Mashariki Journal Vol 3, Issue 1

November, 2016

ISSN: 1821-9624 Volume 3, Issue 02

CULTURE AND DEVELOPMENT EAST AFRICA

Mashariki

CULTURAL UNDERSTANDING AND PEACE BUILDING JOURNAL

ISSN: 1821-9624 Volume 2, Issue 1

CDEA would like to thank the Editorial Team that has made this issue possible.

EDITOR: Ayeta Anne Wangusa

DESIGNER: Abdullrahman Rasuly Amani CONTRIBUTORS:

AYETA ANNE WANGUSA GRACE MATATA ANGELA KILUSUNGU MANDOLIN KAHINDI ZUHURA SENG’ENGE GODFREY MISHOMARY

PUBLISHER: Culture and Development East Africa (CDEA) Plot 421, House 1001, Mikocheni B, P.O Box 1335, Dar es Salaam, Tanzania Tel: +255 22 2780087| +255 784 856 866 Email: Secretariat@cdea.or.tz Website: www.cdea.or.tz

The Research in Culture and Creative Industries project is made possible through the generous support from CKU-Centre for Culture and Development. © Culture and Development East Africa (CDEA) November, 2016

Editor’s Note MASHARIKI JOURNAL: WELCOME TO VOLUME 2: ISSUE 2

Ayeta Anne Wangusa, Editor

M

ashariki Journal serves as a space for connecting artists, researchers, policy makers and organizations working on diverse aspects of culture and peace building; a venue for conversations about the critical challenges confronting peace building in the region and showcasing how culture-based interventions can lead to social l cohesion.

In this issue, we bring key issues that emerged out of mapping study to establish the industrial organization of the �ilm and music industries in Tanzania. The study supported by DANIDA points out that the bottlenecks and opportunities for accessing �inance for the creative industries in Tanzania. The study also highlights the business models for the production and distribution of �ilm and music in the East and South African Region.

The issues also highlights the support that DANIDA is offering to the cultural and creative industries in Tanzania to ensure youth have access to art and cultural activities for youth and the support to the Cultural and Creative Industries. DANIDA is supporting CDEA’s project: ‘Research in Culture and Creative Industries focusing on the �ilm and music sub-sectors contribution to creative economy in Tanzania and EAC Common Market.’

As a result of this research, CDEA will be hosting its inaugural conference for the creative industries in Tanzania focusing on impact investment in the East African Region. The Mashariki Creative Economy Impact Investment Conference to be held on May 11-12, 2017, will be a platform for knowledge sharing and pitching to potential investors for the fashion and accessories design, �ilm and music industries.

This issue also brings you highlights of the launch CDEA’s Creative Economy Incubator focusing on fashion and accessories design, �ilm and music industries. This incubator is being supported by GIZ-EAC’s Incubator for Integration and Development in East Africa (IIDEA) project.

This issue we share with you an opinion by Godfrey Mishomary on the loss of our cultural identity through the adoption of foreign hairstyles. For literary lovers, we bring you a health doze of poetry.

In the coming year we shall launch SanaaBiz Portal, an online marketplace for fashion and accessories design, �ilm, music and book industries in East Africa.

Volume 4, Issue 1 of Mashariki Journal will be published in March 2017. If you or your organization would like to become a contributor, please contact: Secretariat@cdea.or.tz

ISSN: 1821-9624 Volume 3, Issue 2 | 01

Bottlenecks and opportunities for start-ups and SMEs in the creative industries in Tanzania {Tanzania has begun a policy making process for a national arts policy. This is an opportunity to capture issues related to the creative economy, start-ups and SMEs, as well as the linkages to relevant ministries such as the Ministry of Trade and Industry}

By Ayeta Anne Wangusa Executive Director, Culture and Development East Africa (CDEA) Culture and Development East Africa (CDEA) is implementing a project titled: ’Research in Culture and Creative Industries focusing on the �ilm and Music sub-sectors contribution to creative economy in Tanzania and EAC Common Market’ that is supported by Danida.

