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Africa Published Volume 1: For Our Story

Africa Published is a publication created with the mission of encouraging the sharing of the African story by African photographers and creatives. This is in an effort to nomalize learning, and building publicly to in an effort to share the storyteller's journey. Under the theme For Our Story, contributors submitted work supporting their interpretation of SDG 8: Decent Work and Economic Growth. It should be noted that All contributors of this publication are either participants, mentors or facilitators of Creative Business Studio, Unpublished's flagship program. The program assists emerging photographers and founders of organizations supporting artists in professionalizing their craft.

Africa Published is a publication created with the mission of encouraging the sharing of the African story by African photographers and creatives. This is in an effort to nomalize learning, and building publicly to in an effort to share the storyteller's journey. Under the theme For Our Story, contributors submitted work supporting their interpretation of SDG 8: Decent Work and Economic Growth.

It should be noted that All contributors of this publication are either participants, mentors or facilitators of Creative Business Studio, Unpublished's flagship program. The program assists emerging photographers and founders of organizations supporting artists in professionalizing their craft.

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VOLUME I APRIL 2023<br />

AFRICA PUBLISHED<br />

for our story<br />

for our story<br />

for our story


APRIL 2023<br />

PREFACE<br />

for our story<br />

<strong>Africa</strong> <strong>Published</strong> is a publication created with the<br />

mission of encouraging the sharing of the <strong>Africa</strong>n<br />

story by <strong>Africa</strong>n photographers and creatives. This is<br />

in an effort to normalise learning, and building,<br />

publicly to share a journey often hidden:<br />

the storyteller should have their story shared as they<br />

work toward something bigger than themselves.<br />

Each image and word in this publication will give<br />

insight into their perspective of the given focus, as<br />

well as offer input from individuals and organisations<br />

that have given of their time to grow the <strong>Africa</strong>n<br />

creative as they work in industry.<br />

Under the theme '<strong>For</strong> our <strong>Story</strong>', this volume<br />

