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2026 Sichuan Ganzi Mountain Culture & Tourism Festival Takes Place in Daofu County

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Culture

DAOFU, CHINA – Media OutReach Newswire – 28 July 2026 – On July 24, the 2026 Sichuan Ganzi Mountain Culture & Tourism Festival opened at Yuke Grassland in Daofu County, Ganzi Tibetan Autonomous Prefecture, Sichuan Province, China.

Featuring a diverse range of activities, including nomadic culture performances, intangible cultural heritage (ICH) exhibitions, and folk customs experiences, this year’s festival showcases the region’s unique nomadic culture with modern cultural tourism development. The event has attracted numerous visitors eager to experience the charm of grassland culture.

The opening ceremony transformed Yuke Grassland into a natural stage. Local herders drove cattle across the vast grasslands, carrying black yak-hair tents traditionally used by Kham pastoralists and holding urdah—traditional stone-throwing ropes used by Tibetan herders for livestock management. The scenes vividly recreated the millennia-old nomadic lifestyle of Kham communities, who have long followed seasonal migration routes in search of water and pasture.

Behind them came a grand procession of heavy cavalry and the legendary Gesar riders. Riders in traditional attire galloped across the grassland, valiant and heroic in bearing. A vibrant parade of ethnic costumes then took the stage, showcasing pulu—a traditional Tibetan handwoven wool textile—alongside modern tailoring designs, highlighting the blending of ancient culture and modern fashion.

“As the scenes of nomadic migration gradually unfolded before my eyes, a long-lost yearning for a simpler pastoral life suddenly welled up within me,” said Mr. Zhang, a visitor who traveled from Beijing especially for the event. “My whole family loves the grassland lifestyle in Daofu. It is something you cannot experience in the city.”

The Sichuan Ganzi Mountain Culture & Tourism Festival has been successfully held for seven editions to date. Running through July 26, this year’s festival features eight major events, including the opening ceremony, the Ganzi 1,000-person ICH livestream showcase, and the fashion-inspired Guozhuang gala. Moreover, a range of grassland market activities—including ICH workshops, local produce exhibitions, local food tasting, and music-themed leisure gatherings—are being held in parallel, offering visitors an immersive cultural experience.

Daofu County, where this event took place, is situated in northwestern Sichuan Province, with an average summer temperature of around 24°C. The county boasts a remarkable blend of natural landscapes—including Yala Snow Mountain, Stone Forest Park, Yuke Grassland, alpine meadows, and Tianlong Lake—and cultural heritage, such as Kham traditions and the Highland Silk Road. From July 2021 to June 2026, Daofu County received a cumulative total of 10.4123 million tourists, generating nearly 11.454 billion yuan in tourism revenue.

 

Entertainment

Afreximbank and Gebeya launch ‘Creative Africa Nexus (CANEX) Create-thon’ for African creators in music, video and gaming

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Afreximbank

The competition will provide creators with digital tools, technical support, prize funding and a platform to develop original music, video and gaming projects

CAIRO, Egypt, July 29, 2026/APO Group/ –African Export-Import Bank (Afreximbank) (www.Afreximbank.com), through its Creative Africa Nexus (CANEX) programme, has partnered with Gebeya, a pan-African technology company with a proprietary Large Language Model and infrastructure designed for African language users, to launch the CANEX Create-thon 2026.

With a total prize pool of US$50,000, the competition is designed to help African creators turn original ideas into working creative projects, bringing together musicians, filmmakers, storytellers, game developers and other creative builders to develop projects in three categories: music, video and gaming.

Participants will have access to Gebeya’s Dala Studio platform, computing resources and practical technical support to help them develop their ideas, during an intensive four-day creation sprint scheduled to take place from 20 to 24 August 2026.

Unlike a conventional pitch competition, the CANEX Create-thon will challenge participants to build and submit working prototypes or completed creative projects. The initiative is intended to demonstrate what African creators can produce when they have access to appropriate digital tools, resources, guidance, funding and opportunities for wider exposure.

Mr. Temwa Gondwe- Director, Creatives and Diaspora at Afreximbank, said:

“Africa’s creators are visible and have the digital talent but have often lacked the financial backing and access to digital tools to grow their trade.  The CANEX Create-thon bridges this gap by equipping our creators with access to technology to turn their viral ideas into viable long-term businesses. Through CANEX, we are enabling creators retain more value from their work, and to build a competitive base in regional and global markets. It’s time African creators captured the true financial value of their global influence.”

The CANEX Create-thon competition will be open to amateur, emerging and established creators across Africa. Participants will not require the backing of a production company, access to a conventional studio or an existing audience.

Through CANEX, we are enabling creators retain more value from their work, and to build a competitive base in regional and global markets

Individual creators and teams will be eligible to participate, subject to the competition guidelines. Throughout the creation sprint, participants will be supported by between 30 and 40 ambassadors from Gebeya’s community network. The ambassadors will help participants navigate the Dala Studio platform, address technical challenges and make effective use of the computing resources available.