A key research output is Tanzania Film and Music Industries: Analysis of Industry Specific Framework Conditions Relevant for Growth and Investment, which provides an outlook, highlights the positioning of both �ilm and music sector in Tanzania in industrial development.

There is no policy measure that promotes creative innovation that attracts social impact investments from a cross-section of stakeholders which includes seed funds and collaborative funds and incubator support funds

The research study on the framework conditions relevant for industrial growth in Tanzania (CDEA, September 2015), points out that most �ilm and music industries are concentrated in the precursor and embryonic stages.

The study established the bottlenecks and opportunities for start-ups and business enterprises at the stage of expansion in the creative industries in Tanzania as described below.

The research established the following bottlenecks and opportunities within the East African region.

Bottlenecks

Across the value chain for music and �ilm industries, �inance has proven to be a great challenge. There are no guarantee systems from development bank to commercial banks to support any segment of the creative sector.

Currently, the production of Bongo movies is dominated by funding support from STEPS, a distributor of �ilms in Tanzania, ranging from TZS 10m -30m for budget �ilm production. The music sector is mostly self-funded.

Secondly, Commercial banks, investors and business development experts do not understand the business models of the creative industries. The banks and investors consider creative businesses risky averse, but the business incubators in Tanzania are yet to appreciate how the creative value chain operates.

There is no policy measure that promotes creative innovation that attracts social impact investments from a cross-section of stakeholders which includes seed funds and collaborative funds and incubator support funds.

ISSN: 1821-9624 Volume 3, Issue 2 | 02

There is also no venture capital for �ilm and music companies in Tanzania, such production houses and recording studios, many of which are at the embryonic stage. Most venture capital targets industries that are at the nurture of growth stages of industrial development.

Opportunities Financial Engineering Mechanisms

There are alternative �inancial engineering mechanisms that have emerged outside the �inancial institutional setup to support the creative industries.

Most venture capital targets industries that are at the nurture of growth stages of industrial development.

The Heva Fund in Nairobi, Kenya is a creative economy catalyst project that looks to deepen �inancial inclusion for producers of creative goods and services, invest in development of new productive capacities among creative producers and provide debt �inancing and equity investment solutions to support creative businesses to achieve meaningful commercialization.

The project works in two focus areas: HEVA Capital and HEVA Forum. Heva Capital consists of two arms; the Heva Startup Fund and the Heva Growth Fund.

The HEVA Startup Fund

Every March and September, HEVA invests in East Africa's early stage (post-revenue) creative businesses operating in Kenya, with plans to roll out in Uganda, Rwanda and Tanzania.

This facility looks to assist businesses to increase their production capacities, launch new product lines, invest in new technology or expand their distribution networks and a runway to investor readiness. Businesses undertaking their �irst applications can receive up to KES 1,000,000 in �lexible debt, and a tailored �inance package of up to KES 10,000,000 in subsequent applications. Alongside this �inance facility we provide business consultations and support, legal advice as well as exchange learning opportunities.

In 2016/2017 HEVA plans to make investments in businesses operating within the fashion, commercial photography, crafts and interior design value chains. We are also running pilot investments in music and visual arts value chains.

The HEVA Growth Fund

The HEVA Growth Fund will provide working capital solutions, supply chain �inance, cash �low solutions, capital investment and follow on �inancing of up to KES 30,000,000 available to creative SME's all year round. This facility will offer second level �inancing solutions in equity, debt, convertibles, mezzanine products, guarantees or matching funds for ISSN: 1821-9624 Volume 3, Issue 2 | 03

store roll-outs, new plant and machinery, funding an acquisition or an export drive, equity release and more. Heva Fund plans to invest in HEVA FORUM

HEVA Forum will provide opportunities for learning, international exchanges, special skill training workshops, master classes and networking opportunities.

Crowd funding sites are gaining ground in the creative sector help gathering small-scale investors, for example, for independent �ilm �inancing or through social impact investment from foundations that have a shared social vision and just return on investment. selected creative sectors in Tanzania in 2017.

HEVA Forum will provide opportunities for learning, international exchanges, special skill training workshops, master classes and networking opportunities.