encouraged the consideration of decent work and<br />

economic growth: the contributors interpretation and<br />

experiences. (SDG 8: Economic Growth).<br />

As Unpublished's flagship program, Creative Business<br />

studio culminates in this publication, all contributors<br />

are participants, facilitators or mentors that came<br />

together to support the growth of the <strong>Africa</strong>n<br />

emerging artist.<br />

— Anesu-Tendesai Chikumba


VOLUME I APRIL 2023<br />

for our story<br />

2<br />

Peter Mukhaye<br />

Photographer (KE)<br />

6<br />

Tanatswa Mukwacha<br />

Creativetech for decent work in<br />

the <strong>Africa</strong>n creative industy:<br />

CollaboMe<br />

9<br />

Derrick Magezi Kageni<br />

Photographer (UG)<br />

14<br />

Farai Mudzingwa<br />

Bridging the information gap:<br />

<strong>Story</strong> Untold ZW<br />

17<br />

Namukolo Siyumbwa<br />

Photographer (ZA)<br />

22<br />

The Created Creative<br />

Getting started with brand<br />

positioning for your <strong>Africa</strong>n<br />

brand<br />

31<br />

The Finance Guy<br />

Simplify for financial growth<br />

tracking<br />

33<br />

Maingaila Muvundika<br />

Photographer (GH)<br />

38<br />

Akayi<br />

Developing a Creative Business<br />

Strategy<br />

41<br />

Bantubahle Mahlangu<br />

Photographer (RSA)<br />

45<br />

Unpublished<br />

46<br />

Creative Business Studio<br />

25<br />

Nancy Afua Agyeman<br />

Photographer (GH)<br />

for our story<br />

Unpub<br />

lished


Peter Mukhaye| In Her <strong>Story</strong>, 2022, Nairobi, Kenya<br />

Model: Keren Osapir


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Peter<br />

Mukhaye<br />

A Kenyan Conceptual visual artist who<br />

uses photography to tell stories. Peter's<br />

work centers around <strong>Africa</strong>n futurism.<br />

With a philosophy of <strong>Africa</strong>, as a<br />

continent, no longer be left behind<br />

when it comes to advancement of<br />

technology and humanity all together,<br />

Peter Mukhaye seeks to tell visual<br />

narratives through powerful imageries.<br />

His work has been featured in Vogue<br />

Italia as well as Wall Paper Magazine<br />

being the first runner up for Hue-Man<br />

design competition. Peter has exhibited<br />

his work internationally in the Design<br />

Miami 2021 in the USM Modular<br />

Furniture exhibition, Exhibition at the<br />

59th Venice Biennale courtesy of Akka<br />

Project , the Norman Foster Foundation<br />

for his work surrounding<br />

Environmental sustainability. He also<br />

competed at the Oppo Kenya's Picture<br />

Life Together seeing his work come<br />

second in the competition.<br />

follow the artist<br />

2


AFRICA PUBLISHED VOLUME 1<br />

PETER MUKHAYE<br />

In Her <strong>Story</strong>: Keren Osapir is an<br />

architect, artist and founder of Ogfra<br />

Fashion House that designs clothes and<br />

crochet pieces rooted in contemporary<br />

<strong>Africa</strong>n art. I had an opportunity to<br />

photograph her, and share is her story<br />

and vision for her craft<br />

Peter Mukhaye | Opilence, 2022, Bungoma, Kenya<br />

Opilence, An image created by<br />

integrating a conceptual photograph<br />

and artificial intelligence. The image is<br />

supposed to communicate the desire<br />

for sustenance.<br />

There are objects that represent<br />

agriculture, minerals and fabric, all<br />

which are primarily tapped in for the<br />

livelihood of most people in my context.<br />

3


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

artist<br />

Peter Mukhaye<br />

statement<br />

My work is primarily rooted in <strong>Africa</strong>n<br />

Futurism with hopes to inspire my<br />

peers to dream big and pursue all their<br />

aspirations. My work provokes<br />

individuals to be trendsetters and to<br />

pay attention to new opportunities<br />

taking advantage of them for our<br />

collective growth. Unique opportunities<br />

that are context-specific will be birthed<br />

through the process. This will generate<br />

new and exciting work environments,<br />

contributing to SDG 8 (Decent Work<br />

and Economic Growth).<br />

Being a visual storyteller has given me<br />

opportunities to access people's lives<br />

and daily activities. in the process I<br />

have been able to see, first hand the<br />

struggles of the common people, who<br />

inform the larger part of the population<br />

of my country. This is as they strive to<br />

make ends meet for themselves and<br />

their families (especially the youth and<br />

women). Seeing this his has provoked<br />

me as an artist to be conscious and to<br />

use my voice to lobby for intervention<br />

over the issue.<br />

4


AFRICA PUBLISHED VOLUME 1<br />

PETER MUKHAYE<br />

Peter Mukhaye | Twaja, Nairobi, Kenya, 2021.<br />

This is a conceptual body of work I designed to communicate hope for the <strong>Africa</strong>n Youth. It depicts a group of<br />

<strong>Africa</strong>n Astronauts of the future, set to save the whole of humanity. As a continent, we are not limited by any<br />

predestined hurdles. We can change the world; we have the power to do so.<br />

5


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Creativetech for<br />

decent work in the<br />

<strong>Africa</strong>n creative<br />

industy<br />

COLLABOME<br />

My name is Tanatswa Mukwacha and I<br />

am a freelance content creator in<br />

Zimbabwe.<br />

I have a passion for the <strong>Africa</strong>n creative<br />

industry and having spent quite some<br />

time in it, I decided that I would take<br />

part in creating a platform for it.<br />

CollaboMe is a platform my cofounders<br />

and I developed for <strong>Africa</strong>n creatives to<br />

collaborate on projects and since its<br />

launch in December, we are excited to<br />

see several creatives signed up.<br />

As a freelance creative in Zimbabwe, I<br />

have faced major challenges in<br />

generating decent income. I found<br />

partnering with, or being<br />

commissioned by grant related<br />

organizations quite difficulted. The<br />

reality is that in this industry, working<br />

with with formal institutions such as<br />

nonprofits and for profit corporations<br />

that contribute to the arts sector makes<br />

the work more sustainable.<br />

Tanatswa Mukwacha (cofounder of CollaboMe)<br />

My experience in the industry and the<br />

challenges that I faced are essentially<br />

what led to the creation of CollaboMe.<br />

6


AFRICA PUBLISHED VOLUME 1<br />

TANATSWA MUKWACHA<br />

Decent work means creating value and<br />

receiving a fair share after monetizing<br />

your creation. That is the mission<br />

CollaboMe – to ensure that this<br />

happens in an <strong>Africa</strong>n context.<br />

While our platform addresses quite a<br />

number of Sustainable Development<br />

Goals, a key area we have been working<br />

toward is to do with SDG 8: Decent<br />

work and economic growth. Callobome<br />

facilitates artists at different levels<br />

contributing to projects.<br />

<strong>Our</strong> hopes that are that underground<br />

artists work with established artists<br />

allowing them to contribute to funded<br />

projects. This will allow artists to<br />

generate revenue from their work and<br />

increase the chances of newer artists<br />

increasing their income earlier on their<br />

careers.<br />

Tanatswa<br />

Mukwacha<br />

I am a Zimbabwean freelance content<br />

creator and social innovator. My work<br />

has been centered around developing<br />

social innovations for the the civil<br />

society and non-profit sectors with<br />

most of the innovations being based on<br />

technology and addressing different<br />

societal issues in Zimbabwe.<br />

I have worked in the numerous arts<br />

organizations such as Magamba<br />

Network, The FeedZW and Open Parly<br />

Zimbabwe. uch as Accountability Lab,<br />

Act in <strong>Africa</strong>, Ignite Youth organization,<br />

Generation Unlimited, Impact Hub<br />

Harare.<br />

Revenue<br />

generation is a big<br />

challenge for most<br />

<strong>Africa</strong>n artists and<br />

through our<br />

platform we are<br />

working to solve<br />

this problem<br />

through a platform<br />

for economic<br />

opportunities.<br />

CollaboMe team From Left: Tanatswa Mukwacha, Itayi Chitovoro, Denzel Sambo, Tafadzwa Chaipa.<br />

7


AFRICA PUBLISHED VOLUME 1<br />

PETER MUKHAYE<br />

Peter Mukhaye | Provision, 2022, Bungoma, Kenya,<br />

A Conceptual image mixed with AI for storytelling depicting a lady carrying a woven basket.<br />

