Mashariki Journal: Volume 1, Issue 1

September 2015

INNOVATION

ISSN: 1821-9624 Volume 2, Issue 1

INVESTMENT CREATIVE INDUSTRIES

TRADE

SOCIAL COHESION

VALUE CHAIN

MAPPING

FILM

BILL

COPYRIGHT

Mashariki

CULTURAL UNDERSTANDING AND PEACE BUILDING JOURNAL

CULTURE AND DEVELOPMENT EAST AFRICA

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

EDITOR: Ayeta Anne Wangusa DESIGNER: Natty Kumkichwa

CONTRIBUTORS: Ayeta Anne Wangusa Mandolin Kahindi Salome Gregory Kenneth Kasulwa Ahad Katera Rebecca Corey Gregory Mwendwa Neema Komba

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. Š Culture and Development East Africa (CDEA) September, 2015

EDITOR’S NOTE

MASHARIKI JOURNAL: WELCOME TO VOLUME 2: ISSUE 1

Mashariki Journal serves as a space for connecting artists, researchers, policymakers 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 cohesion.

This issue highlights the positioning of cultural and creative industries within the context of regional integration as stated by the East African Community Creative and Cultural Industries Bill, 2015. It highlights �indings and recommendations from a value chain analysis of the �ilm and music sectors in Tanzania. The analysis is part of an ongoing research project in the cultural and creative Industries, focusing on the �ilm and music sub-sectors' contribution to the creative economy in Tanzania and the EAC Common Market. This project is supported

by CKU– Centre for Culture and Development.

As part of CDEA’s contribution to promoting peace and social cohesion in the East African region, this issues brings you an article of the just ended East African Vibes Concert 2015 , whose success is attributed to the networking through the Hatchery, a creative network, initiated by HIVOS. The Hatchery also gave birth to the relationship between

Docubox , an East African Film Fund based in Nairobi and CDEA in Dar es Salaam. This issue contains a personal testimonial from a Docubox training and funding beneficiary as well as highlights innovations that connect culture and science, such as waste management in Dar es Salaam.

Through CDEA’s S.M.ART (Science Meets Art) innovation concept, CDEA was able to nominate a social innovator from the University of Dar es Salaam for the 2015 Edition of Age of Wonderland. Six selected social entrepreneurs from Africa, Latin America and Asia were invited to the Dutch city of Eindhoven to work on their projects, interrogate relationships between food and environment, technology, economic and social concerns. This was all made possible by Hivos.

Volume 2, Issue 2 of Mashariki Journal will be published in December 2015. If you or your organization would like to become a contributor, please contact: Kenneth.Kasulwa@cdea.or.tz . Looking forward to your feedback on this issue through: Secretariat@cdea.or.tz Ayeta Anne Wangusa, Editor

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OPINION

Re�lections of the Newly Passed EAC Creative and Culture Industries Bill, 2015

By Ayeta Anne Wangusa

The development of creative and cultural industries has been prioritized in the 4th East African Community (EAC) Development Strategy (2011/12-2015/16)

On August 25, 2015, the East African Creative and Culture Industries Bill, 2015 was passed by the East African Legislative Assembly (EALA). The Bill sailed through the 3rd Reading after intense debate on the �loor of the House. The key Bill recognizes people with talents and skills and creates an environment that promotes talents and the necessary infrastructure to develop the industries, many of which are considered nascent, while removing existing barriers. The private member’s Bill was presented by Dr James Ndahiro (Rwanda). The aim of the East African Community Creative and Cultural Industries Bill, 2015 is to boost the �ive-member bloc’s creative and cultural industries so as to contribute signi�icantly to the GDP of the region and create employment. The development of creative and cultural industries has been prioritized in the 4th East African Community (EAC) Development Strategy (2011/12-2015/16).

The Bill should be commended for proposing these �ive key clauses: The Establishment of Creative and Cultural Industries Council Mapping of Creative and Cultural Industries The Establishment of Creative and Cultural Industries Fund Incentives for Audio-visual Productions Regulations

The Bill seeks to establish the Culture and Creative Industries Council that will provide an environment conducive to the enhancement and stimulation of creativity and innovative endeavours among the citizens of the Community. Once formed, the Council shall provide high quality training for skills and creativity development as well as formulate policies and strategies to stimulate creativity and innovations among the youth to ensure long term supply of talents.

Proposed Strategies for Implementation Reference is made to one of the roles of the Council: to provide high quality trainings for skills and creativity development. A more strategic role for the Council would be to provide direction in the creative and cultural sector through sector studies like value chain analysis’ to identify skill needs that training institutions can capture in curriculum development, guide member states to determine what skills are required to facilitate the change in the next �ive years, determine the extent to which skills are produced by the current education systems and the reasons for the situation and recommend ways in which the education and training systems can become more responsive and produce quality skills to meet identi�ied needs.

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In addition, another role of the Council is to broaden the visibility of products of the creative industries by providing them a showroom in a suitable and well located environment. This idea is borrowed from Singapore, where a “Media Lab” is a showcase project for creative industries. Clearly, this shouldn’t be the preoccupation of the Council, since other private sector actors are already doing this in the market place. There are platforms such as Sondeka, the �irst arts and innovation festival in East Africa run by Creatives Garage, a multi-disciplinary collective space for creatives to network, share ideas, collaborate, learn, gain market accessibility and push boundaries. In 2014, the festival showcased 63 performing acts, 31 visual art and crafts exhibitors, 8 fashion designers and 9 innovators.

The Council could have a coordinating role for Mapping the Creative Services in the EAC , that need to be liberalized by member states

The Council should instead create an enabling environment to support creative partnerships across borders to attract the best minds, talent and investments to fully develop and enrich the creative and cultural sectors.

