In June 2024 Kenya saw an unprecedented uprising against the government which was a leaderless, youth-powered revolt for a fairer society. Dubbed the ‘Gen-Z’ uprising, many of the people on the streets across the country were creatives, deeply frustrated by rising costs of living, more taxes, and repressive policing. Beyond the street demos, activists in Kenya have used the arts to protest against climate change, femicide and many other injustices. In this opening panel of Kilele 2025, we look at some of the ways art and activism coalesce, and seek ideas and inspiration for 2025.

Moderator: Gregg Mwendwa 
Panelists:
           Wanjira Wanjiru
            Mwanase Ahmed 
           + Bizi Bingi 

In the digital era, music production tools proliferated at an unimaginable rate - making and releasing music on the continent (and around the world) was no longer the preserve of big studios and well- funded labels. Digital Audio Workstations and other software were cracked and shared, sample libraries amassed and passed on, and tips and techniques codified broadly into genres or movements. How exactly did some of these tools end up creating the wildly diverse sounds we celebrate now? And what's the role of music tech in the region going forward?


Moderator: Mars Maasai
Panelists:  tbc

“Everything sounds somehow Western—very mechanical, not organic like the rough tones and raw drums I heard growing up in Nairobi. Even as I try to break away from the loops and the 1-2-3-4 drive of these music tools, I always end up back there somehow.” - Slickback on Digital Audio Workstations

At Kilele 2024 we heard Astrid Bin’s comparison of the musical interfaces (midi controllers etc) with ultra processed food - generic, functional and predictable. This year we are diving into instrument creation from another direction. What can digital instrument makers learn from local creators, and what forms of hybridity are possible and desirable in the instruments of the future?

Moderator: Astrid Bin 
Panelists: Sam Kaguru 
           Basile Huguenin-Virchaux
           DJ Raph 
           Monrhea 

With little to no state funding available for arts and culture, arts organisations in Kenya play a precarious game of chasing the same limited, short-term resources. Some find success pivoting to business models, many others fall by the wayside unable to compete in the marketplace. The funding that is available is dominated by international institutions and platforms, the bar to entry too high for many creatives and collectives not versed in European funding models and challenging reporting requirements. Brands, investors and redevelopment projects offer alternatives, but what are the pros and cons of these relationships? We’ll look into the reality of the current situation, and seek ideas for better futures.

Moderated by: April Zhu
Panelists:    Brian Harris (TO Foundation)
              Dr. Akati Khasiani  (HEVA Fund) 
           

As major streaming platforms continue to dominate music sales and their questionable business practices squeeze and marginalize independent music makers - why and how should we release music in 2025?

Co-curated with Africa Rising Music Conference, will assemble a wide range of practitioners - label owners, self-releasing artists, global distributors and others - to meet and exchange on the rooftop. This will be a chance for artists and managers to connect with professionals and dreamers, and come away with new ideas and practical networks.


Participants to include;

Africa Rising Music Conference,  Auntie Flo, Pwani Tapes, Mina,  Endre Dalen,  Jane Arnison,  Luca Jacob,  Tamasha,  Beth Achista and more.

Workshop Tuesday - Friday 

At Kilele 2024 we heard Astrid Bin’s comparison of the musical interfaces (midi controllers etc) with ultra processed food - generic, functional and predictable. This year we are diving into instrument creation from another direction. What can digital instrument makers learn from local creators, and what forms of hybridity are possible and desirable in the instruments of the future?

The nexus of this stream lies in the Instrument Makers Lab - a five day workshop involving creators of kalimbas, nyatitis, xylophones and other ‘traditional’ instruments, as well as programmers, technologists and representatives from music technology partners. A flagship project supported by Pro Helvetia will see Samuel Karugu and Basile Huguenin-Virchaux create new hybrid digital-physical instruments inspired by polyrhythms and micro tonalities common in African music. The instruments created during Kilele will be showcased with a series of performances on Friday evening.

Read more here!

Supported by Elektron. 

Wednesday

An introduction to electronic wind instruments (also known as wind synths) and an overview of using breath to control MIDI. This presentation will discuss how to use MIDI to enhance the artistry of a performance by controlling parameters for an audio track as well as touching on more experimental techniques.

Justin Pflughaupt is a producer, deejay and performing artist from Houston, Texas, who creates and spins music that spans the sonic spectrum. He specialises in electronic wind instruments to add a unique touch to his compositions and performances.

Stories in Scapes and Spaces - Muha (Mozambique)

Sound is one of our earliest connections to the world, and yet, in today's visually dominated cultures, we often overlook its immense power. In this talk, Muha will explore how sound can be a profound medium for storytelling, transporting us to the heart of environments we may never physically visit. Drawing on ongoing work in Gorongosa National Park, Mozambique, supported by National Geographic, I’ll discuss how we can use soundscapes and technology to create immersive narratives that allow us to experience the dynamic changes of a landscape through sound.


