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Burna Boy performs at SSE Arena Wembley on November 3, 2019 in London, England.

Here are the 2021 Global Music Awards Africa Winners

Burna Boy, Stonebwoy, Bella Shmurda, and more African artists have secured wins at the first ever Global Music Awards Africa.

Burna Boy, Stonebwoy, Bella Shmurda, and more musical artists from across Africa have bagged wins at the first ever Global Music Awards Africa (GMAAs). This follows after the GMAAs reportedly took place this past weekend in Accra, Ghana. The GMAAs debut took place virtually due to COVID-19 regulations and was broadcasted live with live performances from Sherifa Gunu, S3fa, Epixode, Star Zee and the Levites Band.


Read: Did South Africa's Anatii Win a Grammy For 'Brown Skin Girl'?

According to Music in Africa, Burna Boy who recently won a Grammy award for his album Twice as Tall received a GMMA for "Global Artist of the Year". Bella Shmurda was the popular winner of the night collecting two awards for his viral hit single "CashApp". He walked away with "Global Collaboration of the Year" and "Global Most Popular Song of the Year". Nigerian singer Teni won "Global Act of the Year". The win comes just after she dropped her albumWONDALAND.

Ghana is known for its dancehall artists and the category was heavily contested. Stonebwoy snatched the "Global Reggae- Dancehall Song of the Year" for his song "Journery" while "Dancehall Artist of the Year" went to Shatta Wale. Ghana's 25-year-old afro-pop artist, Awoskey, bagged the most coveted trophy, the "Global Afrobeats Song of the Year" for his single "Mama Prayer" which dropped late last year.

The awards celebrate Africa's best musicians while showcasing artists from the West African region. This year 20 artists from across Africa were nominated including Davido, Wizkid, Diamond Platnumz and Master KG.

Here is the full list of the 2021 GMAAs winners along with the nominees.

Global Hip Hop Song of the Year

"La Hustle" – Medikal ft. Joey B and Cris Waddle (Ghana)
"Madina" – Teflon Flexx (Ghana)
"Love from 233" – Kwesi Arthur (Ghana)
"Big Money" – Star Zee (Sierra Leone)
"Camuflaje" – D-Soulja (Equatorial Guinea)

Global Reggae/ Dancehall Song of the Year

"Big Money" – Star Zee (Sierra Leone)
"Journey" – Stonebwoy (Ghana)
"Dolla Bill' – Heph B (Nigeria)
"Shaming Enemies" – Buffalo Souljah (Zimbabwe)
"Choppings" – Shatta Wale (Ghana)

Global Reggae/ Dancehall Artist of the Year

Shatta Wale (Ghana)
Star Zee (Sierra Leone)
Buffalo Souljah (Zimbabwe)
Burna Boy (Nigeria)
Stonebwoy (Ghana)
Heph B (Nigeria)

Global Afrobeats Song of the Year

"Vibe" – Flo-Eazy (Ghana)
"Best Friend" – Kelvyn Boy (Ghana)
"Agbemator" – De Gate Zion (Ghana)
"All Access" – Terror- D ft. Emmerson (Sierra Leone)
"Mama Prayer" – Awoskey (Nigeria)

Global Afrobeats Artist of the Year

Flo-Eazy (Ghana)
Kelvyn Boy (Ghana)
Terror-D (Sierra Leone)
Awoskey (Nigeria)

Global Best Video of the Year

''Here For You'' – Vanilla Karr (Equatorial Guinea)
''Waa' Santrinos'' – Raphael ft. Zeynab (Togo)
''Tevunya'' – Sheeba Karungi (Uganda)
''Big Money'' – Star Zee (Sierra Leone)
''Without You'' – Awoskey (Nigeria)
''Whatsapp'' – Nick Mba (Equatorial Guinea)
''On God'' – D'Tee (Nigeria)
''Camuflaje'' – D- Soulja (Equatorial Guinea)
''Goddess'' – Tiisha (Goddess)
''Wildin'' – Mmzy (Nigeria)
''Favour'' – Nanky ft. Sarkodie (Ghana)
''Litty Lit'' – Cuppy ft. Teni (Nigeria)

