Cannes Lions Announces its 2025 Jury President line-up & Awards Submissions Across All Lions Open

As Ghana prepares to launch the refreshed Gong Gong Awards, its international partner, Cannes Lions has opened awards submissions across all lions and has also released the line-up of Jury Presidents for its 72nd festival of creativity. Convening in Cannes in June 2025, the Jury Presidents will help benchmark excellence across the world’s very best creative and effective work. This year’s Jury Presidents include Ali Ali, Co-Founder and Film Director, Good People Films, representing Egypt on the line-up for the first time, as the Film Craft Lions Jury President.

Cannes Lions has announced significant updates for 2025, including the renaming of the Social & Influencer Lions to the Social & Creator Lions, to acknowledge the growing role of creators in the marketing landscape. Beth Keamy, Chief Digital Officer at TBWA\Media Arts Lab, Global, will serve as Jury President for the Social & Creator Lions, bringing her expertise in digital innovation to lead the Jury in recognising groundbreaking creative work.

In its 10th anniversary year, Glass: The Lion for Change is being redefined to reflect a more expansive vision for social equity. In 2025, the Award’s scope will broaden beyond gender to celebrate creative excellence that promotes more equitable representation across a wider range of communities – from disability and race to sexuality and social inequity. Entrants will be asked to identify the specific community their work represents, outline the problem it seeks to address and demonstrate its meaningful and long-lasting impact. KR Liu, Global Head of Disability Innovation, Google, a celebrated advocate for inclusion and innovation, will play a vital role as Jury President in championing these transformative creative solutions.

Commenting on the Jury Presidents, Simon Cook, CEO, LIONS, said: “We are excited to welcome a diverse and forward-thinking group of leaders who understand the transformative power of creative excellence to drive business growth and impact. All experts in their field, their incredible talent, combined with the commitment and leadership they bring to their roles, ensures the highest levels of integrity and rigor in the judging process. We thank them for all that they will bring to the important task ahead of them in June.”

The Cannes Lions 2025 Jury Presidents have been announced as follows:


Audio & Radio
Xolisa Dyeshana, Chief Creative Officer, Joe Public, Africa and Middle East

Brand Experience & Activation
Tara Ford, Chief Creative Officer, Droga5 ANZ and Accenture Song, APAC

Creative B2B
Wendy Walker, Vice President Marketing ASEAN, Salesforce, ASEAN

Creative Business Transformation
Jane Lin-Baden, CEO APAC, Member of the Global Management Committee, Publicis Groupe

Creative Commerce
Gabriel Schmitt, Global Chief Creative Officer, Grey, Global

Creative Data
Tina Allan, Global Chief Data and Intelligence Officer, FCB, Global

Creative Effectiveness
Andrea Diquez, Global CEO, GUT, Global

Creative Strategy
Pats McDonald, Global Chief Strategy Officer, Dentsu Creative, Global

Digital Craft
Naoki Tanaka, Chief Creative Officer, Dentsu Lab, Dentsu, Global

Direct
Gaëtan du Peloux, President and Chief Creative Officer, Marcel, France

Entertainment Lions
David Rolfe, Global Head of Production, WPP / Hogarth, Global

Entertainment Lions for Gaming
Sue Anderson, Vice President, Creative, Roblox, USA

Entertainment Lions for Music
Seiya Matsumiya, CEO and Co-Founder, Black Cat White Cat Music, Global

Film
Kate Stanners, Chairwoman and Global Chief Creative Officer, Saatchi & Saatchi, Global

Film Craft
Ali Ali, Co-Founder and Film Director, Good People Films, Egypt

Glass: The Lion for Change
KR Liu, Global Head of Disability Innovation, Google, Global

Health & Wellness
Eric Weisberg, Global Chief Creative Officer, Havas Health Network, Global

Industry Craft
Matthias Spaetgens, Chief Creative Officer, Scholz & Friends, Germany, Austria and Switzerland

Innovation
Courtney Brown Warren, Chief Marketing Officer, Kickstarter, Global

Luxury
Mathilde Delhoume Debreu, Global Brand Officer, LVMH, Global

Media
Dan Clays, CEO, Omnicom Media Group, EMEA

Outdoor
Keka Morelle, Chief Creative Officer LATAM, Ogilvy, LATAM

Pharma
Franklin Williams, EVP, Executive Experience Director, AREA 23, an IPG Health company, USA

PR
Tom Beckman, Global Chief Creative Officer, Weber Shandwick, Global

Print & Publishing
Icaro Doria, President and Chief Creative Officer, DM9, Brazil

Social & Creator
Beth Keamy, Chief Digital Officer, TBWA\Media Arts Lab, Global

Sustainable Development Goals
Josy Paul, Chairperson and Chief Creative Officer, BBDO, India

Dan Wieden Titanium Lions
Judy John, Global Chief Creative Officer, Edelman, Global

The Jury Presidents for the Design Lions and Entertainment Lions for Sport will be announced shortly.

Cannes Lions is now open for Awards submissions until 10 April 2025. The 72nd edition of the Festival takes place from 16 to 20 June in Cannes, France. Further information on the Awards, including entry kits, pass options, as well as the breadth of initiatives, funded opportunities and academies on offer, can be found at www.canneslions.com.

AAG Elects Council Members for 2024-2026 at 2024 Annual General Meeting (AGM)

The 33rd Annual General Meeting of the Advertising Association of Ghana (AAG) was held on November 27 at the British Council in Accra. One of the highlights of this year’s AGM was the election of new Council members to govern the affairs of AAG from 2024-2026.

The President (Andrew Ackah of Dentsu Ghana), Vice President (Clarence Amoatey of Touchpoint Magna Carta) and Treasurer (Russel Eni of Insel Communications) retained their positions. On the new Council, four (4) of the past Council Members have been replaced by four new Members in the persons of Beryl Agyekum-Ayaaba of EchoHouse, Russell Banful of Brandflow, Nii Darku Dodoo of Ogilvy Ghana and Emmanuel Lamptey of Media Initiative. The following Council Members were also retained for 2024-2026: Grace Adzo Andoh of Art Excel, Bright Ladzekpo of PHD Media, Mukaila Akuamoah of Advalue International, Kwaku Danso-Misa of Digicraft, Abdul Aziz-Amankwa of EXP Ghana and Joseph Ando of MMRS.

Venus Tawiah Becomes First Ghanaian to Serve as Jury Member of the WARC Awards.

