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Always Behind: Kenya’s Languishing Creative Industry

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Recent case studies have revealed that the creative industry can be a significant earner to an economy. However, as ALEX ROBERTS argues, Kenya’s languishing creative industry can be attributed to lack of support from the Government.

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ALWAYS BEHIND: Kenya’s Languishing Creative Industry
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What was South Korea in the late 1970s? Say around 1979, during the first year of Daniel arap Moi’s presidency? It was a military state, run by a soon-to-be-assassinated autocratic leader, General Park Chung-hee, and still eight years away from becoming a presidential republic. It was a state in flux: the killing of Gen Chung-hee left a power vacuum, with political factions vying for superiority amongst the ruins of his toppled dictatorship. By any stretch of the word, South Korea entering the 1980s, and for much of that decade, could be described as a nation in turmoil, politically, economically and developmentally. It was a state at risk of falling back into chaos and becoming a cautionary tale.

Kenya, on the other hand, had new leadership. At the beginning of the 1980s, it was viewed by the international community as a shining example of a post-independence African state that looked set to be an economic powerhouse of the future. At that time, Nigeria was still under a military junta and South Africa was regressing into the bloodiest period of anti-apartheid action.

Yet, by the tail end of the decade, Seoul was hosting the 1988 Olympics, and less than four decades on, in 2016, South Korea had the 11th highest GDP on earth, behind Canada and ahead of Australia. According to the United Nations, in the same year Kenya was ranked 75th, just behind Uzbekistan and ahead of Guatemala.

What happened? A major factor is South Korea’s investment in the creative economy versus the Kenyan government’s approach of letting the entire sector be deprioritised and left to flounder alone.

In the case of South Korea’s film industry, one major shift occurred in 1994. At the time Hollywood films controlled most of the market while locally produced films controlled less than one-fifth. The government took a decision to invest in and emphasise locally-made films. Since then, the South Korean film industry, when coupled with K-Pop, has seen the rise of the “Korean wave”, a globally influential and massively profitable enterprise. It remains the modern model of the need for government support for the local creative industries.

With regards to K-pop (the Korean brand of bubble gum-style pop songs), the Government of South Korea played a direct hand in sustaining the momentum of this global musical force. A Ministry of Culture was formed in 1998, including a specified department exclusively overseeing the development of the nation’s music, with millions of dollars pouring in. Where the difference is further highlighted was the government’s targeting of music as a potential cash cow for the languishing economy. Much of Asia had been sucked into a whirlwind of economic turmoil in the late 90s, and the government needed alternatives for employment, taxable revenue and global influence. The government also ensured protection through effective policies and engaging with music industry members. Fast-forward two decades, and K-Pop is a US$ 5 billion industry.

In the case of South Korea’s film industry, one major shift occurred in 1994. At the time Hollywood films controlled most of the market while locally produced films controlled less than one-fifth. The government took a decision to invest in and emphasise locally-made films. Since then, the South Korean film industry, when coupled with K-Pop, has seen the rise of the “Korean wave”, a globally influential and massively profitable enterprise.

The creative economy has been defined as the ultimate economic resource within a nation. It’s the umbrella under which art, architecture, film, television, music, poetry, sculpture and writing exist. Kenya’s creative sector is a vibrant one, brimming with talent and possibility, especially when looked at through the opportunities it affords to the youth of the country.

Such opportunities are not exclusive to the Kenyan economy as the world is becoming modernised, and the creative sector is often an accompanying industry to modernity. In fact, the United Nations Educational, Scientific and Cultural Organization (UNESCO) has stated that the economic potential of the global creative sector was worth more than US$ 2.2 trillion in 2015. The creative industry has undeniably massive impact upon a nation’s potential GDP and can offer a built-in solution to lingering questions of “development”. A 2013 report from UNESCO outlines that the cultural sector is a vital aspect of the sustainable development of a nation, as the creative sector is not only one of the fastest growing sectors in the world, but also can be highly transformative in terms of income generation, job creation and a nation’s earnings through export. A 2010 policy statement released by the United Cities and Local Governments (UCLG) further reflects this, stating that culture is the fourth pillar of sustainable development for any nation.

So with all of this potential, why does the creative sector in Kenya languish? Why has Kenya not taken the leap into the void of the sector, that same leap that has produced billions for other nations, including within Africa?