Dércio Gomate (Muha) is a composer, aural collector, diver and storyteller from Maputo, Mozambique. As a NEWF Fellow and NatGeo Explorer, his world of sound is rich. Scoring for film, collecting soundscapes and storytelling are just some of his passions. Muha is placing sound at the centerstage of his aural narratives.

Pararira - Adam Yawe (KE)

Adam has designed and prototyped a musical instrument using the musical horn systems used in Nairobi's Matatus. Bombarded by the sounds of vehicle horns when traversing Nairobi's cityscape; Adam wonders what it might mean to reclaim agency by not only producing these sounds, but also composing our own sonic patterns with them. This presentation will focus on conceptualising, designing and prototyping the instrument and play some videos of artists using the instrument while it was presented during the Sonic Mass exhibition at Munyu space in the mall.

Adam Yawe is a 3D artist and product designer based in Kenya. Adam’s practice focuses on urban material culture and the objects we encounter on our everyday journeys, where they come from, why they exist, and how they may be reimagined.

https://www.instagram.com/p/DAnjFRrofH0/?img_index=1

A new approach to Qaraami Music - Sven Kacirek (DE)

Qaraami: The etymology of the word is Qaram, from the Arabic word, love. Somalis used qaram or qaraami to describe the oldest modern music composition, mainly from late forties to mid sixties. The word became a synonym of “old good days music”, or for young people just “old music”. In fact, today Qaraami sometimes is confused by the young generation who use to describe any type of old music (relatively to their age) like even 1980ies.

Sven Kacirek has been working to transcribe the melodies of 30 songs, providing scores and creating midi files to give these songs new avenues for reinterpretation and recognition.

He has collaborated with musicians from different music cultures on several occasions for more than 15 years. His highly praised album “The Kenya Sessions” won the “award of the German Record Critics”. His album “Songs From Okinawa” was nominated for the VIA music award. Furthermore he has closely collaborated with Kenyan singer Ogoya Nengo for several years.                
           

Workshop    (Santuri Salon) 

iNgoMa Liyeza: Exploring Indigenous Instruments as Technologies for Vibrational Healing with Sisonke Papu (SA)

This workshop is designed to create a sacred space for deep connection through breath, sound, and movement, using African indigenous instruments as advanced technologies for healing. We aim to showcase how instruments like the adungu harp, marimba, and mbira are not just tools of sound but vibrational technologies grounded in ancient cosmology and quantum principles. Participants will be guided through breath awareness and grounding exercises, followed by a sonic journey with these instruments, each uniquely tuned to different vibrational frequencies.

The workshop will also delve into the mythology, ecology, and cosmology surrounding these instruments, offering participants a multi-sensory experience that opens pathways to healing, balance, and reconnection with the natural world. We believe this is a vital contribution to reimagining how ancient wisdom can interface with contemporary technological approaches for holistic well-being.

Sisonke Papu is a multi-disciplinary artist, breathwork facilitator, iGqirha (traditional healer), and founder of NgoMa Technologies. Hailing from Mthatha in the Eastern Cape, South Africa, Sisonke bridges the ancient and the modern, blending indigenous knowledge, African healing traditions, and contemporary sound technologies to explore the power of vibration in healing and consciousness. Self-taught in sound and instrument-building, he crafts instruments like the uhadi, xitende, nyatiti, adungu and n'goni and reimagines them for modern therapeutic applications.

Navigating the PR and Promotional Landscape w/ Naila Aroni (KE)

An educational workshop focused on PR and digital marketing for emerging musicians. This session complements Kilele’s mission by equipping emerging artists with actionable skills by providing emerging artists with the tools and insights they need to effectively promote their music in today's digital landscape.


Naila Aroni will be drawing on four years of experience as a PR and communications specialist in music journalism in Kenya. At the end of the session, Naila will share a valuable asset directory with contacts for music magazines, playlists, and digital platforms so attendees have practical tools to continue their PR journey after the session.

FEMX - non-male participation in the music tech space (15.30 - 16.30 Creatives Garage)

Technology has changed the way we listen to, discover, and enjoy music. It’s also changed who we hear from, allowing for the creation of new sounds and bringing new people into the fold on every side of the music industry.

In this panel you will hear from local non-male practitioners as they share their experiences carving out space in the industry, share hot takes on what they're seeing and anticipate in the future, and provide practical tips for people looking to break into the industry. 

Moderated by Anowa Quarcoo (aka Sonic Griot).

SOUND COMMUNITIES - screenings at Unseen Nairobi (18.00 - 23.00)

Short music documentaries from different communities around the world. Screening and then after party.

Last year we kicked off Kilele with a truly insightful panel on some of the ways artists can connect with different organisations, opportunities, funding, and events. This year we bring this session back with a new set of perspectives. How can artists build effective networks, find like-minded collaborators and build global communities?

