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Menampilkan postingan yang diurutkan menurut relevansi untuk kueri Swahili. Urutkan menurut tanggal Tampilkan semua postingan
Menampilkan postingan yang diurutkan menurut relevansi untuk kueri Swahili. Urutkan menurut tanggal Tampilkan semua postingan

Kenya's Eclectic Cuisine

Shane Mitchell writing in Saveur:

Photo: James Fisher
I find shelter behind twin blue doors in an alleyway, at the home of Lela Abdulaziz, whose family owns several fruit and vegetable stalls in the city's main market. I struck up a conversation with her earlier this morning, while buying black Zanzibar peppercorns from her father. On hearing that I'd come to Mombasa to learn about the foods eaten here, she invited me for lunch—my first taste of home cooking in this part of East Africa, a region knit together by a complex skein of linguistic and religious kinship that constitutes Swahili culture. In her foyer, Lela sheds her bui-bui, the black robe and head covering worn by many Swahili women, and begins preparing the meal. First, she unfolds a low wooden stool that has a serrated blade affixed to one end. She sits, a half coconut gripped in her hennaed hands, and grates the white meat against the blade into a fired-clay bowl. Then she stuffs handful after handful of shredded coconut into a woven-palm-frond strainer called a kifumbu. I watch as she pours in a cup of water and squeezes the kifumbu to extract the coconut's rich, thick milk, which she stirs into a chicken stew, called kuku wa nazi, that has been simmering in a pot on a charcoal brazier.
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Twaweza

Twaweza's name means:

...“we can make it happen” in Swahili. It is a new citizen-centered initiative, focusing on large-scale change in East Africa. Twaweza believes that lasting change requires bottom-up action. We seek to foster conditions and expand opportunities through which millions of people can get information and make change happen in their own communities directly and by holding government to account.
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Selections from the New Book Making Do

In The Atlantic excerpts from the Steve Daniels book Making Do:




Images by Steve Daniels

Leonard is one of millions of entrepreneurs who rely on informal mechanisms in Kenya, where the informal sector comprises a full three quarters of the non-agricultural economy and produces over 90 percent of new jobs annually. Under severe material constraints, they are forced to improvise solutions to everyday problems that, from time to time, result in game-changing innovations that better address local needs. Informal artisans who engage in the production of goods are known as jua kali (Swahili for "hot sun") and have established entire ecosystems of production, from scrap sourcing to repair. The most advanced jua kali like Leonard have designed and built capital goods, such as lathes, that propel indigenous production forward. The jua kali have been largely ignored by formal institutions, regarded as a second-rate economy. Yet their drive for innovation, understanding of indigenous networks, and ability to work under extreme constraints make them ideal agents of industrialization.
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Indigenous African Institutions-George Ayittey

Brill's overview of George Ayittey's Indigenous African Institutions-2nd edition:

Since the publication of the first edition of Indigenous African Institutions in 1992, Africa has undergone a substantial change. Still, much mythology and misconception enshroud Africa and its people. An enduring myth claims that pre-colonial Africa had no viable institutions. This book is an attempt to provide a better, modern understanding of Africa and its people – not for cultural rehabilitation or romanticism but for practical reasons.
Traditional or indigenous Africa has not vanished; it is still the home of the real people of Africa – the peasant majority, who produce Africa’s real wealth using ancient institutions and practices. Kings, chiefs, and village markets still exist in Africa.
The object of development is to improve the lot of the peasants – not the pockets of Africa’s ruling elites – and it starts from the “bottom up” – not from the “top-down.” What is there at the bottom are the peasants, their institutions, practices, and economic ways of life. Africa cannot be developed by ignoring its traditional sector, nor can this sector be developed without understanding how it works. Africa’s salvation, then, lies in returning to its roots and building upon its own indigenous institutions. This ethos is captured by such phrases as “sankofa” by the Asante, “majimbo” in Swahili, and the mantra, “African Renaissance,” touted by President Thabo Mbeki of South Africa.
Botswana is the only African country that built upon its own indigenous institutions and prospered. Moreover, it was the same indigenous institutions African peasants utilized to engineer what historians call, “The Golden Age of Peasant Prosperity, 1880-1950.” In recent times, pro-democracy activists revived and modernized an indigenous African institution (the village meeting) into a “sovereign national conference” and used it as a vehicle to craft a new political dispensation for Benin, Cape Verde Islands, South Africa and Zambia – in the same way as the United Nations used a loya jirga, an ancient tribal democratic institution, to chart a new political order for Afghanistan in 2002. Similarly, the same indigenous African institutions can also be used to craft uniquely “African solutions to African problems.” Thus, the blueprint for Africa’s economic rejuvenation can be found in its on backyard; that is, its own indigenous institutions. Tragically, African leaders, elites and their Western development partners have seldom looked there.

