Category: Development Challenges, South-South Solutions Newsletters

The Development Challenges, South-South Solutions e-newsletter was published by the United Nations Office for South-South Cooperation (UNOSSC) from 2006 to 2014.

  • “Pocket-Friendly” Solution to Help Farmers Go Organic

    “Pocket-Friendly” Solution to Help Farmers Go Organic

    By David SouthDevelopment Challenges, South-South Solutions

    SOUTH-SOUTH CASE STUDY

    Interest in organic food and farming is high, and organics have become a growing global industry. The worldwide market for organic food grew by more than 25 per cent between 2008 and 2011, to US $63 billion, according to pro-organic group the Soil Association. That is an impressive accomplishment given the backdrop of the global economic crisis, and evidence that people value quality food, even in tough times.

    One Kenyan company is hoping to help farmers benefit from this global surge in interest in organic food. The company is selling a healthy alternative to chemical fertilizers and is hoping it will soon be able to source its products in Kenya, too.

    BioDeposit (http://biodeposit.lv/index.php?page=elixir-3) sells soil conditioner and natural fertilizer made from two ingredients: peat found in marshlands and silt dredged up from lakes, which is called sapropel (http://en.wikipedia.org/wiki/Sapropel). This naturally occurring resource is rich in all the elements required for abundant crops and has the added benefit of not poisoning the soil and water table when used on farmer’s fields.

    It is sold as a solution to the multiple pressures hitting farmers, from chaotic weather patterns to soil damage and decreasing yields. It offers a way to boost farm productivity without damaging the soil in the long term.

    In 2011 the amount of farmland that was organic reached 37.2 million hectares in 162 countries – but this is still just 0.86 per cent of the world’s agricultural land (Research Institute of Organic Agriculture and International Federation of Organic Agriculture Movements). If BioDeposit has its way, Kenyan farmers could help to grow the number of hectares being farmed organically.

    Presenting the solution in October 2013 at the Global South-South Development Expo (southsouthexpo.org) at the headquarters of the UN’s Environment Programme (UNEP) in Nairobi, Kenya, BioDeposit communications and media chief Nelly Makokha (http://ke.linkedin.com/pub/nelly-makokha/29/a08/634), explained that the company is hoping to bring the technology behind BioDeposit to Kenya, if they can get permission.

    At present, the source materials for the products are dredged from lakes in Latvia in Eastern Europe. Because of the political structures of Kenya, it means a long political process is ahead to gain permission to dredge any of the country’s lakes. BioDeposit’s Latvian scientists conducted research on the potential for Lake Naivasha (http://en.wikipedia.org/wiki/Lake_Naivasha) in the Rift Valley and claim it has enough deposits to provide Kenya’s farmers with organic fertilizer for the next 200 years.

    “If the government agrees, the fertilizer is basically cheaper than any other fertilizer the farmer [will] have ever used in a long time,” said Makokha. “It will be pocket-friendly for them. As they earn more money from the more yields, they are spending less on the fertilizer.

    “Our slogan is ‘smart agriculture for health and wealth’  – health in terms of you become organically grown, and if you are looking for organic certification, we will organize that for the certifiers. Right now most countries are looking for organic food and cannot find it.

    “So when you become organic that means you earn more money on your products so it means you are healthy and you are wealthy!”

    The fertilizer comes in 12 milliliter packets that cost 200 Kenyan shillings (US $2.30). A farmer would need two packets for each quarter acre of farmland.

    Based on a Russian discovery from the early 20th century, BioDeposit draws on naturally occurring resources.

    Its products include BioDeposit Agro, described as a “biologically active soil conditioner,” and BioDeposit Elixir, described as a “humic plant growth stimulator.” The Elixir is a “sustainable, water-soluble” concentrate made from peat and can be used to soak seeds prior to planting, increasing the germination cycle. For the farmer, it means more seedlings in a shorter time. It also can be poured on compost piles to boost humic content to speed compost decay. Peat is formed from above-ground marsh plants, either on the surface or under a layer of water.

