Feel the world around me

abcdefu GAYLE A-B-C-D-E, F you And your mom and your sister and your job And your broke-ass car and that shit you call art Fuck you and your friends that I'll never see again Everybody but your dog, you can all fuck off

Central Cee Doja How can I be homophobic? My bitch is gay Hitman in the top, try see a man topless, even the stick is gay Huggin' my bruddas and say that I love them, but I don't swing that way The mandem celebrate Eid, the trap still runnin' on Christmas day

Kenga:

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Escapism RAYE Just a heart broke bitch, high heels six inch In the back of the nightclub, sippin' champagne I don't trust any of these bitches I'm with In the back of the taxi sniffin' cocaine Drunk calls, drunk texts, drunk tears, drunk sex

KU LO SA Oxlade Ku lo sa oh Omo I want make we dey dey... (Ku lo sa) Omo, girl I want make you... (Ku lo sa) Baby, I for like make you... (Pull over) Oh, baby, oh no, no Ku lo sa oh

Peace Be Unto You Asake

Umlando 9umba, Toss & Mdoovar Namhla Senz’umlando Lolu Suku Olukhulu senz’Umlando Lolu Suku Olukhulu senz’Umlando Lolu Suku Olukhulu senz’Umlando

Rush Ayra Starr But e dey rush E dey rush well, well E be much Na God dey make my tap, e dey rush The kind money we touch, yeah E dey rush E dey rush well, well E be much No be hype everybody dey crush There's no dulling with us

As-salam, Alaykum I get many many, disciple Mo taka oshi danu Oluwa shower me your blessings Times two Odejowo (Jowo) Kodahun In every situation make I no lose

Sad Girlz Luv Money - Amaarae, Kali Uchis ft. Moliy I really like to party I cannot control my body So when this song is starting Just cancel all your plans oh

Infinity James Young 'Cause I love you for infinity (Oh-oh-oh) I love you for infinity (Oh-oh-oh) 'Cause I love you for infinity (Oh-oh-oh) I love you for infinity (Oh-oh-oh)

BARAK JACUZZI Feeling the Nairobeat

story: ARINZE OBIEZUE photography: BRIAN KINYWA styling: BARAK JACUZZI outfit: NURTURE ORGANICS CO

BARAK JACUZZI is a Kenyan emcee, rapper, actor, and radio personality who uses his voice, brand, and style to influence Gen Z culture in Nairobi, Kenya. Although he started making music at the age of 11 while shuttling between Nairobi and South Carolina, Barak only hit the big music stage in Kenya in 2017 following the release of his first project ‘The Juice Bar’. Since then, it’s been a carnival!

Kenga:

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In this exclusive interview with Kenga, Barak discusses the new collaborative project he’s working on, reveals his romantic type, and tells the story of his artistic development, inspired by the heartbeat of Nairobi.

by ARINZE OBIEZUE ARINZE: What’s the Which artist made you go ‘Damn, I want to be that when I grow up?’ when you got started in music at 11? When I was 11, I saw the BARAK: video and song for Nameless Nasinzia come on NTV and that was my first time really falling in love with the thought of being of musician. The way he was in durag and singing to the shorty, I don’t know why that resonated well with me, but it did. So it was Nameless on the Kenyan Scene, then D’banj shortly after on the Nigerian scene. That’s very interesting because none of the three people you mentioned are rap artists. So how did you get into rap? It’s funny because even when I’m with friends, male or female, most of them are surprised by the kind of music I prefer to listen to. Honestly, it’s mostly other genres I listen to, rap is what I just fell into. Personally, I love everything about entertainment. I’m an all-round entertainer who rap just kind of worked out for. At first, I got more publicity from rap than the other things I was doing. But I just like entertaining. I see myself more as an entertainer than a rapper. To me, rap has always been a gateway to other things, to open other doors and other avenues that can be new genres, new careers, and stuff like that. Kinda like a gateway drug. As you’ve grown as a rapper and an entertainer, is it still artists like D’banj and Michael Jackson that inspire you today? Yeah, absolutely. But, more currently, it’s also the people who’ve been