One such function for the Council could be to draft an EAC Creative and Culture Industries Trade in Services. This is because creative services are not recognized under the schedule of commitments on Trade in Services by the �ive member states (2010-2015). The Bill only provides for tax concessions for service providers from outside the Community in the audio-visual production sector, but does not offer these concessions to a quali�ied individual from one member state to another. Although this may be a matter for member states to determine, the Council could have a coordinating role for Mapping the Creative Services in the EAC (just as its been given a role for Mapping Creative Industries), that need to be liberalized by T member states, by highlighting the skills gaps and projecting the services required to boost the creative and cultural industries in the member states.

This points to the fact that incentives to the creative industries should not only be for the audio-visual production in terms of tax exemption (Article 21), but should also cover professionals from member states crossing to provide services to the creative sector.

The Bill also states that one of the functions of the EAC Creative and Cultural Industries Council is to enhance awareness on Intellectual Property Rights. However, studies such as Tanzania Music Industry Value Chain Report (CDEA, 2015) have indicated that a key challenge in Tanzania and globally is enforcement of Copyright Law. For example, music and �ilm piracy is a global phenomenon, facilitated in part by technological advances which impacts directly on the performance industry actors. It is common knowledge that there are local businesses in the audio-visual sector that thrive on piracy that are located in Kariakoo Market in Dar es Salaam, Nakasero Market in Kampala or Riverroad in Nairobi. For the music industry, this undermines value generation for all those who invest in the development of music products, from

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musicians and composers to recording studios owners, sound engineers, record labels, to distribution and delivery actors.

A related issue is copyright management across the creative and culture genres. The key question, is what role should the Council be playing in light of digital piracy and copyright management in the common market? How can this feature in the discourse of Customs? CDEA’s value chain analysis discovered an organization called Copyright Management East Africa (CMEA), whose role is to monitor the airplay of music by East African broadcasters, starting with Tanzania and collecting royalties for musicians.

How can the Council facilitate such an organization to be able to �ight piracy in the East African region?

Baraki (UNESCO, 2012) proposes that there is need for the establishment of a governmental body mandated to develop, support, and promote policies and initiatives that serve the interests of the creative economy in Tanzania.

While it may be argued that the audio-visual industry is the most lucrative sector of the creative industries, other creative industries should also bene�it from tax exemptions, to reduce their production costs. Such sectors include publications, advertising, architectural design, fashion design, visual art and handicrafts; if they seek promote local content. In addition, tax reliefs should be given to private sector companies that invest in the creative and cultural sector the proposed Creative and Cultural Industries Fund.

Strategies for National Level Implementation In order for artists to bene�it effectively from the Act, it would be bene�icial if each member state enacts a national Creative and Culture Industries ACT that will establish a statutory body that will provide statutory provisions for coordination, capacity development, protection and promotion of artists’ rights, innovation and skills, monitoring and liaising with the private sector to broker investment opportunities.

Baraki (UNESCO, 2012) proposes that there is need for the establishment of a governmental body mandated to develop, support, and promote policies and initiatives that serve the interests of the creative economy in Tanzania. This body will be mandated to draft a comprehensive national policy for culture and the creative industries in Tanzania. This strategy, if adopted by member states of the EAC, will contribute enormously to the levelling playing ground with regards to issues such as mobility of artists in the region, intellectual property rights, skills development and innovation.

In the case of Tanzania, such a body would address key concerns of the arts promoters regarding the high level of licensing fees set by the National Arts Council/BASATA of Tsh 1m/Tzs 1.5m (early bird or late payment) for East African nationals performing in Tanzania.

In conclusion, the EAC Creative and Cultural Creative Industries Act is long overdue and a welcome initiative by Ndahiro from Rwanda, and will

contribute to the process of formalizing the sector through on-going mapping of the economic contribution of GDP of EAC member states, making grants, loans and private equity available for creative and culture sector initiative as well as providing for incentives for the lucrative audio-visual industry that has the potential for job creation.

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Copyright Management is a Tall Order in Tanzania

By Mandolin Kahindi

We don’t have the technology to track users...It was not easy and it is still not easy to get the log sheets (returns) from the users, for example bar owners, hotel owners, discotheque, radio and television stations” Sinare says.

Copyright Copyright protection provides a vital incentive for the creation of many intellectual works. Without copyright protection, it would be easy for others to exploit these works without paying any royalties or remuneration to the owner of the work.

Copyright protection provides bene�its in the form of economic rights which entitle the creators to control use of their literary and artistic material in a number of ways such as making copies, performing in public, broadcasting, use on-line, etc. and to obtain an appropriate economic reward. Creators can therefore be rewarded for their creativity and investment.

In Tanzania, under the Copyright and Neighboring Rights Act No. 7 of 1999 Cap 218 R.E 2002., in order for a work to be protected, it must satisfy certain statutory requirements. This overview aims at providing you with highlights of the situation of copyright, royalties and piracy in the country.

Copyright is recognized even without the registration of a work of art with the Copyright Society of Tanzania (COSTA). However, COSATA has the legal mandate to register the rightful owners of a creative work and are entitled to several bene�its that go along with the registration of the work.

Works that are eligible for copyright in Tanzania as provided under Section 3 of the Copyright and Neighbouring Rights Act includes works of authors who are nationals of, or residents in the United Republic of Tanzania. This covers works �irst published in the United Republic of Tanzania, irrespective of the nationality or residence of their authors.

For audio-visual works, the procedure is that the company headquarters or residence must be in the United Republic of Tanzania and covers works of architecture erected in Tanzania and other artistic works incorporated in a building or other structure located within Tanzania.

“Creativity is an ongoing process in our Nation.” Doreen Sinare CEO of Copyright Society of Tanzania (COSOTA) says. “Many people from the rural to the urban areas come up with creative works which the Country and the Copyright Society of Tanzania needs to appreciate them”

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To strengthen its work, COSOTA administrators opened of�ices in Arusha, Dodoma, Mwanza and Mbeya for artists in those regions and surrounding areas to have access to registration, however these of�ices did not last long due to a lack of funding.

