In the Mongolian language, the book explores how Mongolia’s vibrant rock and pop music scene led on business innovation and entrepreneurship in the country during the transition years (post-1989). Written by an ethnomusicologist, it details the key moments and events in this story, while splicing the narrative with first-person interviews with the major players.
The Environmental Public Awareness Handbook: Case Studies and Lessons Learned in Mongolia was published in 1999 by the UNDP Mongolia Communications Office. The EPAP Handbook and the Mongolian Green Book were funded by the European Union’s TACIS programme.
Ferguson and his Mongolian colleagues had spent two years mobilizing Mongolians across the country to take practical steps to address the country’s environmental problems as part of the Environmental Public Awareness Programme (EPAP). Few people had as much first-hand knowledge of the country and its environmental challenges as they did.
In its 2007 Needs Assessment, the Government of Mongolia found the EPAP projects “had a wide impact on limiting many environmental problems. Successful projects such as the Dutch/UNDP funded Environmental Awareness Project (EPAP), which was actually a multitude of small pilot projects (most costing less than [US] $5,000 each) which taught local populations easily and efficiently different ways of living and working that are low-impact on the environment.”
Robert Ferguson’s The Devil and the Disappearing Sea: Or, How I Tried to Stop the World’s Worst Ecological Catastrophe (Publisher: Raincoast Books, 2004).
Finding ways to increase agricultural productivity is key to expanding food supplies and making farming pay. With the world’s population continuing to rise and becoming more urban, there is a pressing need to improve both the quantity and quality of food supplies.
The many small-scale farmers across the global South – and their high levels of poverty – demonstrates the urgent need to change the way farming is done.
Based on Food and Agricultural Organization (FAO) census data, it has been estimated that some 525 million farms exist worldwide, providing a livelihood for about 40 per cent of the world’s population. Nearly 90 per cent of these are small farms with less than 2 hectares of land (Nagayets, 2005). Average farm sizes around the world run from 1.6 hectares in Africa to 121 hectares in North America.
Small farms occupy about 60 per cent of the arable land worldwide and contribute substantially to global farm production. In Africa, 90 per cent of agricultural production is derived from small farms (Spencer, 2002).
One social enterprise is pioneering the development and selling of innovative farming tools for these small-scale farmers to increase their efficiency and make their lives better and more profitable. The MoneyMaker Hip Pump is a lightweight irrigation tool designed to be used by anyone, but aimed especially at women farmers. It helps to increase the amount of water that can be pumped into a field during the dry season. To date, the makers of the pump, Kickstart (kickstart.org), claim to have sold 190,000 pumps. It can irrigate up to 0.40 hectare of land.
Kickstart, which calls itself a non-profit promoting technology and entrepreneurism in Africa, develops and markets simple agricultural tools for Africa’s rural poor so they can improve their businesses. The company estimates it has helped 600,000 people since it was founded in 1991.
The MoneyMaker Hip Pump was launched in stores in 2006 and received a sales and marketing push in 2008. It sells for US $30 and weighs 4.5 kilograms. Kickstart says the pump’s most effective attribute is its simple pivot hinge. This pivot hinge allows the user to combine their body weight and strength from their legs with sheer momentum to power the pump rather than straining upper back and shoulder muscles – something that is very hard on farmers’ bodies and leads to repetitive strain injuries that shorten a farmer’s effective working life.
The pump can pull water from 7 metres and push water up a field for 14 metres.
Kickstart says that by early 2012, it had sold 32,037 pumps.
Reporting in a paper for the World Bank, Vincent Nnamdi Ozowa found smallscale farmers needed five things that will make a big difference to their productivity: better access to information on new methods, scientific advances and timely market updates; better education and improved literacy rates;access to credit; better marketing; and better technology that minimizes drudgery and improves efficiency.
In 2011, Worldwatch Institute’s State of the World report found small-scale agriculture could be key to tackling world hunger and poverty. It urged a move away from industrial agriculture and towards small-scale farming in sub-Saharan Africa, believing it could make big gains by being more efficient and reducing waste.
Kickstart has found communities are receptive to the idea of using the pumps and building agro businesses.
“These are people who are already entrepreneurs, so it is not like we are sensitizing them; they are people who are trying to find ways to make money,” Kickstart Tanzania’s Anne Atieno Otieno told AllAfrica.com.
“When we meet them in the communities we talk to them about the value of irrigation versus relying on rainfall. Most of them are used to having to wait for the rain. At the time we were working with the Super MoneyMaker pump, which is a bigger, more expensive pump. They asked if we could make a low entry pump, which we passed on to our tech deputy and that is how we came up with the MoneyMaker Hip Pump.”
It is part of a range of products Kickstart makes to aid small farmers become more productive (kickstart.org/products).
KickStart believes that self-motivated private entrepreneurs managing smallscale enterprises can play a dynamic role in the economies of developing countries.
These entrepreneurs can raise small amounts of capital (US $100 to US $1,000) to start a new enterprise. KickStart then helps them to identify viable business opportunities and access the technologies required to launch the new enterprises.
Kickstart also uses something called a Mobile Layaway service to make it easier for farmers to afford a pump. This service lets farmers pay off the cost of the pump in small instalments by mobile phone. The farmer can choose how large or small the instalment is according to their means.
“Speaking to the women, and going out into the field and speaking with farmers, we identified a major obstacle – purchasing power, the ability to buy the pump. In Africa, in the field, the pump is a capital item,” Otieno said.