    BioDeposit Agro is made from sapropel from the sediment at the bottom of freshwater lakes. It is a renewable, naturally-occurring resource as it has been formed from the accumulated settling of plants such as reeds, algae, trees, grasses and animals over time as they decay.

    Unlike other chemical fertilizers, using the BioDeposit product does not require special protective clothing and does not harm human health. Children are also not at risk if they accidentally ingest the product.

    “Most farmers have small farms – quarter acre, half acre, at most three acres,” said Makokha. “For a quarter acre you spend five dollars and you get more yields. Two of them would be approximately five dollars – that’s enough for a whole season – so it is pocket friendly.”

    And if the company is able to harvest the material in Kenya, it would be even cheaper.

    “You can imagine if we dredge here – probably (get the cost down to) a dollar – so it makes more sense for the farmers.”

    The dredging has another positive impact: it helps with managing flooding by making the lake deeper once the silt is dredged out, making life better and safer for people living nearby.

    BioDeposit has been operating in Kenya for a year and, Makokha said, “the response is awesome.”

    BioDeposit organizes workshops for farmers through cooperative societies, helping to guide farmers through the whole process of becoming organically certified.

    The company believes its products will help avert problems such as what happened recently when the European Union prevented some flowers – a major source of overseas income for Kenyan farmers – from entering the EU because of banned pesticides.

    Cleverly, BioDeposit does most of its business digitally through mobile phones. It conducts its business with sales representatives by phone and conducts training by phone as well. All payments and bank transfers are done by phone using the M-PESA system (http://www.safaricom.co.ke/?id=257).

    “It is the easiest way to do business in Kenya,” said Makokha. “Everybody right now owns a mobile phone. When we get the M-PESA, we transfer directly to the account. You get the money and transfer to the bank account and you are done, very easy for everybody … doing wonders for us.”

    Published: March 2014

    Resources

    1) Soil health crisis threatens Africa’s food supply. Website: http://www.newscientist.com/article/dn8929-soilhealth-crisis-threatens-africas-food-supply.html

    2) 2050: Africa’s Food Challenge: Prospects good, resources abundant, policy must improve: A discussion paper from the Food and Agricultural Organization (FAO). Website: http://www.fao.org/wsfs/forum2050/wsfs-background-documents/issues-briefs/en

    3) State of the World 2011: Innovations that Nourish the Planet. Website: http://www.worldwatch.org/sow11

    5) Integrating Ethno-Ecological and Scientific Knowledge of Termites for Sustainable Termite Management and Human Welfare in Africa by Gudeta W. Sileshi et al, Ecology and Society, Volume 14, Number 1. Website: http://www.ecologyandsociety.org/vol14/iss1/art48

    6) Soil Association: The Soil Association was founded in 1946 by a group of farmers, scientists and nutritionists who observed a direct connection between farming practice and plant, animal, human and environmental health. Website: http://www.soilassociation.org/marketreport

    7) Research Institute of Organic Agriculture: FiBL is an independent, non-profit, research institute with the aim of advancing cutting-edge science in the field of organic agriculture.  Website: http://www.fibl.org/en/fibl.html

    International Federation of Organic Agriculture Movements: Since 1972, IFOAM has occupied an unchallenged position as the only international umbrella organization of the organic world, i.e. all stakeholders contributing to the organic vision. Website: http://www.ifoam.org/

    9) BioDeposit on Facebook. Website: https://www.facebook.com/BioDepositAfrica

    https://davidsouthconsulting.org/2022/11/21/africa/

    https://davidsouthconsulting.org/2020/12/14/african-farming-wisdom-now-scientifically-proven/

    https://davidsouthconsulting.org/2022/11/21/agribusiness-food-security/

    https://davidsouthconsulting.org/2022/10/10/cheap-farming-kit-hopes-to-help-more-become-farmers/

    https://davidsouthconsulting.org/2022/11/23/kenyan-farmer-uses-internet-to-boost-potato-farm/

    https://davidsouthconsulting.org/2022/10/31/new-kenyan-services-to-innovate-mobile-health-and-farming/

    https://davidsouthconsulting.org/2021/09/16/small-fish-farming-opportunity-can-wipe-out-malnutrition/

    https://davidsouthconsulting.org/2021/03/05/southern-innovator-issue-3/

    https://davidsouthconsulting.org/2022/11/11/urban-farming-to-tackle-global-food-crisis/

    https://davidsouthconsulting.org/2022/10/18/woman-wants-african-farming-to-be-cool/

    Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP’s South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South’s innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.

