Browse Category: Africans for Africa

Dear Western Saviorists, Stop Reducing Africa to a Play Pen for Your Personal Development

I went on a rant on Twitter today about western saviorists reducing African cultures to tools for their personal and professional development. It’s pretty much all archived in my storify. Have you heard about this new book? Why do you think Africa is so seductive to westerners – white people, especially – seeking to discover themselves? http://sfy.co/aQ92 #storify #westernsaviorism #whitesaviorism

What Kind of African Doesn’t Speak Any African Languages? Me.

AfropolitansLast year, I attended a conference that brought together African thought leaders. In a session about African identity, we explored the question of whether one could claim to be African without being fluent in any African languages. A passionate, and near disruptive debate ensued almost instantly.

What Language Do You Speak? (aka Do You Speak “Us”?)
I’ve had this conversation about language and identity time and again with Africans I meet on my travels. My afropolitan (i.e. world citizen) accent throws them off – a mix of American, Nigerian, and what’s often mistaken for British diction, simply because I enunciate my Ts.  (Perhaps it’s the remnants of attending a British-run primary school; not likely though.). Bread-breaking usually comes to a halt until the matter of my accent (origin) is cleared up. They simply must know which language I speak so that they can place me in one of two boxes: one of us, or one of them.

When I tell the cultural gatekeepers that I’m from Nigeria, and my accent is the result of living in the states for the past 12 years, they’re still not satisfied. “Are you sure you weren’t just born there?” they ask, “You don’t sound like you grew up in Nigeria.” I usually respond by asking them what a Nigerian who grew up in Nigeria sounds like, then hear some variation of “Like the people in Nollywood movies.” And when I tell them, I’m sorry to disappoint, I’m not an actress but an activist, I’m Nigerian through and through–I just went to the states for university, they deliver the kicker, “Well, prove it. What language do you speak?” The minute I respond with English (“Oh…”), it’s all downhill from there.

To Speak or Not to Speak: Assimilation vs. Accents
African ImmigrantsFrom tensions in Spain over mandating Spanish (versus indigenous languages like Catalan) to U.S. debates over bilingual education and attempts to ban speaking Spanish at school, the issue of language is a sore spot for many communities. Such language restrictions are often seen as direct attacks on minority cultures, especially for black immigrants who struggle to affirm their cultural heritage in the absence of their native language. Yet, ironically, immigrant parents in the U.S. are less likely to teach their children their native languages, for the purpose – or rather, the sake – of easing their assimilation into English-speaking culture.

The latter scenario resonates deeply with me. I grew up with a father who wasn’t fluent in his mother tongue, Agbor (a region-specific dialect of Ika), because his father had outlawed the language being spoken in the house. My grandfather–who worked as a civil servant during Nigeria’s colonial era–had valid reasons for doing so. In those days, speaking “proper” English meant you got the “good jobs,” which meant increased access to resources, and an improved livelihood for one’s family. Sadly, even though my father openly resents never having learned his family’s language, his wife–my mother–refused to teach me her native tongue, Igbo, for a similar reason.

nigeria educationColonialism did a number on Nigeria’s education system; as I was growing up, public schools were plagued with lack of resources, frequent strikes, cult violence, sexual harassment, and prostitution. Hence, my mother’s desire to see me succeed meant equipping me with tools to ensure I could thrive outside of the country I called my home. For instance, I would attend an international British-run private school, where white teachers would single out the only other black kid in the class for not pronouncing “stomach” correctly ( “stuh-muck”, not “stoh-mack” apparently); only an American or British university would do; I would not learn my native tongue until I spoke English “perfectly” and no longer risked picking up a “bad, Nigerian accent” that would make it harder for me “over there.”

You see, both my parents studied in Los Angeles in the 70s; on top of the (incomprehensible to me) racism of the time, they also faced American imperialist views and discrimination against “foreigners.” My mother was repeatedly rejected by employers for speaking too “harshly”, eventually forcing her to give up pursuing her dream career in television. It’s no wonder that every morning in my early childhood, my parents would wake up at 5 am to tape Satellite episodes of Sesame Street…They believed (or hoped) that watching British and American English programming would teach their children to speak “properly,” so they wouldn’t have to give up on their dreams.