Opportunities for start-ups and SMEs in the Film and Music Industry in Tanzania:

Policy Measures Supporting Creative Start-Ups and Business at Stage of Expansion Tanzania has begun a policy making process for a national arts policy. This is an opportunity to capture issues related to the creative economy, start-ups, SMEs, as well as the linkages to relevant ministries such as the Ministry of Trade and Industry.

Tanzania has included text on the creative industry in the Second National Development Plan 2016 -2021. However, there is need for the text to be edited to re�lect accurate description of the sector.

According to the East African Community Creative and Cultural industries Bill, 2015 that was passed in August 2015, if domesticated by the government of Tanzania, Tanzania will provide an enabling environment for the establishment cultural infrastructure as illustrated below.

(2) Where an approved producer referred to under subsection (1) is desirous of establishing facilities for the production of audio-visual and motion pictures that approved producer shall be (a) Allowed to set off approved capital expenditure incurred on such facilities against income derived from the audio-visual and motion industry over a period of 10 years commencing in the year following completion of the facilities; (b) Exempt from the payment of property transfer tax on the initial purchase of any property acquired for the speci�ic purpose of providing such facilities; (c) Eligible for interest rate subsidies on funds borrowed from the private sector lending institutions for the establishment of such facilities.

ISSN: 1821-9624 Volume 3, Issue 2 | 04

midundo online radio www.midundoradio.co.tz

Download Midundo App

Organisers of East Africa Vibes Concer t

Innovative Business Models for Film and Music Production and Distribution in Africa

By Ayeta Anne Wangusa

O

Executive Director, Culture and Development East Africa (CDEA) ne of the tasks of the research in the creative industries in Tanzania and EAC region, was to map the innovation �ilm and music business models in the Tanzania, East African and Diaspora market. Below are examples picked from Kenya, Nigeria, Tanzania and South Africa that rely on the convergence of internet, broadcasting and telecommunications to reach online audiences.

Production

Crowd fundraising for production A South African team of �ilmmakers have launched a crowdfunding campaign to launch a �ive-year production slate that will ultimately result in the creation of three feature �ilms. Into In�inity is a science-�iction adventure short �ilm about how, in order to believe in something much greater than yourself, you need to believe in yourself entirely.

A South African team of �ilmmakers have launched a crowdfunding campaign to launch a �ive-year production slate that will ultimately result in the creation of three feature �ilms.

They are launching an Indiegogo campaign and are looking for funding with the aim to immerse donators with perks that include soundtracks, posters, T-shirts, tickets and a whole lot more Source: http://www.screenafrica.com/page/news/film/1660413-SA-filmcampaigns-for-crowdfunding

Distribution Mkito.com Business Model • Mkito.com is a music distribution platform managed from Dar es Salaam, Tanzania • Artists can create accounts directly by clicking www.mkito .com/artist-sign-up . You will receive an email with more information once you submit the �illed in form.

• Music is distributed free, however artists get paid if • Mkito gets an advertising revenue.

ISSN: 1821-9624 Volume 3, Issue 2 | 06

• Payments are made as soon as an account has equivalent of $50 • An artist earns between Tsh 200-300 for free downloads and Tsh 400 for music that is purchased Source: https://mkito.com/

Mdundo.com is a music distribution platform managed from Nairobi but, is popular with musicians from Tanzania.

Mdundo.com Business Model • Mdundo.com is a music distribution platform managed from Nairobi but, is popular with musicians from Tanzania.

• Artists can create accounts directly by clicking http://mdudo.com/in/sig nup.

• Mdundo.com enables you to keep track of your fans and split any revenue generated from the site fairly with the artists.

• Music is distributed for free, however artists get paid if Mdundo.com gets an advertising revenue.

• Payments are made biannually • An artist earns between Tsh 200-300 for free downloads and Tsh 400 for music that is purchased Source: http://mdundo.com/tz

ISSN: 1821-9624 Volume 3, Issue 2 | 07

Bozza Bozza is a digital distribution platform, offering services that are trusted and transparent, enabling artists to connect with fans who want locally relevant content via their mobile device and desktop. Bozza is Pan

African, mobile 1st and artist centric. Artists on the platform currently have exposure on just over 3000 handsets and full web pro�iles.

