Thank you, Hi, everyone. Good evening, morning, afternoon, wherever you may be. Can you hear me well?

Okay. I moved it to a new spot. I was hoping it was gonna be better. Right? Should we try?

Okay. Alright. Let me leave you with this question, I guess, and then I can move the real quick. K.

So does the just something to put on your mind. Does the audience influence decision making in the curator's mind when it comes to event curation that are considering inclusivity and support of marginalized communities? I'll leave you with that. I'll be back.

Okay. K. Alright. I think this is better.

Thank you. Alright.

my screen. Okay. Can you see my screen?

Now. It's good now?

Okay. Cool. Alright. Yes. Again, thank you for today. I am Wanjiru, and I'll be presenting my So I have this quote, Let's start with a recap of my journey. So far, I've been engaging in research exploring ways of achieving more organic curation, both within MetaGov with some of the members and also curators in the scene here in Nairobi and other scenes. Also, during the mid check-in, we shared a demo, which was sharing a display of a calendar sharing opportunities and a way to apply for those opportunities. We also engaged in our rethinking time within the team just to kind of get into Unison with what exactly we wanted to achieve, because we were working together for the first time. And I took the advice to cater to one community first when it came to technological development and the main persona who is the curator. And also part of our strategy is to target facilitators or leaders in the various communities, and then they get to trickle that to the different, or rather to the various communities. So, which brings us to the technological product, which is Shuffle and I shall share more in the comment slides. So, here we have a chance to revisit the whys of why we're engaging in this research and why we came up with the system, which is, I believe, in free flow and organic development, as well as experimentation and playfulness in system structures. Also, assisting in delegation for community curators for them to have more time to nurture, whether it's their community, themselves, and their careers, etc. Also contribute more opportunities for development, breakdown concentration in saturated spaces, lowering anticipation or other anticipated events or experiences where the scenes grow without professionalism, which brings us to the way we managed to address, which is assisting with delegation of various processes when it comes to curation for community curators, or rather this one community we started with. Also, we had mentioned previously that our MVP would be a feature that allows random shuffle of the various artists through cycles. So we've been building this tool with a community called Center East Africa, with one of the creators called James Blair, who's The tool is meant to help him with his curation process. So why Centuri East Africa? First of all, Centuri is a community focused initiative, which started in 2014. And I've seen the efforts and also benefited through the efforts of bringing more equitable and authentic design into the programs they create and the opportunities they set for us. So, for example, they engage in the support of the marginalized by, for example, CEMA, which is an educational initiative, which at that point, they analyzed where the scene was when it comes to music producers. And they created different cohorts based on the different skills the producers had. And they gave them free education for six weeks. They also gave them stipends and also access to studio and gear hire. They also backup initiatives. If you have any idea, they will be there to support. They are open, they listen, and also are open to be helped. They help improve structures and create developmental opportunities. So, unfortunately, even them themselves, they face marginalization due to the environment we're in, like being in Africa. So for example, I was talking to the director, and he was saying he experiences like 98% of failure when it comes to seeking for funding. So he mentioned that that comes because he I mean, the impression of someone helping like, a community in Africa, if it's in terms of music, maybe they wanna hear music, or they assume the person is making music, like, in a bush, or next to monkeys, or whatever stereotype is there. So they they they say if it's supporting with, electronic care quality electronic care, that's not really helping in their terms. So, they miss an opportunities of of funding, for example, from such things. So we which now brings back to developing this tool with James, and this is how the tool works. So we have the curator. We have us as the shuffle team. We have the algorithm, the automations, and the communications involved. So first of all, the curator communicates with their community to find out the list of the artists who are interested in the particular opportunity that is used for development. Then they bring that list to us, which now, where we customize the automation and the communications needed to suit the curator's process. And then we have a algorithm set on a workflow on active pieces, which is an open source tool. And how it works is after every so sorry. Century has Fridays for every weekly, like, Fridays. So after every Friday, these are triggered to the algorithm to perform the shuffle algorithm. And it also uses randomization to select the various artists. With that, we then have now the system itself automated through ActivePieces. And ActivePieces is connected to a communications platform called Africa's Talking, which then prompts the various artists who are selected through SMS, which sends an SMS to the artist asking them to click on a link, whether they'd like to utilize the opportunity or whether they are free to perform on that said