The Blame Game: Colonialism, Forced Migration, and “Bad African Parents”
The Warmth of Other Suns - Black MigrationFor a long time, I resented my parents for robbing me of learning both my native languages. Later, I resented Nigeria for being so poorly-run that my parents couldn’t see me thriving anywhere but outside of it. Now, as I think about the players who created the environment I was raised to escape–who concocted a system so cruel it culturally orphans children for its own purposes, it’s become much harder to keep directing anger at my own family, and my own people.

My parents shouldn’t be crucified for acting in full awareness of the unjust systems that police indigenous cultures: the colonialist rubble left behind in Nigeria by the British Empire, and the resentment of Britain’s imperialist younger brother, the US of A, towards foreigners. Their fears were rational. Even today, my Puerto Rican partner, who manages a Spanish-speaking client support team at work, comes home at least once a week to vent about some caller’s rude reaction to a supervisee’s accent, dismissing them as un-educated, or ill-equipped to perform their jobs because they perceivably don’t speak “proper English.”

Still, while many immigrants are forced to sacrifice native language fluency, it’s important to note that similar negotiations around language, identity, and yes, accents, don’t just play out within the context of the migrant Diaspora. Many Africans living on the continent don’t speak their native languages, either. And, their reasons aren’t so different from their estranged brethren.

Black Immigrants in the US | Source: AP

In Nigeria, for instance, as a Delta-Igbo person living in a state dominated by Yorubas, I experienced much discrimination at school: regular tribalist diatribes from Social Studies teachers, punctuated by stereotypical Igbo impersonations from classmates.

The ethnic tensions that permeated my school dated back to when Igbo people had attempted to gain independence from the political mess the British left in Nigeria post-independence. These attempts, the result of colonial powers leaving certain ethnic groups in power over others, led to the Biafran war and genocide. The war had a lasting legacy: many Igbo students at my school didn’t speak their language (openly) for fear of being socially ostracized. Speaking, or at least understanding even broken Yoruba was a way of appearing more socially acceptable, to assimilate and survive.

Policing Africanness: Language, Globalization, and Cultural Access
African Colonialism

As is the case with many other colonized African countries, in South Africa, for example, the 12 official languages are the result of white men sitting down at a table, drawing squiggly lines around the region they wished to claim. They didn’t care about the diversity of peoples living there: not when they declared Afrikaans the official language of schools during apartheid, and not now when discussing the “under-achievement” of black youth while ignoring the impact apartheid’s indifference to Africa’s diverse cultures and languages has had on the struggle to reform education.

By the way: Afrikaans is not an indigenous African language, its origins date back to Europe settlers who spoke Dutch. Yet, there are South Africans (coloreds and blacks) who only speak Afrikaans or English due to similar circumstance e.g. migration, globalization, interracial adoption, etc.  Are they “less African” than the Black South Africans who speak indigenous languages such as Xhosa? Or Zulu? What about white people who migrate to Africa and learn to speak local languages? Are they now “more African” than Africans who do not, yet have been living in Africa  since birth?

Chill Out: Language is Just One Aspect of Culture

Contemporary Africans and African Diaspora in Design and Culture

My purpose isn’t to debate who is more African than whom based on language fluency (or even geopolitical circumstance). On the contrary: I don’t understand how anyone can cherry pick a single aspect of our culture as the arbiter of “authentic” African identity: Language. For sure, it’s important. But so is indigenous spirituality, traditional garb, family values, the arts. Culture comprises many elements, thus it makes no sense to police cultural belonging– cling to such a divisive hierarchy, based on the single factor of language, especially considering the lasting effects of our colonial history, and the impact of globalization on contemporary African culture.