    Creative Commons License

    This work is licensed under a
    Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

    ORCID iD: https://orcid.org/0000-0001-5311-1052.

    © David South Consulting 2023


  • Ring Tones and Mobile Phone Downloads are Generating Income for Local Musicians in Africa

    Ring Tones and Mobile Phone Downloads are Generating Income for Local Musicians in Africa

    By David SouthDevelopment Challenges, South-South Solutions

    SOUTH-SOUTH CASE STUDY

    African musicians hoping to support themselves through their recordings have always had to contend with the added burden of poor copyright control over their work. While musicians in the West are supported by a highly regulated regime of copyright protection – ensuring some to become the richest people in their respective countries – most African musicians have had to stand back and watch their work being copied, sold and exchanged with little chance of seeing any royalties. Global audiences know of the success of artists like Fela Kuti, Youssou N’Dour, Manu Dibango and Miriam Makeba, but most African musicians can look forward to scant earnings from recording their music.

    Anyone who has walked through the markets of Africa will know there are plenty of pirated CDs for sale, yet it is of no use to a musician who never sees the money. Poverty is endemic amongst African musicians as a result of this loss of income. While music is a global business worth US $40 billion according to the Recording Industry Association of America, pirated music in Africa is rampant – some estimates by the Recording Industry of South Africa put it at over 80 percent of available music. How much money is being lost can be judged from the estimated daily income of a pirate music vendor in Africa, ranging between Euro 762 and Euro 2,744.

    But a solution to this problem is being pioneered in Botswana in southern Africa. A partnership between mobile phone provider Orange Botswana and Small House Records/Mud Hut Studios, ensures musicians get a slice of the profit pie. Managing director Solomon Monyame of Small House Records has signed a contract with Orange to share the profits from ring tone and song downloads to mobile phone subscribers. With more than 76.8 million people currently subscribing to mobile phone services in Africa, and the number growing by about 58 percent each year for the last five years, the potential royalties market for African musicians is vast if this initiative is replicated across the continent.

    In the paper “Development Goes Wireless” to be published in the spring 2007 issue of the journal of the Institute of Economic Affairs, lead researcher Karol Boudreaux of George Mason University’s Mercatus Center and Enterprise Africa!, discovered mobile phones and mobile phone companies can give artists a new way to control royalties for their work. She found that in the absence of effective copyright control mechanisms – as is the case in many African countries – the mobile phone company can step in to save the day.

    “When you walk through the markets there you see so much music available on the street, but there is little intellectual property rights protection,” she said.

    “In other countries, like the UK, you have strong intellectual property rights protection, but this just isn’t the case in much of Africa. The mobile phones are a very good way to get around this problem as long as cell phone providers are willing to make the contracts. Botswana is very lucky in that they have a very good contract environment, but this isn’t necessarily the case in other countries. It is a win-win for music providers and mobile companies.”

    The NetTel@Africa project started by USAID and the Center to Bridge the Digital Divide, in partnership with many African and US universities, is also championing copyright protection strategies.

    How important creative industries are becoming to economic development is slowly being recognized. It is now seen as an important component of modern post-industrial, knowledge-based economies, but equally also a way for economically underdeveloped countries to generate wealth. Not only are they thought to account for higher than average growth and job creation, they are also vehicles of cultural identity and play an important role in fostering cultural diversity. Initiatives like UNESCO’s Global Alliance for Cultural Diversity attempt to document this phenomenon and back it up with hard numbers.