It seeks to comment on <strong>Africa</strong>n women's artisans industry.<br />

8


AFRICA PUBLISHED VOLUME 1<br />

NANCY AFUA AGYEMAN<br />

Derrick Magezi Kagena|2022, Gulu, Uganda<br />

1


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Derrick<br />

Magezi Kagena<br />

A Ugandan documentary photographer<br />

on a mission to capture authentic<br />

moments that people can relate to.<br />

Derrick's interest in photography was<br />

piqued by how candid images were<br />

able to evoke similar emotions from<br />

person to person.<br />

Derrick has been commissioned to<br />

work the Ugandan Ministry of Health,<br />

Ministry of Agriculture Animal Industry<br />

and fisheries as well as non profits such<br />

as Strong Minds. He has also exhibited<br />

his work in Zimbabwe.<br />

Derrick is on a journey to document his<br />

home country in its true natural self.<br />

follow the artist<br />

10


AFRICA PUBLISHED VOLUME 1<br />

DERRICK MAGEZI KAGENA<br />

Derrick Magezi Kagena, 2021, Jinja Uganda<br />

Image 1 : After a visit to one of my<br />

friend's farm, we were given vegetables<br />

to carry home as our gifts from the<br />

farm. The farm manager Mr. Okecho<br />

was helping us wrap the vegetables<br />

while telling us how to prepare them, I<br />

was fascinated by the way he was<br />

helping her wrap them. Gayaza district.<br />

Uganda 2023<br />

Image 2: This picture was taken at a<br />

market on my way from the source of<br />

the Nile in a district called Jinja, (2021)<br />

this was my first long trip after the<br />

lockdown was lifted, at this point of the<br />

journey market vendors run after cars<br />

which make pit stops to try and make a<br />

sale, the most bought food at this<br />

market is roasted chicken and plantain.<br />

Looking through the driving mirror<br />

from the back, It was such a joy to<br />

make that pit stop for roasted Chicken.<br />

11


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

artist<br />

Derrick Magezi Kagena<br />

statement<br />

My name is Kagena Magezi Derrick a<br />

Documentary photographer I used to<br />

take the time to observe the things in<br />

my world. The reality is that being<br />

present in. the moment is exciting and<br />

while posing for photographs might<br />

seem inevitable, it is the candid photos<br />

I have found deeply connect with us<br />

emotionally. When I started taking<br />

photos I didn't take it seriously but I<br />

was curious about this -<br />

why we relate with images the way we<br />

do. I loved the way that seemingly<br />

mundane moments could be captured<br />

and transformed into true beauty. This<br />

notion encouraged me to be even more<br />

intentional and creative every day.<br />

currently am on a journey to document<br />

the world in its true natural self, how<br />

we live in it, our love, beauty, and our<br />

emotions to tell stories that know no<br />

boundaries.<br />

12


AFRICA PUBLISHED VOLUME 1<br />

DERRICK MAGEZI KAGENA<br />

Derrick Magezi Kagena | Reportage, 2021, Kalangala District, Uganda<br />

13<br />

1


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Bridging the<br />

information gap:<br />

<strong>Story</strong> Untold ZW is a platform that<br />

showcases the stories of young<br />

Zimbabweans who are working<br />

towards achieving the UN's Sustainable<br />

Development Goal 8: Decent Work and<br />

Economic Growth. The platform aims to<br />

inspire, educate and empower other<br />

Farai Mudzingwa (founder)<br />

young people to pursue their passions<br />

and create positive change in their<br />

communities. <strong>Story</strong> Untold ZW uses<br />

various media such as podcasts, videos,<br />

blogs and social media to share the<br />

experiences and challenges of these<br />

young entrepreneurs and innovators.<br />

To date we have had over 30 young<br />

Zimbabweans share on their work.<br />

While our work has been fulfilling with<br />

lot of positive feedback we have faced<br />

some challenges in telling the<br />

Zimbabwean story.<br />

STORY UNTOLD ZW<br />

As the founder of <strong>Story</strong> Untold ZW, I<br />

have faced challenges surrounding<br />

growing the brand to the not only what<br />

I envision it to be, but financially. There<br />

is a need to start making recurring<br />

revenue and transitioning from being<br />

over reliant on grants which have<br />

outcomes and timelines that are<br />

outside of our control.<br />

When we started, we also struggled to<br />

find people to for the interviews as<br />

people weren’t familiar with the brand<br />

or what we are trying to do.<br />

<strong>For</strong>tunately, this has gotten better with<br />

time.<br />

While we highlight the potential and<br />

opportunities that exist in various<br />

sectors, such as technology, fashion,<br />

animation, music and photography; we<br />

are also exposing the gaps and barriers<br />

that hinder their development and<br />

sustainability. This is such as lack of<br />

funding, infrastructure, skills and<br />

markets. <strong>Story</strong> Untold ZW aims to<br />

inspire, educate and connect<br />

Zimbabweans who are passionate<br />

about solving problems and creating<br />

14


AFRICA PUBLISHED VOLUME 1<br />

FARAI MUDZINGWA<br />

value through their work. <strong>Story</strong> Untold<br />

ZW has been a platform for people<br />

from different sectors to share their<br />

experiences, but I too have a passion<br />

for solving Zimbabwean problems. I am<br />

passionate about solving Zimbabwe’s<br />

access to information. As a creative,<br />

decent work that leads to economic<br />

growth means that I think of work that<br />

offers me an opportunity to live with<br />

dignity but also benefits other people<br />

which is why I want to solve the<br />

information gap through the platform.<br />

Ultimately, <strong>Story</strong> Untold ZW features<br />

stories of Zimbabwean creatives,<br />

entrepreneurs and innovators who are<br />

making an impact in their fields. By<br />

sharing their journeys, challenges and<br />

successes, not only do we showcases<br />

the need for decent work and economic<br />

growth in Zimbabwe, we also help<br />

inform more people on how such is<br />

actually attainable.<br />

Farai<br />

Mudzingwa<br />

Farai Mudzingwa is passionate about<br />

creating a platform for students to find<br />

information surrounding various career<br />

types and sectors. With three years of<br />

experience covering Tech in Zimbabwe,<br />

he is now the founder of Untold Zw<br />

which interviews professionals across<br />

sectors.<br />

follow their work<br />

15


AFRICA PUBLISHED VOLUME 1<br />

DERRICK MAGEZI KAGENI<br />

Derrick Magezi Kagena, 2022, Gulu Uganda<br />

Image 4: I was inspired by the way this truck was overloaded with bags of charcoal and a torn<br />