Songwriter of the Year

Mr Leo (Cameroon)
Leczy (Nigeria)
Master KG (South Africa)
DobleJota NM (Senegal)
Nedy (Tanzania)
Betty G (Ethiopia)
Buju (Nigeria)
Jerry Jeyco (Tanzania)

Producer of the Year

Mr Jassiq (South Africa)
KillBeatz (Ghana)
Scarfboy (Nigeria)
MOG Beatz (Ghana)
Dave Da Music Box (Ghana)
Ivan Beatz (Ghana)
Spon Key (Ghana)
Vinny Kay (Ghana)

Record of the Year

''All Access'' – Terror- D ft. Emmerson (Sierra Leone)
''Idol'' – Leczy (Nigeria)
''Duduke'' – Simi (Nigeria)
''Ya Disponible'' – Obote Oberadaboo (Equatorial Guinea)
''Jerusalema'' – Master KG (South Africa)
''Amen'' – Neny (Tanzania)
''Amégan'' – Afia Mala (Togo)

Hiplife/ Hip Hop Artist of the Year

Leczy (Nigeria)
Nick Mba (Equatorial Guinea)
Minks (Cameroon)
King Gizee (Nigeria)
Nanky (Ghana)

Global Male Vocalist of the Year

Phantom Steeze (South Africa)
Leczy (Nigeria)
Bella Shmurda (Nigeria)
Fistong (Equatorial Guinea)
KiDi (Ghana)
Paul Fortune (Kenya)
Reynolds The Gentleman (Ghana)
Chike (Nigeria)
Famaso (Equatorial Guinea)

Global Female Vocalist of the Year

Vanilla Karr (Equatorial Guinea)
Sheebah Richer (Uganda)
Simi (Nigeria)
Efya (Ghana)
Teni (Nigeria)
Nana Ama (Ghana)
Cuppy (Nigeria)
Betty G (Ethiopia)
Midje La Mia (Equatorial Guinea)

Global Female Act of the Year

Teni (Nigeria)
Cuppy (Nigeria)
Betty G (Ethiopia)
Afia Mala (Togo)
Midje La Mia (Equatorial Guinea)

Global Male Act of the Year

Eddy Kenzo (Uganda)
Bella Shmurda (Nigeria)
Mr Leo (Cameroon)
Kuami Eugene (Ghana)
Leczy (Nigeria)

Global Best Group of the Year

DopeNation (Ghana)
Sauti Sol (Kenya)
Ethic Entertainment (Kenya)
Masar Egbari (Egypt)

Global Rapper of the Year

Yaa Pono (Ghana)
Terror-D (Sierra Leone)
Strongman (Ghana)
Medikal (Ghana)
Flowking Stone (Ghana)

Global Collaboration of the Year

''Chameleone'' – Slick Stuart ft. DJ Roga (Uganda)
''Dwe'' – Mr Drew, Krymi, Sarkodie (Ghana)
''Monica'' – Santrinos Raphael ft. Stonebwoy (Togo/Ghana)
''Cash App'' – Bella Shmurda, Zlatan and Lincoln (Nigeria)
''Tugende Mu Church'' – Lexvivone ft. Daddy Andre (Uganda)
''Ulazi'' – Mr Jazziq ft. 9umba (South Africa)

Global Most Popular Song of the Year

''Putuu'' – Stonebwoy (Ghana)
''Jerusalema'' – Master KG (Southafrica)
''Open Gate'' – Kuami Eugene (Ghana)
''Cash App'' – Bella Shmurda, Zlatan and Lincoln (Nigeria)
''Say Cheese'' – KiDi (Ghana)