I am also not using colonialism as an excuse to lessen the importance of learning our native tongues; language offers us a very obvious, easily detectable signal that someone is either part of our community, or not. You know this if you’ve ever walked into a Dominican bodega and had to ask for something in English, then watched as the eyes computed, instantly: “not one of us.” Furthermore, in many African cultures, the parts of our history that haven’t yet been erased or revised are passed down to younger generations, orally. In political protest, Fela Kuti, father of “Afrobeat”, and one of Africa’s most celebrated music icons, wrote most of his songs in pidgin in order to connect with the lay man who didn’t speak “proper English.” His son, Femi Kuti, has carried that tradition forward, and with that, Fela Kuti’s legacyIndigenous languages safeguard our stories in their hidden meanings and subtext, so much so that the mis-translation of a single word can create a completely different interpretation of history as we know it, and we’d literally lose ourselves.

Rise of the Afropolitans: NNEKA

Perhaps that’s why we stubbornly stick to fluency in “our mother tongues” as the yardstick for measuring “Africanness,” “our-ness,” “us-ness.” Perhaps the tune about real Africans being able to speak their mother tongues is only sung in protest against the hegemony of our colonizers’ languages. But is spiting them reason enough to spite each other? By perpetuating the use of a single cultural marker to create an hierarchy of Africanness, aren’t we simply deploying the same tools colonizers used to divide and conquer? Aren’t we essentially continuing the work the British Empire started?

We can do better.

There are a myriad of other identity markers that reveal the extent of both our sameness and uniqueness and make up the diverse African cultures that span the globe. Africa is complex–Africans, even moreso. Let’s not trade in our shared heritage for the exclusivity of an unjust social hierarchy. Let’s not , as our colonizers did, draw borders around poorly constructed monoliths. Our just protest for an Africa with linguistic agency must not turn us into the same masters of imperialist dogma we’re still yet to hold accountable.

——-

Update: Line which initially said there exist South Africans who only speak English or Afrikaans has been updated to contextualize loss of indigenous/mother tongue language fluency happening due to globalization, migration, cross-cultural adoption, and other factors so as not to perpetuate that as the norm. (Thanks MR for helping me clarify!)

Live Podcast: African Women and Girl Storytellers in the Digital Age

On March 13, as part of Women, Action, and the Media (WAM)‘s 4th annual national conference, I’ll be hosting a live podcast about African women in the Diaspora who are using media to subvert mainstream narratives about Africa, “African Women Storytellers in the Digital Age.”

WAM

About Women, Action, and the Media (WAM)

Founded in 2004 by writer, educator, and activist, Jaclyn FriedmanWomen, Action, and the Media (WAM) is an independent national nonprofit dedicated to building a robust, effective, inclusive movement for gender justice in media… “Because power and privilege is about who gets to speak and who is listened to. And, most of the time, it’s not women.”

In an effort to nurture local feminist networks and raise awareness of women’s and gender issues in the media, WAM annually coordinates an international convening of activists, journalists, academics, artists and media-makers, all taking some kind of media action at the same time, in various cities across the U.S. and Canada. This year, the conference takes place between March 13-24.

Incidentally, my live podcast is one of two virtual events in the conference lineup. Other events happening include: 

a film screening about sexual violence in the military, a webinar on how to edit Wikipedia, a social networking opportunity for women musicians, and an all-day local conference about feminist media in NYC. Learn more here.

Re-Birth of the Kitchen Table Conversations Podcast

I’ve participated in WAM events for the past six years; specifically, their annual multi-city conferences are fun, educational, and a great excuse for me to reach out to fellow media creators I admire and respect together for smart, insightful, and candid conversation. In fact, the very first podcast I ever hosted (LGBT Africans Speaking on Media, Gender, and Culture) was such a huge hit that it inspired me to create the Kitchen Table Conversations series, a podcast the offers a sneak peek into the lives of activists, artists, and thought leaders.