inspired by people like them. Like, I know Kanye has got a lot of controversy going on but, outside of all the controversial stuff, as an artist and a creative, Kanye’s still one of my biggest inspirations. Also Diddy. Just people who go against the grain; people who just kind of do other things outside of what they're known for, but still on a very high level. Like getting known for making music on a high level, but also making alcohol at a high level, making clothing at a high level, getting awards for different creative stuff, and just hustling on a very different level. I focus on people who create on different frequencies, like even Nick Cannon; people like that who can do movies, create TV shows, and create different brands. 50 Cent does the same thing too. He creates movies, creates brands and so on. That's not easy to do, but I think they make it look easy; real effortless and they don't look burnt out. They’re doing all these things that kind of are cohesively just all the same entertainment spread across different things. I just love that type of shit. What was young Barak like? Were you the only artsy one in your family or did you come from a family of creatives? I was the kid who dressed up as Micheal Jackson once a week and took a radio with him to school so I could perform anywhere haha. My mother has a PhD in Early Childhood Education, but she’s always been gifted musically and creatively, playing multiple instruments from guitar, to piano as well as singing, writing and being a gospel recording artist herself. She’s always encouraged us to be creative. My father is a minister with a PhD in

Psychology. So, I grew up regularly watching him speak to large groups of people, with charisma and excitement. I quickly started picking up a lot of my current social traits and public speaking techniques from him then. I remember when I was a child I used to get so tired of people always at our house on Sundays singing, dancing and praising with my parents for what felt like days on end, but that’s just the type of environment I grew up in—loud people, loud music, loud energy and lots of things happening all at once. My brother is an actor based in South Carolina. His most recent Hollywood film was just released last year called ‘Black as Night’ where he stars as Tunde the vampire. Unfortunately, he was shot three times in South Carolina about a week after the movie’s worldwide release on Prime Video, but he is fully recovered and back at work on set now. We all have some creativity in my family. How did you get started in rap? My brother was doing music before I did, so I just kind of was doing whatever he was doing. As he was

“

I love everything about entertainment. I’m an all-round entertainer who rap just kind of worked out for.

Kenga: rapping, I was pretty much just mimicking him and then he was like, ‘Oh, damn, you pretty good, you should rap.’ And then I was like, ‘Ait, bet.’ So I just started rapping too. That was pretty much it. It pretty much just fell into my lap. Where can we find some of your old stuff? I had them in a laptop but, when I came home one day, I found it destroyed by an ex. But this was many moons ago. The first song I ever made was called ‘The Juice’. It's like maybe ten years old. It's on YouTube, I think. I don't think you'll ever be able to find a lot of the earlier songs, except maybe on SoundCloud. Tell me about growing up between Nairobi and South Carolina. How did that shape you and your art? It definitely shaped me a lot as a person and as an artist because I was always feeling so displaced. When I was in America, I was ‘the African kid’. When I come to Kenya, I'll be ‘the American kid’. I was just like, ‘What the fuck?! I can't please nobody in no country.’ I had to really find a sense of self because I would get bullied there in the States, and get bullied here in Nairobi. I didn't get that shit. At the time, I was at a private school because I dropped out of the other school I was in because I was just moving around so much. I wasn't really focused. Moving around so much made it harder to focus. But, one time, when I came back from Kenya in class eight—cos I was going to high school in America—I just started throwing parties, and that kind of helped me reboot myself. And it just went crazy from there. When I left America, I was gaining a bit of momentum as an entertainment personality from my career as a teenage party promoter. It's just that I didn’ feel safe in Columbia, South

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I wouldn’t say I have a type though. I think love just makes us all do crazy things, but even then, that’s not a deal breaker for me. It’s just life. Carolina as a young Black man still finding himself and his spirituality. So I decided to come back to Kenya, where I found the grace to explore and make mistakes without being manipulated by a racially unjust legal system. But yeah, going back and forth between continents also opened my eyes to the privileges I have in America, but it kind of just made me move smarter and also let me know that America is not all that. I was happy that I could always go back to Kenya and build my homeland because, when I have kids, I hope they'll be able to also be able to go back and forth. A lot of your personal life has been in the news over the past few years, especially about your past relationships. How’s it felt for you having all your business out there like that? At this point, I’ve mostly gotten used to it. But, sometimes, you never really get used to certain things; you just learn to deal with them. So I’ve learnt that when you’re the one doing the big things while they all watching, people will always have an opinion on anything. We all have a role to play in this movie of life. I used to be so frustrated with the things I read or