All genres of video, music and poetry are welcome in all African languages.

You can create your own pro�ile and use this pro�ile as your very own website.

Business model

You are now able to sell your content directly on Bozza to anyone in Africa and around the world.

You are now able to sell your content directly on Bozza to anyone in Africa and around the world. Fans will be able to buy full tracks and videos, using TrustPay's integrated payment gateway designed for mobile users and content.

1. Smooth payment - Fans can pay for their content purchases using variety of payment options, including MPesa, MTN Mobile Money, CashU, Airtel Money, debit and credit cards.

2. Better sales margins - Bozza shares all revenue 70/30 after TrustPay's costs with you, the artist (content owner). You get 70% and we get 30%.

TrustPay's costs vary depending on the payment channel used but will be between 10% and 15%. You will therefore receive on average $0.60 from every $1.00 track sold (costs are on average $0.15 per transaction).

3. Easy content uploading - Uploading and provisioning sales content is easy. Simply, sign up to create an account and upload your content via the artist portal or email your sales content to submit@bozza.mobi. Remember to include the words 'SALES'and your Bozza username in the email subject line.

Source: www. Bozza.mobi

ISSN: 1821-9624 Volume 3, Issue 2 | 08

Africori Africori is a South African based company that distributes, licenses and collects royalties for artists, writers, composers and producers

Iroko TV began by offering his movies for free.

All a viewer had to do was complete a quick registration and the strategy paid off.

Business model Submit your music and join the leading African music licensing platform • No joining fee • Non-exclusive deal • You retain 100% ownership of your songs • 50/50 split on all net licensing fees • Worldwide exposure • Be part of the leading African music licensing platform • We believe in the power of songs and the creative force coming from African artists.

• We are not genre speci�ic.

• Africori is creating a new marketplace for independent artists across Africa.

Source: http://africori.com/ Iroko TV Business model Iroko TV is a big name in providing Video on Demand (VoD) services to consumers in Africa, with a library of over 5,000 Nollywood �ilms. It also has a a subscription service, iROKOtv PLUS, which is now generating more revenue than the ads on its basic service. Other online platform that provides VOD servives is Buni TV in Nairobi, Kenya.

Iroko TV began by offering his movies for free. All a viewer had to do was complete a quick registration and the strategy paid off. By May 2013,

ISSN: 1821-9624 Volume 3, Issue 2 | 09

Iroko TV had more than 500,000 subscribers from nearly everywhere on planet earth.

Money maker #1 – Advertisements

The Iroko TV website is visited up to 10 million times every month by more than 500,000 unique visitors from over 100 countries

To make money out of this huge traf�ic, Iroko TV has a number of advert units placed strategically across the site. These ads are of two types: Private placement ads and Pay-per-click (PPC) ads.

Private placement ads The rates for private placement ads are directly negotiated between Iroko TV and interested advertisers.

Pay-per-click (PPC) ads Unlike private placement ads that pay a daily, monthly or weekly advert rate, Pay-per-click (PPC) adverts only make money when people click on them.

Money maker #2 – Paid subscriptions For a �lat fee of $5, subscribers have access to any movie of their choice for a whole month

Source: http://www.smallstarter.com/get-inspired/iroko-tv/

ISSN: 1821-9624 Volume 3, Issue 2 | 10

CDEA to Host Inaugural Mashariki Creative Economy Impact Investment Conference in Dar es Salaam

By Grace Matata

C This conference will be the genesis of an annual Multi-Stakeholder Platform (MSP) to improve the investment ecosystem for the creative industries in the East African region.

Busines Developer, Culture and Development East Africa (CDEA) ulture and Development East Africa (CDEA), with support from DANIDA, will host its inaugural Mashariki Creative Economy Impact Investment Conference from May 11-12, 2017 at Kisenga LAPF International Conference Centre in Dar es Salaam, Tanzania.