My travel schedule has made it impossible to maintain the podcast’s consistency, but I certainly credit participating in WAM’s festival with sparking my passion for utilizing the power of media to increase visibility for minority groups, recognizing work that’s overlooked in the mainstream, and creating virtual networks for support and empowerment. And now, I thank them for creating the opportunity for me to revive the Kitchen Table Conversations series.

Follow my SoundCloud and BlogTalkRadio channels for impromptu live and pre-recorded podcasts with my favorite changemakers, coming soon.

Tune in for a Live Podcast about Gender, Media, and the African Diaspora on March 13th

This year, I am so excited to be moderating a conversation about the media’s (mis)representation of Africa/African women and the power of stories to influence and empower. In true kitchen table conversation style, my guests and I will be pontificating on mainstream storytelling about Africa and the role of western media and social media innovations (both on the continent and in the Diaspora) in shaping these narratives. We’ll also, of course, be discussing the panelists’ amazing projects — African journalism, creative feminism, audio storytelling, afropop culture, media advocacy, and more!

Spectra Speaks African Women Storytellers

African Women Storytellers in the Digital Age
Hosted by Spectra Speaks
March 13 @ 6:30 p.m. EST

How are African women currently depicted in the media? If mainstream media were solely responsible for telling Africa’s story, what role would the African woman play? What role can individuals–westerners, Diaspora, Africans on the continent–play in influence new narratives? How are African traditions of oral storytelling honored (or compromised) by the rise of social media? What are some ground-breaking African-led media projects we should be amplifying? And what other/less popular forms of media offer potential for influencing Africa’s narrative?

Follow @spectraspeaks and use the hashtag, #africanwomenmedia to tweet responses to the questions above. Also, feel free to tweet questions you’d like the panelists to explore by using the same hashtag, #africanwomenmedia, as we’ll be dedicating a portion of the discussion to responding to your ideas/questions. You can also submit your questions anonymously, using this form.

MEET THE AFRICAN WOMEN STORYTELLERS

Spectra Speaks ProfileSpectra (Host) is a writer, storyteller, and new media consultant whose work focuses on the intersection of media, identity, and social psychology as it occurs in activism and philanthropy. Last year, she successfully crowdfunded Africans for Africa, an independent project that involved travelling through Southern Africa for 6 months, training women-led social impact ventures in new media and technology for storytelling, awareness-raising, and thought leadership. She is the founder and editor of media advocacy organization, QWOC Media Wire,  and the engagement officer of Africans in the Diaspora (AiD), a startup foundation nurturing African philanthropy in the Diaspora. She writes about media, gender, and love at www.spectraspeaks.com. || Twitter: @spectraspeaks, @qwocmediawire, @AiDinnovations

yolanda-sangweni-by-lenyon-whitakerYolanda Sangweni is a South-African born writer and editor. She is the ESSENCE.com entertainment editor and founder of AfriPOP. Prior to joining Essence, Yolanda worked as a Features editor at TRACE Magazine and contributing writer for Arise Magazine, Harper’s Bazaar, Time Out New York, O: The Oprah Magazine (South Africa) and Glamour covering music, fashion and culture. AfriPOP! is an online magazine she started in 2008 with partner Phiona Okumu to highlight contemporary African youth culture, music, fashion and film from an Afropolitan perspective. She calls AfriPOP! a labor of love, “a celebration of our innovativeness, our funkiness, our style, our possibilities as children of Africa.” || Twitter: @afripopmag

Arao AremyArao Amenyfrom Lira, in northern Uganda, is a trained print and online journalist covering African immigrant issues in New York City. She ithe Founder and Executive Director of the Association of African Journalists and Writers (AAJW), a unified platform for African journalists to connect; collaborate; and promote better reporting and understanding of Africa and African communities. She is also the Social Media Editor at United Nations Africa Renewal magazine, a print and online publication produced by the Africa Section of the UN Department of Public Information, and Social Media consultant at the Africa-America Institute (AAI), a non-profit dedicated to promoting engagement between African immigrants and the U.S.. || Twitter: @araoameny, @AAJWnewyorkcity