Album of the Year

Thug Diaries – Yaa Pono (Ghana)
Son of Africa – Kuami Eugene (Ghana)
Twice As Tall – Burna Boy (Nigeria)
Boo of the Booless – Chike (Nigeria)
Unity – Buffalo Souljah (Zimbabwe)

Global Artist of the Year

Burna Boy (Nigeria)
Kuami Eugene (Ghana)
Shatta Wale (Ghana)
Diamond Platnumz (Tanzania)
Davido (Nigeria)
Wizkid (Nigeria)
Sarkodie (Ghana)
Nasty C (South Africa)
Master KG (South Africa)
Vanessa Mdee (Tanzania)
Nutty Neithan (Uganda)
Stonebwoy (Ghana)
Simi (Nigeria)
Eddy Kenzo (Uganda)

Ghanaian Act of the Year (Male)

Flo-Eazy
Kiaani
Nabil Forever
Epixode
Zack GH
Maccasio

Ghanaian Act of the Year (Female)

Fantana
Cocotrey
Akiyana
Jayana
Tiisha
Queen Haziel
S3fa
Kanea
Yaa Jackson

Most Influential Ghanaian Act of the Year

Mr Drew
Amerado
Black Sheriff
Fameye
Abena Serwaa Ophelia
Kweku Flick
Yaw Tog

Emerging Ghanaian Artist of the Year

De Gate Zion
Zeezy
Tiatan
Bruno Kay
Klarah Kay
Reggie
Street Xervice
Kay Stagger
Lxrd Xoey
Mighty

Ghanaian Discovery Artist of the Year

YT Soldier
Bruno Kay
King Prinz
Freddy X
Bekey Mills
Donsam
Kryspaddy
Chobo Waguan
Greatnexx Music

Young Ghanaian Artist of the Year

Righteous Vandyke
Khojo Chavse
Chobo Waguan
Pappy Kubi
Kofi Wysi
Eric Oppong
CZ
Wiz Papiz
Plexzo

Best International Act

Leflyyy (Ghana/ Switzerland)
Beenie Man (Jamaica)
Spice (Jamaica)
Gramps Morgan (Jamaica)

Special Recognition Awards

Bice Osei Kuffour (Ghana)
Reggie Rockstone (Ghana)
Nana Ama (Ghana)
Daniel Kofi Amoateng (Ghana)

Global Gospel Song of the Year

''Celebrate'' – Levixone (Uganda)
''God Alone'' – Joe Praize (Nigeria)
''W'asem'' – Diana Hamilton (Ghana)
''Revival'' – Minister Michael Mahendere (Zimbabwe)
''Jesus Over Do'' – Empress Gifty Osei (Ghana)
''Worthy to be Praised'' – Prospa Ochimana (Nigeria)

Gospel Artist of the Year

Levixone (Uganda)
Diana Hamilton (Ghana)
Joe Praize (Nigeria)
Minister Michael Mahendere (Zimbabwe)
Empress Gifty Osei (Ghana)
Prospa Ochimana (Nigeria)

Sports
Photo by Ahmed Gomaa/Xinhua via Getty Images

What to expect from the 2023 AFCON qualifiers

The run-up to next year’s AFCON continues with qualifying fixtures, favourites to enter the tournament, and young talents to watch out for.

Resuming on March 22 are the qualifier rounds of the Africa Cup of Nations (AFCON), the biggest football and sporting event in Africa. 46 African nations compete to be among the 24 who will partake in the 34th edition of AFCON, taking place next year in Ivory Coast. Actually, 45 of the 46 nations are truly brawling for a spot—Ivory Coast, being the host nation, will enjoy an automatic qualification.

Besides Cameroon, Namibia, South Africa, and Liberia, the other 42 teams have each played two games since the qualifiers began last year. Each team will play a total of six matches to qualify for the tournament, playing each team in their group twice.