This conference will be the genesis of an annual Multi-Stakeholder Platform (MSP) to improve the investment ecosystem for the creative industries in the East African region. The MSP will enable creative entrepreneurs and investors dialogue, learn from national and regional initiatives, make decisions and take action to improving the creative ecosystem. It will also be a platform for broadcasting or production companies at the stage of expansion to meet and pitch to venture capital investors.

The venue: Kisenga LAPF International Conference Centre The conference is a product of the CDEA’s on-going research in the culture and creative industries focusing on the �ilm and music sub-sectors contribution to creative economy in Tanzania and EAC Common Market, which is funded by DANIDA. It will also be an opportunity for the incubatees from CDEA Creative Economy Incubator, which is part of the GIZ-EAC Integration and Development in East Africa (IIDEA) project, to market their products and network with potential investors.

The goal of the conference is to enable stakeholders to dialogue, learn from national and regional initiatives, make decisions and take action regarding improving investment and trade environment for the creative economy in East Africa.

ISSN: 1821-9624 Volume 3, Issue 2| 11

After the conference, CDEA will offer advisory support through its CDEA’s incubator for selected start-up businesses in the �ilm, music and design industries, in the areas of investment readiness, business support and market linkages.

The conference will be divided into two parts. Day 1 will be a knowledge platform that will enable stakeholders to dialogue, learn from national and regional initiatives. Day 2 will be an opportunity for selected incubatees and digital content distributors to pitch to investors who range from Social Impact Investors, Alternative Funding Mechanisms, Angel Investors, Equity Investors and Advertisers respectively.

The conference will be open to CDEA’s incubatees and selected industry stakeholders. There will be limited spaces open interested creatives and development partners by registration starting February 1, 2017.

The conference will be open to CDEA’s incubatees and selected industry stakeholders.

ISSN: 1821-9624 Volume 3, Issue 2 | 12

DANIDA’s Support to the Culture and Creative Industries in Tanzania

By Mandolin Kahindi

T In Tanzania, the limited access to art and cultural activities is a challenge for the visibility and discovery of new and upcoming talents.

Programme Officer for Cultural Affairs - Danida Tanzania anzania’s art and cultural projects and programmes thrive by drawing on a vibrant and rich cultural heritage and traditions rooted in family, unity, faith, culture, and identity. In an increasingly globalized world with more and more access to external in�luences, genres, and modes of expression, Tanzanians recognize the potential to harness the talents and traditions of its citizens and participate in this growing creative economy.

When looking at the young population, participation in art and cultural activities could make a great contribution to their social development. In Tanzania, the limited access to art and cultural activities is a challenge for the visibility and discovery of new and upcoming talents.

ACCESS TO CULTURE: Nafasi Arts Space is one of the few spaces for creative expression for the youth Following the needs assessment, and in synergy with both the Tanzanian development agenda and priorities of the Danish development cooperation, the Tanzania Culture and Development Programme 2014-2017 was formulated with the following objectives.

The main objective is to ensure an improved participation of youth in art and cultural activities as well as an increased focus on cultural and creative industries that can contribute to the socio-economic development of Tanzania.

ISSN: 1821-9624 Volume 3, Issue 2 | 13

The programme aims to strengthen the necessary platforms to facilitate artistic quality, foster new talents and provide access to art and cultural activities for youth as well as to improve the sustainability and outreach of key arts organisations by promoting networks and exchange activities with a particular focus on the East African region.

Furthermore, the programme also aims to support key players in advocacy and lobbying for a stronger national focus on cultural and creative industries through research, documentation, and knowledge sharing. The �inal objective of the programme is to strengthen the capacity for management and entrepreneurship among artists and organisers in the arts and culture sector.

“Participation in art and cultural activities is also understood as an important element in stimulation of a person’s creativity and the exposure to alternative ideas can thereby contribute to the overall development of Tanzania”

“Cultural expression gives people a voice to be heard and plays an important role in the empowerment of people on individual and collective levels. Therefore the Tanzania Culture and Development programme is focusing on empowering youth through active participation in art and cultural activities” says Einar Jensen, Danish Ambassador to Tanzania adding that:“Participation in art and cultural activities is also understood as an important element in stimulation of a person’s creativity and the exposure to alternative ideas can thereby contribute to the overall development of Tanzania”

With this in mind, providing opportunities for people to access art and cultural activities have been made the main focus of this programme. Young people play a key role in social change and the continuous development of Tanzania.