cover Story hear, but now I’ve just come to find it entertaining. I have to find a way to laugh at it. What would you say is your type of woman? I wouldn’t say I have a type though. I think love just makes us all do crazy things, but even then, that’s not a deal breaker for me. It’s just life. I see a lot of good in people. I can be with a woman who they say is crazy because, one, fuck what other people think. Two, a few moments aren’t enough to define an entire person’s existence in my eyes. I mean, I find myself to be a bit crazy as well when I’m in love. I’d be lying to say I play it cool every time. When you’re in love, it’s normal for shit to get a little crazy though. I notice you have very interesting tattoos. What’s the story behind them? Some of my tattoos have incredible stories, and others don’t have any meaning at all— which I suppose is a bit incredible considering it’s permanent ink. But, CAROLINA and BANTU are the big ones I have on both my arms and that’s because I’m essentially a Carolina Bantu—a Bantu Kenyan raised here and in South Carolina—and I’ll always be one. I’ve got Africa over my heart as a reminder to myself and others. There’s ‘be careful’ on the back of my neck. I have a power button behind my ear because I believe I have the power, and I have a tattoo of an astronaut moon man cuzzi holding the mark where I was bitten by an ex. Some of my tattoos mean so much to me and, others, I just love the way they look and I put it there. I feel like, with getting tattoos, it doesn’t always need to be serious or deep, it just needs to be honest and real. As a well-travelled Kenyan, I’m sure

photography: BRIAN KINYWA styling: BARAK JACUZZI outfit: NURTURE ORGANICS CO

“Kanye’s still one of my biggest inspirations. Also Diddy. Just people who go against the grain; people who just kind of do other things outside of what they're known for, but still on a very high level.”

photography: BRIAN KINYWA styling: BARAK JACUZZI outfit: NAIROBI APPAREL DISTRICT

photography: BRIAN KINYWA styling: BARAK JACUZZI outfit: NURTURE ORGANICS CO

“CAROLINA and BANTU are the big ones I have on both my arms and that’s because I’m essentially a Carolina Bantu—a Bantu Kenyan raised here and in South Carolina— and I’ll always be one.”

photography: BRIAN KINYWA styling: BARAK JACUZZI

“I feel like, with getting tattoos, it doesn’t always need to be serious or deep, it just needs to be honest and real.”

photography: BRIAN KINYWA styling: BARAK JACUZZI

Kenga: you’re familiar with some of the stereotypes about Kenyans. Which of them have you heard that you think are lowkey true? Haha! Well, for one, it’s true that Kenyans love to drink. These guys drink. We drink. We're drinkers. We drink like none other. Like, we drink a lot. Also, I'd like to say that infidelity is definitely at an all-time high in Nairobi. Infidelity is a culture that is thriving here for sure. Let's see, what else? In Nairobi, man, you’ve got to watch your phone or else it will get stolen in Nairobi; that's for sure. I've had many phones stolen. Also, in Nairobi, everybody's trying to get paid. Watchmen want some money. The househelp wants some money. Even people that don't have nothing to do with any part of your day, they want some money. Like, where did you come from? So everybody wants some money in Nairobi. As an artist and an all-round creative, what parts of Nairobi culture inspires you the most? I’m really inspired by how Nairobi is ever-evolving. If you don't go out for, like, two or three weeks, when you return to the club, it's like, ‘Who the fuck are these people?’ This city is always changing. Nairobi is like an app that just keeps adding new updates because, I swear, if I don't go out for a month and don’t stay in contact with the people outside, I'll go to the club and not know anybody because everybody has already moved on to the next thing. So, I love that Nairobi is ever-evolving. If you don't keep up with it, you will get left behind. If you lose track of its sound, you will lose the flavour. You will lose the oomph, you will lose the beat, because you won’t be able to keep up. You'll be on last season while everyone else has moved on. Things just move so fast here, and it's inspiring. It's scary, too, because I’m always in my head