cover as we were returning from a trip in the northern part of Uganda.<br />

16


Namukolo Siyumbwa | Moone, 2023, Lusaka Zambia<br />

Model: Natasha Siyumbwa


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 MENTOR<br />

Namukolo<br />

Siyumbwa<br />

Namukolo Siyumbwa is a portrait and<br />

event photographer from Lusaka,<br />

Zambia. She started photography as a<br />

hobby and part time job, before taking<br />

it up full time at the end of 2018.<br />

Namukolo has since managed to<br />

garner a steady clientele, reaching<br />

milestones such as being featured in<br />

Zambia's in-flight magazine, Nkwazi.<br />

She has had her work exhibited in<br />

Pikicha Gallery, Zimbabwe a show<br />

curated by Unpublished and has been<br />

shortlisted for the Sony Photo Awards<br />

in the Creative Portrait catery in 2023.<br />

While her is work is experimental; she<br />

tells stories inspired by nostalgia,<br />

mysticism and <strong>Africa</strong>n folklore.<br />

Her goal is to encourage more women<br />

to get involved in photography and<br />

explore imaginative storytelling.<br />

Namukolo is also a freelance<br />

photojournalist for Reuters an avenue<br />

which has allowed to capture and cater<br />

to the everyday person in Zambia.<br />

follow the artist<br />

18


AFRICA PUBLISHED VOLUME 1<br />

NAMUKOLO SIYUMBWA<br />

Namukolo Siyumbwa | Clay, 2023, Lusaka Zambia<br />

MOONE : A photo that made it on to<br />

the Sony Photo Awards: Creative<br />

category shortlist. This textured and<br />

layered image was a spontaneous idea<br />

hatched during a regular photo session<br />

with the photographer's sister<br />

The Prince: This is from the god-prince<br />

series that was a spontaneously<br />

conceived idea one summer afternoon<br />

and we (me and the model) used<br />

fabrics and jewelry to put this look<br />

together.<br />

CLAY (image above) : Self portrait with a<br />

superimposed bark that had been<br />

taken by the photographer. This<br />

became the cover image of Nkwazi<br />

Magazine in early 2020.<br />

19


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 MENTOR<br />

artist<br />

Namukolo Siyumbwa<br />

statement<br />

've always been a fan of fantasy.<br />

Whether in books, animations,<br />

movies, or photography. I love<br />

anything that takes my mind on a<br />

journey and indulge my<br />

escapism.All these images were<br />

taken in my living room, with a<br />

small set up: a backdrop, one<br />

light and a tripod.<br />

These images came from ideas<br />

that were meticulously planned<br />

or spontaneous. There is no inbetween.<br />

I love experimenting<br />

with stories and textures with my<br />

self portraits and ad hoc photo<br />

sessions with friends. When I<br />

manage to plan out an idea, I look<br />

for reference images close to<br />

what I see in my mind as a guide,<br />

and then put my elements into it.<br />

I like to give a little more<br />

dimension and interest with<br />

almost gives a multimedia feel. I<br />

add textures and bits of other<br />

photos to the single image. It's<br />

easy for photographers to get<br />

encompassed by the commercial<br />

side of photography, especially<br />

when living hand to mouth. But<br />

my creative portraits show that<br />

we can use photography to 'play'<br />

and create as an artist.<br />

Namukolo Siyumbwa | The Prince, 2019, Lusaka Zambia<br />

Model: Lubasi Katundu<br />

20


AFRICA PUBLISHED VOLUME 1<br />

NAMUKOLO SIYUMBWA<br />

Namukolo Siyumbwa | Flower girl 1, 2021, Lusaka Zambia<br />

An experiment with old fine art paintings of flowers, blended into self portraiture<br />

