The mobile synergy of the African creative industries

The African entertainment and arts scene could quite possibly be one of the only industries on the continent that has seen steady upward growth across Africa for decades. Currently for example, Nigerian's film industry is reportedly valued at around N522 billion (1.75 billion US dollars). For the past decade, there has been an intense use of online media such as YouTube and Tumblr to promote culture of Africa and its' diaspora (see: idamawatu channel which has garnered almost 300 million views). This has greatly enhanced collaboration among artists and finally given platform for contemporary creatives/artisans. However, there is dire lack of organized structure for collecting the works done my various artists. There is a high-valued market for African art and establishing channels on YouTube and Tumblr as a source is just the first step. As described in a brief piece on aoAfrica, many mobile networks in Africa are in a varying state of simultaneously transitioning between "e-commerce" (online storefronts and mobile money) and "social media". African creative industries can take the first step in using technology to take these current stages a step further and develop rich media content (think: Apps, Spotify, Pandora, online magazines).

However, if organizations such as the African Union put emphasis on structuring creative industries around central physical "collectives" that can translate works of artists/artisans to rich online media content, these communities can act as curators as well as business mediators between artists and more commercial entities. Artists can receive royalty payments easier As described in a workshop paper sponsored by The World Bank on the African music industry, almost no African music market has a piracy level less than 25%. This uncertain business environment drives musicians to great lengths in order to stretch profit.

...because artists have no expectation of receiving any royalties from record sales –because of piracy and the inadequate collections of royalties -- they expect a bigger single up-front payment. This one-off payment system creates problems for international companies. They have the expectation of a lower initial advance, and then, of course, the expectation to pay the royalties. Thus, they expect the artist to work together with them to sell the album. However, for an artist who is just getting a one-off payment, the only way to make money is by recording the absolute maximum number of albums and doing as many of these deals as possible.  

The authors conclude that there is indeed a need for collection hubs for artists/artisans. These physical collectives could be based on region as shown below:

Building structure and collaboration through art.
Original map: ECOworld

• West African Collective (ORANGE)
• Central African Collective *incl. South Sudan (BLUE)
• South (PURPLE)
• East (GOLD)
• North (GREEN)

They could also be based on language---main centers being Francophone, Anglophone, Lusophone--- however, these long established borders of lingua franca have long caused division within various African entertainment scenes.

Once strong communities of artists and artisans and can be established, this can then make it more effective for mobile-based tech applications. For instance, you take a fairly new media app such as Spinlet, which is designed to enhance legal music downloads for African artists, it can easily expand it's markets through the facilitation of collectives. I'm also under the impression that high-quality streaming services similar to Pandora and Spotify would sit well with many African consumers. African Film Library is another extraordinary service that could benefit from the on-the-ground stimulation of local/regional artist collection societies.

I think what is most beneficial regarding African collectives in the arts is the green lighting of more efficient and respectable collaboration. Collaboration transcends language, ethnic group and political views. Artists/artisans create intersectional dialogue in a way that other fields cannot. Imagine: stimulating local economies to create sustainable, cultural African fabrics that is not just subject to the seasonal "pattern" trend. Real textile? Advertised throughout online galleries and sold for commercial export?

One can dream no?

PS: To learn more about Spinlet check out this interview with Chairman Eric Idiah on Ventures Africa.

Technology-based start-ups in the Democratic Republic of Congo

Can impact investing and social entrepreneurship turn natural resource "curses" into blessings?

The central African nation of the Democratic Republic of Congo, a nation about 2.34 million sq km in area, is arguably one of the most resource abundant in natural resources. From minerals, to potential hydro-power and even uranium Congo is a geographical hotbed of natural resource extraction. Cobalt, diamonds, gold and copper ores can all be in various regions within the DRC (the eastern border and southeastern-and western provinces). Yet, this country with a population of about 67 million, has been deemed one of the "world's worst" in just about every human development category. A decade-long civil war centered in the Eastern Congo has left more than  6 million civilians dead, mostly due to regional militias who profit from the looting of the aforementioned minerals. Despite the many complex, historical internal and external factors at the root of this dismal situation, the fact remains that the institutions in place are continued enablers to a rampant addiction of corruption and inefficiency that has effectively taken a toll on the economic state of this vast nation .

Small business appears to be the only viable current solution to this issue: building self-sufficiency from the ground up. Simply boycotting raw materials takes away from whatever small day-to-day revenue that local artisanal mining operations provides for livelihoods.  How can Congolese citizens possibly utilize the abundant resources of their environment to create communities of sustainable business and growth? Most “green” technologies (technologies used in alternative energy uses, for example) utilize some of the same minerals found in the DRC. The DRC supplies about two-thirds of the world’s cobalt. Cobalt has been outlined by the US Department of Energy as a critical metal in clean energy production. Cobalt also sustains uses in the production of glass and porcelain. Copper is also a growing essential element in HVAC systems. The mineral can be found in Congo’s Copper Belt (Between the cities of Lumbumbashi and Kolwezi in the southeast) as well as various other regions. However, considering the volatile nature of commodities pricing many investors have a habit of starting up and then fleeing projects, which creates an unsustainable business environment for both larger and smaller mining operations. Is it possible then, that local miners with access to minerals/scrap minerals that are the basic building blocks to modern technology could also actually produce products essential to it’s own countries growth? Could invested-in technology expedite the growth of regional agricultural sectors? The fact, that this is some sort of novel idea is a testament to the perceived logistical supply chain challenges of producing goods and exporting goods within the African continent.