Registration of Members: The registration of members and their works are done according to the Copyright and Neighbouring Rights (Registration of Members and their works) Regulations 2005, Government Notice No. 6 of 20th January 2006.

For new registrations of a copyright, the applicant is required to provide their address of service within Tanzania in a prescribed form. On receiving the application for the registration of a copyright, the Copyright Administrator conducts a search on the registered works whilst looking out for the existence of similar works in the register.

The development of creative and cultural industries has been prioritized in the 4th East African Community (EAC) Development Strategy (2011/12-2015/16)

After conducting the search, the Copyright Administrator may accept or reject the application. Should the Copyright Administrator accept the application, the certi�icate of registration will be issued to the applicant.

On joining COSOTA, a Tanzanian composer, author, writer or arranger will need to pay a fee of TZS 10,000 per individual for the application form and TZS 20,000 for a group, band or organization. Annual subscription fees are TZS 20,000 for individuals and TZS 80,000 for a group, band or company. In total, annual individual membership is TZS 30,000 and TZS 100,000 for group, band or Company.

Fees for individual foreigners who wish to join COSOTA are TZS 40,000 which comprises of TZS 20,000 for application forms and another 20,000 as annual subscription fees. For foreign groups, companies or bands an amount of TZS 120,000 is expected and is comprised of TZS 40,000 for application forms and TZS 80,000 for annual subscription fees.

During registration the applicant will be asked to bring identi�ication documents which includes two (2) passport size photographs and a copy of an identity card, passport or birth certi�icate.

Artists, authors, publishers, producers, distributers and others who wish to register their works, can download the required forms at the COSOTA website and bring the duly �illed form to the COSOTA of�ice for registration.

Royalties: The distribution of royalties is guided by the distribution rules as provided for by the

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Third Schedule to the Licensing Regulation. All royalties, due to local and foreign authors as well as to performing artists of musical works are supposed to come from one of the following three distribution classes: Class one is from broadcasting and public reception of broadcasts and is done from the 1st of April to the 30th of September as well as from the 1st of October to the 31st of March. Class two covers public performances of all kinds of music played where liquids and foods are consumed.

COSOTA together with the Police and other stakeholders of copyright issues have managed to conduct antipiracy operations across the country and managed to seize various equipment.

Class two applies to public performances of all other kinds with their respective tariffs which are done between the 1st of July to the 31st of December as well as the 1st of January to the 30th of June. Class three deals with �ilm projection and commercial lending of video cassettes and is done between the 1st of April to the 31st of March.

Unfortunately, both Class 1 and Class 3 are currently not applicable in Tanzania due to a lack of technology that monitors and tracks users.

According to Ms. Sinare, the whole process of Registration and Distribution is performed using the WIPOCOS program which is not well placed to track all songs played through media in the country.

“We don’t have the technology to track users...we are still in the process of educating users on the need to pay royalties. It was not easy and it is still not easy to get the log sheets (returns) from the users, example bar owners, hotel owners, discotheque, radio and television stations” she says. “Since COSOTA started the distribution of royalties, we have distributed 10 royalties on public performance.”

Piracy: The toughest challenge to the music scene in Tanzania today is piracy, which has a destructive effect on recording companies, composers and performers, whose works are often stolen. COSOTA, working under the Ministry of Industry and Trade, has been given the mandate to combat piracy. However, its operations seem to face numerous limitations and potential con�licts. For example, local distribution companies have been accused of being part of the problem.

Supported by the Distribution of Sound and Audio-visual Recordings Regulation of 10th February 2006, COSOTA together with the Police and other stakeholders of copyright issues have managed to conduct antipiracy operations across the country and managed to seize various equipment, which were used in production of pirated works such as computers, printers, scanners, duplicating machines, paper cater, CD maker, VHS player, DVD players DVD ROMs, Inlays, compact disk, microphones, speakers and different pirated CD/DVDS and VHS. Those operations have been conducted in regions such as Dar es salaam, Dodoma,

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A key question is, should COSOTA partner with the private sector to harness the technology to be able to monitor and track users of songs through broadcasting channels and �ilm projection and sales of DVDs?

Singida, Arusha, Ruvuma, Tabora, Tanga and Iringa. During these opera-tions a total number of 65,072 pirated works in the form of DVDs, VHS', VCDs and CDs were seized.

Local musicians as well as other artists have been urged to cooperate closely with COSOTA in order to tackle this problem as it affects the industry and has seen artists making heavy losses on income.

Efforts to nab the people behind piracy is facilitated by the Ministry of Home Affairs, which has formed a special unit to work hand in hand with COSOTA on music piracy.

A key question is, should COSOTA partner with the private sector to harness the technology to be able to monitor and track users of songs through broadcasting channels, �ilm projections and the selling of DVDs? Audio-visual industry actors need to consider what practices of the pirate network make pirated goods more advantageous to the consumer, and how they can adapt their own practices to ef�iciently undermine pirate activities.

Investment Opportunities in Tanzania’s Film Industry

By Mandolin Kahindi and Kenneth Kasulwa

More than 60 million people in sub Saharan Africa own Television sets.

With the introduction of Digital Terrestrial Television (DTT) after Tanzania pioneered digital migration in the East Africa region in December 2012, this will have an implication in the way viewers consume �ilm in Tanzania.

There is need for policy makers and business leaders to integrate and nurture the social cultural space to enable youth development and advancement of enterprise through investing in the �ilm industry. A value chain analysis of the �ilm industry in Tanzania by Culture and Development East Africa (CDEA) raised a number of opportunities that will be able to improve the sustainability of the �ilm industry.