saying, like, ‘Fuck, I don't want to fall off. I don't want to be late or not make hot music, or not dress as cool as people think they're dressing.’ I'm thinking like that because, if you look at the young kids, they always got their hand on the pulse. That's why I always keep some young homies around just to ask them questions, what's going on with y'all's world? Yeah, what I love about Nairobi—it's just forever inspiring. A lot of people are also really content in themselves in Nairobi. People are always in their own circles; they got their own vibe. I meet a lot of people in Nairobi every day. They know themselves, they trust the process, and they're super creative, and super different. In South Carolina, that's not something I found a lot. It was a very monotonous place where people do mostly the same things, dress almost the same, and try to fit in and conform. It’s very refreshing being in a city like Nairobi that’s the complete opposite of a place like South Carolina. How do you balance all of these things to actually make sure you're growing in all the areas you’re looking to? Every day, I try to pace myself. I have a good team around me—good management and a good publicist— who see what my goals are and they break it down into different quarters of the year, so that I don't get overexerted or burnt out. The secret is that I have a good team that is helping me manage my time, skills, and efforts. They got me on a good schedule. What inspired your latest project, ‘The Juice Bar 3’? I was working on the album back in 2019, but then COVID hit and I joined radio for two years, so I pretty much put it on pause as I wanted to engulf myself in the radio world. But I kept wishing to finish the album, so I just

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I’m really inspired by how Nairobi is ever-evolving. If you don't go out for, like, two or three weeks, when you return to the club, it's like, ‘Who the fuck are these people?’ This city is always changing. Nairobi is like an app that just keeps adding new updates did. I already had some features in the stash like the song ‘Want you Back”’ featuring Prolly, the most influential group to ever come from Kenya’s Camp Mulla, and other songs like ‘Friday Nite’ featuring Bien of Sauti Sol and ‘Welcome to Nairobi’ featuring Boutrouss, SilversTone Barz, Scar and Lincoln were songs I added recently to the album leading up to its release. I just wanted to make an album that I would be proud to end my Juice Bar trilogy. Do you have a thing for the word “juice”? Yes! I want a juice deal and I’m going to keep manifesting it. Speaking of juice, my next project titled ‘BARS and JUICE’ will be out this February. It’s a joint project with myself and SilversTtone Barz and it’s gonna be

Kenga:

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a special collaboration that I can’t wait for the world to hear how we’ve pushed the boundaries sonically together. What about ‘Nairobeat’? The ‘Nairobeat’, to me, is the sound of progress. The sound of small groups of friends and creatives linking up to make a product that explodes the more we unapologetically keep coming together to make creative magic. The Nairobeat inspires me to not be scared to try or fail, but embracing the unknown sonically, visually, artistically. That’s amazing! What more tea do you have brewing for us this year? I also got another album called ‘Mo Vibes’, it’s coming out at the end of the year. It's going to be incredible. I also got a podcast that I'm working on. The Mo Juice Club. Other than that, I'm also working on a lot of behind-the-scenes things that I can't really talk about yet, but I'm working on a lot of things that I can't wait to finish up. But 2023 is the Jordan Year. I hope everybody stays inspired, stays Jordan up. I'm feeling like Mike this year, so I just want to be in the gym and be like Dexter in the lab. I don't want any credits this year. I'd rather get my Kobe credits in 2024. This year is just all about work. I'm not looking for anything. Maybe I'm looking for a good time in December, but that's about it. What’s a mantra that’s guiding you in 2023? My mantra, from day one, is ‘more juice’. I just want more juice. I want to have more juice. I want to make more juice because everybody says they got the juice, but can you make more? If you make one big shot, can you do it again? I want to just keep my head down, and keep my feet moving,

photography: BRIAN KINYWA styling: BARAK JACUZZI

maybe look up every December and be like, ‘Okay, this is nice’, and then put my head back down. So that's the mantra—more juice. I just gotta keep making more juice. Can't really get stuck in yesterday's hoorays.

Thank you so much, Barak.

You're a beautiful interviewer, man. Goddamn therapeutic, bro.