    UNESCO also has a project to establish musicians’ cooperatives across Africa. As such, the musicians are able to pool their production resources, which are individually insufficient to ensure the economic viability of a small or medium-sized business. In Burkina Faso, a co-operative is working with the International Labour Organisation. Click here for more information.

    Festivals like Mali’s annual Festival in the Desert in the oasis of Essakane, 65 kilometers from Timbuktu, is an example of how African musicians are finding their own way to reach audiences. Targeted above all to promote African and Malian Music inside the continent, the Festival has also boosted international tourism to the region and almost 10 percent of last year’s 6,000 visitors came from outside of Africa.

    Another initiative for African musicians is the DigiArts Africa network. It was founded by UNESCO and aims to increase communication between artists, industries and educators, make musicians self-sustainable, use the ICT industries to support and contribute to cultural activities, and better promote African musicians within and outside Africa. Click here for more information.

    Well-known Senegalese musician Thione Seck is blunt about the economic effect of piracy on his income.

    “Were there no piracy, I could have bought an island, seeing the number of songs that I composed in more than 30 years of my career”, he told a local newspaper.

    According to Abdoul Aziz Dieng, president of the Senegal Music Works Association (AMS) and Chairman of the Board of the Senegalese Copyright Office (BSDA) (www.mali-music.com), out of 10 Senegalese artists’ CDs available on the local market, “only two are legal”. For audio cassettes, the ratio is three pirate copies out of every five sold.

    Opportunities to combat piracy and generate income are also not limited to just musicians. Filmmakers in Africa are starting to learn how to exploit the opportunities thrown up by the fast-expanding mobile phone networks on the continent. Already a phenomenon in South Africa (www.filmmaker.co.za), director Aryan Kaganof is in the process of releasing SMS Sugar Man, a feature length movie shot entirely with mobile devices. The movie will be beamed to cell phones in three-minute clips over 30 days.

    What are the effects of Piracy?

    • Artist
      • No royalty payments, no money to live
    • Record companies
      • No return on investments. Staff retrenchments
    • Retailers
      • Cannot compete with low prices. Staff retrenchments
    • Consumers
      • Many copies are of inferior quality. If tracks are missing or the sound quality is poor, no exchange or refunds
      • May be contributing to “organized crime” syndicates which are heavily involved in international music piracy

    Source: Recording Industry of South Africa

    Published: January 2007

    Resources

    Lively website about African musicians

    BBC website on African music

    Further reading from UNESCO: African music: new challenges, new vocations: Click here

    https://davidsouthconsulting.org/2022/10/02/african-afro-beats-leads-new-music-wave-to-europe/

    https://davidsouthconsulting.org/2022/11/11/berber-hip-hop-helps-re-ignite-culture-and-economy/

    https://davidsouthconsulting.org/2022/11/17/cashing-in-on-music-in-brazil/

    https://davidsouthconsulting.org/2022/12/18/disabled-congolese-musicians-become-world-hit/

    https://davidsouthconsulting.org/2021/11/09/mauritanian-music-shop-shares-songs-and-friendship/

    https://davidsouthconsulting.org/2023/02/07/mongolian-rock-and-pop-book-mongolia-sings-its-own-song/

    https://davidsouthconsulting.org/2020/12/17/mongolias-musical-entrepreneurs-led-way-out-of-crisis-2018/

    https://davidsouthconsulting.org/2021/03/05/southern-innovator-issue-1/

    https://davidsouthconsulting.org/2021/03/05/southern-innovator-issue-2/

    https://davidsouthconsulting.org/2021/11/09/taxis-promote-african-music-beats/

    Creative Commons License

    This work is licensed under a
    Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

    ORCID iD: https://orcid.org/0000-0001-5311-1052.