Broadcasting: According to the report, broadcast media remains to be the major channel of distribution in Tanzania. With the onset of the digital switch by the Tanzania Communication and Regulatory Authority (TCRA) that entailed the end of analogue broadcast, broadcasting has improved in signal quality and increased the coverage area. Digital TV also offers broadcasters with a wide range of tools to deliver content as well as the ef�icient use of bandwidth. This means the burden is on the content producers to

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deliver more local content to feed the various available television channels in Tanzania. However, this does not mean script writers and producers should compromise their quality to meet the market demands. Currently, the infrastructure for �ilm production is underdeveloped and this has resulted in the creation of narratives that are not rich with the history and heritage of Tanzania. There is therefore an opportunity for curriculum development for developing quality narratives for �ilm and television, casting, directing the overall post production process in Tanzania and the region to meet this demand.

Currently, the infrastructure for �ilm production is under-developed and this has resulted in creation of narratives that are not rich with the history and heritage of Tanzania

Distribution: DSTV is as ready market for Tanzanian �ilms, as well as the various national digital channels. However, in low income areas of Tanzania, audiences prefer to rent a movie for around Tzs 1,000/= rather than buy a DVD at Tzs 5,000/=. In some cities like Mwanza, Cable TV is still in use.

However, Video-on-Demand services (VoD) have not yet been tapped into

by Cable TV companies in Tanzania. This is where the VoD system allows users to select and watch video content when they choose to, rather than having to watch at a speci�ic broadcast time. This could be one way of promoting distribution in the �ilm industry in Tanzania; by bypassing the monopoly of DVD distributor companies, who use hawkers to reach the market.

Investment: Tanzania Investment Authority (TIA) 2014-15 guide identi�ies the broadcasting sector as a priority investment area for Tanzania. It provides pointers to areas for investment that could address the key challenges in the �ilm value chain such as content development, technology use, knowledge and technical skills development that were identi�ied by CDEA’s report. These include: • Establishment of television production companies • Creating mainstream television programs for the international market • Provision of local content television channels for local market

Investors in this segment of the �ilm industry will thrive if there was a sustainable system of creating quality narratives. It is therefore critical that the creation stage of the �ilm industry also bene�its from this investment.

Regulation and Policy: According to the report, “The government of Tanzania and the private sector should therefore take into account these investment opportunities so as to develop a conducive

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�iscal environment for potential investors to access credit to enable the �ilm industry to develop further.”

If telecommunication companies in Tanzania and East Africa lowered the cost of data, then internet streaming would become a viable competitor to broadcast television.

In fact, the study proposes that if the proposed East African Community Creative and Cultural Industries Bill 2015, is enacted into law, the govern-ment of Tanzania should place it as national law. This is because in most cases, the �ilm industry is considered a risk by �inancial institutions and taxation systems on importing �ilm instruments and equipment as capital goods is very high. The �ilm industry in Tanzania would therefore bene�it from a law that identi�ies audio-visual production as critical for regional trade and highlights areas for exemption of taxes.

The report goes on to illustrate how legislative and policy issues impact the nature and performance of the value chain in different contexts and suggests signi�icant attention needs to be given to setting up supportive policy frameworks, which typically entail promoting �ilm and �ilm business education, economic support for the arts and provisions for local content regulations for broadcasting.

This means recognizing each stage in the �ilm value chain as a business and protecting their interests through copyright and the ef�icient administration of rights and legislatively ensuring that the intellectual property and investments of all actors in the industry are protected and remunerated.

There are currently no guidelines on the nature of the contracts or the manner in which actors are paid. Actors have complained that they are paid to shoot one film, only for it to be divided into Part I and Part II. Lack of formal education, poor management systems and proper professionals is the root cause of such problems. This provides an opportunity for professionalizing the �ilm industry through training on rights and obligations, technical skills, strengthening copyright management as well as regulation of the industry to curb piracy. This calls for innovation in copyright management that involves sophisticated technology to monitor and track use of �ilms and the remition of royalties to artists on an annual basis.

Technology and Convergence: Digital media provides the opportunity for the convergence of internet, broadcasting and telecommunications that creates an opportunity for services such as Video-on-demand and YouTube Videos. According to Andrew Fraser, the former head of Sony Mobile South Africa, “Internet streaming is a serious competitive threat to broadcast television in South Africa, but the technology is hamstrung by cost challenges,” as quoted by Balancing Act, an analytical report on telecoms, internet and broadcast in

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Africa. In Tanzania and East Africa streaming technology is still a challenge because the cost of data is high. If telecommunication companies in Tanzania and East Africa lowered the cost of data, then internet streaming would become a viable competitor to broadcast television. This would also become an enabler for �ilms to reach wider audiences. Thus becoming a potential area for advocacy for �ilm industry stakeholders with the TCRA that regulates tariffs for telecoms.

There is an opportunity to develop the pitching infrastructure so that �ilmmakers can attract Angel investors and Venture Capitalists to expand teasers into longer feature �ilms.

Audience: With an increasing number of television set owners in the Sub-Saharan Africa, there has also been a rise in audience numbers. There is also a willing, able and ready to buy market for African �ilms. In addition, the emergence of different �ilm festivals in the East African region, have contributed to audience development. The value chain analysis report points out the various festivals such as: Zanzibar International Film Festival, Arusha African Film Festival, Uganda Film Festival, Burundi Film Festival, Kenya International Film Festival and the Slum Film Festival both being from Kenya, and have been instrumental in enabling audiences to see new �ilms.

These multi-cultural and trans-regional festivals have an auspicious role to play in developing new markets for local and regional artists and their products across the region and enhancing mobility of the �ilm players across the region.