Moderator: Sisian
Guests:
        Luca Jacob (Piranha Arts)
        Mina
        Nyokabi
        SJ Nicholson and Ralph (ARMC)

Speed Talks

Harnessing Data Science and Technology to Enhance Music Experiences - (KE)

A talk/presentation featuring Tish Mwendwa, Urbanus Kathitu, and Risa Okech, on how data science and tech can enhance both the creative and commercial aspects of music.

Sustaining Art Through Connection: The Future of Community-Based Monetization

Usanii’s Sam Achola will give a talk on the art of community building and monetization options for artists in Kenya.

Surround sound and immersive technology for music performance

Victor Munyaysa will speak on the utilisation of free immersive audio technology as a stepping stone for local production and live performances.

Surround sound and immersive technology for music performance 

A presentation on the utilisation of free immersive audio technology as a stepping stone for local production and live performances by Munyasya.  

Workshop:

Crossover: women in folk music / take control

Labdi Ommes will talk to women in folk music and give them some insights on the market - ie production etc and to crossover between playing live /acoustic and how to get into more production.

FRIDAY

Ubuntu in the contemporary music scene

This workshop aims to explore the theory and practice of Ubuntu (community involvement) in Music Production and Performance in a contemporary setting; and the social, economic and mental effects.

Wagithi Ndegwa aka Hasira Hasara, B. Music is a Creative Director, an instrumentalist and DJ with knowledge and skills in African and Western Music Theory and Practice. She has performed as a percussionist in various drum circles, Gold and as a guitarist with her all-female metal band, Nova. She has also performed at the Blankets and Wine Festival as a DJ. She has worked as Creative Director in various visual,audio and literary projects.

Climate Convos - Past versus present perspectives on Climate Change

Mashariki Vibes, a newly formed East African collective dedicated to creating music with a purpose will host a 2-hour workshop that combines a short skit, an engaging panel discussion, and a live music performance, all focused on the pressing issue of climate change.

The panel will feature Kenyan climate experts, who will enlighten the audience on traditional methods of conserving the environment alongside contemporary solutions being applied today. To close the workshop, Mashariki Vibes will perform original music which delivers powerful messages about climate change while engaging youth through captivating beats and melodies.

Mixing in Flow w/ Jane Arnison (Australia)

This session will see Jane Arnsion expand on her recently released book ‘Mixing in Flow’ through a talk and practical demonstration of her philosophy of mixing. Not to be missed!


Jane is a multi-disciplinary artist and technician. She divides her time between working on her own artistic projects, working commercially as a composer, engineer or producer as well as offering her expertise as a university lecturer in music.
Jane has finished writing a book on Mixing Sound signed by publisher Routledge/Taylor & Francis that is slated for release in early 2025.

New Jit Wave w/ Joshua Madalitso Chiundiza (Zimbabwe)

A talk/listening session on New Jit Wave, a new Zimbabwean electronic music genre, that has strong connections with Kenyan Benga music. New Jit Wave pays homage to the Zimbabwean traditional and contemporary sounds of Chimurenga, Jiti and Sungura music. Jiti and Sungura music in particular, claim the closest link to Benga music and the late great Kenyan music producer Phares Oluchi Kanindo. The Sungura genre took its name from a famous Kenyan music label and Benga music is ultimately known as Kanindo in Zimbabwe and is a sub-genre of sungura.


Joshua Madalitso Chiundiza is a music producer, artist development strategist, audiovisual artist and music researcher from Zimbabwe. Crafting unique music brand identities, Joshua has created and scaled local music concepts internationally, signing off projects with acclaimed record labels, touring and publishing houses such as BBE Music (UK), Parma Recordings (US), Nyami Nyami Records (FR) and Bi:pole Productions (FR).

How to start a DIY Club - w/ Mina, Raph and guests (UK / KE)

Join Mina, curator, event promoter and DJ, and Raph, co-founder of the Mist for a workshop on running DIY spaces and events. Following a research trip to the UK where they visited a variety of DIY spaces, Mina and Raph will share case studies and findings from the trip, and insights from their experience working in grassroots venues in the UK and Kenya. Following this, there will be an open forum for participants to share ideas and insights with each other.

Plant Music with Brian d’Souza (UK)

Brian d’Souza’s compositions fuse field recording from around the globe with electro-acoustic production techniques to create ‘acoustic ecologies’ that are centred on exploring the psychological and physical benefits of sound. Join us in the Salon for this unmissable workshop and performance!

A State Of Flo - his blog and record label is an exploration into the biological and ecological basis for music. It achieves this by releasing music which incorporates sounds from the natural world with cutting edge technology and new formats. A State Of Flo supports the environmental charity Earth Percent. Its first release, Mycorrhizal Fungi, incorporated the sounds of various fungi and was featured on the BBC, New Scientist, Glastonbury Festival, Tate Modern and more.