Therefore, the programme is focusing on empowering youth through active participation in art and cultural activities while inclusion of women and girls as well as a geographical diversity of the programme are signi�icant to secure broad access to art and cultural activities.

The budget of the programme is about 2 billion TZS, and its implementation is done through partnerships with local organisations from the artistic and cultural scene of Tanzania. To date, the programme is working in partnerships with Nafasi Arts Space, Culture and Development East Africa (CDEA), Bagamoyo Arts College (TaSUBa), Soma Book Café and the Zanzibar International Film Festival (ZIFF).

In order to convince the Tanzanian government about the importance of art and culture in job creation and business development, Danida/CKU is supporting Culture and Development East Africa (CDEA) to do research in culture and creative industries focusing on the contribution of the �ilm and music sub sectors to the creative economy in Tanzania and the East African Common Market. Through this research, CDEA will be able to generate data and information about the �ilm and music sectors by using value chain analysis and mapping studies.

ISSN: 1821-9624 Volume 3, Issue 2 | 14

Platforms for art and cultural activities provide open workspaces for artists and venues where artists can meet their audience and make their work accessible to a wide range of people. As such, the opportunities for fostering new and upcoming talents can be enhanced by supporting these platforms such as exhibitions, performances, and events, where talents can be discovered and nurtured. With this in mind, Danida/CKU is supporting the development of a music stage at Nafasi Arts Space to be used for rehearsals and concerts as well as to function as a platform for hands-on technical training.

The programme is also supporting Soma Book Café in arranging its annual nationwide writer’s competitions in secondary schools. Furthermore, the programme has supported the Bagamoyo Arts College (TaSUBa) with musical instruments to be used for teaching and performances at the department of music.

The programme is also supporting the Zanzibar International Film Festival (ZIFF) to facilitate access to �ilms through screenings and debates at the ZIFF Village Panorama. The Community Film Screenings (Village Panorama) is a ZIFF Outreach Programme where �ilms are utilised to expose people to stories, ideas and experiences and create a platform for them to experience �ilm art. By organizing a package of �ilms on different themes, the Film Screenings will provide opportunities for young men and women to engage in discussions and debates about issues re�lected in the �ilms and how these affect their lives.

@ Eco Sanaa Terrace, Mikocheni B

ISSN: 1821-9624 Volume 2, Issue 1 | 12

CDEA Launches Its Creative Economy Incubator Programme

By Angela Kilusungu Audio - Visual Programme Officer, Culture and Development East Africa (CDEA)

C

ulture and Development East Africa (CDEA) in collaboration with the East Africa Community (EAC) and GIZ launched CDEA’s Creative Economy Incubator for fashion and accessories design, �ilm and music industries on 25th November 2016 at Eco Sanaa Terrace, Dar es Salaam.

CDEA’s Creative Economy Incubator is part of the 12 selected organizations in East Africa to be supported by GIZ, through the Incubator for Integration and Development in East Africa (IIDEA) project. CDEA’s Incubator aims to provide technical and business support to the incubatees, market linkages and providing them a space to pitch to potential investors, through the Mashariki Creative Economy Impact Investment Conference, scheduled for 11-12 May, 2017.

“The arts are both talent as well as an opportunity for job creation and so every artist needs to have proper discipline in respect to the values of his community and the profession,” ...he said.

The launch was graced by Mr. Habibu Msammy, the Principle Cultural Of�icer from the Ministry of Information, Culture, Arts and Sports (MICAS) who represented the Minister.

Speaking at the launch, Mr. Msammy commended the IIDEA programme because it will provide business development to start-ups and SMEs in the arts sector and enable them reach the East African market.

“The arts are both talent as well as an opportunity for job creation and so every artist needs to have proper discipline in respect to the values of his community and the profession,” he said.