Support institutions: Emergence of organizations to support the �ilm industry in East Africa such as Docubox and African Film & TV Resource Centre in Tanzania, Maisha Lab in Uganda, East African Film Network (EAFN), Kilimanjaro Film Institute and CDEA in Tanzania contribute to the development of industry through training, workshops, development through mentoring, production grants and screenings. On the other hand, only a few �ilm-making training schools are currently available in Tanzania, most of which are start-up companies offering short courses. However, a key challenge on �ilm festivals in Tanzania is that they do not attract serious �ilm buyers and investors. There is an opportunity to develop the pitching infrastructure so that �ilmmakers can attract Angel investors and Venture Capitalists to expand teasers into longer feature �ilms to be marketed to digital TV channels.

In conclusion, the Tanzania Film Industry Value Chain Analysis report makes a point that investments in the key areas around broadcasting, distribution, policy and regulation, technology and audience development, the industry, would be the only way that sector can sustainably contribute to youth employment and economic development in Tanzania.

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Turning Challenges in Business Ideas for the Music Industry in Tanzania

By Mandolin Kahindi and Kenneth Kasulwa

The government of Tanzania and the private sector has been urged to develop conducive �iscal environments for potential investors to access credit to enable the music industry to develop further.

Music is among the leading genres of creative arts in Tanzania such that the government has established a mechanism to monitor the contribution of this sector to the GDP of Tanzania. Tanzania Revenue Authority (TRA) started collecting revenues from the �ilm and music industries through tax stamps on tapes. For the �inancial year of 2013/2014 a combined amount of revenue from the music and �ilm industry collected ammounted to a total of TZS17,231,954,115.18. During this �inancial year 2014/15 up to March 2015 a total of TZS133,211,639 has been collected. Although music production in Tanzania is still on the rise, over the years, Tanzania has managed to export its music to various countries in the world. This helping to reaf�irm the country's presence on the world map thus accelerating growth. Although much export has been done in the East and Central Africa, Tanzania has managed to reach European countries with help from Tanzanians in the diaspora.

Despite the fact that the industry is facing some dif�iculties, it has also demonstrated to be pro�itable for practitioners in the music value chain. The government of Tanzania and the private sector have been urged to develop conducive �iscal environments for potential investors to access credit to enable the music industry to develop further.

A value chain analysis report for the music sector in Tanzania released by the Culture and Development East Africa (CDEA), highlighted how challenges faced by the music industry can be turned into opportunities in Tanzania. It further looks at how legislative and policy issues impact on the nature and performance of the music value chain in different contexts.

In Tanzania, signi�icant attention needs to be given to setting up supportive policy frameworks, which typically include promoting music and music business education, economic support for threats and provisions for local content regulations of broadcasting.

This means recognizing each stage in the music value chain as a business and protecting their interests through copyright and the ef�icient administration of rights and legislatively ensuring that the intellectual property and investments of all actors in the industry are protected and remunerated.

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Issues relating to freedom of expression, censorship and control of the media play a role in shaping the different segments of the value chain, by impacting directly on the content of music, its circulation and distribution.

The music value chain starts from the Creation stage. Challenges experienced range from lack of motivation, limited musical knowledge and writing technique, limited bene�its from copyrights, limited innovation, and limited pro�its from their creativity. While in the Production stage challenges include: high recoding costs/ production equipment, low skills and capacity, limited application of technology thus affecting the quality, as well as the cost of production equipment.

Tanzania music industry’s support professionals (such as managers, lawyers, and �inancial advisors) need to get equipped with suf�icient industry-speci�ic knowledge.

Other stages include Distribution, which is a result of limited structures, weak regulation, government policies and the absence of an enabling environment. The Delivery Mechanism faces challenges of exploitation due to irregular price issues for promoters (performance fees for local, regional and international levels), high license fees for foreign performers (TZS 1m) poor royalties collection system, as well as the lack of a system that monitors the number of times a song played on broadcast media. In the last stage, Consumption stage, the audience receives low quality production.

Overarching challenges of the music industry include piracy, the sector considered a risk by �inancial institutions, taxation systems on importing music instruments and equipment as capital goods. Very few well-equipped music schools are currently available in Tanzania Others include: Lack of legislation that protects musicians from broadcasters, monopolistic ideology from the broadcasters, few international festivals where artists could strive, expensive taxes to run music production houses, dif�iculties in tracking sales and revenues and industry segments

In order to overcome these challenges the process of enhancing the skill base of actors and stakeholders along the music value chain needs to start.

“A key skills-development area for the growth of the music industry will ensure Tanzania gets the music industry’s support through professionals (such as managers, lawyers, and �inancial advisors) who are equipped with suf�icient industry-speci�ic knowledge to interact meaningfully in the process of negotiating contracts and sourcing �inancial support” the report revealed.

It further highlighted that training artists to manage their careers effectively and professionally

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professionally, will ensure that artists in the music industry (composers and musicians) are better equipped to manage their careers in the absence of existing management actors, such as record labels.

Additional interventions are also needed to ensure that the context in which industry actors and stakeholders operate is an enabling one. The role for de�ining and implementing these measures is one where governments should take the lead so as to ensure the sustainability of such a process, extensive participation with industry actors and stakeholders.

There is an opportunity to set up entertainment incubators driven by technology offering a combination of seed money, advice, education and connections.

Business Environment: Setting up an enabling environment for industry growth is critical for attracting private sector investment This may include enabling access to music infrastructure and entertainment incubators (that combine creative, technological and musical skills) to create innovation in the entertainment industry, facilitating access to import permits for music equipment as well as provide for tax and VAT exemptions on music equipment should also be considered.

The technology industry has seen an explosion of incubators, accelerators and other instruments designed to help start-up companies’ race towards launch, viability, funding and exit. Opportunities are availing themselves for social innovations linked to sectors such as education, health and the environment. There is an opportunity to set up entertainment incubators driven by technology offering a combination of seed money, advice, education and connections.