The state of Kenya’s creative industry

An all too common complaint among artists within Kenya is that the creative industry is simply not a “serious” entity to be pursued as a path to a successful and lucrative career. This “lack of seriousness” has resulted in one of the worst policy frameworks for the arts in the developing world. Concerts go unattended, books are not bought (if they can be published at all), grants are not delivered, artistic facilities remain unfinished and draconian regulations are imposed on the content that can be produced. Radio stations play music from abroad and theatres show foreign films. As Nairobi-based singer-songwriter, Tetu Shani says of the current situation, “The day that Kenyan artists start living like politicians is the day you’ll see a shift in public perception and consumption.”

This issue is exemplified by the lack of policy and effective implementation of regulations surrounding the creative industry. When examining the music industry, the crux of the issue comes down to copyright. Most casual fans of Kenyan music are familiar with the story of the band Elani, which had a smash album and multiple hits in 2013 and 2014 after the release of their record Barua ya Dunia. The airplay was steady and the singles very successful. In 2016, Elani criticised the Music Copyright Society of Kenya (MCSK), stating that the organisation had only paid them royalties totaling Sh31,000. MCSK has been embroiled in constant legal and legislative turmoils, and had its capacity to collect, track and distribute royalties to Kenyan artists revoked due to a court order in 2018. MCSK has since been replaced by the Music Publishers Association of Kenya (MPAKE) in the role, yet the headlines and legal issues remain.

The ones who seem to get lost in the shuffle are the artists. The example of Elani is at the core of the problems that face the creative industries in Kenya; while there might be growth of the sector on paper, the artists or creators themselves don’t see the benefits materialising within their wallets. At an even more micro level, take the example of the National Environment Management Authority of Kenya (NEMA) enforcing noise pollution regulations against DJs in Kenya; security forces routinely go into clubs, arrest DJs for exceeding “noise restrictions”, even as they spin on the decks, and haul them off to jail. Such enforcements were not communicated effectively to the members of the music industry.

Again, the issues surrounding the enforcement of regulations continue when examining the burgeoning film industry in Kenya. Some estimates contend that over 90 per cent of films in Kenya are pirated, with the heavy-handed punishments outlined by legislation being rarely enforced.

On top of this, the head of the Kenya Film Classification Board (KFCB), Dr. Ezekiel Mutua, has made free expression through film and television markedly more difficult. Beyond his public criticisms of “gay lions” and cutting the release timeframe of Rafiki, the highest profile Kenyan film since 2011’s Nairobi Half-Life, down to less than a week (just enough time to qualify for the Academy Awards), Dr. Mutua has enacted steep license fees that have reduced the industry’s ability to operate independently, including the hoop-like requirement of filmmakers needing multiple licenses to film in multiple counties. It has become common for Kenya-based films and content to be filmed in South Africa. Indeed, Mutua’s attempts to enforce his dictates on theatre as well as the film industry have led content creators to further eschew any connection with the government.

On top of this, the head of the Kenya Film Classification Board (KFCB), Dr. Ezekiel Mutua, has made free expression through film and television markedly more difficult. Beyond his public criticisms of “gay lions” and cutting the release timeframe of Rafiki, the highest profile Kenyan film since 2011’s Nairobi Half-Life, down to less than a week…Dr. Mutua has enacted steep license fees that have reduced the industry’s ability to operate independently, including the hoop-like requirement of filmmakers needing multiple licenses to film in multiple counties.

Kenya had a booming fashion industry in the 1980s, which contributed 30 per cent to the manufacturing sector. Since the 1980s, the continual influx of mitumba (second-hand clothes) has cut this employment severely. The change was brought about by the government cutting regulations and import tariffs in the late 1980s, cutting down on the cotton and garment sectors. This led to an increase in the jua kali nature of the sector, with members of the garment industry having to find their own work after the majority of the cotton production mills shut down. In turn, this contributed to much of the textile industry being a separate entity from that of the clothing production industry – an issue exacerbated by the lack of a unified industry body to advocate for the fashion sector.

This last point regarding the fashion industry of Kenya is truly a key issue that swirls around the creative sector in Kenya. Much of the industry remains fragmented, splintered and run by independent individuals and micro-organisations operating unofficially outside of government taxation or influence. The lack of a structured unified body is reflected in other creative industries, which lessens the sector’s ability to engage in any sort of meaningful dialogue with the government. These issues of associational divide were echoed by HIVOS in 2016, which stated that “the current state of associations in East Africa is that they are fragmented, disunited and lack a consistent agenda on how to engage the government and different industries to ensure the standards of the industry consistently improve”.