A senior manager of one of AAG’s platinum member agencies, Venus Tawiah, has been selected to represent Midde East & Africa as a Jury member at the WARC Awards 2025.

 

The WARC Awards are dedicated to identifying the most effective and strategically robust work from across the globe.

 

From 2024, juries from across five regions will judge and award work specifically from the following five markets: Asia-Pacific, Europe, Latin America, Middle East & Africa and North America.

 

Venus’s jury will cover the following categories during the 2025 WARC Awards:

Brand Purpose, Business-to-Business, Cultural Impact, Customer Experience, Instant Impact, Long-term Growth, Channel Integration, Channel Pioneer, Partnerships & Sponsorships, Path to Purchase, Use of Data, Strategic Thinking.

 

Venus is the Director of Business and Communications at Now Available Africa.

Detailed Requirements of Gong Gong Awards Categories

New Gong Gong Categories 

  1. Radio Craft

Overview: The Radio Craft Gong Gong celebrates creativity that is wired for sound – work that communicates a brand message through radio excellence, sonic innovation or superior aural storytelling across the airwaves and digital streams.

 

The main criteria considered during judging will be the idea, the execution and the impact.

There is no overall limit to how many times the same piece of work can be entered into Radio as long as the categories chosen are relevant. all executions must have run within the eligibility period.

 

A. Best Use of Music

Creative music content to promote a brand on radio.

A01 Brand or Product Integration into Music Content.
Relevant and symbiotic brand integration into music content.

A02 Use of Original Composition.
The impact and success of original music compositions created specifically for a brand’s use on radio. The artistic achievement of the track itself will be considered, as well as its successful use in branded content.

A03 Use of Licensed/Adapted Music.
Placement of a track that has been licensed or adapted by, but not specifically created for, a brand for use in its communications. The sourcing and suitability of the music for the brand and content will be considered.

 

B. Best Use of Copy

Creative ideas brought to life on radio through copywriting

 

B01 Copy: Communicating the Brand

Including brand identity, creating brand environment, telling the story around the brand to give the audience opportunity to experience the brand.

* Please send/attach samples of copy for the jury to experience.

 

C. Best Use of Script, Cast & Performance

 

C01 Script

The audio Script, as Written. Analysis of the script will include dialogue, voiceovers, sound effects, actions and expressions. This analysis will also look at how successfully the script delivers on the creative idea and supports the final execution.
* You are required to provide a written English translation of the script as part of your submission.

 

C02 Casting

The vision and achievement of the casting. This Includes but is not limited to the pre-production selection of actors, dancers, singers, models, non-professionals, animals and other talent.
* It is highly recommended to provide a two-minute demo audio meant for radio showcasing the casting process in addition to the audio as it aired.

 

 

  1. Press Craft

Overview: The Press Craft Gong Gong celebrates creativity in circulation.
The work will need to demonstrate ideas that leap off the page. It should show ingenuity and outstanding craftsmanship in published media including newspapers, books, magazines, covers and digital publications for public distribution.

 

The main criteria considered during judging will be the idea, the execution and the impact.

 

A. Best use of Photo Manipulation & Illustration

 

A01 Print/ Digital Illustration & Photo/Image Manipulation

Creative application of illustration within print or digital context and digital manipulation of still imagery including photography.

A02 Overall Aesthetic Design (incl. UI).
The overall achievement in aesthetic composition and fluidity of digital/graphic design.

 

B. Best use of Copy

B01 Brand Projection through Copy

Including projecting a brand’s identity, values and offerings; telling a story around the brand to give the audience opportunity to experience the brand.

* Please send/attach samples of copy for the jury to see.

 

C. Best use of Art Direction

C01 Production Design/Art Direction.
The aesthetic of the production design/art direction. This includes design and best use of location for image/photo, as well as the overall look, feel and atmosphere of the piece and how the narrative has been enhanced by the artful management of the visual components.

 

D. Best use of Original Photography

D01 Photography Direction.
The quality and effect of the photography. The style, artistic choices, camerawork, photography techniques, shot composition, lighting and other effects will be considered.

D02 Engaging Creative Expression

Photography that evokes a creative expression that engages the readers and viewers while pronouncing the brand, product, service, story’s essence.

 

  1. Outdoor/OOH

Overview: The Outdoor Gong Gong celebrates creativity experienced out of home.
The work will need to demonstrate ideas that engage in the field. It should leverage public spaces to communicate a message or immerse consumers in a brand experience.

The main criteria considered during judging will be the idea, the execution and the impact.

There is no overall limit to how many times the same piece of work can be entered into Outdoor as long as the categories chosen are relevant.

 

A. Best Ambient & Experiential Outdoor/OOH

All standard, non-standard and free-format out-of-home work that leverages the use of public spaces, objects and environments.

A01 Displays.
Content on display including objects and promotional artwork designed to make a significant brand impact within the out of home environment. Work may be viewable in public spaces including exhibitions, installations and in-store displays.

A02 Interactive/Dynamic Digital Screens.
Digital out of home (DOOH) that requires either linear motion picture / content or animation or interaction and active consumer engagement using digital touchscreens, motion technology, social media and mobile animation.

A03 Special Build.
Physical constructions and adaptations of out-of-home sites such as building exteriors, street furniture, large-scale signage and the environment. This may include, but is not limited to, supersize sites, pop-up shops, 3D/non-standard shaped sites, ticket barriers and floor media.

A04 Interactive Experiences.
Out-of-home activations that involve consumers. The work may include experiential marketing, AR, MR, VR, consumer and audience participation, physical interaction and interactive games.

A05 Transit.
Non-standard or free-format advertising using vehicles or transit sites/locations. The work may include the use of cars, trains, buses, taxis, trucks, aeroplanes, etc. or of non-standard transit and commuter advertising sites such as car parks, airports, bus and train stations, ferry ports, roads and driving tracks.

 

B. Best Creativity/Innovation in Outdoor/OOH

The creative and/or innovative use of an out-of-home medium to communicate the brand’s message.

B01 Standard Sites.
Work created for standard out-of-home sites that pushes boundaries or broadens the scope of traditional out-of-home mediums such as billboards, posters, transit advertising, commuter rail, wallscapes, displays or street advertising.
* If you are submitting more than one execution please upload all executions in a single digital presentation image.

B02 Ambient Outdoor.
Work created for non-standard, ambient out-of-home sites that leverage public spaces, objects and environments and are forward-thinking in their innovation.