In Tanzania, if the issue of copyright is addressed, there is also an opportunity to open up entertainment incubators such as in the music and �ilm sectors that will build winning companies to deliver the kind of pro�it that Angel and Venture Capitalists are looking for.

On the other hand, a disruption in the entertainment industry, both music and �ilm, could be through collaborative fundraising for a project or consor-tium of believers crowd-sourcing for a project.

Audience Development: This should also include discovering local and promoting audiences: This can be done through competitions broadcast through mass media.

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In Tanzania, festivals as a tool for audience development include Bagamoyo Festival of the Arts, Sauti za Busara and Karibu Music Festival. These multi-cultural and trans-regional festivals have an auspicious role to play in developing new markets for local and regional artists and their products across the region. Sauti za Busara is often the platform to launch new sounds that are not mainstream. In fact, Santuri Safari is an idea that brings together the traditional and futurist collaboration between musicians, DJs and electronic music producers to bridge the gap between traditional artists and the cutting edge global underground music scene.

Santuri Safari focuses on concepts of innovation, collaboration and creativity within East Africa and uses Sauti za Busara as a platform for experimentation, learning and expression for musicians, DJs, curators, and audio engineers as well as meeting new audiences.

Tanzania music industry’s support professionals (such as managers, lawyers, and �inancial advisors) need to get equipped with suf�icient industry-speci�ic knowledge.

Policy and Regulation: There is need for revision of Copyright and Neighbouring Rights Act, No.7 of 1999 (CAP 218 RE 2002) to strengthen the institutions that can curb legal reproduction and/or distribution of music products.

The WIPO (2012) study has indicated that data for the music sector is not well disaggregated to show which sector of value chain contributes more to GDP, employment and Trade. There is need for the government to set up a cultural desk at the National Bureau of Statistics committed to disaggregating this data based on International Standard Industrial Classi�ica-ion (ISIC) Codes and trending data.

In addition, the coordination between government sector departments like BASATA, Ministry of Trade and Industry, Ministry of East African Cooperation and National Bureau of Statistics should strengthen so that they can work to achieve common objectives of systematic data collection for the music industry that will enhance planning and resource allocation by the government and private sector.

Distribution and Copyright Management: There is need to ensure that promotion of local content through broadcasting systems and digital channels, as a result of digital migration, does not mean exploiting the composers and musicians.

A number of independent music producers have emerged in Tanzania, mainly focusing on producing hip hop, gospel and R&B music. In addition, the use of online platforms for distribution of music, such as Mkito.com and Mdundo.com have become popular distribution channels for music since they provide a transparent system for

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monitoring sales of music. On the other hand, telecoms such as TIGO and Vodacom offer music to their listeners at a fee. At continental level, Africori.com pays royalists to musician who register with it for music to be accessed through TIGO.

CMEA also tracks the amount of advertising done in a speci�ic media and calculates the amount of royalty that the media house is supposed to pay an artist.

However, the government of Tanzania is in charge of all royalties collection and distribution to musicians. However, the emergence of the Copyright Management East Africa (CMEA) whose main goal is to regulate intellectual property rights of artists working zone of the East African, will soon see the separation of Copyrights Society of Tanzania (COSOTA) as a royalty collection and management organization for music on mainland Tanzania. Working closely with (COSOTA, CMEA collects data of all played songs within the East African region and provides it to COSOTA who in turn pays the artist the required amount to be paid. CMEA is the �irst company to provide such services here in Tanzania. The company also aims at acknowledging the composers and producers of the song when distributing the royalties.

CMEA also tracks the amount of advertising done in a speci�ic media and calculates the amount of royalty that the media house is supposed to pay an artist. This will go on to even the days an artist decides to quit music, they will be able to receive royalties when their music is played in any media houses.

If the government and other development partners work closely with such companies, then musicians, composers, and producers will be receiving the desired income thus boosting the economical aspect within the company.

Furthermore, with a well detailed database that such companies could have, it could be easier to eventually formalize the industry.

In conclusion, although music production in Tanzania is still on the rise, over the years, Tanzania has managed to export its music to various countries of the world. Although a large quota of exports have been in the East and Central Africa, Tanzania has managed to reach the European countries because of the diaspora community. The value chain analysis shows that if the challenges are turned into business opportunities, the industry is set for an upward growth trend.

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Incredible East African Documentaries Coming to a Screen Near you

By Rebecca Corey

Docubox East African Documentary Film Fund, is a Nairobi-based organization that exists to enable talented, driven, focused and accountable East African artists to produce unique �ilms that unearth new realities and cross trans-national boundaries. Through grants and Masterclasses, Docubox promotes East African �ilmmakers to share their unique stories with the world through creative documentary.

Through grants and Masterclasses, Docubox promotes East African �ilmmakers to share their unique stories with the world through creative documentary.

In 2014, Docubox, which is supported by the Dutch foundation Hivos, supported 12 Kenyan projects to make fundraising teasers for their documentary ideas. Six of those projects went on to receive larger production grants. This year, Docubox opened up the programme to Uganda and Tanzania. Tanzania Heritage Project is one of the two projects that were selected to be part of a collective of grantees from Uganda and Tanzania, to be supported to develop a better understanding of story and narrative, marketing and distribution, funding and commissioning.

Since 2012, the Tanzania Heritage Project has existed to preserve and promote Tanzanian musical culture, especially through the digitization of its archives and via collaborative projects with musicians of the older generation. The project has been lucky to receive the attention and support of many people from all over the world, and multiple �ilmmakers have approached me over the past few years requesting to make documentary �ilms or TV shows about our work. *** Though I was pleased by this, of course, I always had reservations about a foreign �ilm crew being able to truly do justice to the amazing and layered story held within the archives, and so I always thanked them for their interest, but passed on the chance. All that changed earlier this year. The �irst thing that happened was I met Amil Shivji (of Kijiweni Productions), a Tanzania �ilmmaker who is committed to telling Tanzanian stories with the dignity they deserve. The second thing was hearing about Docubox, the East African Documentary Film Fund, based in Nairobi, Kenya, that exists to support the projects of people like Amil.