Friday, or they pass the opportunity. If they pass, the algorithm is triggered again, and another artist is selected like that. So we performed some internal tests where, as you can see here, we have Realistic, which is the organization connected through we have the APIs connected through Africa's talking platform, the ActivePieces, open source, and Safaricom, which is the Kenyan network provider. As you can see here, we have a successful selection of artists by the Shuffle algorithm. So this is an example of how the artist would get the message. So if they click Confirm, we have an example of a successful confirmation when the artist selects the confirmation link. So I'm happy we managed to get to this point of using SMS because not everyone is able to always be ready to check their emails or even have that access to data every time. So this was a good way to factor in inclusivity as well. Cool. So the next step with this would be involving the Suntory team, which we've already talked to them and are ready to do a test within them. And, also, we have a discussion of the rollout with the curator on how to activate the product with to actually activate the product to be in use by the curator. We've also set some certain KPIs based on the wires, which is checking in some time after whether the curator is having an easier time with the curation process, whether the communications between the artist and the curator are more feasible or easier. And also whether he's feeling more comfortable using this tool or delegating the processes to this tool, knowing that the artist involved are the ones who really want to utilize the opportunity provided. Alright. So that's for the two. So through this time, we've been seeing a a really good opportunity to to engage in these four areas at the least. So the this gives us an opportunity to invite and or rather ignite conversations through various curators. So by taking this tool to other curators, able to spark conversations, ask them what they're thinking about, like, the governance, actually, like, collective governance when it comes to Kenya. How are we factoring growth together? How do we think of the infrastructures that we set right now? Because we are still, especially in the electronic scene, we're still kind of in the initial phase, so to say. It's still not well established. So how do we engage these curators to think of the other curators as well, what they're going through, and how just to come together to form a structure that is more inclusive, get us to everyone, and everyone is happy. Because as this quote says, you are as strong as you're weakest link. So how do we think of the bigger picture? How we survive as artists in Kenya? Which brings us to the connection with the global network. So this can be a really good opportunity to review our current infrastructure, seeing it from our shoes. So this is, like, how how do we help the global network see what's happening or understand what's happening currently from now the shoes of the curators or the communities that are happening now to be better informed on what's needed for this environment, and then assisting designing these infrastructures as we build the future. Because, for example, if we do, like, a copy paste kind of, methodology to implement, if it's the the Internet infrastructures or or any successful, designs that have happened in the global scale or the the global network, it might not work the same way here. Because it is a different environment. Some of the systems are not stable. And it can be good to use this to have a view of how things work from our shoes, and then that can help the design for for the future. Another way I see how this can all forge together is an opportunity to form a new network. So we have the communities who are open minded or open source systems, for example, and the communities engaged with those open systems, such as Active Pieces, who actually our developer was part of the development team for that tool. And we have the research that has been ongoing with MetaGurve and the various communities they have been researching. So this is a good way to see how these things can notes can connect and how to assist each other. And lastly, this can be a good opportunity to organize the community around us and spring everything together and engage in a research for a model for sustainability. Because really, sustainability is really key to figure out how to get there, being from this environment. So onto my learnings. Right. So first takeaway is inclusivity in the process is ideal. Here, I have three quotes from people, or other curators, I've engaged with through their time. This is from the developer, actually. Usability of the tool has to be helpful to the people. We change what people are using based on their feedback. You do not want to create a product that people will not use. I have experienced that before. I think this speaks for itself. If you're creating something for the community, then it's best to engage them, implement their feedback, implement what they want. Yeah. Also, here, we have I talk to people who are close to my colleagues, and they help me funnel it into a thing that's much more like people will actually like it. And that's how I promote my events most of the time. It's very community oriented and focused. What I do is community research. So if you have an idea, feel free to ask your colleagues, your community members, do they like it, do they not, what do you need to change EDC, which brings to the third quote, which says about personal bias, that you may not know you have it. So sometimes it's good to have it someone to look at what you've done and give feedback in a way that makes sure that that that's that's giving some new insight. So involve your community. The other learning was about in your environment.

Resources and fun.