On March 22, the round of qualifiers will resume with a Group L fixture between the Republic of Benin and Rwanda, to take place at the Stade de l'Amitie, in Cotonou. Both teams will be hoping to land their first win in the qualifiers, after each failed to beat Mozambique and Senegal, the latter the title holder currently topping Group L.

Later that day, Sierra Leone will take on São Tomé and Princípe, the Group A fixture taking place in Adrar Stadium, in Agadir, Morocco. The pair will also be aiming for their first win in the qualifiers. But with São Tomé and Princípe suffering an embarrassing 10-nil defeat to current group leader Nigeria last June, all hope of qualification seems lost for the Central African country.

Favourites to qualify for the 2023 AFCON

Thus far, based on which teams currently top their group after winning their previous two fixtures, these nations seem bound for AFCON 2023: Nigeria, Burkina Faso, Algeria, Mali, Morocco, and Senegal. Considering all six countries have a better head-to-head record than each of their next respective opponents, they likely will, at the least, clinch a point in their next game, bringing them closer to qualifying for the tournament.

Qualification seems a given for these teams because they are also some of the most highly-ranked African teams on FIFA's most recent world rankings.

Traditional favourites like Ghana, Tunisia, and Egypt are also expected to scale through the qualifiers. Other favourites include "Gabon, Cape Verde, Guinea Bissau, and South Africa," said Lloyd Badeji, owner of the sports blog Sports Faculty, over a phone interview.

Players likely to impress in the qualifier round

Victor Osimhen is bound to blaze a trail during the qualifiers. The 24-year-old Nigerian striker is currently one of the top goalscorers in Europe this season, only behind Erling Haaland, Harry Kane and Kylian Mbappe. Known for his clinical finishing and athleticism, Osimhen, this season, has scored 21 goals in 23 matches in the Serie A for Napoli, leading the Italian club to its first league title in 30 years.

It is no surprise that Osimhen, with 5 goals, is currently the top scorer in the AFCON qualifiers, scoring four of those goals in the game Nigeria trounced São Tomé and Princípe 10-nil. Nigeria's coach Jose Poseiro will be hoping the striker is in his element as the Super Eagles welcome Guinea-Bissau this Friday to the Abuja National Stadium, where they hope to maintain their lead in Group A.

Another player to watch out for is Ghana's Mohammed Kudus. At only 22, Kudus boasts of a technical ability beyond his age, with clubs like Manchester United courting him. With 11 goals and two assists this season for his club side Ajax, Kudus is that rare thing: a goalscoring midfielder.

As Ghana takes on Angola on Thursday, coach Chris Hughton will be hoping the midfielder is in fine form. Hughton will also be banking on Thomas Partey and Inaki Williams, both of whom have been impressive for their respective clubs this season and likely will be some of the standout performers during the qualifiers.

Also likely to be a standout performer during the qualifiers is the Moroccan midfielder Sofyan Amrabat. The 26-year-old, who is known for his stamina as well as his ball-winning ability, was one of the stars of the 2022 World Cup held in Qatar — where he made 33 recoveries, six interceptions, and 143 passes with an 87% success rate.

This season, Eric Chuopo-Moting has played 17 games for Bayern Munich in the Bundesliga, scoring 10 and assisting two. He plays as a forward for Cameroon, where he has enjoyed 72 caps, scoring 20 goals in that time. Given his current form, he, too, will likely be a standout performer during the qualifiers.

The Cameroonian side, likewise, will be counting on 31-year-old Vincent Aboubakar, whose daring lob goal against Brazil was one of the highlights of the 2022 World Cup. Aboubakar, who currently plays for Beşiktaş, is known for his dribbling and ability to create space for his teammates. He scored the winning goal in the final of the 2017 AFCON tournament and will be one to watch in this year's qualifiers.