 Mr. Amadou Daffe, Chief Executive Officer and Co-Founder of Gebeya, said:

The commercial momentum behind African creativity is already evident. Recorded music revenues in Sub-Saharan Africa have grown by more than 20 per cent in a single year, the continent’s gaming market continues to expand, and Nigeria’s film industry remains among the world’s largest by production volume. However, many creators still lack access to the technology and production infrastructure needed to realise the full potential of their ideas. Through Dala Studio, the CANEX Create-thon will place practical digital tools directly in the hands of creators and challenge them to build original music, video and gaming projects. We want to help African creators move from inspiration to execution and from experimentation to products that can reach audiences, attract partners and create commercial value.

The competition will recognise and award first, second and third place in each of the music, video and gaming categories. First-place winners will receive US$7,000, second-place winners US$3,500 and third-place winners US$1,500. Additional awards of US$500 will recognise qualifying finalists, in line with the competition guidelines.

All eligible submissions will first undergo technology-assisted screening to confirm compliance with the competition requirements. Approved entries will then proceed to a public voting stage, which will determine the top 100 projects. An expert panel drawn from the creative, technology and business sectors will assess the shortlisted projects and select the winners.

The first-place winner in each category will receive the opportunity to attend CANEX WKND 2026 (https://WKND.CANEX.Africa), which will take place at the National Theatre in Lagos, Nigeria, from 5 to 8 November 2026.

Beyond the financial awards, selected winners will gain exposure through Afreximbank’s CANEX network and have the opportunity to engage with creators, businesses, investors, policymakers and creative-industry leaders.

CANEX Create-thon forms part of Afreximbank’s goal to develop and commercialise Africa’s creative and cultural industries. It will also establish a replicable model for identifying creative-technology talent and supporting the development of commercially relevant African creative products.

Registration will open on 30 July 2026 and close on 19 August 2026. Creators can register and obtain the full competition guidelines, including eligibility, intellectual property and submission requirements, at https://apo-opa.co/4yLdsw9.

 

Distributed by APO Group on behalf of Afreximbank.

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Canon Technology Powers Nollywood Music Drama Evi Ahead of African Premiere event and Nigeria-Wide Cinema Release

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Canon

As African films gain worldwide recognition, filmmakers are increasingly turning to advanced imaging technology to deliver cinematic visuals that resonate with audiences across the globe

Evi is a shining example of how the right tools allow creatives to capture the emotion, vibrancy, and rich visuals at the heart of African storytelling

LAGOS, Nigeria, March 19, 2026/APO Group/ —

  • Imaging excellence boosts African storytelling with local narratives driving Nollywood’s global appeal
  • African premiere event in Lagos, Nigeria set for 22 March ahead of Nigeria-wide cinema release on 27 March 2026

 

Canon Central and North Africa (https://Canon-CNA.com/) is fuelling the creative energy of African cinema, as its cinema cameras and lenses take centre stage in the production of the much-anticipated Nollywood music drama, EVI. An exclusive African premiere event of the film will take place on 22 March 2026 in Lagos, Nigeria, bringing together select filmmakers, industry leaders, and media ahead of the film’s Nigeria-wide cinema release on 27 March 2026.

As African films gain worldwide recognition, filmmakers are increasingly turning to advanced imaging technology to deliver cinematic visuals that resonate with audiences across the globe.

The production was filmed using the Canon C400 cinema camera and professional lenses, delivering vivid colour and striking image clarity. The technology is designed to highlight the richness and natural beauty of African skin tones while meeting the demanding standards of global cinematic production. EVI demonstrates how professional cinema camera systems are enabling African directors and storytellers to produce films that rival international productions.

Rashad Ghani, B2C Business Unit Director for Canon Central and North Africa, said, “Canon’s cinema camera technology is helping filmmakers tell the powerful, authentic stories that make African cinema unique. Evi is a shining example of how the right tools allow creatives to capture the emotion, vibrancy, and rich visuals at the heart of African storytelling.”

Directed by Uyoyou Adia, produced by Judith Audu with Barnabas Emordi as the Cinematographer, Evi is a vibrant music drama that blends music, performance, and narrative to explore themes of identity, ambition, second chances and resilience. The film boasts a strong cast – including Osas Okonyon, Uzor Arukwe, Omowunmi Dada, Ibrahim Suleiman, Femi Branch, Ariyiike Dimples Owolagba, VJ Adams, and celebrated singer Waje – bringing the story to life with dynamic, heartfelt performances. Canon’s cinema cameras and lenses were instrumental in capturing the film’s energy and emotion, ensuring it met the high production values expected of world-class cinema.