21


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 FACILITATOR<br />

Getting started with<br />

brand positioning<br />

for your <strong>Africa</strong>n brand<br />

Positioning itself is considered complex,<br />

however through digging deeper into<br />

branding and making it a mission to<br />

help people position themselves, we<br />

have found that a complex concept is a<br />

sum of simple concepts. Positioning<br />

with its many advantages is essentially<br />

the space that you take up in your<br />

clients and stakeholders minds while<br />

being top of mind is being the go to for<br />

a specific service in a specific sector.<br />

This means that you want to become<br />

known for something and then become<br />

the first person that comes to mind<br />

when people spontaneously think of<br />

your specific service in your chosen<br />

sector — you become the go to .<br />

When you think of your sector, don’t<br />

just think of photography, for example,<br />

think about the kind of photography<br />

you enjoy and the kind of person you<br />

want to work with. This cohort had a<br />

documentary photographer specific to<br />

the Jazz industry and specific to the<br />

South <strong>Africa</strong>n market. Niching down<br />

doesn’t mean you stop taking other<br />

work, it just means that you are actively<br />

communicating the kind of work that<br />

you want to do.<br />

THE CREATED CREATIVE<br />

When people see your work they will<br />

see, get to know and understand your<br />

style imagining it in their context and<br />

needs.<br />

Why do people come to you? And how<br />

close is it to what you want them to<br />

come you for?<br />

Branding will happen with or without<br />

you and if you aren’t intentional with<br />

your brand that gap between what<br />

people know you for and what you<br />

want to be known for will grow. It's<br />

more difficult to correct this than it is to<br />

create it.<br />

This begs the question of how– how do<br />

create a brand that is aligned with your<br />

vision for your creative career? The<br />

answer: By building a reputation using<br />

the tools at your disposal. Decide on<br />

what it is you want to be known for and<br />

then constantly share this on your<br />

current platforms and with your<br />

current audience.<br />

22


AFRICA PUBLISHED VOLUME 1<br />

THE CREATED CREATIVE<br />

Social media has influenced<br />

how we think about an<br />

audience or a following but<br />

always think about that<br />

number being people.<br />

Ten people make up a boardroom, fifty<br />

people make up a lecture hall, one<br />

hundred people might be above the<br />

venue limit for some event spaces. And if<br />

two of those people buy into what you are<br />

doing, come to you for your services and<br />

then refer you that shows growth. Share<br />

your content to people, and tell them why<br />

you do what you do and how you can<br />

serve them.<br />

Over time it may feel repetitive but the<br />

reality is that we tend to trust people<br />

because they are consistent in who they<br />

say they are. This means that you need<br />

to decide on what you want to be know<br />

for, talk about it and then be that<br />

person.<br />

So, what do you want to be known for<br />

and how does that differ from what you<br />

are known for?<br />

The Created<br />

Creative is a brand<br />

and digital marketing service and<br />

Podcast. We serve <strong>Africa</strong>n individuals<br />

and organizations in helping build a<br />

reputation aligned with their vision<br />

using digital marketing tools.<br />

Listen to the podcast:<br />

Building <strong>Africa</strong>n Brands:<br />

23


AFRICA PUBLISHED VOLUME 1<br />

NAMUKOLO SIYUMBWA<br />

Namukolo Siyumbwa | Flower girl 2, 2021, Lusaka Zambia<br />

An experiment with old fine art paintings of flowers, blended into self portraiture<br />

24


Nancy Afua Agyeman | Sankofa 1, 2023, Accra, Ghana


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Nancy Afua<br />

Agyeman<br />

Also known as Efe Agyeman, Nancy<br />

Afua is a portrait photographer<br />

exploring ways to tell visual stories<br />

about missing pieces in her context as<br />

woman in Accra, Ghana.<br />

She believes that photography is an<br />

avenue to capture and keep key<br />

moments with hopes that that will<br />

prolog the phasing out of our stories.<br />

This is all in a world that is constantly<br />

changing and in a world where pieces<br />

seem to go missing faster than ever.<br />

Here hopes are that Photographed<br />

images will remain a guide.<br />

The images shared in this publication<br />

are from a series Sankofa and her hope<br />

is they could be used as reference and<br />

a source of inspiration to others.<br />

“The noblest art is that of making<br />

others happy “- P.T. Barnum<br />

follow the artist<br />

26


AFRICA PUBLISHED VOLUME 1<br />

NANCY AFUA AGYEMAN<br />

Nancy Afua Agyeman| Sankofa 1-5, 2023, Accra, Ghama<br />

27


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

artist<br />

Nancy Afua Agyeman<br />

statement<br />

SANKOFA:<br />

The Missing Piece<br />

Sankofa, an Akan word which literally<br />

means go back for it. It is often<br />

associated with traditions – to go back<br />

or traditions.<br />

A lot has a change with the world<br />

becoming a global village. Interracial<br />

marriage, merging cultures and new<br />

traditions being made. We also live in<br />

era with an influx of western culture as<br />

a dominance. This changes have<br />

created space to know more about<br />

other cultures but there are others that<br />

seem to have been forgotten.<br />

We have been able to identify which are<br />

outmoded and harmful to us but we<br />

haven’t been able to harness the good<br />

ones.<br />

Nancy Afua Agyeman | Sankofa 2, 2023, Ghana<br />

Growing up with my grandmother, she always sat me down and I remember her<br />

words clearly “in any moment you find yourself lost, remember where you come<br />

from“. I never found the importance to this until a year ago when I had to work on a<br />

theme “The Female Gaze”. A perspective but even more it was an opportunity to go<br />

back and find what we deemed important and what binds us together – community.<br />

Not one or two, but a group with a common belief. In doing this, I have been able to<br />