I had often underestimated the power and importance of people telling their own stories — not just as subjects being interviewed, but as the people who shape the narrative itself. This is because I had mostly been exposed to the types of documentary �ilmmaking that privileges the outsider, and usually only scratches the surface. This format of storytelling, that mostly views the place and people through the perspective

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of an adventurous traveler, an intrepid foreign journalist or a well-meaning NGO, often fails to truly recognize and respect the agency of the individuals they encounter. It also means that both the creators and the intended audience are the foreign crowd, and so when Tanzanians do view these works they are seeing themselves not through their own eyes, but through the eyes of an outsider.

As it turned out, Amil had always been interested in using old Tanzanian music in his �ilms, but had found it dif�icult to �ind any. After telling him about our digitization project that focuses on endangered music, he agreed to help me document it. When we heard that Docubox was funding feature documentaries about East Africa by East African �ilmmakers, we decided to apply as co-directors.

Amil and I pitched an idea for a documentary called “To Be Loved” that follows the well-known Tanzanian musician John Kitime.

Amil and I pitched an idea for a documentary called “To Be Loved” that follows the well-known Tanzanian musician John Kitime as he embarks on a quest to revive Tanzanian “zilipendwa” music from the Golden Era (the 1960s-80s) by any means possible, including helping out with the Tanzania Heritage Project’s digitization efforts and putting together a new band to bring back the classic Tanzanian sound. Luckily, our application was accepted and at the end of July we were invited to Nairobi for Docubox’s Masterclass with eleven other projects.

During this workshop, we got to interact with other East African �ilmmakers, who are working on fascinating documentaries that address topics such as polygamy, atheism, prostitution, philanthropy, traditional birthing practices, and even sports betting. We also attended masterclasses led by three acclaimed international documentary �ilmmakers, Laura Nix, Marc Hoeferlin, and Adeyemi Michael, who are serving as our mentors.

It was incredibly inspiring to meet these �ilmmakers, who are being empowered by Docubox to take East Africa’s stories out into the world, from an East African perspective and within a community of progressive artists and storytellers.

In two weeks, we will submit our teasers, and then at the beginning of October we will attend a second Docubox Masterclass, this time in Kampala, Uganda. At that point, the six projects who will receive additional funding to go into production with their documentaries will be revealed.

Regardless of whether our project is within the �inal group, this experience has been greatly rewarding. We hope everyone will look out for six incredible documentaries about East Africa, and created by East Africans, coming soon to a screen near you…

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Tanzania at the Age of Wonderland where Science Meets Art

Ahadi Katera, a global fellow of 2015 Age of Wonderland

By Ahad Katera

Age of Wonderland is a programme based on mutual knowledge exchange between creative practitioners from the global Hivos network with the creative and High Tech community in Eindhoven (the Netherlands).

Young talents are invited to join forces with Eindhoven’s community of designers, scientists, engineers, students and artists to develop innovative ideas that have the potential to boost sustainable social change worldwide.

The 2015 edition of Age of Wonderland, addresses the intertwined and complex issues around our global food system, challenging creative practitioners to re�lect upon the processes of food production, - consumption and distribution. Innovators invited to Eindhoven interrogate relationships between food and environmental, technological, economic and social concerns.

In February there was an open call for proposals from creative professionals, (young) emergent artists (between 21 and 45 years) and researchers from Africa, Asia and Latin America, working on the fringes of art, design, science and technology. Creative makers that are connected to a local organization, university or community are especially encouraged to apply for this program.

Hivos extended the opportunity for innovators from the three hubs in East Africa. Since CDEA has been conceptualizing the idea of S.M.ART (Science meets Art) to address issues around Art, Urban Settlement and the Envi-ronment through a creative city planning approach, it extended the call to participants of the Dare to Change Dar es Salaam, a social innovation initiative. In March 2015, a social innovator from CDEA’s Arts Space, Ahad Katera, an Industrial engineering student of the University of Dar es Salaam, was the only representative from Africa, selected to be part of the residency for Social Innovators relatSEPTEMBER 2015ed to Gr and JOURNAL | MAeenSHARIKI

Fair Food in Eindhoven.

Ahad Katera shares his story of trying to address a social problem using the mixed approach of visioning, learning, networking and taking the �irst step.

*** My name is Ahad Katera, (23), an engineer, CEO and co-founder of Guavay Company Limited, a green technology company that recycles Dar es Salaam's urban organic waste into high quality organic fertilizer. When we started one year ago, we had no money unlike most people that think you need capital to start a business; the truth is you need capital to grow a business.

We only had hopes, dreams and a vision and we were ready to take risks, fail and start again. We started talking to people, visiting of�ices, making small prototypes for the technology that we invented and we pitched our idea at one of the business incubators in Dar es Salaam, DTBi where we are currently incubated.

After a period of �ive months, one of the partners that we work with in realizing how art can meet science to bring sustainable change, CDEA Cultural Development East Africa, linked us to a global social innovation competition. We never thought we could turn out to be winners from all over Africa with our innovation. Currently, I am a global fellow of 2015 Age of Wonderland and at a six weeks social innovation incubator, in the Dutch city of Eindhoven. I am looking forward to learn, explore and present our work from Tanzania that will be pro�iled in the world renowned Dutch Design Week Exhibitions in October 2015.

To me this is an outcome of saying "Yes", when people say "No", saying I can when friends, family and others say you can’t and trying more when you fail. Starting a company that not only seeks to make pro�it but as well impact the local community has really been a key lesson within our one year of operations. I recall the moment when we had to express how we can create job opportunities for people living in Gongo la Mboto to Hon Jerry W. Slaa, former Mayor of Ilala Municipal. From that conversation we were able to secure a management contract to manage the municipal’s waste facility to pilot our technology.