Victor Osimhen of SSC Napoli during warm up ahead of the Serie A match between Torino FC and SSC Napoli at Stadio Olimpico di Torino on March 19, 2023 in Turin, Italy.Victor Osimhen of SSC Napoli during warm up ahead of the Serie A match between Torino FC and SSC Napoli at Stadio Olimpico di Torino on March 19, 2023 in Turin, Italy.Photo by Chris Ricco/Getty Images

Youngsters to look out for

Sadly, fans will not get to see Tariq Lamptey, the promising 22-year-old Ghanaian right-back who has been ruled out of the qualifiers due to injury. However, there are several other youngsters to look out for, such as Fasistencio Maria Faza Joa, the 19-year-old Algerian goalkeeper who has often impressed with his quick reflexes and ability to play with his feet.

Also likely to impress is the 19-year-old Daniel Bameyi, who plays as a defender for Nigeria. He is nicknamed The Major, speaking to his dominant presence on the pitch, and has proven to be great at dispatching aerial threats.

Ahmed Shereef, who is 19 years old and plays as a forward for Egypt, is one of the young stars to look out for in the qualifiers. Another 19-year-old to watch out for is Samba Diallo, who plays for Dynamo Kyiv. So far, Diallo has scored three goals in the qualifiers.

The youngest of the players likely to impress in the qualifiers is Zambia's Charles Mumba, who plays as a midfielder for Atletico Lusaka. As proof of his ability, the 18-year-old was named the best player at the 2022 COSAFA qualifiers.

Music
Chuchu Ojekwe/Mavin Records.

The Emergence of Bayanni

The rising singer talks about graduating from the Mavin Records academy and breaks down how his song “Ta Ta Ta” went viral across several parts of Africa.

Last year, Bayanni’s “Ta Ta Ta” grew to be a continental afrobeats hit. Finally emerging from Mavin Records’ famed academy, finessed and remodeled to a fully-fledged and complete artist, a new Nigerian name had arrived. His unveiling video, grand and innovative, presented Bayanni as the product of a lab experiment, whose abilities had now been boosted and now ready to show forth his advantage.

Born Abimbola Elijah in Alagbado, a bustling settlement between the borders of Lagos and Ogun State in Nigeria, Bayanni nurtured his voice as a part of church choir groups. “I was in children's choir for most of my childhood,” Bayanni tells OkayAfrica one Wednesday afternoon. “Even when I got into university, I was still in the choir. Along the way, I joined some dance groups ‘cause I enjoyed dancing. At some point, I even won some dance competitions but I’m not sure I have those skills anymore.”

Music and family cuddled Bayanni in his early years. His parents have always been in support of his passion, with his dad paying for his first-ever studio session. It so happened that he went to a high school that taught musical instruments and, as a result, he can play seven of them. His favourite is the drums. “I know if I handle drums, everybody will cry, but let's not go there,” he says with excitement in his voice. “But yeah, I mean, I was popular in school for being a talented drummer. People knew me back then in school as Drummer Femi.” He feels that being a drummer is a cheat code that helps him maneuver his vocals around a production.

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Photo Credit: Amazon

Watch the Trailer for 'Gangs of Lagos,' Amazon's First African Movie

Amazon's Gangs of Lagos will premiere on April 7th.

Nollywood is coming to Prime Video.

On Monday, the conglomerate announced that it would be releasing Gangs of Lagos, its first original African movie, on April 7th. The project, which is directed by renowned filmmaker Jáde Osiberu, features Nigerian stars like Tobi Bakare, Adesua Etomi-Wellington, Chike Osebuka, Chioma Chukwuka, and Iyabo Ojo.

The movie will follow the lives of a group of friends as they navigate the bustling streets of Lagos.

In a press release, Wangi Mba-Uzoukwu, head of Nigerian Originals at Prime Video, described the movie as a story that highlights the importance of friendship and family.

"Gangs of Lagos is a unique story about family and friendship, against the action-packed backdrop and striking set pieces of the streets of Lagos,” Mba-Uzoukwu said. “As the first Nigerian Original to launch on Prime Video, Gangs of Lagos sets the tone and standard, with the authentically Nigerian storyline in a genre that is so popular around the globe, making it a movie for our audiences at home and abroad.”