Following on from the success of the 2024 edition, which involved an essential contribution from Afrorack and Feldermelder supported by Pro Helvetia, we are continuing the partnership to deliver another cutting-edge programme that will feature another key East Africa / Switzerland collaboration, involving Samuel Karugu and Basile Huguenin-Virchaux. The pair have collaborated on an artistic research project exploring digital musical instruments based on tunings used in East-African traditional instruments instead of the commonly used Western 12-tone tempered scale. They will develop this concept further at Kilele in collaboration with East African instrument builders and technologists. This will involve a residency leading up to a showcase, presentation and workshop sharing the outcome of their collaboration for the Kilele audiences, documented for wider distribution. Any tools developed during the project will also be made freely available for the community. The project will also be graced by Astrid Bin, an interdisciplinary artist and designer and one of Kilele 2024’s standout guests with her presentation on ‘ultra processed interfaces’.  

This project will be a key part of our focus on Decolonising Instrument Design - a stream that will include numerous activities and in particular, the establishment of the Instrument Builders Lab. 





More about Samuel Karagu: 

Sam Karugu is a musician, producer, and DJ who explores the boundaries of sound and music. His music is experimental - it borders, blurs and mixes between Noise, metal, punk, industrial, breakcore, ambient and ‘traditional’ African music. Mostly musically ‘formally’ self-taught, but studied audio and media in film school, Sam sees, sound and music as a powerful  medium especially through performance as rituals, happenings, and friendly get togethers that connect him and the audience in a visceral, cathartic and fun way that could also inform or provoke thought.

He is part of the duos Duma, Nari, Systemes Bordeliques, Usura, and solo as Final rupture of the varicose vein and Slammy Karugu among other projects. Sam is  based in Nairobi, Kenya and Kampala, Uganda but is always on the move on tour in Europe, Americas and other parts of the world looking for new ways to challenge himself and engage  with his listeners and fans. Sam has just finished his first Asia tour in Indonesia, and is working on a solo album out on Nyege Nyege tapes, as well as a self-release of live recordings from his Indonesia tour and working on numerous new collaborative projects.

https://samkarugu.bandcamp.com/



More about Basile:

Basile Huguenin-Virchaux was born in Neuchâtel, Switzerland, and was in contact with music from a young age, as his family was involved in the local cultural life. Beginning to learn saxophone at the age of 14, he quickly had his first show experiences through his music school and his first musical projects. At first mainly focused on jazz, he started to develop an interest in a lot of other music genres like punk, metal, as well as traditional music from around the world like balkan music and sebene, and started to learn other instruments. He took part (and still takes part) in many different bands, jam sessions and shows.



In parallel to his passion for music, Basile Huguenin-Virchaux studied Languages of Antiquity Economics and Ethnology at the university of Neuchâtel (UNINE). One of his teachers suggested he should write an article about musical practice in ancient Greece, and this is when he really discovered the concept of microtonality. Basile then explored on his own this new way of conceiving music, which was not straightforward at that time as there were almost no plugins allowing microtonal intervals. It is only a few years later, after his master in Statistics, that Basile developed a good knowledge in programming and was able to implement his own tools using the program Pure Data, allowing him to freely explore microtonality. He also started to learn the oud which opened the great world of maqam music to him.

Today, Basile Huguenin-Virchaux regularly composes microtonal music, explores and experiments with Pure Data, and recently developed a microtonal breakcore live performance using this same program. He is also actively learning to play maqam music (and broader microtonality) on the saxophone and other instruments, among other projects.





More about Astrid: 



S. Astrid Bin is an interdisciplinary artist and designer. Past endeavors have included baiting and then unbaiting 100 mousetraps with her hands, making a picture of a pigeon from 538 pieces of toast, documenting an attempt at making a million dollars in a year, photographing over 4000 banana skins, locking herself in a disused bank vault for ten nights, making light into a drawing medium, sending hundreds of postcards to an empty building, shaving her head, and occupying a phone booth for 24 hours. She has received death threats, hate mail and international press.


Her work examines the poetry in everyday things and the connections between people and their environments, and blurs, skips over and stamps on the line between art and design practice. She works two dimensionally (works on paper, text pieces, photography, printed projects, interfaces), three dimensionally (installation, art in public spaces, and reactive objects), and four dimensionally (sound, video, performance and interactive works). As an art and design researcher, she applies an art-based approach to design problems spanning interfaces, public space, new uses for games, the role of fun in the things we use, and re-imagining the music listening experience.

She has exhibited in Canada, England, Northern Ireland, Italy, Portugal, Germany, and is currently pursuing a doctorate in media and art technology at Queen Mary, University of London.







With support from Pro Helvetia Johannesburg, the Swiss Arts Council.