Amina DohertyAmina Doherty is a young Nigerian feminist activist and artist whose work focuses on feminist philanthropy and creative arts for advocacy. Prior to her role as the Coordinator at FRIDA | The Young Feminist Fund, Amina worked at the women’s rights grant-making program at the Sigrid Rausing Trust in London, the Feminist Majority Foundation in Washington D.C., and the London-based creative network, Arts & Business. Amina brings to her activism a passion for music, art, travel and poetry, which she chronicles via her blog, Following Her Footsteps. She’s is a self-taught painter, DJ-in-the-making, and freelance writer for several magazines across the Caribbean. || Twitter: @sheroxlox, @FRIDAFund

Selly Thiam

Selly Thiam is an oral historian whose work has appeared on NPR, PBS and in the New York Times. Raised in Chicago by her Senegalese immigrant father and American-born mother, Thiam graduated from Columbia College, Chicago, with a B.F.A. in Creative Writing, and later received an MA in International Journalism from CUNY, Graduate School of Journalism. She is the founder and Executive Director of None on Record, a digital media project documenting the stories of Africans who identify as lesbian, gay, bisexual and transgender. She was a producer for the Storycorps Oral History Project and PBS’ Learning Matters, and a Carnegie Fellow at the ABC News Investigative Unit. || Twitter: @sellythiam, @noneonrecordGot a question you’d like a guest to respond to? Submit your question using the #africanwomenmedia hashtag on Twitter, or leave a comment below! Alternatively, you can use this form to submit your question anonymously

Award-Winning African Artist Shishani Releases Video for New LGBT Equality Anthem, “Minority”

Shishani Namibia Lesbian Artist

“You’ve got rules telling me what to do
But is there anybody checkin’ up on you?”

Award-winning acoustic soul artist, Shishani, has just released the music video for her latest single titled, “Minority”, a catchy, upbeat, acoustic track that calls for freedom and equality for all people despite perceived differences.

Shishani got her big break when she performed at the 2011 Namibian Annual Music Awards in the capital city of Windhoek, where it’s still illegal to be gay. And though, she says, she’s made no real attempts to hide her sexuality, she hasn’t come out as an “out lesbian artist” till now.

“I wanted people to get to know my music,” she says, “Sexuality doesn’t matter. It’s like pasta — asking if you prefer spaghetti or macaroni. It just doesn’t matter… I’m an artist first, before being a gay artist.”

Born to a Namibian mother and a Belgian father, Shishani spent her early childhood in Windhoek, before her family relocated. Due to her mixed race ancestry, the curly-haired songstress is no stranger to discrimination, but is candid about enjoying a relatively liberal upbringing in the Netherlands, known for its liberal social policies, including legal protections of Lesbian, Gay, Bisexual, Transgender, and Intersex (LGBTI) people.

“Being raised abroad gives you a certain freedom… It took some time before my parents were okay talking about stuff, but eventually we did. I was even able to live with my partner of four years…  But living in Namibia, it became so clear to me how much more people are discriminated against–and for a variety of different reasons, like their ethnicity and sexuality.”

Homosexuality is illegal in a number of countries in Africa, and Namibia is no exception. Even though Namibia has been independent for over 20 years, and its constitution views all people equal under the rights of the law, punitive colonial laws against sodomy (though not enforced) have remained. Thus, LGBTI people risk harassment  and violence due to a strong culture of stigma in part reignited by religious leaders and government officials.

In 2001, past President Najoma’s called for “anyone caught practicing homosexuality to be arrested, jailed, and deported”. And, just over a year ago, Namibia’s first gay pageant winner, Mr. Gay Namibia, was beaten and robbed shortly after securing his title.

But Shishani, who upon her return in 2011, found a safe haven in Windhoek’s art performance communities, is optimistic that the current climate for gays will improve. She recently became an honorary member of the board of Out Right Namibia (ORN), a human rights advocacy organization that aims to address widespread homophobia in the country, and is eager to continue evolving as an artist, while using her platform as a musician to advocate for freedom and equality.

