Nairobi — Dennis Itumbi Brings TikTok Star Kafengo into Creative Economy Office, Commits to Splitting Salary

In a move that has captured public attention and redefined creative support within Kenya’s digital economy, Dennis Itumbi, the Head of Presidential Special Projects and Creative Economy Coordination, has formally onboarded TikTok comedian Kafengo and his videographer Mike into his office — pledging to compensate them from his own salary for the time being. 

From Promise to Position

On Tuesday, 29 July 2025, during the memorial events for comedian KK Mwenyewe, Itumbi pledged to support Kafengo, a close friend of the late comic star, as part of a broader effort to strengthen Kenya’s creative and digital content ecosystem  . True to his word, he later invited Kafengo and Mike to “build new platforms” with his team, while affirming their independence in content creation  .

A Role, Not Just Recognition

Itumbi introduced Kafengo as more than a social media personality — pointing to his academic credentials: a degree in Mathematics with Computing, which he described as enabling “algebra‑level precision” in addressing digital content challenges  . The role will allow them to collaborate within the office’s creative economy platform, receiving financial support from Itumbi’s own paycheck while they maintain independent content ventures.

Why It Matters for Kenya’s Creative Economy

• Personal investment: This gesture blurs lines between government and personal funding, raising reflections on public sector engagement with creative talent.

• Signal to digital creators: Itumbi’s move underlines the state’s recognition of creators as strategic cultural assets — capable of shaping narratives, mobilising talent, and innovating platforms.

• Legacy and healing: Beyond content, the decision is deeply symbolic — honoring the friendship between Kafengo and the late KK Mwenyewe, while offering tangible support during a turbulent time  .

Public Reaction

Online commentators expressed mixed views:

“The government has failed such minds,”

“Why do you want to share your salary?”

“Bossy move connecting talent to opportunity.”

These reflect broader debates about formal versus informal support mechanisms in Kenya’s creative sphere  .

Next Steps & Strategic Outlook

Moving forward, questions emerge around:

• Formalisation: Will this arrangement evolve into a permanent state-funded position within the Creative Economy Office?

• Monetisation: How will policy frameworks around platform payouts (e.g. TikTok monetization) align with support such as Itumbi’s?

• Scalability: Can this model be extended to other eligible creators, and what safeguards will uphold transparency and merit-based appointments?

Conclusion

Dennis Itumbi’s decision to hire Kafengo and Mike — backed by his own salary — sends a strong message: Kenya’s creative economy is not just a sector but a personal priority. While unconventional, this initiative spotlights the transformative power of content creators and the state’s evolving role in nurturing digital talent. It also raises important questions about sustainability, equity, and the formal integration of creative minds into national frameworks.

Let me know if you’d like:

• A policy analysis of Kenya’s creative economy setup

• A deeper breakdown of platform monetization timelines

• Insights on broader government support to TikTok and digital creators