B03 Technology.
Innovative use of technology to create out-of-home experiences. This could include, but not be limited to, the use of mobile with a strong out-of-home touch point, holographic images, drones, augmented reality, computer-generated imagery, algorithms and artificial intelligence

B04 Best Market Disruption Outdoor/OOH

Out-of-Home installation or activation that pushes the boundaries of classic and already adapted work in the market. One that sets the tone for the future within the OOH sector.

 

  1. Film Gong Gong

Overview: The Film Gong Gong celebrates the creativity of the moving image.

The work will need to demonstrate brilliant brand storytelling intended for a screen; filmed content created for TV, cinema, online and out-of-home experiences.

The main criteria considered during judging will be the idea, the execution and the impact.

 

A. Best Branded Content Film – Single

Creative content crafted to build awareness for a brand by associating it with a film.

A01 Branded Content/Podcast

Paid-for, sponsored or brand funded film content/programming or documentaries on all audio-visual platforms including streaming platforms, podcasts, programme sponsorship, etc. Content that exemplifies the brand message/ethos and enhances the experience of the viewer.

A02 Creative use of Content.
Creative use of film content to increase business or customer activity and experience with a brand, product or service.

 

B. Branded Content Film – Series

B01 Film Series
Branded film including documentaries and series that aims to amplify an organization or brand’s message.
* If you are submitting a series of films, please upload all executions in a single video file with slates denoting the start of the next execution.

B02 Branded Content/Podcast

Paid-for, sponsored or brand funded film series /programming or documentaries on all audio-visual platforms including streaming platforms, podcasts, programme sponsorship, etc. Content that exemplifies the brand message/ethos and enhances the experience of the viewer.

 

C. Best Video/Film Cast Content

C01 Casting.
The vision and achievement of the casting. This Includes but is not limited to the pre-production selection of actors, dancers, singers, models, non-professionals, and other talent.
* It is highly recommended to provide a two-minute demo film showcasing the casting process in addition to the film as it aired

 

  1. Film Craft

Overview: The Film Craft Gon celebrates on-screen artistry.

The work will need to demonstrate exceptional filmmaking. It should showcase technical skill and prowess in production/post-production, elevating an idea or dramatically enhancing its execution.

 

The main criterion considered during judging will be the execution.

There is no overall limit to how many times the same piece of work can be entered into Film Craft.

Multiple microfilm executions can be entered as one entry up to a maximum of 60 seconds. Each microfilm should be a maximum of 15 seconds in length and all entries must have run within the eligibility period.

 

A. Best use of TV Animation

A01 Animation.
The use and aesthetic of animation in film. All types of animation, including cell, stop-motion, graphic, silhouette and computer animation in 2D or 3D, will be accepted. For films that include both animation and live action, it will be the animation that is judged.

 

B. Best Production Design/ Art Design

B01 The Aesthetics of the Production Design/Art direction

This includes set design and location builds, as well as the overall look, feel and atmosphere of the piece and how the narrative has been enhanced by the artful management of the visual components

 

C. Best Film Editing

C01 Editing.
The technical and creative success of the edit. All aspects of the film’s edit will be considered. This includes but is not limited to timing, pace, visual dynamics, dialogue dynamics, sound integration and overall storytelling.

 

D. Best use of Music

D01 Use of Original Music.
The impact and success of original music compositions, created specifically for film advertisements. The artistic achievement of the track itself will be considered, along with its contribution to the piece as a whole.

D02 Use of Licensed/Adapted Music.
The selection of licensed or adapted music. The way a track supports the script, creates the necessary atmosphere or otherwise delivers on the creative brief will be considered.

 

E. Best Sound Design

E01 Sound Design.
The creative use of sound design within film advertising. Technical excellence in recording, mixing and the synthesis of samples and sound effects will be considered, along with the cohesion of the edit and its impact on the overall piece.

 

  1. Media Craft

Overview: The Media Gong Gong celebrates the context of creativity.

The work will need to demonstrate an inspiring and innovative implementation of media ideas. It should be enhanced and amplified by a game-changing channel strategy that takes consumers on new journeys and unlocks new experiences.

 

A number of criteria will be considered during judging, weighted as follows: 30% insight and idea; 30% media strategy and targeting; 20% media execution; 20% impact and results.

 

A. Best use of Media Channels

Work in these categories will be judged on media creativity and channel innovation. Work should unleash the media opportunities beyond existing formats to effectively communicate the brand message.

 

A01 Use of Screens & Audio-Visual Platforms.
This includes but is not limited to TV, video-on-demand platforms (VODs), streaming platforms and other online service providers. Screens other than TV might include, but are not limited to, touchscreens, dynamic digital screens, interactive screens and responsive displays

 

A02 Use of Audio Platforms.
This includes but is not limited to radio, podcasts, social audio platforms and other audio technology

 

A03 Use of Print.
The work in this category may include, but is not limited to, newspapers, magazines, inserts and trade journals, print work with digital and interactive elements such as downloadable applications, QR codes, AR and 3D printing.

 

A04 Use of Outdoor.
Including traditional billboard or poster sites, bus shelters, wallscapes and transit advertising using standard advertising space.

A05 Use of Digital Platforms.
Online platforms or associated technologies and the harnessing of a digital environment in a media campaign. These might include, but are not limited to, websites, search engines, ecommerce platforms, banner ads, instant messaging, mobile apps, etc.

A06 Use of Mobile.
Mobile technology including smartphones, tablets, Bluetooth, SMS, MMS, WAP, GPS, mobile games and applications, etc.

A7 Use of Social Platforms.
Work that uses social media, vlogs, blogs, wikis, content-sharing sites, hosted services etc. to create and/or enhance relationships with a community/consumers. Insights gained through the strategic use of social data and associated targeting methods will also be considered.
* Work entered in this category should be planned and executed on social platforms as opposed to campaigns that went social.

B. Best use of Small-Scale & Large-Scale Media

 

B01 Small-Scale Media.
Non-mail and print collateral, including small physical objects and all other hand-held (or equivalent in size) items.
* ‘Small-scale’ refers to the physical size of the ambient item, not the scale of the distribution. Please send physical samples for the jury to experience.

B01 Large-Scale Media.
Non-traditional outdoor/billboards. This includes but is not limited to 3D and non-standard shaped sites, ticket barriers, signage, wallscape, digital billboards, window clings, building wrapping, helicopter banners and other executions that utilise a space or an existing permanent feature.
* ‘Large-scale’ refers to the physical size of the ambient item or execution, not the scale of the distribution.

