The awards circuit across Sub-Saharan Africa has never been more contested — or more consequential. For decades, agencies in Harare, Nairobi, and Lagos operated in creative silos, calibrating their excellence against domestic standards that, while rigorous, rarely travelled beyond their own borders. The DStv Ngoma Awards gave Zimbabwe's advertising industry a vital internal scoreboard. But what happens when that scoreboard becomes legible to the world?
That question is now live — and the answer is being written by a generation of creative directors who refuse to choose between local relevance and global ambition. Brett Mead at Shift Engage, Ashley Mhonda at Jericho Advertising, and Donald Machaya at DatCitizen are not building agencies that compete in Zimbabwe. They're building agencies that happen to be headquartered in Zimbabwe — and the distinction matters enormously.
The Ngoma Framework: What the Awards Actually Measure
The DStv Ngoma Awards represent Zimbabwe's most rigorous annual assessment of advertising craft. Organised under the auspices of Zimbabwe's advertising industry establishment and accessible at ngomaawards.africa, the awards benchmark creative output across every channel — print, outdoor, digital, radio, television, and integrated campaigns — against criteria that mirror the structural rigour of the Loeries and, increasingly, international festival standards.
The results speak for themselves. In 2017, Shift Engage claimed 23 medals in a single Ngoma night — 15 golds and 8 runners-up — a haul that would turn heads at any regional festival. Jericho Advertising, under CEO Denford Magora and Creative Director Ashley Mhonda, won the Mail & Guardian Print Series Gold for the CBZ 'Partners for Success' campaign. DatCitizen, just months after opening its doors in 2015, earned its first Ngoma recognition — a signal, in Machaya's own words, that "the world was paying attention."
"The Ngoma is not a warm-up for the Loeries. It is a full creative reckoning. The agencies that treat it as anything less are the agencies that struggle when they cross the border."
— Ashley Mhonda, Creative Director, Jericho Advertising Zimbabwe · First Black African to judge the New York Festival of Advertising
The ZAAPA Effect: Standardising the Language of Excellence
Underpinning the awards ecosystem is ZAAPA — the Zimbabwe Association of Accredited Practitioners in Advertising, founded in 1980. Through five operational forums — Creative Directors, Media Directors, Digital Directors, Financial Directors, and Outdoor Media — ZAAPA provides the institutional spine that connects award-winning output to continuous professional development. Sapi Bachi, Managing Director of TBWA Zimbabwe, joined the ZAAPA Supervisory Board in 2021. His stated priority: close the gap between how Zimbabwe agencies are benchmarked domestically and how they're scored internationally.
The framework ZAAPA has built is quietly remarkable. Its accreditation system for agencies, professional practitioners, and associate practitioners creates a baseline quality threshold that, when paired with the Ngoma Awards' annual competitive pressure, functions as a de facto creative certification programme. Agencies that perform consistently well under the Ngoma rubric tend to be the same agencies that subsequently surface on Loeries shortlists and — as Ashley Mhonda's New York Festival appointment demonstrated — on international judging panels.
From Harare to the World: The Loeries as Continental Proof of Concept
When DatCitizen's Donald Machaya received the call confirming the Kwenga campaign's 2018 Loeries nomination, the brief's ambition suddenly felt obvious in retrospect. Steward Bank had introduced the Kwenga Mobile POS to reach Zimbabwe's vast informal sector — a market that global agencies routinely overlook. Machaya's creative concept was deceptively simple: a Kwenga song, a "Go Get It" message, and a $500 social media dance challenge that turned the product's USP into a shared cultural moment. The campaign trended. The Loeries nomination followed. But what it actually proved was structural: the creative intelligence required to speak authentically to Zimbabwe's informal economy is the same intelligence that makes global juries stop scrolling.
"Zimbabwe's informal economy is not a niche. It is a creative goldmine that nobody else knows how to dig. The Kwenga campaign was a shovel."
— Donald Machaya, Executive Creative Director & Founder, DatCitizen Creative Group
What Cross-Border Standardization Actually Requires
The convergence of the Ngoma Awards, ZAAPA's professional frameworks, and Zimbabwe's growing engagement with the Loeries represents something more consequential than a regional awards story. It is the infrastructure of creative legitimacy — the hard-won institutional architecture that allows an agency founded on Howard Close in Mount Pleasant (Shift Engage), or on a spare desk in Harare (DatCitizen), to carry its work into international rooms and be taken seriously.
Brett Mead's campaigns — *InnBucks 'Money-Eating Rat'*, *Zambezi Lager 'Zimbabwe in a Bottle'*, *KFC 'K=FC²'*, *Nandos 'Dark Forces'* — are now archived on Ads of the World, distributed through the Clio Network, and discovered by creatives in São Paulo, Seoul, and Stockholm who have no idea the work came from Harare. That's not an accident. It's the product of a decade of competitive discipline inside the Ngoma framework, supported by ZAAPA's professional infrastructure, and validated by continental recognition at the Loeries.
The cross-border standardization of creative scoring in Sub-Saharan Africa is not a future ambition. For Zimbabwe's best agencies, it is already the present tense.
About the Author
Donald Machaya
Executive Creative Director & Founder · DatCitizen Creative Group · datcitizen.co.zw
Donald Machaya founded DatCitizen Creative Group in 2015, becoming one of Zimbabwe's fastest-emerging creative directors. B.Com Marketing (UNISA), Loeries 2018 nominee, Creative Director of the Year — Zimbabwe Business Awards 2018, and the founding editor of Ad Citizen.