Can you hear me?

Yeah. Hear you great.

Hear you great. Alright. Where did we leave off? Heather, can we cross this slide? Was I here?

Yeah. I was sharing on analyzing your environment because, yes, we may try think of these themes, though maybe the environment is not yet there to fully accommodate it, such as this quote from this curator. And also, I was a close witness of this project, which was Save the Night project by Jagermeister and an agency here who mentioned, like, if the team loses mental strength to allow themselves to go through different stages to decentralization, if you lose good relations and the way you started, you may end up back to centralization. So, this brings a question, sometimes, is centralization ideal? No. But also, managing expectations in your journey is also a learning. This was a quote of an artist mentioning how they had curated, or rather there was a curation of an event, which was women only organized in Berlin. And the funny thing is that when they looked around, they found that the women in the audience were less well. It was cute. The event was curated for women, while most of the percentage of the attendees were men. So So she was wondering, so where did that fail, basically? And I found it interesting to see that these men supported that event, and the women not been there. And I thought, this is Berlin, so don't tell me that they have to cook, take care of the kids. So they have a problem somewhere. Also, a quote from her, she said that it took consistency over time to have the government support, and the ratio of women to men increase in the festival curation has increased. So, yeah, it's good to manage expectations because when we're dealing with marginalized communities, it means that they haven't been in that accessible point for a while. So it may it may take some time to give or rather for the society to, so to say, adjust. It may use that to to the to the new access. But it is definitely the best step to take. So also, personally, exploring as a curator, like, exploring organic ways of achieving organic curation. So, for example, there's this community called Bite, where we had a showcase back in July. And then we invited learners, whoever wanted to learn about creative coding to sign up. And then we asked them to to decide or rather tell us on the methodology they would like to learn, because we use project based learning approach and have have secured a spot for them to showcase their skills through this learning process. And they've been sharing their decisions. Also, open spaces. So this was also, like, a going the flow kind of curation where there was a public calendar, and you could come in and choose your time, whatever time you wanted of the room you'd like to use, and fill in an online form. And so, I took the opportunity to have this discussion, probing the curators mind, and invited various curators. I met through the time, and we had a really interesting discussion with the learnings I have shared. So, also previously, I talked about interesting design as governance, Because when it comes to artist or event discovery, currently, the UI systems are curated with a grid kind of interface, which only gives opportunity to see certain events only on what's available in the grid. So if it's eight events, you only see eight events. So exploring a non grid kind of user interface, which would probably link with now the the tool, Shuffle tool. And it gives more access to see more opportunities and discover more. Yeah, and also some aspirations from members who have shared different communities exploring different ways of curation, such as NYC Noise. They have this calendar where people submit events and all is showcased in the calendar. There's the DIY curation space culture. There is decentralized efforts. Here we have Anansi Collective, which is now currently based in Kenya. And they've been exploring ways of creating community commons and collective efforts in event curation. And I could say it's one example of a community here that is well on their way to achieving decentralized systems or ways of working. Shape is another example to the Open Call style of the open spaces that I shared earlier. And another good quote I got from the research is, your team organization is key to success. So how whatever gear you have, how you organize your team would be the key to your success. And special thanks to the team who have been helpful. There's Mukiwa, the software developer, Sayaka Geno, who's been helping the beautiful designs you see around, generally. And also, Leire, the Center East Africa Curator, also a Caribbean joint today. And thanks to MetaGov, Zend, thank you so much for sharing really good advice. Eugene has been helping with project management, mentorship. Rayleigh Wong, with insights in terms of curation, same as Nathan. Same with Seth, who I met in person in Arabic, which was really cool. And, Jennifer with some insights on graphic design. So this project is under this initiative I have, Realistic, and you can contact me there. Yeah. And that is it. Thank you.