 

C. Best use of Insights & Media Strategy

Work in these categories should demonstrate how insights and data contributed to the successful placement and media execution of content used to engage with consumers. The work will be judged on how successfully it demonstrates target-audience-related engagement. Please note that the work in these categories will not be judged on the content itself, but the role of media in creating, leveraging and amplifying the content.

 

C01 Audience Insights.
The use of audience insights and understanding of consumer behaviours or needs in order to develop a customised media strategy. The work in this category should demonstrate how these insights contributed to the effectiveness of the media campaign and generated real impact.

C02 Use of Brand or Product Integration into a Programme or Platform.
This includes but is not limited to product placement and branding in film, TV, mini-series, web series, music video, streaming services, sponsorship, etc.

C03 Data-Driven Targeting.
The creative use or interpretation of data-driven effective targeting. The work should demonstrate how data either contributed to programmatic targeting or provided a key quantitative insight that helped define the target, brand message or channel.

C04 Use of Branded Content Created for Digital or Social.
This includes but is not limited to branded social media, websites, microsites, mobile applications, games, native advertising, etc.

C05 Data Integration.
The creative interpretation of data to demonstrate how different streams were integrated to provide new insights from planning through to delivery of a creative campaign or brand strategy.

 

D. Excellence in Media Craft

Work that exhibits ingenuity and outstanding craftsmanship in harnessing media to deliver a brand message, change behaviour or engage consumers at scale. The work in this section can only be submitted and paid for by Independent Media Agencies or companies owned by a Media Network or Independent Media Network. The same piece of work can be entered only once in each category within this section.

D01 Media Insights & Strategy.
The use of unlocked insights and understanding of consumer behaviours/needs in order to develop a customised media strategy to meet a brand’s specific business objectives, marketing goals and overall positioning.

D02 Media Planning.
Sourcing and selection of media platforms to deliver a brand’s message based on deep audience insight and creative use of media channels. The work should detail the reach, penetration and frequency of the message to generate the desired response.

D03 Media Execution.
The work should demonstrate how media thinking and skillful negotiations with media owners contributed to the execution of a campaign strategy across selected channels and achieved business goals. Consideration will be given to effective use of media channels as part of the brand storytelling and to the creative delivery.

D04 Use of Channel Integration.
Work that connects multiple brand touchpoints, successfully blurring the line between chosen media channels and demonstrating how the different mediums complement and build on each other to cut through and deliver results on clear brand objectives.
* The work in this category must show that multiple types of media were used in the campaign (e.g. screens, social, outdoor, print, new realities).

D05 Use of Data & Analytics.
The application of data and analytics to form the basis of a media strategy or drive insights that help define the target, brand message or channel. The work should provide evidence of research or insight, quality of thinking and the development of a strategy.

 

  1. Design Gong Gong

 

A. Spatial & Environmental Design

 

A01 Spatial & Sculptural Exhibitions and Experiences.
Exhibitions/experiences that make use of community and public spaces. This could include, but not be limited to, how the space is curated, designed and built to enhance the experience of the attendee.

 

A02 Retail Environment & Experience Design.
The design and construction of a permanent or temporary retail space/installation, showcasing functionality, presentation of the brand values and ease of sale. This could include, but not be limited to, pop-up stores, seasonal displays, mobile demo units, department and specialist stores, banks, salons, etc.

 

A03 Point of Sale, Consumer Touchpoints & In-Store Collateral.
In-Store communications in order to drive immediate sales. This could include but is not limited to posters, on-shelf communication, digital and physical POSs, visual merchandising and retail fixtures, product displays, shopping bags, gift wrapping, catalogues and other post-purchase collateral.
* Entries should show the work within the sales environment.

 

B. Product Design

Design that increases brand value through functional and aesthetic resolution demonstrating brand qualities/product identity through form, function, usability, aesthetics, problem-solving, production, research and manufacturability.

 

This category covers design and packaging of products of all kinds, including

FMCGs & consumer durables, healthcare, sustainable packaging, design of brand website, Apps, etc.

* The product must have been available for purchase within the awards eligibility period. Please send physical samples for the jury to experience. Please also provide a demo film of the physical samples for the jury to experience.

 

C. Merchandise Design

 

C01 Promotional Items & Printed Media.
Promotional items and brand merchandise distributed in the out of home environment. This may include, but is not limited to, giveaways at events, retail stores and exhibitions.
* Please send physical samples for the jury to experience.

C02 Design for Promotional Items.
Items designed to promote a brand. These should demonstrate a clear understanding of the brand’s target audience. Items include clothing, promotional gifts and samples, guerrilla marketing accessories, promotional items and brand merchandise.
* Please send physical samples for the jury to experience

 

  1. Design Craft

Overview: The Design Gong Gong celebrates visual craftsmanship.

The work will need to demonstrate how design has been used to define a brand or communicate its key messages. It should achieve consumer recognition or understanding through a unique visual identity.

A number of criteria will be considered during judging, weighted as follows: 40% idea; 40% execution; 20% results.

 

A. Best use of Photography in Design

Engagement through creative expression.

 

A01 Photography: Brand & Communications Design.
Including brand identity, logo design, self-promotion, brand environment design, brand collateral, corporate communications, promotional items and other comprehensive branding programmes.

A02 Photography: Outdoor.
Any outdoor work. This could include, but not be limited to, traditional billboards, posters, digital outdoor screens or ambient work.

 

A03 Photography: Print & Publishing.
Any print or published work.

 

B. Best use of Illustration in Design

 

B01 Digital Illustration & Image Design.
Creative application of illustration within a digital context and digital manipulation of still imagery including photography.

 

B02 Overall Aesthetic Design (incl. UI).
The overall achievement in aesthetic composition and fluidity of digital/graphic design.

 

C. Best use of Typography in Design

Design aesthetics and storytelling conveyed through the use of typography.

 

C01 Including brand identity, logo design, self-promotion, brand environment design, brand collateral, corporate communications, promotional items and other comprehensive branding programmes.
* Standalone Packaging, Print & Publishing and Outdoor poster design work should not be submitted here. Please send physical samples for the jury to experience.

 

C02 Typography: Outdoor.
Any outdoor work. This could include, but not be limited to, traditional billboards, posters, digital outdoor screens or ambient work.

C03 Typography: Print & Publishing.
Any print or published work.

C04 Typography: Packaging Design.
Any packaging.
* Please send physical samples for the jury to experience.

 

 

  1. Best Integrated Campaign

Work that successfully carries a brand’s message across multiple platforms/channels, both online and offline.