understand what my Grandmother tried to teach me.<br />

28


AFRICA PUBLISHED VOLUME 1<br />

NANCY AFUA AGYEMAN<br />

There was a missing piece to <strong>Africa</strong>n<br />

people and that is what binds us as a<br />

people. The culture – the food, the tales<br />

or our forefathers, the myths and<br />

legends, our heroes etc.<br />

After this big realization, I have worked<br />

with that interest. Photography has<br />

been a means to relive our beautiful<br />

culture through images. Most of my<br />

photographs highlights what defines us<br />

and that includes our dark skin and<br />

kinky hair has been an amazing part of<br />

my storytelling. These images are<br />

purposed for representation i.e. images<br />

that look like me which has been aim<br />

since I started photography. I have<br />

continued to document relatable<br />

images from our daily life, livelihoods<br />

such as farming, fishing, etc.<br />

I have also photographed our locally<br />

made textiles with keen interest and<br />

our and include cultural symbols into<br />

my photographs. During these period I<br />

have learnt what goes into making<br />

these textiles. The names of these<br />

textiles and their significance in which<br />

they are used for.<br />

'I refer to all these<br />

emblems as our missing<br />

pieces. The pieces which<br />

might be answer to our<br />

cultural crisis.'<br />

In a world which, our missing pieces<br />

seems to phase out, photography could<br />

be an avenue to keep them and guide<br />

our way of life in our ever changing<br />

world.<br />

These photographs have a long way to<br />

go and my hope is they could be used<br />

as reference and a source of inspiration<br />

to others.<br />

“The noblest art is that of making<br />

others happy “- P.T. Barnum<br />

The “Adinkra” symbols in Akan culture<br />

and the most popularly known “Gye<br />

Nyame” which means only God. I refer<br />

to all these emblems as our missing<br />

pieces. The pieces which might be<br />

answer to our cultural crisis.<br />

29


AFRICA PUBLISHED VOLUME 1<br />

NANCY AFUA AGYEMAN<br />

Nancy Afua Agyeman| Sankofa 3, 2023, Accra, Ghana<br />

30


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 FACILITATOR<br />

The Business of Creativity<br />

Simplify for<br />

financial growth<br />

tracking<br />

The Finance Guy<br />

Artists have a unique relationship with<br />

money, often valuing creative<br />

expression over financial gain. The<br />

reality is that being successful in the<br />

arts industy often requires a balance<br />

between vision and financial<br />

responsibility. Understanding how to<br />

cost your work and implementing an<br />

accounting system can help you as an<br />

artist. This allows for financial success<br />

while staying true to your creative<br />

vision.<br />

One common attitude I have found<br />

creatives have is a hesitation<br />

surrounding pricing their work. Many<br />

artists struggle with the idea of putting<br />

a price tag on something that is so<br />

personal and often comes from a<br />

deeply personal place. The result of this<br />

is more often than not under-priced<br />

work, and a continuous struggle to<br />

make a living from their art.<br />

necessary<br />

step in<br />

achieving<br />

financial<br />

success as an<br />

artist. The key<br />

is to<br />

understand<br />

the value of<br />

you work and<br />

to price<br />

Mark Mtombeni (Founder)<br />

to it accordingly. Factors such as<br />

materials, time, and the your<br />

experience should all be taken into<br />

consideration when determining the<br />

cost of a piece, or service.<br />

Another important aspect of an artist’s<br />

financial success for creatives is in<br />

implementing a simple accounting<br />

system. Many artists avoid<br />

bookkeeping, and from conversations I<br />

have had, this is because its often seen<br />

as tedious and time-consuming.<br />

Putting a price to your work is a<br />

31


AFRICA PUBLISHED VOLUME 1<br />

THE FINANCE GUY<br />

Keeping track of your income and<br />

expenses is crucial for understanding<br />

the financial health of an your business<br />

– keeping track of these numbers is<br />

what differentiates a career from a<br />

hobby. Without an accurate<br />

understanding of finances, you may<br />

find yourself struggling to pay bills, save<br />

for the future, or even invest in your<br />

practice.<br />

<strong>For</strong>tunately, there are many easy-touse<br />

accounting systems available for<br />

artists. I recommend exploring online<br />

platforms like ZOHO books and<br />

Waveapps that are designed specifically<br />

for freelancers and small business<br />

owners. They make it easy to track<br />

income, expenses, and invoices. These<br />

platforms also provide valuable insights<br />

into the financial health of an artist's<br />

business, making it easier to plan for<br />

the future and make informed financial<br />

decisions. Adopting an accounting<br />

system will also help you with your with<br />

tax preparation.<br />

f you, like many artists, are selfemployed<br />

and therefore responsible<br />

for paying your own taxes this is good<br />

to have in mind. Without proper<br />

bookkeeping, tax season can be<br />

stressful and time-consuming. A wellorganized<br />

accounting system can<br />

simplify the process, making tax season<br />

less daunting and more manageable.<br />

Without an accurate<br />

understanding of<br />

finances, you may<br />

find yourself<br />

struggling even<br />

invest in your<br />

practice.<br />

Overall, adopting an attitude of<br />

financial responsibility is crucial if you<br />

are looking to achieve financial success.<br />

Price your work appropriately and<br />

implement an easy-to-use accounting<br />

system. It may seem daunting at first,<br />

but it can ultimately lead to a more<br />

stable and successful career and it will<br />

help you track your growth.<br />

By taking time to learn more about the<br />

financial side of your work and<br />

understanding you will have more<br />

control of your finances. As an artists<br />

you can create a sustainable and<br />

fulfilling professional life while staying<br />

true to your creative vision.<br />

Learn more about<br />

your finances:<br />

32


Maingaila Muvundika | Nidye Mwamene Vima Sila, 2023 Lusaka Zambia<br />

Models: Tom Manda and Taonga Ng’uni,


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Maingaila<br />

Muvundika<br />

Mainga’s interest in photography began<br />

during his early childhood years seeing<br />

photographs that his mother had<br />

taken.<br />

This grew into a career initiated by<br />

capturing and creating his own<br />

photographs with whatever device he<br />

had at his disposal. In the second year<br />

on a non creative degree, he ventured<br />

Into fine art and portrait photography<br />

for which he is now known.<br />

Mainga has since had his work<br />

published on PhotoVogue, i-D<br />

magazine, and the magazine cover for<br />

Nkwazi Magazine while having his work<br />

commissioned by Canva. This is in<br />

addition to having his work exhibited in<br />

a group photography exhibition titled<br />