Shishani Singer SongwriterSince her breakout two years ago, Shishani has released indie tracks such as “Raining Words”, an acoustic ballad about a new relationship, “Clean Country”, a soulful, melodious call to action to raise awareness about climate change, and–inspired by Alicia Keys’ chart-topping tribute to New York–“Windhoek”, a song that celebrates the beauty of her hometown.

As a student of cultural anthropology and self-identified activist, it’s no surprise that her music has been described as a fusion of sounds from such socio-political music icons as Tracy Chapman, Bob Marley, and Nneka. “Minority” is the first single through which seeks to address the issue of same-sex love.

Alluding to the potential controversy of her new single, Shishani says, “Two years ago, I was really just trying to get my face out there…. When I returned to Namibia, I started booking my own gigs, performing solo, writing new songs. When I was invited to perform at the Namibian Music Awards, I was afraid to perform “Minority”  because people didn’t know who I was yet. But to make a statement, you have to be strong.”

As an African musician who identifies as being a part of the LGBTI community, the lyrics of “Minority” no doubt challenge the infamous meme “Homosexuality is unAfrican.” But, Shishan insists, her song is about much more than being gay.

“In Namibia, it also makes a difference what ethnicity you are. “Minority” argues for equal rights for all people regardless of their cultural backgrounds, economic status, sexuality, religion,” she says, “There is so much systemic discrimination against people, for so many reasons.”

The release of “Minority” is timely; January is the month in which outspoken Ugandan LGBT activist, David Kato was bludgeoned to death in an anti-gay attack three years ago, sparking an outcry from fellow African human rights activists. January is also the month in which people in the U.S.–perhaps even all over the world–celebrate Dr. Martin Luther King, Jr., a powerful civil rights leader and icon. His call for freedom and equality of all people has been taken up by activists all over the world, including Shishani, whose lyrics echo his principles of love and unity.

“Homophobia all over the world comes from the same place; colonialism, apartheid, racial segregation. All our struggles are connected.”

When asked about being a visible lesbian African artist, especially in light of the hardships experienced by LGBTI people in countries such as Uganda, Nigeria, South Africa, she says:

“My music is becoming more popular in Namibia. I’ve been working hard and trying to make my mark, so I feel stronger, now. I may lose some fans, but it’s okay. So many others have it way worse than me. So many others activists are risking much more. It is an honor to be viewed as a role model. So, if I can contribute to the movement through my music, I’m happy to, and I will.”

Check out the video of Shishani’s new single, “Minority” below. To learn more about Shishani, visit her website at http://www.shishani.nl.

 

7 Social Media Ideas That Will Strengthen Digital Activism in Africa

Will the Real African Social Media Experts Please Stand Up?

I recently had the pleasure of participating in the West African Civil Society Institute (WACSI)‘s Social Media Experts conference in Accra, Ghana.

The conference brought together African social media experts, enthusiasts, and activists from across the continent, Europe, and North America, including:

  • fellow #afrifem tweeps, @Zawadin (of ZerobyZawadi in Kenya) and @negrita (of Illume Creative Studios in Rwanda)
  • #occupynigeria leaders, @Yemi_O (of Enough is Enough Nigeria) and @omojuwa (of AfricanLiberty.org)
  • BloggingGhana’s social media celebs, @MacJordan and @Kajsaha, and their civic engagement project @GhanaDecides.

Among people I hadn’t yet met were three brilliant, inspiring young men from Senegal and Cote d’Ivoire, including Emile Bela (@ebelak), who began his presentation with a memory of being stuck in a room with a few others in the middle of a war; his interest in blogging came from the sudden realization that if he died that day, there’d be no record of his life, nor accounts of what he’d seen. Today, Emile is a prolific writer at his own blog, and contributes commentary on sustainable development, electoral politics, and governance to other sites. It was truly an honor to be among such trailblazing, inspiring company.