 

The work should demonstrate how content featuring a brand’s message, product or service has been seamlessly implemented on various channels to amplify meaningful experiences and customer engagement.

 

 

  1. Brand Experience & Activation

Overview: The Brand Experience & Activation Gong Gong celebrate creative, comprehensive brand building through the next level use of experience design, activation, immersive, retail and 360° customer engagement.

The Work should demonstrate how the customer journey, experience of the brand and optimization of every touchpoint led to increased brand affinity and commercial success.

 

A number of criteria will be considered during judging and weighted as follows: 20% idea; 20% strategy; 30% execution; 30% results.

The same piece of work can be entered into all the relevant sections under Brand Experience & Activation.

 

A. Best use of Touchpoints & Technology for Brand Experience

 

A01 Social Engagement & Integration for Live Experience.
Work that harnesses social media to enhance an online or offline live experience or activation.

A02 Use of Mobile & Devices.
Work that uses a mobile app, portable device or mobile technology to create or enhance interaction with consumers at a brand experience or activation.

A03 Use of Website/Microsites.
Work that uses branded websites or micro sites to drive engagement with customers and increase the overall brand experience.

A04 Metaverse, New Realities & Emerging Tech.
Immersive experiences, large and small scale activations, digital and live events that creatively push the boundaries of technology and engage with consumers. This could include, but not be limited to, AI, AR, VR, XR, wearable tech and mobile devices, voice technology, blockchain technology, gamification, virtual worlds, the metaverse and all other emerging platforms. Does not include prototypes of early-stage technology.

A05 Digital Installations.
Immersive large- or small-scale digital experiences and events that are set up to engage with consumers. This may include but is not limited to VR/AR, multiscreen and multidimensional experiences.

 

A06 Tangible & Spatial Technology.
Any brand experience or activation leveraging a space or using a more permanent spatial feature to drive customer engagement. This may include but is not limited to exhibitions, fairs, trade shows and signage.

 

B. Best Retail Experience & Activation

The work in these categories must have taken place within a retail environment

 

B01 Customer Retail/In-store Experience.
In-store and retail activities. This may include but is not limited to product launches, demonstrations, sampling activities and pop-ups that engage and guide shoppers on all channels of their path to purchase.

B02 Retail Promotions & Competitions.
Online or offline promotional competitions or incentives used to drive customer engagement with a brand. This may include but is not limited to social media competitions, gamified experiences, in-store promotional activations, etc.

B03 Customer Acquisition & Retention.
Work that creates meaningful, engaging experiences and activations in order to attract or maintain customers, encourage customer activity and increase overall transaction value.

 

C. Excellence in Brand Experience

 

C01 Live Brand Experience or Activation.
Any live brand experience or activation that was held at a consumer or B2B event. This may include, but is not limited to, installations, product demos, trade shows, expos and pop-ups.

C02 Guerrilla Marketing & Stunts.
Any brand experience or activation using guerrilla marketing, short/one-off live executions, street teams, publicity stunts and street stunts to drive customer engagement.

C03 Brand-Owned Experiences.
Brand-specific physical and digital standalone live experience or activation that is not part of a wider event. This may include, but is not limited to, permanent installations, pop-ups, venue takeovers, immersive experiences within virtual worlds and brand-owned music festivals/concerts.

C04 Launch/Relaunch.
Brand experiences or activations created to launch or relaunch a brand, product or service.

C05 360 Integrated Brand Experience.
Online and offline multichannel experiences made to engage and amplify a brand’s message, product or service.

 

  1. Social & Influencer Gong Gong

Overview: The Social & Influencer Gong Gong celebrates creative social thinking and strategic influencer marketing solutions.

The work will need to demonstrate how levels of engagement, social reach and the creative use of social media, brand ambassadors, creators, celebrities and influencers led to commercial success.

A number of criteria will be considered during judging, weighted as follows: 30% idea; 20% strategy; 20% execution; 30% results.

There is no overall limit to how many times the same piece of work can be entered into Social & Influencer as long as the categories chosen are relevant.

 

A. Social Insights & Engagement

 

Work in these categories will be judged on how successfully social was used to engage with online communities and deliver measurable and meaningful results for a brand.

A01 Community Management.
Social activity that is designed to engage, build or maintain an online social community. Engagement levels and the relevance of targeted communications directed at active/non-active users will all be considered.

A02 Audience Targeting/Engagement Strategies.
Social activity customised for predefined communities, groups or individuals based on social insights such as behaviour, interests, geo-location, etc. This may include, but is not limited to, native advertising and programmatic campaigns, the customisation of messages, their relevance and creative execution, etc.

A03 Real-Time Response.
Targeted social activity that utilises social platforms to respond to world events, public affairs and other real-time activity in a meaningful, time-sensitive and creative way, that prompts social sharing and engagement.

A04 Social Listening & Insight.
Social campaigns that are elevated through their use of data and insights to engage or develop a meaningful relationship with a specific audience or community. Insights gained through the strategic application of social data / listening / analytics will be considered.

A05 Brand Storytelling.
Social campaigns that use exceptional brand/consumer stories to drive meaningful engagement with a specific audience. This could be through creators, influencers or communities (where brands speak indirectly to audiences through creators/influencers).

A06 Innovative Engagement of Community.
Creative use of existing social platforms and/or online communities to impact business objectives or enhance relationships with a brand, community or consumers. This may also include the use of new functions built for existing social platforms, levels of engagement, social reach and the creative strategy, etc.

 

B. Creator & Influencer Marketing

The work in this category should demonstrate how a social campaign was enhanced through the use of social influencers and content creators.

B01 Organic Reach & Influence.
Brand-led social campaigns that become part of popular culture and as a result are picked up by a celebrity, social ambassador or influencer, further expanding the campaign’s reach and impact. Entries must state which celebrities, social ambassadors or influencers picked up the campaign (organic and paid results to be provided separately in the Results field).

B02 Creator, Influencer and Celebrity Partnerships.
Social initiatives or executions where brands partner with an influencer, celebrity or social ambassador in order to engage with a specific audience. How effective and mutually beneficial the partnership was and how target audiences were involved in compelling ways will be considered.

B03 Innovative Use of Creators, Influencers or Celebrities.
Creative use of creators, influencers or celebrities. This could include, but not be limited to, unique content created by an influencer for the primary purpose of increasing a brand or organisation’s reach and awareness and/or to drive business results.

 

C. Social Content Marketing

Work in these categories will be judged on how successfully content was used to engage with consumers and target audiences.

