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Tampilkan postingan dengan label community. Tampilkan semua postingan

Cameroon's endangered Elephants

Julie Owono writing in Al Jazeera:
Image courtesy of USA Today
The year 2012 started dramatically for elephants in the central African country of Cameroon. According to the UN, 450 carcasses of these animals - a protected species - have been found in the Bouba N'Djida National Park, near Cameroon's northern border with Chad. The slaughter is especially worrisome given that, as of 2007, the International Union for Conservation of Nature (IUCN) estimated that only 1,000 to 5,000 elephants are still left in Cameroon.

The massacre is sad proof that in spite of serious efforts, poaching continues to damage Cameroon's biodiversity, endangering an animal so important in the collective imagination of a continent.

Cameroon's Ministry of Forestry and Wildlife, the government agency in charge of the country's anti-poaching policy, saw its budget slashed from $43m in 2011 to just $33m in 2012. The money dedicated specifically to anti-poaching action was only $2m in 2011 - an amount clearly insufficient for tackling the problem.

The Bouba N'Djida National Park, where the elephants were killed, comprises about 2,200 square kilometres, making it the biggest protected area in the country. Only five guards patrol its grounds, one of whom was killed in 2011. They receive a modest salary of $160 per month. In April 2011, it was announced that the US embassy donated $39,000 worth of equipment to the park, including motorcycles, bicycles, radios, digital cameras and truncheons
More here

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The Arterial Network

The creative network highlights the Arterial Network whose goals include:
To build and/or further develop effective, sustainable national, regional and continental networks within and across arts disciplines to play advocacy and lobbying roles within countries, regions, on the continent and internationally as appropriate, and in support of the African creative sector...[continue reading]

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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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Brooklyn Artists Gym

In Brooklyn, a model for everywhere - Brooklyn Artists Gym:
Brooklyn Artists Gym is an artist studio and gallery facility in the Park Slope/Gowanus area of Brooklyn, New York. BAG’s mission is to help make it possible for artists to further their work and careers at a reasonable cost.

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Parkour Egypt

In Cairo:
Photo by David Degner
...I ran into one of the folks behind Parkour Egypt. He's also a co-founder of Cairo Hackerspace...connect the dots.

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Makoko's Hive Mind

Adun Okupe writes about the under appreciated 'Collective Intelligence' exhibited by the Makoko community in Lagos:
Image courtesy of NLE
...within such ‘chaos’, or apparent disorganization, the system works. Somehow it does, and nowhere is this more exemplified than in Makoko, Lagos’ water community. Kunlé Adeyemi of NLÉ works is doing some very interesting work in this community and I am enthusiastic. Not only does the community provide 33% of Lagos’ fish supply and a high proportion of its timber, but it is also the city’s cheapest
dwellings...The fact that this community is existent after 100years shows that there must be a way around this. A form of collective intelligence that goes into how the residents co-habit successfully, how they build, how they plan their dwellings. I find it interesting and exciting. Excited to learn more about it, to understand it, and know how this intelligence can be replicated across the city in terms of intelligent and effective urban planning.
This is intelligence.
More here
via Nigerians Talk

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Building Technology Villages-AproTech Ghana

In the spirit of various initiatives that focus on indigenous self-sustaining DIY philosophy's.We spotlight The Appropriate Technology Centre (‘the Centre’) a brainchild of Kofi Sam covered earlier. The centre's recently proclaimed manifesto makes a number of observations and contentions:
Uncle Joe's roofing sheet fabrication facility
At first glance,there’s nothing extraordinary about the shed sitting next to Uncle Joe’s mud brick home in the coastal Ghanaian village of Atabadze.Inside there’s a certain familiarity about the clutter – tools propped up against stacks of roofing sheets and machinery – the kind of organized chaos you’d find in tool sheds and workshops anywhere in the world. But the sheer ordinariness of it of all belies the fact that this is the birthplace of a remarkable and important technology.Those roofing sheets – Uncle Joe made them,out of local river sand,using only his own ingenuity and the electric vibrating table in the corner – he made that too.
Uncle Joe is an innovator.He has brought his community something they never had before:a roofing material that is both sturdy and affordable.Before his intervention,his neighbours had a hugely unsatisfactory choice between using expensive,often imported, manufactured materials, or local unprocessed thatch, at a fraction of the price,but at the cost of durability;there was no middle ground.But Uncle Joe was not so sure this was necessarily a matter of ‘either or’; why couldn’t there be an alternative that was both manufactured and local, he wondered.
So he set about answering his own question,experimenting with local environmental inputs and different manufacturing processes.And through his efforts he developed a process to produce roofing sheets from river sand – a sturdy,high quality product The poor need opportunities to generate income and work themselves out of poverty manufactured from a sustainable local resource. To produce these sheets,Uncle Joe even had to build his own electric vibrating table,a vital piece of machinery that blends the sand with a small quantity of cement (added as fixative),enabling the mixture to set.All in all,an unlikely triumph of innovation considering the poor infrastructure and extremely limited availability of capital and manufacturing know-­‐how in his rural locality.
Uncle Joe is a prime example of the creativity and dynamism that are blossoming in Africa; one of the manyindividuals and communities championing innovative technologies that,by mobilising local resources to provide essential goods and services,and create income generation opportunities for the poor,can deliver sustainable and equitable ‘grassroots’development across the continent.And yet his story also illustrates the uphill task they face.
For all the originality of his idea and his dedication to implementing it,Uncle Joe cannot currently make ends meet manufacturing tiles – he simply cannot afford to hire the labour he needs to produce viable volumes.Without capital,his operation will not reach a level at which the technology can really impact the livesof the poor.
In conclusion
For the global development community (donors,NGOs,etc) Uncle Joe’s story is one of opportunity: it highlights an opportunity forthem to create the opportunities the rural poor need to work their way out of poverty.To date the governmental and multilateral institutions with the resources and clout to change the lives of those living in poverty have favoured...To make meaningful inroads into poverty reduction in Africa,the development community must foster the growth of robust local industries that mobilise the continent’s substantial environmental resources to meet local needs and create opportunities.Technologies like Uncle Joe’s manufacturing process are the foundation on which such industries are built,and donors should support their development,whether by investing in the entrepreneurs pushing innovative local solutionsor by providing the tools and training rural communities can use to unlock the developmental potential in their local environment.
More here

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"Skateistan: To Live and Skate Kabul"

An official selection of the 2011 Sundance Film Festival:
In a country with innumerable problems, Skateistan represents an oasis where children can be children and build the kinds of cross-cultural relationships that Afghanistan needs for future stability.
via Hactivate

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