My biggest takeaway from the conference was that there is still much to be explored and uncovered on the continent when it comes to how African NGOs are using new media for advocacy. But judging from WACSI’s dedication to equipping African changemakers with information and resources they need to succeed, any projects seeking to leverage new media for advocacy will not be lacking in support.

Even as young Africans are dispersed across the globe, in our mission to create alternative pathways to change — one that side-steps our corrupt governments, subverts barriers to capital, and taps into the crowdfunding potential of 475 milliion mobile connections on the continent, we’re already charting and covering new territory.

7 Ideas That Will Strengthen Digital Activism in Africa

Researching Africa’s Social Media Landscape

More research is needed on how African NGOs specifically (including organizations based on the continent, managed by its residents i.e. not managed by some gap year volunteer from Holland) are using social media. As I sat and listened to a presentation on tips for increasing engagement on Facebook pages, which was based on Facebook data from companies all across the globe, I questioned its relevance to Africa; the insights that drove the suggestions were based on data heavily driven by internet- (vs mobile- ) connections, yet the vast majority of Africans are connected to the web via mobile. What would social media insights (i.e. the best time to post, how long each update should be etc) based on African-based, mobile-sourced data look like? Also, how does culture influence the way we build relationships online? Until Africa 2.0 defines its own benchmarks, our strategizing and planning, whether for advocacy or other purposes will be based on models that don’t necessarily reflect Africa’s tech landscape. Luckily, organizations like WACSI and Indigo Trust are committed to supporting such initiatives.

Bridging Africa’s Digital Divide through Cost-and-Time Effective Tech Training

Source: TomorrowToday.uk.com

For a continent booming with mobile innovation, much of it still experiences limited to no cell phone signal or data services of any kind. Moreover, the speed and costs of internet services varies widely between regions, creating further barriers for non-profits / activists wishing to use social media for advocacy. Hence, I particularly appreciated, participant @sourceadam’s presentation regarding his work at @sourcefabric, which implements open source, cost-effective tech solutions for NGOs, making it easier for them to optimize their time on the web. In my own work with Africans for Africa, I’ve found, also, that comprehensive social media training for people living in remote areas must include time management training; it’s not enough to tell small organizations with low capacity (and limited connectivity) that they constantly need to tweet and update Facebook without showing them a feasible way they can brainstorm and share content, in a time-efficient, cost effective way.

Fighting Government Censorship and Privatized Data Control

Source: Mahesh Kumar A/Associated Press

I recently participated as a speaker on a webinar hosted by the African Feminist Forum and Association for Progressive Communications on online security and censorship in digital activism. This year, at least seven online users were arrested for their internet activity, and it doesn’t seem like government monitoring of social media is going away anytime soon. In fact, it’s becoming more aggressive. For instance, a Nigerian senator recently proposed censoring social media in order to curb criticism of the country’s governance; in Ghana, there’s been a recent proposal to place a “cap” on data and internet usage; and, in Ethiopa, a Skype call will get you 15 years in prison. There are many other blaring examples of the dangers of taking our lack of ownership and control of the internet too lightly, yet many activists who use social media for advocacy aren’t informed enough about the internet infrastructure — the wiring, the cables, the data — nor the government policies that monitor (and can end) its use. If Africans are serious about new media as a tool to create , we’re going to need to address government censorship, freedom of speech on the web, and the systemic denial of ownership that is too often ignored in our discourse about digital activism.

Using Pop Culture to Engage “Social” Users, Politically

Source: @fondalo

A recent study shows most Africans use social media for games, fun, and entertainment. Yet, we often hear complaints of how difficult it is to get youth to engage, coupled with emphases on how there’s a strong need for civic engagement around “serious” issues. Clearly, in order to increase engagement among the majority of Africans who prefer to use social media for fun and entertainment, we’re going to have to find a way to make the political issues we care about fun and engaging. We can take a cute from Enough is Enough (EIE), a civil society organization based in Nigeria that featured Nigerian celebrities and humor-driven campaigns to engage youth around their #occupynigeria campaign. As EIE’s mission is to encourage youth to become more responsible citizens, they’ve made pop culture a core element of their media strategies to ensure that the tenor of their messaging resonates with their target base, which doesn’t sound like such a terrible idea to me. If anything, activists could use with a little bit more communication 101 practice. How often must we resort to blaming the audience for not listening or “doing anything” as a way of disguising our own failure to captivate and inspire?