C01 Content Placement.
Content and editorial strategy and placement using social channels. The strategic arrangement and curation of appropriate content that may either drive or enhance a wider social campaign.

C02 Social Film.
One-off social film specifically created for online social platforms that are intended for widespread sharing. Results and number of views will be taken into consideration.

C03 Co-Creation & User Generated Content.
Social activity designed to encourage a community/fanbase to contribute or collaborate with a brand initiative to enhance loyalty and engagement.

C04 Social Commerce.
Work that harnesses social media, social platforms and virtual communities for e-commerce and m-commerce to drive business results.

 

D. Excellence in Social & Influencer Campaign

D01 Multi-Platform Social Campaign.
Social campaigns that utilise multiple media online and/or offline platforms and live events. The work should illustrate that these elements drive or are inherently necessary to the overall execution of the social campaign.

D02 Sponsorship & Brand Partnership.
Social campaigns that utilise sponsorship and/or partnership programmes to support a product or service in order to meet specific awareness/business goals and to enhance the image of a corporate brand, organisation or corporation.

 

 

  1. PR Gong Gong

Overview: The PR Gong Gong celebrate the craft of strategic and creative communication.

The work should demonstrate how original thinking, transformative insight and a strategy rooted in earned media have influenced opinion and driven progress and change in business, society or culture.

 

The work should have storytelling at its core and establish, protect and enhance the reputation and business of an organisation or brand.

 

A number of criteria will be considered during judging, weighted as follows: 20% idea; 30% strategy; 20% execution; 30% impact and results.

 

A. Best use of Social Engagement & Influencer Marketing

In these categories, your entry will be judged on how well social/digital platforms were leveraged to support or execute the PR campaign.

A01 Social Engagement.
Celebrating public relations and social media storytelling that build brand awareness and advocacy. The work should demonstrate how social media was harnessed to increase brand awareness and relevance.

A02 Community Management.
Recognising the development, maintenance and nurturing of brand relationships. The work should demonstrate how engaging with a brand’s online community/targeted audience built its reputation and established trust and authority within the online community.

A03 Real-Time Response.
Real-time social activity designed to respond to and engage in the conversation around world events, public affairs and other real-world, real-time activity in a creative and meaningful way.

A04 Content Creation & Production.
Content created and produced to entertain, inspire or educate. The work should demonstrate how the content created was audience-relevant and engaging as well as in line with brand messaging.

A05 Content Discovery & Amplification.
Recognising a creative approach to content amplification and distribution in order to reach the largest potential audience. The work should demonstrate how a combination of earned, paid, shared and owned media contributed to increased brand engagement and awareness.

A06 Innovative Use of Influencers/Creators.
The creative and innovative use of influencers/creators to drive brand message and awareness to a specific audience.

 

B. Insights & Measurement

These categories showcase effectiveness in using data to drive creative inspiration and communications strategies. The work will be judged on the deliberate and thoughtful introduction of insights and measurements to develop campaigns that have had real impact on the performance of an organisation. The work should demonstrate the success of activities that tackle the wide range of reputational and stakeholder challenges that non-advertising communications have to address.

B01 Research, Data & Analytics.
Research and data-led or actionable insights that provide a meaningful contribution or input to a public relations programme. The work should provide evidence of research or insight, quality of thinking and the development of a strategy.

B02 PR Effectiveness.
Recognises creative work that has a proven impact on business and reputation. The work should provide results data, as well as details of measurement tools and analysis methods used to evaluate results. Consideration will be given to tangible business results and the quality and quantity of media.

 

 

C. PR Techniques

In these categories, your entry will be judged on the creative implementation of your chosen PR technique in order to increase reach and achieve desired campaign outcomes.

C01 Media Relations.
PR that puts journalism at the forefront of the campaign, with evidence of a high degree of innovation intended to engage, educate or influence editorial. The work should explain the relevance of media outcomes, including depth, quality and messaging. Consideration will be given to how this strategy achieved or supported the desired campaign outcome.

C02 Use of Events & Stunts.
Work that uses stunts, events, event sponsorship, competitions, promotional games, street art, guerrilla marketing, launch parties, live shows, live streamed events, festivals, concerts, sporting events, etc. within traditional, digital and new emerging environments to build the value and reputation of a brand or communication project as part of a wider public relations strategy.

C03 Launch/Relaunch.
Work created to launch or relaunch a product or service.

C04 Brand Voice & Strategic Storytelling.
Customised strategies designed to communicate a particular point of view/story of a brand/organisation in a consistently relevant way and to build an emotional connection with employees, shareholders and customers alike.

C05 Use of Technology.
Existing or new technology that pushes the boundaries of digital innovation to execute or support a PR campaign. This could include but is not limited to artificial intelligence, virtual reality, virtual worlds, robotics, gadgets and electronics, wearable and interactive technology, etc. Does not include prototypes of early-stage technology.

 

D. Excellence in PR Craft

Work in these categories will be judged on the demonstration of exceptional and creative best practice within the chosen PR specialism. Entries in this section can only be submitted and paid for by Independent PR agencies or companies owned by a PR network or independent PR network. The same piece of work can be entered only once in each category within this section.

D01 Corporate Image, Communication & Reputation Management.
Work that builds the image/raises the profile and shapes the perceptions of a corporate brand, organisation or corporation.

D02 Public Affairs & Lobbying.
Work planned to influence or inform the public policy agenda using either lobbying or wider public affairs strategies, as well as political or ballot initiatives.

D03 Crisis Communications & Issue Management.
The planning and/or handling of the consequences of a crisis or an issue that may affect a company’s credibility and reputation. The work should demonstrate evidence of the planning and/or implementation of a crisis communication strategy and how the desired outcome was achieved.
* The content of entries in this category can be kept entirely confidential and used for judging purposes only.

D04 Internal Communications & Employee Engagement.
Engaging internal communications and activities. This includes but is not limited to change management, intended to connect employees with a company identity or message. The work should demonstrate how activities translated into measurable results, employee satisfaction and business growth.

D05 Sponsorship & Brand Partnership.
Work that utilised sponsorship and/or partnership programmes in order to meet specific awareness/business goals as well as to enhance the image of a brand, organisation or corporation.

 

  1. Creative Strategy

Celebrating commercial effectiveness, strategic planning and creative application of solutions to unlock growth and measure impact

 

A. Creative Effectiveness

This category looks at the measurable impact of creative work.