One of my favourite Chinese sayings goes, ‘the longest journey always begins with a single step.’ These steps led us to win an innovation prize fund from TANZICT and COSTECH. I know we still have many steps to take in the process, many people to meet, challenges to face and more success along the way. Whether you are an artist, student, engineer or entrepreneur bear in mind that the tragedy of life does not lie in reaching your goal, but the tragedy lies in not having a goal to reach.

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Sarabi Band’s Lyric Melody a Precious Gem ...

Leaves Dar es Salaam Pleasantly Surprised

By Salome Gregory On August 1, 2015, CDEA launched its inaugural East African Vibes Concert (EAVC)2015 at Nafasi Arts Space in Dar es Salaam. The aim of the concert was to provide a platform to promote conscious music and create a sense of social cohesion among East Africans through mobility of artists from the region to Dar es Salaam.

CDEA used the opportunity to launch Midundo Online Radio, http://www.midundoradio.co.tz/, supported by a Google Play application to enable the radio to be accessed via smartphones. The radio targets youth by promoting emerging musicians and providing them an annual platform to perform with more established musicians through the EAVC Platform. This is CDEA’s contribution to the democratisation of cultural space by improving access for musicians who would otherwise not have the opportunity to be heard. *** When I arrived at the Nafasi Art Space located in Mikocheni on the 1st of August 2015, everyone at the gate was anxious to get their tickets. It was 7pm, cars were driving in to secure parking. A red carpet had been spread and photographs were being taken.

To my right was the stage, the show appeared to have attracted more people than one would have thought possible based on the location.

“I am really enjoying the concert however think it is unfair to bring such a thrilling eventto a place not well known. It is an arts space but I think they would have made more pro�it, if they had selected a venue like Mlimani City Hall,” said Ramadhan Omary, one of the attendees.

The concert aimed at showcasing Sarabi Band, the biggest conscious music band in East Africa, calling for open and accountability governments, social justice and public action. Erick Omondi, the funniest comedian in East Africa, Santuni Safari, an East African movement promoting new music and Leo Mkanyia’s Swahilli blues as a way of promoting East African social cohesion through music. As well as Grace Matata.

“I am so grateful that we can move across borders in East Africa with no problems. The most important thing is to find a way for us as artists to work together,” Omondi said.

However, in the end it was Sarabi that stole the show with songs like Sheria and Muzalendo. Mzalendo being quick be�itting for the moment, as Tanzania will be holding elections on the 25th of October. The song speaks of peace:

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Kuna mtu mzalaendo Anapenda nchi yake Anapenda ra�iki zake Na watoto wajirani zake Nahawezi kulala njaa Ana mara�iki zaidi na ndugu zake

And with that melody and message of peace and love, Dar es Salaam embraced Sarabi Band.

CDEA promised to host the next EAVC in August 2016 at a more accessible location of Dar es Salaam.

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POETRY

If I Were Lupita Nyong’o

By Gregory Mwendwa

If I were Lupita Nyong’o I would re-open the Kenya National Theatre (KNT) Alongside Uhuru Kenyatta And spend time, validating the dreams, Breeding out of this space.

If I were Lupita, I would be a life time ambassador, to The Phoenix Players – Kenya In solidarity, with their lifetime struggles.

If I were Lupita I would bring together, the fraternity of MTV Shuga to count the milestones so far achieved, towards an HIV Free Generation.

If I were Lupita, I would show up at the Ministry of Sports, Culture and the Arts – Government of Kenya ready to undress the issue of government's support to the arts.

If I were Lupita, I would pass by the Ministry of Devolution and Planning. and ask them to draw me a map of #SanaaMashinani.

If I were Lupita, I would call for a candle light vigil, At the Kenya Institute of Curriculum Development in memory of the dreams that have died, since art was scrapped from curriculum.

If I were Lupita, I would go on a hunger strike, Till, they reintroduce the arts, back into the school curriculum.

[ But you see, I am not.

I have gone wild With WildAid For the Elephants ]

The writer is popularly known as Mwalimu, and is an independent consultant in the Social Change sector, with focus on Development Communication, Social Innovation and Social Enterprise. He is also a Creative Director at WiBO Culture *** Congratulations Mwalimu, you win a copy of Stains on My Kanga, by Sandra Mushi, Tanzania

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Trapped

By Neema Komba (NEYK)

Who am I, you ask?

Yet I wonder if I tell you my name Will you care?

You have your vision for perfection Something blonde, Something small, Something resembling, NOT ME. I am not crazy, To open up my world for your judgment, Nor am I seeking fame, Though I can live with a million-dollar name Who am I you still ask?

I am ironman, Trapped in luscious curves of a woman...

Blinded with ambition, Consumed by dreadful lust, For success, for a name And for a million-dollar home.

A soul seeking redemption, Wishing I had stayed true to myself.

I am that voice, Trapped in every head…

Hope for every mind that feels caged.

I am you…

Too insecure to be myself…

Pulled by chains of expectations.

Survival of the �ittest left me dreamless, A �ighting cliché is all you think me to be.

Yet I can be more, I know I can be free…

If you still want to know me, I am intellect…

Trapped in these words, Lost in a hole.

Vesting all my hope on a rope Coming somewhere from above

Slowly climbing, Slowly �inding, A home for my powerful mind.

When I am no longer just a face Seeking approval from a critic; When I am �inally unafraid to be me, When I care not what you think Or what you expect me to be…

When the voice in me is �inally free…

When I am a POET. The writer is the winner of the Etisalat Prize of Literature, Flash Fiction 2014. *** Congratulations Neema, you win a Copy of Thousand Voices Rising, an anthology of Contemporary African Poetry

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This publication has been made possible with support from CKU –Centre for Culture and Development