Gangs of Lagos - Official Teaser | Prime Video Naijawww.youtube.com

Located on the country's southwest coast, Lagos is the largest city in Nigeria. Over the years, the vibrant city has become known for its bustling economy, eclectic culture, and rich history. The crime drama promises to showcase the nitty gritty rumble and tumble of Lagos, as well as the authentic elements that make it one of the most renowned cities in the world.

Ned Mitchell, head of African and Middle East Originals, Prime Video said that with the roll out, Prime Video was hoping to connect with original voices.

“At Prime Video, we are looking to work with original voices to create spectacular stories and events that audiences can connect with wherever they may be,”

Mitchell said. "Gangs of Lagos launching will truly be a global cultural moment that marks the beginning of a new era in storytelling, where audiences everywhere can see the full power of Nigerian and African voices and the depths of our continued commitment to the local TV and film industry.”
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Photo by Miss Hibiscus for Getty Images

Mr. Beast and Charity In The Age Of Content

Trying to help the less fortunate in Africa can often be co-opted into commercial videos, images, and product-driven messages.

The story goes: the perfect recipe for a viral charity video in Africa is barren ground, unidentified shoeless Black children, conflicted mothers gazing off into the distance, a fly gliding over still puddles of gravel water, a white voice as an overlay, and a link to donate at the very end.

Charity and philanthropic pursuits have been part of human existence for centuries, from both a genuine human perspective and as a social and political tool to retain power and influence. As the ages pass, it might be high time to recentre the conversation about what our philanthropy looks like. When we’ve gone past the actual act of giving, what happens in and around that? For popular YouTubers, what was the process of producing the video?

For a rising politician, is there a conversation about using images of poverty-stricken communities to, yes, help, but also further an agenda?

Over the years, we have seen countless initiatives from large corporate organizations, small businesses, successful entrepreneurs, celebrities, and more recently influencers and content creators. The goal? To help people around the world. The vehicle? A photo album as evidence, a YouTube video, an Instagram reel, or some sort of visual documentation that goes beyond just the act of charity.

The common argument is that these assets could never be self-aggrandizing but are there to inspire others to either join in or make their own change. Whilst this is generally true, there is something to be said about the quality of messaging that self-proclaimed philanthropists create and maintain. What of the women, men, and children who are part and parcel of why these messages tug on the heartstrings of first-world viewers?

The following three videos are good examples of how a noble pursuit can easily devolve into something unrecognizable. Trying to help the less fortunate can often be co-opted into commercial videos, images, and product-driven messages, rather than about the dignity of the people being assisted in the first place.

Mr. Beast purchases 20,000 shoes for vulnerable South African school children

Giving 20,000 Shoes To Kids In Africayoutu.be

If you have the slightest interest in outrageous and dopamine-inducing YouTube videos, you’ve probably come across a Mr. Beast (Jimmy Donaldson) video. His titles are provocative and inviting enough for anyone to deep dive into the world of video content creation. “1000 Blind People See For The First Time,” “We Saved An Orphanage,” “We Built Wells In Africa” and “Giving 20, 000 Shoes To Kids In Africa.” If you’re interested in the well-being of humanity, these titles might drag you right to these videos. Whilst noble in pursuit, it might be time to continue asking questions.

In the “Giving 20, 000 Shoes To Kids In Africa” video, Beast Philanthropy heads to the Western Cape Province in South Africa to deliver school shoes to disadvantaged children. In partnership with the Barefoot No More organization based in South Africa, Beast Philanthropy was able to organize elaborate shoe handovers for nine different schools in the Western Cape. It can’t be argued that the children who received the school shoes were better for it, but the video itself as a mode of communication is marred with drips of hyperbole and mistruths that fracture the overall picture.