Nurturing (More) African Social Media Experts

Beyond the same ol’ recyclable twitter lists (e.g. twitterati assumed to be “African social media experts” simply based on large numbers of followers), Africans need to identify and nurture a network of legit social media experts and strategists,  one which activists, non-profits, and/or campaigns could call upon for advice, expertise, and most importantly, training. Ghana Decides’s model of offering social media trainings to their civic engagement partners (including NGOs that work with marginalized communities such as women, youth etc) is a movement-building model worth replicating; investing in the social media capacity of their partners essentially duplicates their outreach efforts, and  of maximizes their chances of engaging a wide, diverse audience overall. When considering the potential political power (both online and offline) of African communities were social impact organizations to be trained to more efficiently engage their social networks, there is no limit to what we can achieve together, as individuals, as countries, and as a continent. We’ll need more trainers to train more trainers to train more trainers. Thus, nurturing an elite class of social media experts is critical.

Mobile Crowdfunding Is the Future

With the rise of online fundraising platforms for creatives and entrepreneurs (such as Kickstarter and Indiegogo), the philanthropy sector has developed a few niche platforms of its own; sites like givengain.com and 234give.com allow charities to raise small amounts of money from large numbers of people in their social networks. Africa’s adoption of online fundraising phenomenon is not necessarily news, but is timely given the impact the wall street financial crisis had on the global funding climate. However, with mobile banking innovations such as MPesa (mobile banking) and M-Shwari (mobile loans) sprouting up all across the continent, improving workflow and usability, Africa is well-positioned to lead the way when it comes to crowdfunding through mobile and SMS. Given the funding (and political) climate of African countries, the need for more self-driven, autonomous, alternate pools of funding options is unprecedented. In countries like Nigeria and Uganda, where human rights are being violated due to homophobia and bigotry, and organizations are barely permitted to operate, let alone receive funding, it is critical that crowdfunding be explored as an option, and not just from western countries; were mobile giving made readily available, perhaps the world would be able to see that Africans can and already do support each other in times of need. In fact, crowdfunding may just be the ingredient Africa needs to  curb the negative impact of white saviorism and foreign aid in the development landscape.

Creating an African Blogging Network

It’s not every day that marginalized groups experience the thrill of connection, especially as intensely as they happen at conferences where there’s shared interest (and in this case, identity). At the WACSI conference, many of the participants commented on the importance of staying connected. Being able to support each other across issues and across borders, and count on the signal-boosting power of a global network of Africans online could make a huge difference to local organizing efforts. There are certainly smaller efforts being made in this area: The Guardian African Network, African feminists (#afrifem) on Twitter, region-specific efforts such as Blogging Ghana and the Nigerian Blog Awards, and issue-based sites such as Identity Kenya and Dynamic Africa. But there remains to be seen a large, robust network that connects the vast number of African bloggers online. Many questions remain: Given the diversity on the continent, and how dispersed Africans are around the globe, is such a network even possible? Who would lead (and house) such an undertaking? Would an informal network (such as a dedicated twitter hashtag for African bloggers) work just as well? There’s no doubting the collective power that could be harnessed from a formal network of African activists. However, till such a space exists, African bloggers are going to need to create one virtually; linking to each other where possible, learning how to position ourselves so that we are (more) visible to each other, and intentionally supporting each other’s initiatives in our various capacities, are all important principles of activism we should be practicing, online or offline.

  • 1
  • 2

Plugin from the creators ofBrindes Personalizados :: More at PlulzWordpress Plugins