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Cellphone Political Strategies in East Africa

In Aid Thoughts:

New media is all the rage. Tanzania’s political class has been pretty excited over the last week or two by the formation of a new political party, CCJ (the name stands for Chama Cha Jamii, or Party of Society). There are a number of interesting things about this event, but one of wider interest beyond the confines of Tanzanian political discourse is their use of an innovative way of registering new party members, normally poaching them from other parties: text messaging and internet registration. The Swahili daily Nipashe ran an article about this a few days ago which I’ve only just noticed now, under the headline ‘CCJ Yazidi Kujitanua Kisiasa’ (‘CCJ are Growing and Widening Themselves Politically’). It writes:“This strategy, unprecedented in the history of the whole of East Africa, relates to the use of news and communications technology [ICT] … as the service which allows citizens to join the party by electronic means wherever they are…”...[continue reading]


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Spoken Word Artists go from Page to Podcast

CNN reports on Badilisha Poetry Radio covered earlier:
It began as an annual festival to host local poets in and around Cape Town but thanks to the power of technology the ancient art of African story-telling is spreading around the world.A poetry collective decided to set up Badilisha Poetry Radio, which in Swahili means change. Its aim is to celebrate the spoken and written word through online radio and live performance.Broadcasting from South Africa, poet Malika Ndlovu and her colleagues are spreading their reach far beyond this corner of the continent...[more]

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Art from Nairobi's 'Shadow Cities'

Craig Halliday writing in Think Africa:
Nairobi’s slums run on a functioning informal economy and have their own bars, restaurants, pharmacies, cinemas and street traders like any other neighbourhood. At the centre of these communities is a vibrant creativity and a visually evident wealth of artistic talent. This can be found in the huge mural in the Mathare slum created by graffiti artist Bankslave (Kevin Esendi), or in the performing arts programmes run by Sarakasi trust and the studio photography sessions held by Peter Olendo
Image courtesy of Think Africa
..."Ghetto" Art from KiberaWith an increase of wasani (artists) operating within Nairobi’s slums, many have come together to form collectives and establish art centres. One such group is Kibera’s "Maasai Mbili", whose name in Swahili means “the two Maasai”. The Maasai Mbili Art Centre was started in 2001 by Otieno Gomba and Otieno Kota, neither of whom are actually Maasai. The name refers to a time when the two artists would dress as Maasai to attract customers to their sign-writing business. Saving their earnings, these two artists rented a small two-storey building in Kibera and created a new art space, which became the "Maasia Mbili Art Centre". The studio attracted many other artists from Kibera who came to learn from one another. Today around ten artists use the studio as a space for their painting and sculpting.
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Umoja

The Washington Post reports on the women-only village,Umoja.

Ten years ago, a group of women established the village of Umoja, which means unity in Swahili, on an unwanted field of dry grasslands. The women said they had been raped and, as a result, abandoned by their husbands, who claimed they had shamed their community...What started as a group of homeless women looking for a place of their own became a successful and happy village. About three dozen women live here and run a cultural center and camping site for tourists visiting the adjacent Samburu National Reserve. Umoja has flourished, eventually attracting so many women seeking help that they even hired men to haul firewood, traditionally women's work.


video link at Black Looks
via Global Voices

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Energizing Jua Kali's

A paper by Amollo Lorraine presented at Changing the Change, explores the possibilities of evolving Jua Kali's into medium sized industries:

The Western concept of industrialisation has met with little success in most African countries. The poor performance of industries has led to the emergence of micro and small scale industries. In Kenya, these micro and small scale industries have been commonly referred to as ‘Jua Kali’ industries. The term ‘Jua Kali’ is Swahili for ‘Hot sun’ referring to the open air working conditions of the entrepreneurs. Most Jua Kali industries start off and remain as informal enterprises as their owners often cannot afford the expensive and rigorous process of registering with the relevant Government bodies. This informality means that the Jua kali businesses have found it hard to access business development services or export markets as compared to the formal and larger industries. (King 1995, 24-30). The Jua Kali entrepreneurs as result remain poor and their businesses small and uncompetitive. Though the Government has recognized the potential of the Jua Kali sector as an employment opportunity for many Kenyans, it has failed to create an enabling and sustainable environment for these micro and small industries to grow...[continue reading]

photo courtesy of practical action

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