Following the exclusive premiere event on 22 March, Evi will premier in cinemas across Nigeria on 27 March 2026, marking an exciting moment for Nollywood audiences and highlighting the growing global momentum of African storytelling.

As Nollywood continues to expand its global footprint, productions like Evi demonstrate how creative storytelling combined with advanced imaging technology is helping elevate production standards and strengthen the growing impact of Nigerian storytelling on the global stage.

Distributed by APO Group on behalf of Canon Central and North Africa (CCNA).

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Netflix is set to take nearly 10% of global CTV ad spend next year

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Netflix
  • Netflix ad revenue forecast to double to $3bn in 2026 and reach $8bn by 2030
  • The streamer’s global reach is close to 1bn, with members consuming 200bn hours annually
  • The platform is expanding beyond video into an entertainment hub with live sports and cultural events
  • Netflix ads perceived as trustworthy with attention
  • Gen Z favour brand integrations with Netflix IP

WARC Media’s Platform Insights: Netflix

18 February 2026 – Netflix, an established leader in original content production and streaming, has entered a new ad-funded era. Subscription fees still provide the bulk of its revenue with ad revenue accounting for just 3% of its total full-year earnings. But Netflix’s ad tier has evolved from experimental offerings to a primary engine for platform growth. According to WARC forecasts, the company is on track to win nearly 10% of global connected TV (CTV) ad spend in 2027.

This latest Platform Insights report by WARC Media explores Netflix’s ad business, advertiser sentiment, and potential next steps – from prospective acquisitions to new ventures in podcasts,

gaming and live events.

Celeste Huang, Media Insights Analyst, WARC Media, and author of the report, said: “With ad revenue set to double to $3bn by 2026, and with an eye on a growing slice of the streaming ad pie, Netflix is expanding beyond video into a global entertainment hub. It increasingly attracts ad dollars and share of market boosted by live sports, cultural events, Gen Z’s love for brand integrations, and is

perceived to be trustworthy by both brands and viewers alike.”

Investment: Netflix’s is on track to win almost 10% of global CTV ad spend in 2027

Netflix has ambitious plans for its ad business. Advertising revenue exceeded $1.5bn in 2025 (3.3% of its total revenue) and aims to double that sum again this year to $3bn, jumping to $8bn by 2030, according to data from Omdia.

The company is targeting competitor share rather than relying on market expansion and is on track to win a rapidly rising portion of connected TV (CTV) spend – from 3.7% in 2025 to 9.2% in 2027, according to WARC Media global CTV advertising spend data.

A potential acquisition of Warner Bros. Discovery would expand its content and bundle offerings, helping it to better monetise its users’ high-attention viewing.

The streamer is entering the video podcast space, which it views as an evolution of the “modern talk show”, and increasing investment in cloud gaming across both mobile and TV, hoping to extend IP impact, deepen retention and fill engagement gaps.

In the US, according to Sensor Tower data for Q2 2025, the top categories for ad spend on Netflix are shopping ($82m), consumer-packaged-goods ($78m), financial services ($66m), travel and tourism ($54m), and telecoms ($44m).

Consumption: Netflix global audience nears 1bn, with members consuming 200 billion hours annually

Netflix reports its global audience reach is edging close to 1bn, with members consuming 200bn hours annually. In Q4 2025 its global paid subscription reached 315m. In the UK, Netflix accounted for over half of Subscription Video on Demand (SVOD) viewing last year, with similar dominance in the US.

Netflix’s consumption trends reflect broader shifts and challenges in SVOD, including declining per-user viewing time and competition from free services like YouTube, a trend especially amongst younger consumers. To combat this, it aims to distinguish itself through ‘premium storytelling’.

Algorithmic personalisation and a vast originals library has prompted the rise of identity-driven fandom, spanning interactive and audio experiences. Netflix now aspires to capture attention beyond film and series through expansion into video podcasts, music partnerships, sports livestreaming, and gaming integrations.

Netflix has successfully captured high-net-worth individuals (HNWI) in North America and Latin America, but the next big opportunity lies in expanding into under-served regions like APAC and lower-income segments, according to Ipsos Global Influentials.Performance: Brands view Netflix as a ‘trustworthy’ viewing environment and 70% of Gen Z audiences trust brands that connect with their favourite fandoms

Global consumers view Netflix ads as fun, entertaining, and of higher quality through personalised experiences with dynamic ad formats. Advertisers cite Netflix as a high-quality viewing environment and rank it fourth best-perceived “trustworthy” global platform behind YouTube, Instagram and Google. It stands out as the only platform with strict content curation, competing against user-generated-content (UGC) driven platforms, per Kantar.

Gen Zs favour brand integrations with Netflix IP and are 70% more likely to trust brands that demonstrate a deep understanding of their favourite fandom shows and 74% more likely to buy from brands aligned with their favourite fandoms.

 

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