    © David South Consulting 2023

  • Taxis Promote African Music Beats

    Taxis Promote African Music Beats

    By David SouthDevelopment Challenges, South-South Solutions

    SOUTH-SOUTH CASE STUDY

    South Africa’s township music is pounding its way into the global music charts. How has music made in the impoverished townships that are a hangover from decades of apartheid – the country’s former racial separation laws, which trapped millions of black South Africans in disenfranchisement and poverty – travelled around the world? By hitching a ride with the country’s ubiquitous taxi drivers.

    In the age of digital downloads and rampant pirating of music CDs by bootleggers, musicians in the South face an epic struggle to earn income from their music. It’s estimated 95 percent of digital downloads of music are unauthorized, with no payment to artists and producers (www.ifpi.org).

    And for musicians and artists from the world’s poorest places, who are far out of sight of the mainstream music business, life is even harder. The question remains: what on earth do you do to get heard?

    Many South Africans are big fans of European House, a type of dance music. An enterprising group of producers living in the townships of Pretoria started to experiment, taking the House they loved and turning it into something more reflective of where they lived. The result, dubbed Township House, blends the school-of-hard-knocks beats of South African hip-hop, Kwaito, with House music’s tempos and electronic sounds.

    Being from the townships meant the musicians behind Township House were frozen out of the mainstream music industry. And as every artist knows, if you can’t get heard, then your music will go nowhere. Rejected by radio stations and big record labels, they turned to an unlikely outlet: taxis, the ubiquitous small minibuses that are the only alternative form of transportation for people who do not have a car.

    They are heavily used: the University of Pretoria (www.web.up.ac.za) estimates between 5 and 10 million people use minibus taxis every day to get to work or get around.

    “In South Africa, the easiest way to the people is through the taxis,” musician DJ Qness told CNN.

    The vast network of taxis serving the country represent a captive audience of listeners. Many are simply bored as they endure lengthy commutes. The Township House producers handed out compact discs (CDs) of their tracks to taxi drivers to play. They soon had a hit on their hands. But without any presence in record stores people couldn’t buy the CDs they wanted. And a new source of income was born for taxi drivers: selling CDs from their taxi stands or roadside stalls.

    With appetites whetted for Township House, it started to outsell imported dance music.

    The biggest hit maker of this pioneering group was DJ Mujava, whose track Township Funk was a global dance club hit in 2008.

    “These people created a demand. The Mujava’s ‘Township Funk’ blew up on the streets and everything went crazy,” said Qness, who works for record label Sheer Music.

    After all this home-grown success, the record labels jumped in. DJ Mujava landed a record deal with the small label Sheer Music. But the township musicians were still just reaching a local audience. However, by putting together a low-budget video using township dancers, and by posting the video on the YouTube (www.youtube.com) video-sharing website, they attracted the attention of British record labels Warp Records and This is Music, who re-mixed the track for clubs.

    The model of using taxis as a music distribution vehicle has been copied by others. Pretoria’s Gospel Taxi Club uses the method to promote their religious music. Political parties are also using music CDs to get their message out.

    Other Pretorian township successes are making waves as well. They include Bojo Mujo and Tembisa Funk by McLloyd.

    “By combining the electronic sound from European House with the hard drum and the raw snare they’ve created something totally unique. You can’t find it anywhere in the world — only in South Africa,” said Qness.

    Published: June 2009

    Resources

    DJ Mujava: Listen to all of DJ Mujava’s tracks at his website. Website:www.myspace.com/mujavaDigiArts Africa: The DigiArts Africa network is a tool to find people working in Digital Arts in Africa and to provide a collaborative working space to promote digital arts in Africa. Website:http://portal.unesco.org/culture/en/ev.php-URL_ID=5346&URL_DO=DO_TOPIC&URL_SECTION=201.htmlAfrican Musicians Profiles: A lively website featuring profiles of African musicians by alphabetical listing and also reviews African films. Website: www.africanmusiciansprofiles.comRecording Industry of South Africa (RiSA): RiSA is the main body representing the South African recording industry. Website: www.risa.org.za 

    ISSN Portal.
    Creative Commons License

    This work is licensed under a
    Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

    ORCID iD: https://orcid.org/0000-0001-5311-1052.