“They really have to organize themselves to be able to save for it. And so when we were speaking to the farmers, many were asking us, ‘Can you come up with a credit facility?’ or some system whereby they could purchase the pumps, because many of them wanted the pump but they were not able to afford it.
“The program works through a mobile phone service, MPesa (http://www.safaricom.co.ke/index.php?id=250) … so the farmers are able to save money, and send money through that program.”
Kickstart recently received an award from the US State Department and the Rockefeller Foundation for “transforming agriculture for women by harnessing technology and spurring entrepreneurship.”
2) The New Harvest, Agricultural Innovation in Africa by Calestous Juma. The book outlines strategies for making Africa self-sufficient and argues Africa is
Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP’s South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South’s innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.
In Britain, the country that gave the world the plays of William Shakespeare (http://en.wikipedia.org/wiki/William_Shakespeare), a new creative force has taken stages by storm: African theatre. And it is proving how economically rewarding Southern culture can be.
“African theatre is very eclectic and very narrative driven, which I think appeals to audiences. Here (the United Kingdom) it’s very much more reflective and intellectual,” director Nick Kent told The Independent newspaper.
Over the last decade, the world’s creative industries have gained greater recognition as an important spark that can drive economic development and entrepreneurship. World exports of creative products were valued at US $424.4 billion in 2005 as compared to US $227.5 billion in 1996, according to UNCTAD figures. It has grown by 8.8 percent a year between 1996 and 2005 (UNCTAD).
In Germany, more than 35 million people go to almost 110,000 theatre performances – not including opera and ballet – every year. That’s almost half the population.
The creative economy is seen as a fast growth area and good job creator, and importantly, a lynchpin of cultural identity and diversity. While the creative economy flourishes in North America and Europe, Southern countries are still not reaping its full benefits. Despite their cultural diversity and richness, out of 132 developing countries, 85 have never produced a commercial film.
UNESCO, through its Global Alliance for Cultural Diversity, has been in the forefront of helping African countries re-shape their policies to take this into consideration. The promotion of cultural industries also has been incorporated into the New Partnership for Africa’s Development (NEPAD).
Kent, the artistic director of London’s Tricycle Theatre, believes the popularity of African theatre is a product of its vibrancy and the fact both music and stories’ narratives engage with difficult topics.
“Since the apartheid era (in South Africa), African theatre has been more engaged socially,” continues Kent. “South Africa has managed to capture music and storytelling.”
Nigeria’s Nobel Prize-winning playwright Wole Soyinka packed Britain’s National Theatre recently by tackling tensions in colonial Nigeria in his play Death and the King’s Horseman. Another Nigerian play is Iya-lle (The First Wife), about a chief’s preparations for his wife’s 40th birthday. It runs at London’s Soho Theatre.
Yet another success is a re-telling stories from the Bible called The Mysteries – Yiimimangaliso — by the South African theatre company Isango Portobello. It was such a huge success when it first appeared on London’s stages in 2002, it will be returning in September.
One way companies in countries like Britain use to introduce audiences to new cultures and creative experiences is to run a special ‘season.’ In April, London’s Tricycle Theatre began a season of 12 plays about Afghanistan by a variety of writers. They were divided into half-hour mini-plays that could be seen in parts over several evenings or in a weekend marathon of 12 plays.
The project was so successful that the Tricycle is starting a South Africa season, beginning with the play Karoo Moose, an award-winning story about a girl’s struggle to survive in a village with the help of an escaped moose. Another play in the season is Koos Sas: Last Bushman of Montagu, a musical about a heroic rebel.
West Africa features in the play The Observer, also at London’s National Theatre. It tells the story of an election observer forced to rubber-stamp the victory of a corrupt president. Lost in the Stars, a musical adaptation of the novel Cry, the Beloved Country – a global success in the 1940s – explores racial tensions in apartheid South Africa and runs at the Queen Elizabeth Hall.
“African theatre addresses issues of identity and conflict,” said Dr .Yvette Hutchison, who lectures in African theatre at the University of Warwick.”Because of its history, there is much to explore. “European theatre became very intellectual and rational after the Enlightenment. African theatre remains spiritual and metaphysical. There is also less formality – the audience expects to contribute.”
The fresh perspective brought by African theatre is its appeal.
“I do think people have become tired of formulaic music in theatre,” said the British-born South African director of The Mysteries, Mark Dornford-May.
“African culture will incorporate, for example, Mozart and a work song, and perceive them as equally valid, or perhaps favour the work song. There’s also a lot of physicality. The audience expects to be engaged. In Europe you sit in your seat and don’t have contact with anyone and you may as well be watching a DVD. There’s a sense of excitement in African theatre and exuberance of performance.”
Published: July 2009
Resources
The British Council sponsors numerous awards for international creatives. Website: www.creativeconomy.org.uk
Creative Clusters: Creative Clusters is an independent policy conference examining the growth of the creative economy. It is interested in initiatives from around the world that are designed to have an impact in both cultural and economic terms. Website: www.creativeclusters.com
Iroko Theatre Company: The theatre uses traditional African theatre art forms to explore social issues that are of interest to children and young people and in doing so help them to experience new cultures and art forms. Website:www.irokotheatre.org.uk/index.html
Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP’s South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South’s innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.
David South Consulting 
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