Research and development is the fundamental basis for innovation. However, research and development cannot be sustained without investment. Particularly in the Democratic Republic of Congo, where for example, the abundance of copper can serve as a base for copper wiring distribution. The opportunity for research is there. Just as a food for thought example, impact invested research on the sustainable uses of such materials as copper for the purpose of agriculture--vertical farms/greenhouses---can

Copper-based rainwater capture system in South Africa
(source: David Bello)

eventually stimulate local economies in the DRC to actually manufacture viable local products from raw materials. While general infrastructure poses a challenge to engaging technological research on the continent, it is not far-fetched. Many Africans, despite any hindrance in living conditions have been exposed to widespread telecommunications outlets. A total of about sixty-five percent of people in Sub-Saharan Africa have access to mobile phones, most with Internet access. This solid telecommunications base can lead to even more technology-based business start-ups and research projects. Moreover, “modern” forms of currencies such as Bit.coin and the “M-Banking” financial organizations have penetrated African markets since the early 2000s. M-PESA based in Kenya, a service originally set-up for microfinance borrowers, has gathered a total of 14 million subscribers engaged in daily monetary transactions from mobile to person. This too, has the ability to hone socially impactful investments in the direction of innovative research organizations and entrepreneurs based in the continent. Local/regional community organizing can strengthen entrepreneurial efforts by involving the surrounding community in fundraising efforts.

This 2011 Google ad---in all of its' marketing glory---shown above is a shining example of what happens when mobile knowledge stimulates budding entrepreneurs, regardless of circumstance.


Did I mention that copper is very recyclable? Sounds like donating pennies could be a great start for a bunch of entrepreneurship projects in Africa! Too much? Well, anyway!

The Genesis

Finally...finally. I'm trying out this blog business. I'm pretty sure that I've thought about "doing" a blog since I was about thirteen years old. Pretty long time ago, I think.

So why am I attempting such an endeavor, now? Especially at a moment when the blogosphere is incompletely saturated---quite possibly over-saturated---with content and opinion from every nook and cranny of the world? Well, quite frankly, it would help me professionally. As a Gen Yer, naturally, my life on the internet began at a young age. I've explored everything from the virtual NeoPets world to Photoshop colorization challenges and the more recent realms of social networking---MySpace, Facebook, Twitter and of course Tumblr. Without a doubt, internet spaces have shaped the way I receive information. They have challenged by perspective on issues. They have helped me with homework assignments. They have honed by sense of creativity for the artful.  And most importantly, for quite awhile, they have revealed to me the perspectives facing my identity and has given me a basis for pride.

I'm "African". Not black, not brown, not just the immigrant's kid with the funny last name. I'm African. Congolese descent. What could this quite possibly mean for my life? What does this mean to others? How could something I see as being so beautiful, be constantly damaged and misconstrued as barbaric and primitive by so many half-peering eyes? No one cares to acknowledge the history, I complain to myself. They can't imagine that Africa has beaches and tourism. Cinema and music. Landscape and potential. Potential. Potential of landscape.

Mixed media piece by artist Maurice Mbikayi; from ARTBoom

What I am to do here with Maison Nyota is seek out potential landscapes. Landscapes never discovered. Landscapes, that despite these turbulent times have seen the growth of the "economic underdogs". The power is no longer in one set of hands. It is a perfect environment for potential African landscapes to fester. How do we return to the essence of African cultures while capitalizing on the strength of modern technologies? What ways can Africans around the globe take advantage of the ruins of colonialism for our own benefit? Can art undermine perception? Can socially-beneficial business undermine government corruption? Where are the youth?

In french, maison means "house". In swahili, nyota means "star". Everyday within AFRICA, a Maison Nyota is being built. Not by vulture capitalists. Not just by foreign institutions and NGOs, nonprofits. But by Africans themselves. Whether it is the woman working hard in Great Britain to support her family's endeavors in Nigeria or a farmers using mobile money to maintain his business in rural Kenya. Protestors using social media to show their dissent for the government in the Democratic Republic of Congo. Wildlife Conservation designed by Namibians. Social art collectives by students in the diaspora.

Now is the time more than ever for Africans to realize their potential to truly build new landscapes. The future is just beginning. I hope you'll take this long journey with me. I'm learning new things everyday!

Welcome!

-Rachelle Nyota Mulumba