Narratives Unpublished which was part<br />

of the Unpublished in <strong>Africa</strong><br />

photography week.<br />

follow the artist<br />

34


AFRICA PUBLISHED VOLUME 1<br />

MAINGAILA MUVUNDIKA<br />

Nidye Mwamene Vima Sila: loosely<br />

translates to “this is exactly how these<br />

things end” in ChiNyanja is part of an<br />

unreleased project exploring the<br />

exploitative and predatory nature of<br />

social institutions within our current<br />

society.<br />

Photo Assistant: Caleb James Latreille,<br />

Styling - Maingaila<br />

Greener: (next page): An image<br />

showcasing the results of self<br />

introspection surrounding navigating my<br />

environment and the need to dumb<br />

down or silence my physical appearance.<br />

This is all in an effort to live through<br />

each day with minimal confrontation.<br />

This piece created a space within to be<br />

free without the chaos of self doubt.<br />

Us by Us:<br />

An idea developed<br />

with a fellow<br />

photographer<br />

Shilika to highlight<br />

the importance of<br />

telling your own<br />

stories.<br />

The artistic<br />

practice is self<br />

portraiture heavy<br />

to reinforce the<br />

need to be the<br />

first point of<br />

contact in idea<br />

conception.<br />

Maingaila Muvundika | Us by Us, 2023, Lusaka Zambia<br />

Model - Shilika, Styling - Shilika<br />

35


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

artist<br />

Maingaila Muvundika<br />

statement<br />

Most of my work is<br />

biographical and seeks to<br />

understand relationships<br />

between things like class,<br />

religion, gender etc and<br />

how people navigate that<br />

within the Zambian<br />

context.<br />

There’s a high focus on<br />

how people present (the<br />

physical attributes such as<br />

hair, clothes, piercings,<br />

tattoos etc and what<br />

environments these things<br />

are allowed or not).<br />

As a young person, there’s<br />

so many different niceties<br />

that i’m being afforded<br />

that generations prior had<br />

no access to. There’s a gap<br />

in our hierarchy of needs<br />

and principles that births<br />

an array of problems.<br />

Photography has the<br />

power to arrest one’s<br />

attention and with the<br />

work I create and the<br />

topics I dissect, I hope to<br />

bridge these gaps.<br />

Maingaila Muvundika | Greener, 2022, Lusaka Zambia<br />

36


AFRICA PUBLISHED VOLUME 1<br />

MAINGAILA MUVUNDIKA<br />

Maingaila Muvundika| Bacci, Zambia 2021<br />

Model: Bacci, Styling: Bacci.<br />

This portrait came out of a shoot for his promotional work as an artist. It’s special to me because he<br />

wholly put his image in my hands. In a country where most are camera averse, I'm always reminded how<br />

delicate of a task it is to portray people for public consumption.<br />

37


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 FACILITATOR<br />

Developing a<br />

Creative Business<br />

Strategy<br />

Starting a business as a creative can be<br />

challenging, but partnering with a<br />

business development program can<br />

help you turn your passion into a<br />

profitable business. A business<br />

development program targeted<br />

specifically at addressing the needs of<br />

creative business can provide one with<br />

the tools, resources, and support they<br />

need to succeed in their creative<br />

business.<br />

As Akayi, we were honoured to offer<br />

our support in terms of business<br />

principles and tools to enhance creative<br />

businesses. Akayi is an ecosystem<br />

enabler focused on fostering<br />

entrepreneurship and it is based in<br />

Harare, Zimbabwe. We currently run a<br />

business development programme<br />

called BizBuild which has successfully<br />

incubated 3 cohorts over the past 6<br />

months.<br />

We hosted a business development<br />

workshop which focused on educating<br />

the participants on monetising and<br />

differentiating their business in the<br />

market. This workshop was based on<br />

the “Purple Cow” theory. A concept<br />

developed by Seth Godin on<br />

AKAYI<br />

how companies must build things<br />

worth noticing right into their products<br />

or services. A "Purple Cow" creative<br />

business is one that takes a product<br />

that typically find difficulty in<br />

differentiating and uses product<br />

development to transform it into a fun<br />

and quirky brand that people actually<br />

want to talk about and share with their<br />

friends.<br />

The workshop was followed by 1-on-1<br />

business development consultations<br />

where the participants shared the<br />

current state of their businesses and<br />

their goals to monetise and reach the<br />

next level be it client, marketing or<br />

product focused. Some concepts that<br />

were shared included offering<br />

specialised services and collaborating<br />

with SMEs to grow their distribution<br />

network. A common consideration<br />

amongst participants was the notion of<br />

looking and finding another job or<br />

means of income in order to support<br />

their creative pursuits. Though this can<br />

be helpful, the time and attention<br />

removed from the business could<br />

hinder the progress of the creative’s<br />

efforts. More often than not, a business<br />

38


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 FACILITATOR<br />

is reliant on the active engagement of<br />

the founder. One common solution to<br />

this was automation. Businesses were<br />

advised to list the mundane and<br />

repetitive tasks they engage in and to<br />

automate them in order to free up time<br />

to pursue leads and generate sales.<br />

Some additional benefits that creative<br />

businesses gained from engaging with<br />

a business development consultant<br />

from Akayi or module in a program<br />

such as the Creative Business Studio<br />

included:<br />

Business training and education<br />

Mentorship and guidance<br />

Networking opportunities<br />

Access to funding and resources<br />

Accountability and support<br />

One of the primary Sustainable<br />

Development Goals (SDGs) that we<br />

strive to achieve is SDG 8 - Decent Work<br />

and Economic Growth. As an<br />

entrepreneurship focused entity, we<br />

believe that empowering people to<br />

create jobs for themselves and their<br />

communities is one of the ways to end<br />

financial exclusion and the poverty<br />

cycle in many countries - including<br />

those in <strong>Africa</strong>. Programs that actively<br />

tackle challenges in securing and<br />

sustaining decent work are great as<br />

they not only address the challenge but<br />

they actively seek to understand it so<br />

that it does not perpetuate in our<br />

39


AFRICA PUBLISHED VOLUME 1<br />

MAINGAILA MUVUNDIKA<br />

Maingaila Muvundika | Movement, 2022, Lusaka Zambia<br />

A self portrait from a transitional point in my life during a vacation with friends. The constant push and pull of life<br />

was heavy on my mind. The never ending thought of “what’s next?” ringing like my 6am alarm. I was escaping and<br />

leaving that all behind but just for a minute.<br />

40


Bantubahle Khotso Mahlangu | Passion, Pretoria State Theatre, South <strong>Africa</strong>, 2022