The work in this Gong Gong will need to demonstrate how an effective strategy rooted in creativity has met its chosen business objectives, generated positive customer outcomes and driven sustainable business impact over time.

 

A number of criteria will be considered during judging, weighted as follows: 25% idea; 25% strategy; 50% impact and results.

 

B. Market Impact Strategy
Work in this category should demonstrate how the work enabled the brand to effectively achieve their objectives in a chosen market.

 

B01 Single Market.
Work that has been implemented in a single market with a single target market at its core. The work should describe how it was designed for the target market and how the tangible business results were achieved.

B02 Multi-Market.
Work that has been implemented across multiple markets. The work should describe how it was designed for multiple markets and how the tangible business results were achieved.

B03 Global Market.
Work that has been implemented globally. The work should describe how it was creatively designed to run globally and how the tangible business results were achieved.

 

  1. Creative Brand of the Year

This celebrates the brand (client side) that wins most awards in the creative, design and strategy categories.

*This award cannot be entered by any organization or agency. It is awarded by the judges to organizations on the client side.

 

  1. Marketing Communications Organization of the Year

This category celebrates organizations (clients) whose brand, product or service wins most awards in integrated marketing campaigns, brand experience & activations and PR.

*This award cannot be entered by any organization or agency. It is awarded by the judges to organizations on the client side.

 

  1. Best Brand in Social Media & Influencer Marketing

This celebrates organizations (clients) whose brand wins most awards for social media and influencer marketing categories.

*This award cannot be entered by any organization or agency. It is awarded by the judges to organizations on the client side.

 

  1. Best Brand in Media Strategy

This is for clients whose brand, product or service wins most awards in media strategy and best use of traditional & digital channels.

*This award cannot be entered by any organization or agency. It is awarded by the judges to organizations on the client side.

 

  1. Gong Gong for Good

This area of awards focuses on going beyond brand purpose to use creative communications to shift culture, create change and positively impact the world.

Key areas of impact would be in addressing any of the following areas: poverty & hunger, good health & wellbeing, quality education, gender equality, clean water & sanitation, clean energy, sustainable cities & communities, responsible consumption & production, climate action.

 

  1. Platinum Gong Gong

There will a total of four platinum awards for exceptional work in four different categories. This category is for game-changing creativity, provocative, boundary-busting and envy-inspiring work that marks a new direction for the industry and moves it forward.

There will be platinum awards for outstanding work in four different categories.

Platinum award for Agency of the year

 

 

 

 

 

 

 

 

New Awards Categories for Gong Gong Awards out Now!

The refreshed Gong Gong Festival of Creativity scheduled for March 2025 is picking up some steam as new awards categories have been adopted by the Executive Council of AAG. The new categories are meant to align the Gong Gong Awards with other regional and global awards categories. This would ensure that winners of any of the categories could easily enter their work for any regional and global awards.

In all, there are 16 main categories. However, each major category is made of either two, three or four different categories. The Executive Council is currently setting up a fixed board to oversee the Gong Gong awards and the advertising week celebrations. According to the Executive Council, call for entries will happen before the year 2024 ends. It is also expected that the Jury for the awards would be announced before the years ends.

Thursday 14th November, 2024 has been slated for a briefing session for all agencies to explain the requirements for each category and the online entry processes. Entries for the refreshed Gong Gong awards would be done online, going forward. The eligibility period for the awards would cover 2023 and 2024.

AAG Launches 2024 Peaceful Elections Project

The advertising industry has become a key part of modern presidential and parliamentary elections as some advertising agencies are now involved in the business of producing adverts for major political parties for radio, TV, print, digital media and out-of-home (OOH) installations. But the industry has decided play another role which is more of a corporate social investment drive to help inject some more calmness and peaceful attitude into the general society.

It is in that spirit that the industry led by the Advertising Association of Ghana has launched its own 2024 peaceful elections project called SPEAK PEACE with the hashtag #PositiveWordsMatter. At a media launch of the project, the President of AAG, Andrew Ackah, encouraged the media to collaborate with AAG to project its message, visuals and videos to create a more public consciousness about the need to respect one another and avoid actions that would create public agitations. Andrew stated that Ghana may have been praised for being a peaceful country, but that can only continue if all groups and people in the country become even more intentional to put in a lot more effort to sustain “the peace that have in our beautiful country, Ghana”.

Call for Nominations to AAG Executive Council Now Open

In line with article 10.2 of the constitution of the Advertising Association of Ghana (AAG), the tenure of office of elected members of the Executive Council comes to a close in 2024. Consequently, the AAG invites nominations to the Council for the period of 2024 – 2026.

There will be three executive membership positions open for nomination; President, Vice President, and Treasurer, as well as ten (10) council membership positions.

 

WHO CAN NOMINATE A CANDIDATE?

Members in good standing

WHO MAY BE NOMINATED?

Members in good standing who are actively involved in the activities of the association

  • The ten elected members shall comprise eight (8) members representing Corporate Members and two (2) members representing Individual Members

 

  • The eight members representing Corporate Members shall be Chief Executive of their agencies.

 

  • The two members representing Individual Members shall not be taken from corporate bodies whose personnel are representing Corporate Members.

 

  • Please kindly refer to the attached list of Members in Good Standing for your nominations

 

HOW DO I NOMINATE A CANDIDATE?

Download attached nomination form, fill form and return to the Secretariat or send via info@aag.com.gh by Wednesday, November 20, 2024.

New Executive Council Members to be Elected into Office at AAG’s Annual General Meeting

Wednesday November 27th, 2024 is set to be the Annual General Meeting (AGM) for AAG. That day will also be the day for the election of a new Executive Council to run the affairs of the association.

By the AAG constitution, the Executive Council is made up of executive officers comprising (the President, Vice President, Treasurer, and the Executive Director), the Immediate Past President and ten other elected members. Past Presidents of AAG also serve on the Council as Ex-Officio members purely for advisory purposes. During this election, as in any election of a new Executive Council, the positions of the President, Vice President and Treasurer shall be up for contest or re-election as well as the positions of the other 10 elected Executive Members. Elections for new Executive Council Members occurs every two years. Presidents, however, cannot stand again for re-election after their 4th year of serving in that position.

The other 10 elected members, apart from the President, Vice and Treasurer, shall comprise eight (8) members representing Corporate Members and two (2) members representing Individual Members. The eight members representing Corporate Members and two members representing Individual Members shall be the Chief Executive Officers of their agencies.