AFRO STREET FITS NAIROBI APPAREL DISTRICT X KOFFI MAAKO

photography: BRIAN KINYWA

photography: BRIAN KINYWA set: NAIROBI APPAREL DISTRICT

photography: BRIAN KINYWA outfits: NAIROBI APPAREL DISTRICT

production: MICHELLE NGELECHEI photography: ELIE OBATI outfit: NAIROBI APPAREL DISTRICT model: MATHEW MUMO

production: MICHELLE NGELECHEI photography: JOHNMARK 'KINZA' KIMIYWE outfit: NAIROBI APPAREL DISTRICT model: MARIA BESIE

photography: KWAME KODA makeup: ELIZABETH BOATENG model: ASI RENIE outfit: KOFFI MAAKO styling: ZECHARIAH MAKO

production: MICHELLE NGELECHEI photography: ELIE OBATI outfit: NAIROBI APPAREL DISTRICT model: ASHTON LAURENCE

production: MICHELLE NGELECHEI photography: ELIE OBATI outfit: NAIROBI APPAREL DISTRICT models: ASHTON LAURENCE (left), MATHEW MUMO (centre), MARIA BESIE (right)

photography: ALIOUNE SEYE model: MADIOR

Kenga:

Article

2022 FANCY STREET CARNIVAL: THE COSTUMES, THE MUSIC, THE ENERGY words: ANTHONY MORRIS KWAVAH photography: NII NAI

photography: NII NAI

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very year since 1992, the streets of Tema come alive on Christmas Day, bursting at the seams with enthusiasm, colour and music for the annual Fancy Street Carnival. The 30th edition was as spirited and jubilant as it gets. It was giving chills, excitement, jubilation. People of all ages, both young and old, and from different classes were once again united in an ecstatic atmosphere of merry-making, charging the air with the delightful sound of horns and drums, singing, and impressive dance moves. Affluent young men with their gleaming convertibles, modern sports cars and grand motorcycles were not left out, performing spine-tingling stunts on the roads. The festivities, once ignited and in cruise control, often stretch to midnight, and sometimes beyond. Beholding this euphoria might make one think the masquerade culture was birthed in Tema, yet its origin dates back to the 19th century Gold Coast town called Winneba. From Winneba to Takoradi and Tema The tradition of street masquerades as it’s known today was inspired by British and Dutch merchants in Winneba, a fishing town in the then Gold Coast, in which the Europeans were known to have dressed in elaborate costumes to party and carouse during festive occasions. One distinguished feature of their costumes was the extravagant masks they wore. The locals who served in the bars where these Europeans frequented assimilated the fanciful dressing into local life, which gradually became a common fixture of festive occasions. But there was a twist: these masquerades rather satirised European professions such as health practitioners, lawyers, teachers, sailors and missionaries. The word “masquerade” proved a little too troublesome to pronounce for the locals who, at the time, were not conversant with English so “fancy” was adopted in reference to the extravagant costumes. The first Fancy group was the Nobles which was formed by Janka Abraham, a bar man, and his friend, A.K. Yamoah, a pharmacist. Although some of these groups were sponsored by wealthy locals who were usually noble men and merchants, it was common to find masqueraders dancing around town soliciting for funds to sponsor their activities. This has changed in present times where the leaders of the Fancy groups primarily fund their activities from membership rates and dues, which are supplemented with support from individual sponsors. These monies are used to sew costumes for members, hire a brass band and provide food and refreshments for the group and the band members. Over time, this masquerade tradition took hold of Takoradi, a harbour city (later an oil city after oil discovery in 2007), in the Western Region, and later Tema, another harbour city, in the Greater Accra Region. It is an interesting coincidence that these three cities have one thing in common other than their connection to the masquerades: they derive a certain degree of economic sustenance from marine resources. Today, the Fancy Street Carnival is such a pivotal occasion in the annual calendar of these communities so much that Christmas festivities are never the same without Fancy. The Costumes The spirit of Fancy is the costumes. From a distance, it appears as though the main streets of Tema are swarmed by a sea of dancing bright colours. Upon close inspection, you would realise the costumes are different for each of the 27 fancy groups spread across the communities of Tema, but all sewn in intricate patterns, shapes and designs. The main piece is a coat and a pair of trousers loose enough for the hours of dancing and merrymaking. It gets even better with the accessories that accompany the garments: a pair of white sneakers, socks and gloves; tiny silver bells which are appended to the coats and ring as you dance; horse tails or multi-coloured furry dusters which are additional props for dancing; finally, the masks, some of which are inspired from horror characters from Hollywood movies, superheroes or scary clowns. The simple rule is this: the masks must be catchy or outright scary, which is why the masquerade is also known as “kakamotobi”, a Ghanaian parlance for masquerade or a scary person. Some people even smear powder on their faces for the same effect of a scary mask. Males and females, both young and old, do not leave out their hair in this cocktail of colours: revellers step out in braids and weaves of different colours, all shades of reds and greens and blues and yellows; children as young as five looking dapper in their peroxide hair. This is an affair for the young at heart.