The voice-over remarks that children in South Africa often find themselves entirely shoeless and the day the Mr. Beast foundation arrived was the day many of the children received their “first pair of shoes ever.” The shots of barren land and dilapidated infrastructures harken back to the ‘right’ concoction of footage to garner sympathy from Western audiences.

The multiple close-up shots of shoeless school children leave the viewer to wonder what the process of consent from their parents and guardians was for their participation. If charity, specifically that which is directed towards African children, is the goal, then how they are represented in these videos should always be just as much of a concern.

The video has faced criticism online, with many expressing sentiments about the sensationalism of the video. To which Mr. Beast remarked on Twitter that “our charity owns this channel, I thought it’d be fun to use my fame to create a loop of helping. Film good deed, inspire millions of kids to do good, use revenue from good deed to do next good deed.” It must also be noted that Mr. Beast isn’t the first and won’t be the last to engage in this version of philanthropy.

How To Build A School In Africa With Jerry Rig Everything

How to Build a School in Africa?! - Thank YOU!!www.youtube.com

The video details the process from fundraising all the way to the construction of a school in Kenya. Zack and his wife Cambry are welcomed into the community with a warmth that isn’t uncommon in many close-knit African cities, villages, and urban areas. There’s a level of reverence, however, that the community seems to attach to the couple on their immediate arrival that elevates them to somewhat of a stately position.

The couple is gentle, thoughtful, and intentional in their interaction with the community and the documentation of school building provides an interesting perspective that not many see. Whilst the actions are commendable, what sticks out again in this video is the presence of Kenyan children in their numbers, teachers, and workers.

With the focus squarely on the couple, one almost forgets that the children and adults in the background are people and not props that go along with the sandy roads and lush terrain.

The content that comes along with this type of charity work often, whether intentionally or not, plays into the narratives of powerlessness and lack of agency in these communities that are often referred to by country or continent.

About Serving Orphans Worldwide

About Serving Orphans Worldwidewww.youtube.com

About one minute into this video the line — “the church is the solution to the orphan crisis” appears in the middle of the screen. The viewer sees elegant montages of children from different countries interacting with each other. A representative of Serving Orphans Worldwide remarks that in addition to assistance from their organization, they offer an opportunity for children to grow in their relationship with Christ.

Again we see a promotional video that’s extremely intentional with the messaging in the voice-over narration, choice of camera shots, and overall tone. The agenda is clear — to assist vulnerable children without families from across the globe, but also to promote a Christian message. Whilst it might be noble in intent, what does it mean to offer refuge that comes with subtle conditions?

Countless people around the world benefit from the charity of organizations, people, and leaders. At the same time, in a continent with hundreds of indigenous faiths, why are African children being pointed to faith as their way out of poverty? In a country like South Africa, why are townships being referred to as rural areas? How does an umbrella remark like, “these are their first pair of shoes ever,” make it into the final cut of the video?

Do we forego asking questions about the presence of a well-meaning white man in the building of a school just because he was part of financing it? To say there are only problems and that there’s nothing to be done might be the easy way out. It is possible for content creators and organizations who use video as their method of promotion for charity and philanthropy, to do it better.

When creating content for charity, the Devil is in the details

When you travel to countries in Africa, say their names in your video. If your beneficiaries struggle to speak English, get a translator, subtitle your video, and tell viewers what language they’re speaking. If you feel like you need dozens of children in your video, get consent from each and every one of their guardians — and if that doesn’t strike you as important, ask yourself why.

If you’re going to use a voice-over for narration, make sure that it’s accurate. When you’re filming shots and b-roll to support your video, think about whether you might be sensationalizing the content to pander to your audience at the cost of the people you’re trying to help. I’d like to think that poverty and displacement can never be a reason for anyone’s personal autonomy, dignity, and choice to be ignored.

In a world where content creation and philanthropy continue to intersect, the devil will always be in the details.

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