Yeah. I definitely agree. Like, for example, when when a curator gave a definition of a curator being or rather, art curation is creating the artworks. Though, it's curating it's not creating the artworks, though it's creating the brains that is creating the artworks. And I really resonate with that. I think the issue or the concern is when the curator is, for example, bringing in issues of, like or rather curating based on self interest rather than the group's interest, or, when the curation is, leaning towards monetary gains, rather and with that affecting, like, the artistic quality of the curation or not accommodating experiences that can help build other artists, for example. So, I I do definitely, like, respect the aspect of curation and what it brings because you may know the best or, like, really the the the the team because it's like curating a team. You may know their good person or the right person for a various job or DTC. So, yeah, I definitely agree with that. I think now when it becomes, involved with the certain concerns that I've brought, then it stirs the curation into a more, not so, accommodative, or, like, it waters down things, so to say.

Yeah. Well, we can dive into I because the question is more important. So, Wanjira, when we talked, you kinda said getting resources, money to to run events, and build a scene was the big bottleneck. I didn't get a good sense, maybe you can go deeper for me, on how Shuffle, addresses that problem, or is it really focused on a different problem? In general, it's so cool to see, how far things have gone since we last talked.

Mhmm. Yeah. Yes. It's addressing the problem of rather helping a curator. Like, so, for example, me in my case, as me as a curator, like, some of the struggles I go with through with the curation process. If it's like the repetitive, continuous processes that go. So integration and also looking at what was best for me and the developer to achieve as as to where the team So the question of resources is still there. Even the next thing, like, to discuss with me and the developer is how to now if it's now considering, like, the scale or the business of how to grow this, and now bringing those resources. So it was more of, first, what is the minimal thing we can achieve, and then now grow from that.

Thank you. There was a yeah. Maybe maybe a more theoretical question. I'd love to hear more about, trust. The, you know, the idea of, a lot of blockchain technology is sort of automate away the need for social trust. But, you're describing that the the need for trust and and seemingly really generalized social trust, between people is really essential for this kind of, thing compared to a centralized organization. Can you say more about, the kind of, yeah, about this need for trust that that people you talk to are reporting or may or or or whatever you've kinda discovered?

Okay. I hope I understand the question. But okay. So at least from my discovery through time is like that when it comes to creating, like, a decentralized unit or and, like, different nodes to work in that way. Because you're given you you trust in that every person will do the the different roles or take the responsibilities they've they've said to to to take or to do. Then that makes the the the system work. I mentioned of, like, overseeing or rather viewing Asatane decentralized attempt, community attempt, with Asatane friend. And he had put trust into his team. And then he ended up taking more of the slack from the team, because they were doing as they said they would do. And six months later, the project had to stop. So he so sometimes I think it it's I really I don't know. When it comes to blockchain, it's the system itself that it is playing that. But when it comes to human interactions, you may find maybe it's like how you can trust maybe a friend or a best friend, and then you find years later that the trust fails. So how do you work through that to meet those people you can actually trust? So I think it's similar to human or human life where you meet people, you meet people and then fail you have failed relationships, but then you finally automate your I mean, you finally meet your ultimate team. So it's kind of like a journey to finally get to that, to get you right, right people or the needed people, is my my take. Though when it comes to, like, for example, Shuffle, it's needed that the artists or rather how it can work best is when you have a group of artists that you know, they're professional, they will get the things done, and they need this opportunity. So if you have them, then you can give your level of trust to them, and then things will move, well.

Yeah. So first would be sharing how the system works so that even the artists know how if they get a prompt, this is what they're supposed to do. Currently, it's set to 24 period. If someone hasn't given a reply, it's then goes to select another artist. So, ideally, from Friday is the event day. So Saturday, the trigger is set for to look for a new artist. So at least we have a window of till Tuesday to go through four different artists to get at least one of them to to confirm. And then now that we'll go to the curator that this is the artist who will be performing, in the next

For the first question, so the the the purpose of this is for the curator to be able to delegate for them to have, like, more time. This specific tool was to address that. Like, for for curators, they go through, like, the stresses of managing, like, multiple curations and all these things, doing the same thing over and over. So the purpose is mostly that. So with the second question, ideally maybe that's a good question. So maybe we could say that or rather, put this into development that or tell the artist that if they're not able to to fulfill, maybe they confirmed yes, and they the curator was told this is the artist performing. At least make sure to notify the curator and also make the prompt on the on saying no, because that will not tell the system that these annoying it can trigger again. Though that's a good thing to to think about, maybe to add in there or make sure at least the artists are informed on what to do.

Thank you both.