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Rudolph Okai aka Olele, the president of African Boys & Girls Masquerade, reveals that preparation towards the next carnival begins as early as March once the new designs are obtained from a designer in Takoradi. From their small sewing room in Tema, a group of 4 young men begin the herculean task of sewing new costumes for their members whose numbers vary from 300 to 400 people per year, of different ages and sizes. The Music Music – and dance – is the life of Fancy. Historically, the masquerades were animated with Adaha music, a more traditional kind of what is known as highlife music today, until 1934 when a Catholic priest introduced a brass band. Since then, brass bands, with the usual brass and percussion sections, have become a permanent feature of the carnival. On the streets of Tema, the brass bands take centre-stage; There is no room for DJs. The brass bands ginger the carnival with a selection of both classic church praise songs and popular hits. When the horns are unzipped and the drums are ready, you know the party has been ignited; one brass band group to each fancy group and differentiated by their chosen uniforms from matching kaftans to white shirts and jeans. David Kwabena Dugoh, 23, a tertiary student and trumpeter in a 14-man brass band collective from Ashaiman, reveals that they rehearse for months in the build-up to the D-day. There is a short ceremony known as Akwaaba Night on Christmas eve at 11:30pm to welcome visiting bands from Takoradi and Cape Coast and to usher in the Christmas day. The months of rehearsals show their worth during the carnival when the crowds go wild with a fine offering of church songs, old school Ghanaian hits and the latest bangers from Ghana and Nigeria set to horns and drums: Black Sherif’s “Oh Paradise”, Sarkodie’s “Countryside” (which features Black Sherif), Rema’s “Calm Down”, Lasmid’s “Friday Night” – and the people’s favourite – Black Sherif’s “Soja”. The music is usually accompanied by a typical Fancy dance which involves bouncy, delicate footwork, combined with arm movements. The Energy At around 7pm, after the groups make a stop at the Comm. 8 Shell filling station, it feels like a scene from a movie. The horns and drums are louder than ever, revellers ring around the band members who are in the bucket of a pick-up, singing at the top of their voices and dancing. If good music and too much joy could kill, there would be dead bodies on the streets of Tema every Christmas day. Music and revelry are nothing new to the people of Tema. Music stars such as one of Africa’s finest rappers, Sarkodie, dynamic duo, R2Bees (made up of singer Mugeez and rapper Omar Stirling, otherwise known as PaeDae) and the grandmaster of youth anthems, Kwesi Arthur, to mention a few, all hail from Tema and were raised by these streets. Tema Metropolis, originally a small fishing town named Torman, was built under the authorization of Dr. Kwame Nkrumah and designed by architect Theodore S. Clerk. Now 25 communities strong, Tema is a commercial hub with factories, an oil refinery, a fishing harbour and port. But what defines the heart and culture of Tema is its youthful generation who keep it lively all year round with occasions such as their duku (scarf) and jersey festivals. It is on occasions such as this that you see Tema for its greatness: its youthful exuberance, sense of pride, zest for life, and communal living; the reason they say TM4Life.

photography: ALIOUNE SEYE Model: DAOUDA NIANG

model: WILLIAM MUYAYALO

production: MICHELLE NGELECHEI photography: ELIE OBATI outfit: NAIROBI APPAREL DISTRICT model: ASHTON LAURENCE (left), MATHEW MUMO (right)

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production: MICHELLE NGELECHEI photography: ELIE OBATI outfit: NAIROBI APPAREL DISTRICT model: ASHTON LAURENCE