AFRICA PUBLISHED VOLUME 1<br />

COHORT 1 PARTICIPANT<br />

Bantubahle<br />

Mahlangu<br />

A South <strong>Africa</strong>n documentary and<br />

portrait photographer born committed<br />

to documenting Jazz in his home<br />

country. Bantubahle's photography<br />

career began in 2012 studying<br />

photography at the Market Photo<br />

Workshop and then Umuzi.<br />

This began a journey which has found<br />

him working with BBC <strong>Africa</strong>, Standard<br />

Bank South <strong>Africa</strong>, Redbull Australia<br />

and South <strong>Africa</strong>., and Investec just to<br />

name a few. Batubahle has also had his<br />

work exhibited at Pikicha GAllery in<br />

Zimbabwe and is committed to telling<br />

stories through his chosen medium,<br />

photography.<br />

follow the artist<br />

42


AFRICA PUBLISHED VOLUME 1<br />

BANTUBAHLE KHOTSO MAHLANGU<br />

Bantubahle Khotso Mahlangu| Solitude, Bushfire festival, Swaziland, 2022.<br />

43


AFRICA PUBLISHED VOLUME 1<br />

BANTUBAHLE MAHLANGU<br />

artist<br />

Bantubahle Mahlangu<br />

statement<br />

I am a portrait and documentary<br />

photographer with a keen<br />

interest in sharing stories about<br />

misrepresented narratives.<br />

I began my photography journey<br />

over ten years ago and while I<br />

have explored different types of<br />

photography, and styles I decided<br />

to focus on an industry I have<br />

been working with.<br />

Jazz is often seen as a genre for<br />

my parents generation, but asI<br />

engaged with the music industry<br />

in South <strong>Africa</strong> I realized that that<br />

is a false narrative. The young<br />

artists are writing, composing,<br />

singing and performing Jazz.<br />

Sometimes it is fused with what<br />

younger generations would relate<br />

to but what is even more<br />

interesting is that the youth<br />

attend these performances. I<br />

want to capture, and document<br />

this -- something I believe is<br />

growing and will possibly catch<br />

many off guard in a few years.<br />

The South <strong>Africa</strong>n artist and more<br />

specifically the South <strong>Africa</strong>n Jazz<br />

artist will have their story told.<br />

Bantubahle Khotso Mahlangu| Are you ready,<br />

Pretoria State Theatre, South <strong>Africa</strong>2022.<br />

44


AFRICA PUBLISHED VOLUME 1<br />

THE UNPUBLISHED STORY<br />

Unpublished is a<br />

platform that was<br />

initially created to simply<br />

share everyday Zimbabwe<br />

in photography form.<br />

Today, it has grown into a platform<br />

working to encourage, showcase and<br />

promote documentary photography.<br />

We are committed to creating and<br />

facilitating events and activities that<br />

encourage the sustained advancement<br />

of (documentary) photographers and<br />

their invaluable work. This is while<br />

prioritizing the growth of the <strong>Africa</strong>n<br />

emerging visual storyteller.<br />

Creative<br />

BUSINESS<br />

Studio<br />

Unpub<br />

lished<br />

Creative Business Studio is a six week<br />

virtual program created and facilitated<br />

by Unpublished.<br />

The program assists <strong>Africa</strong>n emerging<br />

visual storytellers, and organisations<br />

supporting artists, as well ar creatives<br />

ready to professionalize their craft. The<br />

Creative Business Studio is a platform<br />

to build and<br />

improve a<br />

business built<br />

around core<br />

skills that rely on<br />

the individual<br />

being creative.<br />

Today, Unpublished is a publisher of<br />

documentary photography that<br />

collaborates with storytellers in order<br />

to find new and creative ways of<br />

uncovering and telling the <strong>Africa</strong>n story.<br />

We empower communities in and<br />

around Zimbabwe by having<br />

conversations and asking questions<br />

where we were encouraged to follow<br />

the directive blindly. This is all while<br />

providing a space for like-minded<br />

creatives to build a community that<br />

encourages collaboration, curiosity, and<br />

confidence.<br />

The program facilitates the following<br />

Business training and education<br />

Mentorship and guidance<br />

Networking opportunities<br />

Access to funding and resources<br />

Accountability and support<br />

follow Unpublished<br />

45


AFRICA PUBLISHED VOLUME 1<br />

THE UNPUBLISHED STORY<br />

<strong>Our</strong> Participants<br />

David Addo-Gyan (Ghana) · Nancy Afua Agyeman (Ghana) · Faith Mudiwa<br />

Chipangura (Zimbabwe) · Nomashawekazi Damasane (Zimbabwe) · Derrick Kagena<br />

Magezi (Uganda) · Bantubahle Mahlangu (South <strong>Africa</strong>) · Peter Mukhaye (Kenya) ·<br />

Farai Mudzingwa (ZImbabwe) · Tanatswa Mukwacha (Zimbabwe) · Maingaila<br />

Muvundika (Zambia) · Richard Tentone (Zimbabwe)<br />

<strong>Our</strong> Facilitators<br />

Chido Dzinotyiwei (Akayi) · Benjamin Makono (Top Legal) · Anesu Chikumba (The<br />

Created Creative) · Mark Mtombeni (The Finance Guy) · Namukolo Siyumbwa (Eness<br />

Photography)<br />

<strong>Our</strong> Partners<br />

46


Collaborating with creators for<br />

the <strong>Africa</strong>n narrative.<br />

Unpub<br />

lished<br />

hello@unplished.africa

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