The words of the event’s opening speaker, author and filmmaker Tsitsi Dangarembga (in conversation with broadcaster Lilly Bekele-Piper) are enough to move the dial on their own. Her debut novel, ‘Nervous Condition’ (1998) made her the first Black woman to publish a book in Zimbabwe and the last in the same trilogy, ‘This Mournable Body’ (2018) was shortlisted for The Booker Prize. Reflecting on being given a suspended jail sentence in 2022 for taking part in a peaceful protest in Harare calling for political reform, Dangarembga says: “It’s important to recognise that the state is not nation, so I engage with nation. Citizen agency is one thing that I always engender into my narratives… I write so that young girls in Zimbabwe can think yes, I can build a life for myself.”

She went on to unpack the importance of Africa owning its own creative outputs. “Half a millennium ago Africans were made into abject human beings by a project that needed their labour. After the labour had been exported, then it was the land that was needed. And now it’s the imaginary, and we are on the same course. It’s imperative that we understand that the authentic products of the African imaginary are necessary and that their production remains on the continent.”

Later on, after a session in Shela town square with Blinky Bill who screens some music videos by himself and fellow trailblazers such as Stromae and Sampa the Great (“The rebels and makers who don’t fit into the popular boxes,” he explains) – and at the end of that pinch-me dhow voyage – Littlegig lands at the Floating Bar. An evening of wobbly reverie awaits us at this remote, off-shore spot, which is all thatched roof, disco lights and rustic charm. Setting the mood is Valerie June, the Tennessee-raised, Grammy-nominated sage whose sweet fusion of bluegrass, soul, gospel and psychedelia is the perfect elixir for this out of this world experience. “You have to remember why you came to Earth. And the only reason is to fucking shine,” she says in her more-ish southern twang, before launching into melodic songs of love that take us into the astrosphere.

After the performance, we talk. “We’re on a floating bar in the Indian Ocean. I mean, don’t rock the boat, baby,” June says, laughing. All around us, a high octane set by DJ Marc Algranti is inciting so much dancing that the vessel sways. “Everyone here has their own personal creativity that they’re sharing with the world. They care about the planet and they want to bring people together despite race, class and age. I think that’s important in this time.” For herself, Littlegig was also an incentive to visit the country at the top of her bucket list. “As a Black American, I was excited to come to the motherland. To put my foot on the soil here is reconnecting with all that was; it’s walking in the footsteps of Mother Earth and mother of the species. It feels like a rejuvenation and a recharge.”

Day two of our odyssey begins at Lamu Town’s Old Fort, which we’re invited to explore without speaking – all the better for enjoying a performance by Njoki Karu. The singer-songwriter, accompanied by Newman Owor on guitar, delivers a soft, soulful set that glows and soars around this historic site, reminding us of our sense of place. Lamu island has been inhabited since the 12th century and is one of the best-preserved Swahili settlement in the region. Home to a traditional Muslim community, its narrow streets and alleyways are filled with hard-working donkeys (no cars allowed) and its sea front brims with fishing boats. Beyond the quieter Lamu Town (a UNESCO world heritage site) and buzzy Shela lies golden sand dunes, a teeming coral reef and lush forests. It’s been a low-key holiday destination since the 1960s and is now attracting bohemians, yogis, honeymooners, nature enthusiasts, artists and VIPs in growing numbers.

Little wonder then, that there are gloriously restored Swahili villas to be discovered around every corner. Villas like Kinooni House, our next stop, which offers exceptionally zen surroundings for a series of uplifting talks. Kinooni owners Michel Reilhac and Marcel van Doorn and Brian Afande of BlackRhino VR present their prototype community project that will take Lamu into the metaverse. The aim is to preserve Swahili culture, prototype urban planning and encourage virtual tourism. It’s also a skills-giving tool for the next generation. “By 2030, over half of Africa will be under 23-years-old. We are the custodians of the future and must play our part in knowledge transfer,” says Afande.