    © David South Consulting 2023

  • Mauritanian Music Shop Shares Songs and Friendship

    Mauritanian Music Shop Shares Songs and Friendship

    By David SouthDevelopment Challenges, South-South Solutions

    SOUTH-SOUTH CASE STUDY

    Around the world, traditional music stores selling vinyl records, tapes and CDs (compact discs) are closing down. Digital downloads distributed over the Internet and mobile phones make it unnecessary to build a music collection in these hard formats.

    While this has been a revolution that has made acquiring music as simple as firing up a digital download service like iTunes, it has many downsides as well. One of them has been the loss of vast swathes of musical history, as many songs recorded in the past have not made their way into digital downloads. And how can you find music online if you only remember part of a tune or song and can’t remember its title or the musician?

    The background and knowledge that was once imparted by an informed person in a music store has been lost in the world of digital downloads.

    A Mauritanian music shop is showing how a traditional record store can stay relevant and commercially viable in the 21st century. Entrepreneur Mohamed Vall’s Saphire d’Or store in Mauritania’s capital Nouakchott (http://en.wikipedia.org/wiki/Nouakchott), is a treasure trove of the sort of long-lost recorded songs that normally vex lovers of African music. Pictures of the shop can be seen at the sahelsounds blog (http://sahelsounds.com/?p=887).

    Vall has run the shop for three decades and amassed a large collection of rare African music on records and tapes. He has married this trove of African creativity to a clever business model: Vall doesn’t let customers buy the precious records themselves but instead will transfer the songs to a disc or a USB stick (http://en.wikipedia.org/wiki/USB_flash_drive) for US 30 cents each.

    He has also used traditional hospitality to create an atmosphere that encourages people to interact and keep coming back.

    “I have the biggest collection in Mauritania,” Vall told The Guardian newspaper. “Any music you want from Africa – I mean the kind of music that puts Africa on the map – I have it.”

    The shop is down an alleyway in the bustling capital and offers a refuge for music lovers.

    The atmosphere encourages friendly conversation and lets customers take their time making a selection. Customers can relax in armchairs while browsing and drink some traditional mint tea or enjoy a snack from a communal bowl.

    The shop uses traditional Mauritanian nomadic hospitality to improve the customer experience. It also uses the music it sells to heal rifts between the different cultures that cross Mauritania, as it bridges Arabic-speaking North Africa and the majority black sub-Saharan Africa.

    “When you are here, it doesn’t matter who you are,” Vall said. “We get youngsters wanting 1940s ballads and old people whose minds are musical museums. We get toubabs (white people) who heard one song decades ago.”

    One of the treasure troves held in the shop is the recordings made by West African orchestras during the post-colonial period.

    The shop also acts as an interactive museum and archive of many African musical greats, from Senegal’s Youssou N’Dour to Nigerian afrobeat pioneers, Guinean pop legends and Maliaian and Congolese musicians.

    Its collection ranges beyond Africa to take in musical genres from around the world, from blues to salsa to rock.

    “The music allows you to travel in your head,” said one customer, teacher Abdoul Kaba.”When I first came to Mauritania from Guinea, I went round and round looking for zouk (West African funk) music that everybody listens to in Guinea until I ended up here.”

    The shop also serves as a sanctuary for many from life’s everyday hardships.

    “It’s not about the music any more. People come back because in here you can be free. You can listen to music and forget this hard life,” Kaba said.

    Published: June 2012

    Resources 

    1) The African Music Encyclopedia: Search by alphabetical listing the continent’s musicians. Website: http://africanmusic.org/

    2) African Musicians Profiles: African Musicians Profiles (AMP) is a website for the promotion and publicity of African musicians. Each musician “has a profile, and there are pages on news of recent and future events, special features, recommended CDs, relevant reading (biographies, reference books and magazines) and photos”. Website: http://www.africanmusiciansprofiles.com/

    Creative Commons License

    This work is licensed under a
    Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

    ORCID iD: https://orcid.org/0000-0001-5311-1052.

    © David South Consulting 2023