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One Show 2018

Award Type: Advertising Awards

Q1 Deadline: Aug 18, 2017
Q2 Deadline: Sep 29, 2017
Q3 Deadline: Nov 30, 2017
Final Deadline: Jan 31, 2018

Beat the January mad award show scramble — the One Show 2018 third quarter entry deadline is fast approaching! Submit your very best work of the year before November 30, 2017, and have it judged while it’s still fresh in the minds of the industry.

Shortlists Announced:
1st & 2nd Quarters – November, 2017
3rd Quarter – January, 2018
Shortlisted work has advanced to the final round of judging. Please note that being shortlisted does not guarantee winning an award.

Finalists Announced: April, 2018
All work that has won an award—pencil or merit—is considered a finalist. The specific type of award will be publicly revealed at The One Show ceremonies.

Finalist Confirmations Due: April 20, 2018
All finalists will be contacted to confirm that all information related to their winning entries is complete and accurate.


A number of renowned agencies and design firms have already taken advantage of the One Show's quarterly system. Their entries will be judged in smaller batches, where they’ll have more room to shine. We invite you to dive into what’s already been entered this year; perhaps it will inspire you to join the Entry Showcase.

Uk'shona Kwelanga - A WhatsApp Drama Series [case film]

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Industry Banking & Financial Services
Media Film, Digital, Interactive & Mobile
Market South Africa
Agency King James
Chief Creative Officer Alistair King
Executive Creative Director Dan Pinch
Creative Director Damian Bonse
Art Director Kagiso Tshepe
Creative Leigh Vermaak, Lesego Kotane, Lebogang Kodisang
Released June 2017


One Show 2018
Branded Entertainment Innovation in Branded Entertainment Bronze
Interactive Innovation in Interactive / Online Bronze
Mobile Innovation in Mobile Bronze

Credits & Description

AGENCY: King James Group / Cape Town
CLIENT: Sanlam
ART DIRECTOR: Kagiso Tshepe
WRITER: Bongi Ndaba / Dominique Swiegers / Emma Drummond / Kirsti Rivett
DIRECTOR: Yash Lucid
CREATIVE TEAM: Leigh Vermaak / Lesego Kotane / Lebogang Kodisang
DIGITAL AGENCY: King James Digital / Cape Town
PR / MARKETING: Atmosphere / Cape Town
PRODUCT MANAGER: Cara Bulteel / Sean Hanekom
PROGRAMMER: Paul Wollner
SOCIAL MEDIA MANAGER: Lameez Domingo / Jenna Pickford
Published: June 2017
Uk’shona Kwelanga is a uniquely produced series written by one of South Africa’s leading scriptwriters, Bongi Ndaba. Taking place entirely within WhatsApp it follows a family’s conversation in real-time, highlighting the drama families go through when preparing for a funeral, particularly when money is tight. The drama features a number of well-known local actors and was created by the King James Group, a leading independent advertising agency.
The plot follows the sudden and unexpected death of Bab’ Langa, which leaves the family shocked and saddened. When they set up a WhatsApp group to plan the funeral of the much-loved elder, tensions soon start to rise as they face financial pressure, family secrets and unanswered questions. Will they have enough money to give Bab’ Langa the funeral he deserves?
Sanlam chose WhatsApp because it is a medium most of its market uses, and an ideal opportunity to shift into a new space of entertainment and immediacy.
In South Africa, burying a loved one with dignity is of extreme cultural importance and funeral policies are therefore considered essential.
As a result, the funeral market is highly saturated. 80% of consumers already own a policy, and numerous competitors (including traditional insurers, banks, cellphone companies and retailers) offer funeral products. Added to this, Sanlam’s funeral plans have no inherent advantage over those offered by their competitors, many of whom invest in significant marketing support. Consequently, Sanlam is a small fish in a very big pond, and delivering a differentiated message proved increasingly difficult.
Our brief was to build awareness and credibility around Sanlam’s My Choice Funeral Plan by highlighting the importance of proper funeral cover.
Our campaign objectives were to increase consideration within the entry level market, drive engagement, drive a 15% increase in sales via direct channels YOY, and ultimately increase Sanlam’s share of the funeral market.
Our audience comprised of South African urban adults (25-49 years old), with families, earning between R8 000 and R25 000. Financially stressed and stretched, these individuals are acutely aware of being a financial burden to their families - which is particularly evident when it comes to funeral arrangements.
To reach them, we employed a strategy that took into account where they spend most of their time - on WhatsApp, the largest social messaging platform for this audience.
To support awareness of our hero WhatsApp drama, we launched a promotional campaign to build an audience through traditional media, PR and social media. At the end of each episode on WhatsApp, audiences were served an ad for the funeral policy.
Effectively we created our own sponsored entertainment property and then introduced ads at appropriate points in the user experience.
Sanlam’s Uk’Shona Kwelanga WhatsApp drama series was unparalleled in that it was the first time that this social messaging platform had been used to host a drama series. It pioneers an entirely new form of dramatic content (multimedia episodic content within WhatsApp).
The campaign has been featured as an example of content and media innovation in Contagious magazine (and made their Most Contagious list for 2018), and used as an example of messaging innovation at Facebook's US headquarters.
In terms of engagement, the objective of 10 000 people signing up for the drama was exceeded by 367%, with 46 700 sign ups. 93% of registrations completed the entire drama - a drama that incorporated 20 minutes of content in a world where 15 seconds is considered an achievement - resulting in 603 days worth of total consumed content. The campaign also generated R11 632 718 worth of earned media (+165% on target) with an 87% ROI.
In terms of business results, Sanlam sold 21 400 new funeral plans, 320% over the campaign target of 5 100 new policies - during campaign period. Sanlam’s share of the funeral market grew by 3% vs industry leaders such as Old Mutual and Liberty who both lost market share.
All this was achieved on a media budget of R11.3m million which represented 1% of the category spend between April and November 2017.
The Uk’Shona Kwelanga drama itself played out on WhatsApp, and was supported by an multi-channel media strategy which used radio stations, billboards, PR, and social media to drive sign ups.
Once signed up, our audiences received messages throughout the day (each day was seen as an "episode") as our characters interacted and the funeral drama played out. Using WhatsApp proved technically challenging - the experience was achieved by using broadcast lists to create a stream of content that couldn’t be interrupted by user comments. Community managers responded to all audience comments and queries (which were only visible to them not the wider audience).
The campaign ran over six weeks. Users received content as if it was being sent from the characters in real-time over seven days. Multiple broadcast lists were set-up to allow users to sign up at any point over the campaign period and receive the full story.
Campaign Description
We created our own drama told entirely on WhatsApp in collaboration with one South Africa's top TV drama writers. The audience followed the fictional Langa family from Soweto's WhatsApp group. Messages were delivered (via broadcast lists) to the audience in real-time as if the family were having a genuine conversation in texts, emojis, images, voice notes and videos.
The story showed how tradition and modern life clashed as the family's relationships were tested by lack of money to bury their father according to all of their wishes. Many of themes explored would be very familiar to South Africa's emerging middle-class consumers such as: the financial burden falling on younger generations; the importance of traditional values and the differences between generations.
All the characters, locations and situations were created by extensive research (following a similar process to developing a TV show).