Next, super model and philanthropist Ajuma Nasanyana introduces the Ajuma Foundation, which champions children and women in rural Kenya. One of its initiatives has been to produce and distribute 50,000 exercise books to school kids that promote literacy and tribal cohesion. “I’ve always felt the need to light a candle back home,” says the Turkana native. Equally inspiring was the keynote from renowned trend forecaster Li Edelkoort. Her new book ‘Proud South’ is a celebration of creativity in the Global South through the lens of ancient craftsmanship. “We need to look at the new generation who are standing up for indigenous wisdoms. The indigenous nourishes the contemporary,” Edelkoort asserts. The book’s rich visual curation proves that the axis is finally turning away from western narratives as we embrace Carla Fernández’s words, ‘To be original is to go back to the origin’.

The evening brings us to Peponi Hotel, famous as a centrifugal hangout on the island. In its palm gardens, we’re treated to a one-man theatre show by Mugambi Nthiga, who entirely shatters the fourth wall with his participatory play. Touching on themes around mental health, he creates a safe space and at one point, takes the time to high five every single member of the audience. Afterward he leads a conversation with producer Lucinda Englehart and director Wanuri Kahiu diving into the history of East African cinema. Kahiu, who’s just directed the TV adaptation of Esi Edugyan’s novel ‘Washington Black’, speaks to radical Black joy as a tool of resistance. “Making relatable images that are fun, fierce and frivolous – where no one is a victim, suffering or dying – is a political act as a melanated person. We are imaginative beings who must create without borders,” she states.

Coming off stage, Nthiga tells me: “We’re all here in our full artistry and humanity so the thing I hope visitors take away from Littlegig is that Kenya is part of the global creative community. We have art, song, dance, photography and movement that are distinctly ours but accessible to everyone. That’s the beauty of Kenya – anyone can feel some sense of being at home here, even if you’re among strangers, because those strangers are just friends in waiting. That’s who we are.”

Our final day begins with a 30-minute boat ride over the far side of the island to dive into the blue waters around Kizingo Eco Lodge, and then grab a cocktail of hibiscus, mint and vodka and nestle into a floor of kanga-covered cushions. It’s time for a jam session between Valerie June, Njoki Karu and Fadhilee Itulya. Competing only with the sounds of the breeze and waves, the three artists weave new layers of heaven together with their songs of hope and unity. June shares some of poetry from her new book, ‘Light Beams: A Workbook for Being Your Badass Self’, which acts as a guided journal to cultivating collective kindness. Meanwhile Fadhilee’s proudly peaceful set includes his sultry hit ‘Afrikan Queen’.

“Littlegig has been a powerful energy. This is a listening audience; there’s a oneness that is a performance in itself and something I can use to take everyone to the next level,” Fadhilee tells me after the jam. With this and every project he participates in, his mission is clear. “As African youth, we have to raise the bar for our people, our nation, our kind. Bringing up Kenya is my personal agenda. I’m doing that by setting the standard and proving that we have brilliant minds. That’s the drive and the message. The African narrative needs to be told by Africans. Let’s do it, and do it excellently.”

After dark, we gather in the tropical gardens at Banana House, an arrestingly serene hotel dedicated to happiness and wellness. We’re gifted a jasmine flower and served a Swahili feast of fragrant dishes steeped in coconut-rich flavours. Then we’re serenaded by Lisa Oduor-Noah, who delivers strong India Arie vibrations with her songs of compassion and inner confidence. By the end of her set, we’re all up on our feet, singing along and following her instructions to “brush your shoulders off” as love fills the air.

All that leaves then, is to dance ‘till dawn. And there’s no better place to do it than Mara Raha, a remote, open-air nightclub hidden away in the dunes behind Shela. It’d be hard to find if it wasn’t for the distant sounds of D’banj reverberating through the sands. We follow the beat leading to its striking entrance, where we’re graciously ushered in by owner Wamuhu Waweru, and on toward the DJ booth where Ojwoook and DJ D warm us up for Blinky Bill, who doesn’t keep us waiting. “Are you ready to disco?” he asks rhetorically as he drops the needle on his newly-released and devastatingly good album ‘We Cut Keys 2’. And the party goes off. Needless to say, we’ll all be back in 2025 when Littlegig returns to this paradise place. Until then, asante.