Nomination forms have already been sent out for both corporate members and individual members to nominate their preferred candidates for the roles which would be up for elections on November 27 during the AGM. Nominations will close on the 20th of November, 2024.

The venue for this year’s AGM is the British Council, Accra. The event will begin at 5pm in order to give everyone the opportunity to make it.

How digital media is changing advertising in Ghana

The role of digital transformation in shaping Ghana’s advertising industry (How digital media is changing advertising in Ghana)

In the last decade, the advertising landscape in Ghana has gone through a dramatic transformation, driven largely by the rapid rise and adoption of digital technology. The shift from traditional to digital media has not only changed how brands communicate with their audiences but also how the entire advertising industry operates. This digital transformation is reshaping the future of advertising in Ghana, offering both challenges and opportunities for brands, agencies, suppliers and consumers.

The rise of digital media

Just a few years ago, traditional media—television, radio, and print dominated the advertising space in Ghana. Brands relied heavily on these platforms to reach their target audiences. However, the invasion of the internet and the proliferation of smartphones have now changed the industry dynamics completely. Today, digital media, including social media, websites, and mobile apps, have become integral part of advertising strategies.

The surge in internet penetration has been a game-changer. According to the Digital 2023 Global Overview Report,there are nearly 17 million (16.99 million) internet users in Ghana, representing 53% of the country’s population. This was not the case some 10 to 15 years ago. With this kind of surge in internet usage in Ghana brands now have the opportunity to engage with a broader and more diverse audience than ever before. Social media platforms like Facebook, Instagram, X (Twitter), and TikTok have become essential tools for advertisers, allowing them to connect with consumers in real-time, gather feedback, and create more personalized and targeted advertising messages and campaigns.

The shift in consumer behavior

Digital transformation has also led to significant changes in consumer behavior. Ghanaian consumers are more informed and empowered, with access to a wealth of information at their disposal online. This shift has forced brands to rethink their advertising strategies. No longer can advertisers rely solely on one-way communication; they have had to adapt to engaging their clients/customers and audience in meaningful conversations online.

Consumers today expect more from brands—they demand transparency, authenticity, and value. They are more likely to engage with brands that align with their values and offer content that resonates with them. This change in expectations has pushed advertisers to focus on creating content that is not only promotional but also informative, entertaining, and culturally relevant.

The emergence of data-driven advertising

One of the most significant impacts of digital transformation on the advertising industry in Ghana is the reliance on market and consumer data to drive advertising. With the ability to collect and analyze vast amounts of data, brands can now gain deep insights into consumer behavior, preferences, and trends. This data-driven approach allows advertisers to create more effective and targeted campaigns, optimizing their marketing efforts for better results.

The ability to gain access to accurate data and analyze them digitally now enables advertisers to allocate their budgeted resources more effectively, reducing wasted spend on poorly performing ads or irrelevant audiences. Data enables precise ads placements, reducing the guesswork that was previously common in traditional advertising. As a result, advertisers can improve cost-per-click (CPC), cost-per-acquisition (CPA), or return on ad spend (ROAS) metrics.

In digital advertising, platforms provide advanced analytics that show the performance of each ad in detail. Advertisers can focus spending on high-performing ads and channels, ensuring that every dollar works harder to achieve business goals.

Challenges of digital transformation

The blessing of the digital transformation era is a mixed bag with some daunting challenges too. The shift to digital advertising requires significant investment in technology, skills, and infrastructure. In their well-sought-after book on: Digital Business in Africa: Social Media & Related Technologies, Hinson et al (2022) published that many agencies and brands, especially smaller ones, may struggle to keep up with the rapid pace of change.

The digital landscape is a space that is constantly evolving. New platforms, tools, and trends are emerging all the time. Prof. Hinson, Adeola and Edeh, in their book, firmly state from their research work that staying ahead of the curve requires continuous learning, adaptation and some heavy investments. For advertisers, this means not only embracing new technologies but also understanding how to leverage them effectively to achieve their goals.

Another challenge is the issue of digital literacy among consumers. While internet penetration is high, there is still a significant portion of the population that is not digitally literate. Reaching these consumers requires a balanced approach that combines both digital and traditional media strategies.

The future of advertising in Ghana

Despite these challenges, the future of advertising in Ghana is undoubtedly digital. As more brands and agencies embrace digital transformation, the industry will continue to evolve, becoming more sophisticated and data-driven. The rise of e-commerce, mobile marketing, and artificial intelligence (AI) are just a few of the trends that will shape the future of advertising in the country.

Market research by Agyarkoh (2020) as published in the Journal of African Arts & Culture on Challenges of Electronic Advertising in Ghana, suggests that as internet usage continues to grow, digital platforms will dominate the advertising landscape.

For brands and agencies, the key to success in this new digital era will be adaptability. Those who are willing to invest in the necessary technologies, upskill their teams, and stay attuned to the latest trends will thrive. Collaboration will also be essential—working together to share knowledge, resources, and expertise will help the industry overcome challenges and seize new opportunities.

Spotlight Series-October ’24 (Insel Communications &Russel Eni)

Russel Eni

Founder of Insel Communications limited, Russel has over 20 years experience in Advertising and Audio Visual production.
Before starting up Insel, Russel worked in production at Metro TV and as Creative Director at Channel Two Communications.
Russel is a Council Member of the Advertising Association of Ghana, and has led his Multiple award winning creative Agency Insel Communications Limited, to shape some of Ghana’s most successful campaigns for a host of blue chip FMCG, Finance, Pharmacy, Personal Care, Hospitality, Government and not for profit clients in Ghana and across Africa.
Russel also works as consultant on various projects for other advertising agencies in Ghana. He has also led his agency to win over 75 Awards in Ghana and Africa including the Agency of the year in the prestigious 2018 African Pitcher Agency Awards and a Grand Prix at the African Cristal Awards. He has also helped to win multiple CIMG Awards for Insel’s Clients

 

Insel Communications -Crafting Award-Winning Campaigns since 1998
Established in 1998, Insel has grown into one of Ghana’s most awarded creative agencies. Their competency is developing campaigns that result in brand awareness and sales. They take consumer insights and turn them into communications that bring results. They believe that to be good, really good, requires focus. So they focus on the creative and work with their great network partners to amplify their creative ideas.
At Insel, they bring big ideas to life by creating impactful campaigns that resonate with audiences and drive brand growth. By combining consumer insights with innovative storytelling, they craft memorable experiences that boost brand awareness and sales, delivering measurable results for their clients.

We are AAG appreciate you Russel Eni.