LAUNCH: CDEA’s Board and Advisory Board from East Africa at the launch of the Incubator ISSN: 1821-9624 Volume 3, Issue 2 | 16

Mr Msammy concluded by applauding CDEA for its initiative to recognise the value of regional Integration as it would open doors for local creatives across East African borders.

The launch was successfully attended by, various stakeholders who included �ilmmakers, performing artists, designers, journalists, musicians, fashion designers and handcrafters; most of them are prospective Incubatees in 2017.

An open call for incubatees will be made to public through the EastAfrican newspaper, CDEA’s website and social media this December 2016.

ISSN: 1821-9624 Volume 3, Issue 2 | 17

Kilimanjaro: The Extinct Hair Style

By Godfrey Mishomary

O I have also observed many young boys and men hair styles.

The trend has shifted from denge, panki and afro to kipara and kiduku of different kinds

ne morning I went for my rare shopping at Mlimani City Mall in Dare es Salaam. I wanted to update my mobile phone from 3G to 4G. So, I approached one of my mobile service provider’s shops. As usual, when I got to the shop, there was a long queue. I had suspected this would be the case, so I had dedicated the whole day for this activity. I was not alone; there were other customers who came in for that reason. However, I knew others were there for different reasons.

I heard the message alert beep on my phone and turned my attention to it.

The short message from one of my friend red: “It is not easy to bewitch an African lady these days, because if you take a piece of hair to a witch doctor either an industry in China gets burnt or a mad man in America dies”.

I replied: “Ha! ha! ha!”

I did not care who the author of the quote was, but I was intrigued by the sentiment associated with hair and African women.

A few minutes later a lady walked into the shop and caught the attention of everyone in the shop. There was a “Wow!” pose-of-admiration of the beauty that African lady exuded. She had a soft skin, neither fat nor slim, and looked con�ident in her in her long translucent multi-coloured coat that covered her mini skirt. However, she seemed like a snake on its old skeleton. The skirt was so micro that she could not risk picking up a pen on the �loor in case it dropped.

She had a melodious voice. I was eavesdropping when she was talking to a customer care of�icer. It seemed for sure that Kiswahili was a dif�icult language for her to speak �luently. As she spoke two or three words of Kiswahili, she switched to an English word or a sentence in between.

Kiswanglish, a language we used to refer to it when I was at school and in college. It was neither the language spoken by a person who speaks neither English nor Kiswahili language �luently. The lady symbolized many of the so called “educated” young Africans.

This reminded me of our educational policy that makes people speak either British English (BRE) instead of American English (AME). However, most of the young brothers and sisters of today want to live American. This is a confusion of its kind to our culture especially at this very fast growing world technology.

ISSN: 1821-9624 Volume 3, Issue 2 | 18

Her hair style is what motivated me to write this article. She had long hair with a fringe that gave her fore head a samosa shape. She kept pulling her fringe to the left or right either with her index �inger like a European lady would do.

When she joined the queue, she was the third after me and I kept turning my head to have a peep at her odd mannerisms. The lady in front of me has an Afro and it trigged my consciousness to some African hair styles; kilimanjaro, afro, twende kilioni in different numbers like tatu kichwa; makonga or mabutu and vitunguu that my mother used to plait.

Nowadays, most of those African hair styles are extinct. Their death has on the other hand contributed by the rise of new hair styles like yeboyebo, majongoo, different tribes of dreadlocks like sangita , Maasai hair styles and the modern trend of weaving and wearing wigs.

Rebeca Gyumi, Founder of Msichana Initiative dawns the Kilimanjaro hairstyle

I have also observed many young boys and men hair styles. The trend has shifted from denge, panki and afro to kipara and kiduku of different kinds. These days, it is very rare to see a person in panki or denge style.

Then I asked myself, do Europeans admire our African hair and hair styles? Are they wearing wigs and weaves made from African hair?

