How do we change the narrative using technology?
Greetings
“For me, it matters that we drive technology as an equalising force, as an enabler for everyone around the world.” – Sundar Pichai
I have always seen technology as an enabler not the be-all-and-end-all that it has often been packaged as and have been thinking about this quote from Alphabet Inc’s CEO.
Sitting on the African continent, it doesn’t always feel like ‘an equalising force’ especially when the control of it (in particular digital technology and innovation) continues to be from outside the continent. And then I see something that shows that, despite the challenges, Africans are finding ways of changing their lives through the use of technology.
It is often in the simplest things. Nigerian Daniel Ajala was drawn to dance, ballet in particular, while in university and taught himself using YouTube. Once done with university and against all odds, he decided to open the Leap of Dance Academy to teach youngsters in his area. American filmmaker Jacob Krupnick has documented Daniel’s story - and that of his students - in the short film Then Comes The Body which has garnered countless awards over the last year and has qualified for the 97th Academy Awards.
A significant obstacle to innovation on the continent is funding. While there has been increased attention on the continent’s startups from venture capitalists, more can always be done. The State of African Tech Investment in 2024.
Podcasting in Africa is increasing rapidly with more and more launching podcasts and organisations like the Association of African Podcasters & Voice Artists and the South African Podcasters Guild doing a lot of work to create structure and a support system for podcasters. Both organisations also held awards this year (disclaimer: I am a member of both). There are also a number of podcast networks growing across the continent. However, there are still significant challenges faced by African podcasters as documented in Are Podcasts the Future of African Broadcasting?
In unpacking his design, philosophy and rationale for what he calls Luxurious Urban Mobility (LUMO0, Zimbabwean industrial designer Daryl K. Chirombo says, “This concept idea aims to explore different sustainability measures from material philosophy to propulsion technology and perhaps bring awareness within the African community to the possibilities that come from the utilisation of composite natural fibres and bioplastics in Industrial design.”
I find the way he draws from an African context when considering design elements, aesthetics and even materials.
I inherited my father’s record (vinyl) collection. Being a Ghanaian man coming of age in the 1950s, he collected a spectrum of music, particularly from around the continent, through the 1960s, 70s and 80s. I grew up playing the music but not really looking at the sleeves.
In Face the Music, Immaculata Abba explores how “Nigerian 1970s album covers reflected individual and national identities” in a way that is enlightening and compelling. The essay was written, in a way, as context for the creation of Album Cover Bank, which now has over 5,300 covers of Nigerian albums from the 1950s to date.
Archiving history is important. As Nelson Mandela is quoted as saying, “Anyone who has explored the world of archives will know that it is a treasure house, one that is full of surprises, crossing paths, dead ends, painful reminders and unanswered questions.”
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Till next time
Kojo