On November 22, 1999, the Daily Nation published the photo of a young Turkana girl, Aro Koriang, who was suffering from extreme malnutrition. The image shocked the whole country.
Nation Media Group airlifted her to Nairobi’s Gertrude’s Children’s Hospital for treatment and set up a fund to help drought-stricken families. Aro became the mascot of rural suffering and neglect and established a national culture of coming together to help those in need. The coverage was also the dawn of aggressive, mass impact campaign journalism, such as the Save A Life drive of 2004.
This was not typical behaviour by the Daily Nation , which tended to be prim and confined by iron strictures of quality. Rather, it was the influence of European quasi-tabloid journalism seeded by a leadership eager to establish world class journalism, which could help to create a more caring society.
Karim Aga Khan, then proprietor of the Nation , desired quality journalism for his newspapers. He leveraged his friendship with the owners of the New York Times to introduce in his titles the rigour and quality drive of the famous American title. Even though two of their former publishers served on the Nation board and professional interactions took place between Nation and New York Times editors, it was not enough to establish the standards he sought.
The burden of change was then placed on the position of Training Editor, which became the real engine of journalism innovation in the Group -- bring on board a vastly experienced editor who had worked at leading publications in the West, and let him or her train and influence the newsroom from the bottom to the top.
And this is the slot into which Frank Peter Whalley, who died at 81 in the early hours of Monday, August 30, fitted like a glove. He had walked into Nation Centre on January 8, 1997, with 28 years of British journalism experience, in a career that had started at the Ashton Weekly Papers in Greater Manchester. Starting as a cub reporter in 1969, he ended in the same group of newspapers as Group Editor twenty-four years later.
In between, Whalley worked for Oldham Evening Chronicle, Daily Telegraph, Manchester Evening News, Sunday Express, Daily Express, Insight and the Telegraph & Argus in Bradford -- where he was made acting Deputy Editor – before returning to the Ashton weeklies.
It was at Insight, a human interest magazine, where Whalley experienced the transition from hot metal to paste-up, a big deal in old school newspaper production and where, too, they used colour for the first time. But it was at Ashton – the news chain -- that he honed his most relevant newsroom skills, sub-editing and page production, which would land him the training job at Nation.
A diminutive figure with explosive energy, Whalley eagerly embraced innovation in the UK papers he led. He introduced content segmentation, colour magazines and drove news campaigns in the papers. He wrote a manual for editorial news graphics and worked with the University of Central Lancashire to identify students for their post-graduate journalism programme.
Whalley was a perfect fit for the Nation at a time when it was fighting to improve copy quality and overall journalism. The group was beginning to wake up in terms of technology – its newspapers had a bit of colour and were produced with a combination of desktop computers for layout and colour processing and a DOS based system called Atex, which came complete with workstations, for writing and editing. The finished product was shot on film and the negatives physically driven by van to the press.
Frank Whalley was a veteran British-born Kenyan journalist. He passed away in September 2026 at the age of 79.
Photo credit: Pool
Whalley supported the Nation’s transformation in several important ways. He was a brilliant rewriter and editor who could turn a boring story into captivating copy within minutes. Secondly, he nudged the Nation towards developing in-house news graphics, breaking down complex issues into a visual format that a reader could make sense of at a glance. Previously, the Nation relied on agency graphics, almost exclusively for foreign stories. In the 1990s, graphics desks were set up and visual story telling took off.
Whalley helped to improve the Nation’s capacity to cover big stories. One such was the 1998 embassy bombing, a complex, fast-changing incident with multiple angles. From his influence, a capacity to respond quickly to a major event, identify important elements, assign the right assets and drive them all towards competent delivery within deadlines became a part of most editors’ core skills.
Whalley had found at Nation a rigid template-driven culture where each story was forced to fit into a predetermined design. This made producing newspapers easier and guaranteed minimum quality and compliance with how the paper was supposed to look. But it made the newspapers, especially the front page, boring and predictable; editors could not bring a great story to life using design.
Frank hauled the Nation front page out of its template prison. He could be seen zipping from one end of the newsroom to the other, design sheets and pencils in hand, barreling through the rigidity of the design culture in real time.
Where he made little headway was in the Group’s dalliance with quasi-tabloid titles. Nation Centre is littered with the remains of the many tabloid experiments that Frank had expended his considerable talent and energy on. The Weekly Advertiser , which the Nation bought and tried to re-invent, Coast Express, Daily Metro and most recently, Nairobi News, all of which, inevitably, were smothered in the crib by the Nation’s rigid quality standards.
Whalley left this world with the genuine respect and admiration of the many journalists across East Africa that he worked with at the Nation and beyond and the love of a legion of friends he made in the most unlikely of places. But he also rubbed many of those he worked with the wrong way. Some viewed his impatience and low tolerance for sloppy work in racial terms. Nothing could be further from the truth.
A feisty, short man who blasted through every argument with his blunt Lancashire accent and bustled through life with unimaginable energy, Whalley left friends in his wake – doormen, waiters, policemen, art dealers, museum and art gallery staff and curators alike. Even the street boys on Kimathi Street followed him around because he was a soft touch. He didn’t look like a kind man, but he was.
Three passions governed Whalley’s life. One was his wife Shamira, to whom he was totally devoted. With two previous marriages under his belt, she was his third time lucky. His best moments, when he was happy as a lark, were with her on top of the Great Wall of China, at the Taj Mahal in Uttar Pradesh or holidaying at the Serena in Mombasa, which he simply adored. His crowning glory was the beautiful home he built for her in Spring Valley and into which he poured his love for architecture and the arts.
African art was a towering hobby. His last assignment at Nation, other than a couple of training gigs, was an art review for The EastAfrican . He was a substantial collector of what is termed tribal art across East, Central and Western Africa. There was a time he owned more Giriama grave posts than anyone else outside of major collections abroad. Among his many friends were art dealers from Congo, Cameroun and many other parts of Africa.
Whalley loved good Kenyan food. Like most Nation editors, The Stanley was home: The Thorn Tree restaurant downstairs for breakfast and business lunch. But the decompressing centre where the stress of the newsroom was washed away with companionable laughter and tea was The Exchange Bar, where Mwai Kibaki, when he was President, would conclude his business at the Nairobi Stock Exchange. He would walk across the street and lumber in for a nostalgic lunch in the ballroom across from the bar.
Whalley loved vintage cars and was at one time the proud owner of a blue Volvo which had been driven in the East African Safari Rally in the 1960s and a Mercedes sports. He loved art with the same fullness of emotion as others reserve for human beings, but at the end of the day, the compass of his life pointed towards newspapers.
Nation editors, with Whalley at the centre of it, got quite good at dressing up down-market content with very respectable and good-looking, middle market design and understated headlines sitting on rivers of human interest, court reporting, murder and scandal.
His legacy does not include a single tabloid at Nation , but he leaves a giant mark on Kenyan – and East African – journalism and the many lives he touched. For he came here for a job but found a home.