Why should our African girls and women continue embracing the European or American hairs and hairstyles? Worse still, I dislike the way our young boys who wear on their trousers hanging below the buttocks. If you meet one in a daladala minibus or wwendokasi buses, you will surprisingly see a boy always pulling his trousers up. It is interesting to note that while the boys are pulling their trousers up, the girls pulling their miniskirts down.

It is a high time that we embrace our African culture of dressing and hair styles. Let us maintain our good cultural aspects and get rid of those which are bad. We should not be the kind that adopts everything that comes from the developed countries. Let us hold our heads high with pride.

The author is a writer, a social science editor and a social entrepreneur.

He works at a publishing house based in Dar es Salaam, Tanzania. shomarry@yahoo.co.uk

ISSN: 1821-9624 Volume 3, Issue 2 | 19

| www.cdea.or.tz ISSN: 1821-9624 Volume 2, Issue 1 | 17

O

Open Call For Creative Economy Incubatees Culture and Development East Africa (CDEA) in collaboration with GIZ and the EAC makes a call for its Creative Economy Incubator focusing on emerging fashion and accessories designers, �ilmmakers, and musicians in Uganda and Tanzania, to take place in Dar es Salaam within a period of one year.

The incubator will provide technical and business support, market linkages and access to the Mashariki Creative Economy Impact Investment Conference, scheduled for May 2017.

Interested creatives should �ind the full description of the three industry calls, on CDEA’s website www.cdea.or.tz under the section News.

Deadline for the application is January 15th 2017

ISSN: 1821-9624 Volume 3, Issue 2 | 21

POETRY ONCE UPON A TIME Zuhura A. L, 2016 Once upon a time we were free, a time when there were no walls between you and me no lines deciding who you are not is who you should be you were my brother despite your bloodline or mother tongue you were my protector from those who held at me a gun you were my sister who bathed me when I was young you were my shield when the war begun.

Once upon a time we were strong, a time when we existed right where we belong Africans of Africa, too right to be wrong you were my mother because you were a mother you were my father when you were a leader you were my safe haven from all and every danger.

Once upon a time we were happy, a time when we were not divided by boundaries

when we lived in homes and not sanctuaries when love was priceless not a commodity, not a fee for shelter or security we were a life that breathes and sweats and bleeds we were the skin and �lesh of our mother’s seed you were ,y friend in ceremony and in hours of need you were the band aid on my wounds when I bleed.

Once upon a time we were home, a time when we had a life and place to call or own when lands were rich and food was plenty through drought and storm when family histories were curved on stone we were a people with order we were leaders! Warriors! we were believers with markings on our shoulders a heritage that thrived as we grew older.

Once upon a time we had a voice, a time when we had independence of choice when our thoughts were not befouled with alien noise when our children were not mistaken for human toys we were a civilization - not perfect, but de�ined we had intelligence in our own design we built kingdoms; some thrived, some declined

ISSN: 1821-9624 Volume 3, Issue 2 | 22

POETRY but we spoke with conviction for what to us was divine.

Once upon a time we had a code, a time when our heels kissed the rocky- dusty- bushy roads a time when our bellies carried the seeds we sowed when we danced and sang in our animal skin robes we were a society with traditions we upheld to them without conditions we had a system before the transition we were a unit before the partition.

Once upon a time we were whole, we were not perfect, but we were beautiful and to our history we were dutiful.

But will our children tomorrow and their children’s children be proud to boldly say- when they look back the same about our today?

Will our children, and their children’s children Say that they are proud of our today?

ISSN: 1821-9624 Volume 3, Issue 2 | 23

CDEA TO HOST INAUGURAL MASHARIKI CREATIVE ECONOMY IMPACT INVESTMENT CONFERENCE IN DAR ES SALAAM

DATE

VENUE

MAY 11-12, 2017

KISENGA LAPF INTERNATIONAL CONFERENCE CENTRE

LOOKING FOR A SPACE??

MEETING | WORKSHOPS | HOT SEATS | NETWORKING CONTACT US TODAY secretariat@cdea.or.tz | +255 22 2780087 Located at Mikocheni B, DAR ES SALAAM

This publication has been made possible with support from CKU –Centre for Culture and Development With special thanks to Christoph Lodemann