So what does all of this amount to? There is one commonality: the utter lack of possible taxable revenue as a result of obtuse and inadequate policy. According to PricewaterhouseCoopers, the entertainment industries are growing across the board; revenues are up, as is Internet access and the number of viewers within the Kenyan market. However, Kenya is trailing far behind other nations that have capitalised on the bolstering of income from the creative sector.

Kenya vs other major African markets

The stagnant creative sector in Kenyan becomes apparent when examining the state of other African creative sectors. When looking through the lens of the two other leading sub-Saharan African markets (Nigeria and South Africa) the differences and gaps becomes stark.

Both South Africa and Nigeria have music industry infrastructure that focuses on the regulations of the industy. This includes promoting local artists while protecting their ability to garner revenue from their work and punishing those who take advantage. Within Nigeria, artists are promoted, DJs play the latest local tracks and help to encourage grassroots growth of new musical artists.

The most glaring example of a creative economy’s potential is the constant streaming of Nollywood movies on Kenyan televisions. How exactly did the Nigerian film industry become so massive in recent decades, dominating the African market and influencing global media beyond the continent? It is a remarkable story of growth, with Nollywood’s early roots tracing back to the colonial era of the early 20th century.

The independence of Nigeria from British rule in 1960 resulted in further expansion of the film industry. The key moment came in 1972, when the Indigenization Decree was issued by Yakubu Gowon, the Head of the Federal Military Government. The original intent of the decree was to reduce foreign influence and pour wealth back into the hands of Nigerian citizens. The international business community publicly complained, threatened to pull out, and in some cases reduced their investment. The Indigenization Decree led to hundreds of theatres having ownership transferred from foreign hands to Nigerian ownership.

In the years that followed, widespread graft was discovered in multiple industries (much due to foreigners paying for corporate “fronts” while secretly maintaining control). Gowon was deposed while abroad in 1975 and the film industry continued to grow. New theatre owners started to show more and more local productions, with the result being Nollywood experiencing a further expansion across the next decade as Nigerian citizens were suddenly directly involved in not only the control of the theatres, but also in what Nigerian audiences were more likely to buy a ticket to see, buy a VHS of, and later buy a DVD or stream: local content. Out of the ashes of colonialism, a bloody civil war and a military junta rule, Nollywood grew organically, hand over fist, year after year.

By the mid-1980s, Nigeria was producing massively profitable blockbusters and revenues grew to over US$11 billion (Sh1.1 trillion) by 2013. The industry also employs an eye-popping one million people, estimated to be second only to agriculture in terms of number of employees within Nigeria.

In the 21st century, the Government of Nigeria has taken further notice, mostly through the recognition of the massive benefits to the nation that the local film industry provides. Currently the government is working in conjunction with the National Television Authority of Nigeria to expand the industry, offering grants, expanding infrastructure and constructing a production facility. Perhaps most notable was the 2010 signing by former President Goodluck Jonathan of a US$200 millionCreative and Entertainment Industry Intervention Fund” in order to encourage the growth of Nollywood and other creative industries. Put another way, Kenya’s GDP is approximately one-fifth that of Nigeria’s, but there has been no US$40 million fund signed by the government towards the nation’s creative sector.

By the mid-1980s, Nigeria was producing massively profitable blockbusters and revenues grew to over US$11 billion (Sh1.1 trillion) by 2013. The industry also employs an eye-popping one million people, estimated to be second only to agriculture in terms of number of employees within Nigeria.

This is the point where naysayers to the potential of the creative economy will argue that corruption is endemic in Kenya, and therefore, reaching the heights of Nollywood is inherently impossible. This is a fallacy: Transparency International in 2017 ranked Kenya 143 out of 180 in terms of corruption and Nigeria came in at 148. Despite obvious governmental and corruption shortcomings in Nigeria, when it comes to the film industry, one thing has certainly been recognised: that money talks.

South Africa took a different route towards becoming a creative sector powerhouse on an international scale. This is best exemplified when examining the music industry of the country. Once again, the roots of the explosion of South African musical influence can be traced back to a government development programme – the Bantu Radio initiative, which, it must be stated, was put into place in 1960 by the apartheid government in what can best be described as a campaign to further segregate the country. The aim of the programme was to promote tribal music in the hopes that it would reinforce pre-colonial cultural barriers between different communities. It also had the not-so-subtle goal of establishing what black South Africans enjoyed in order to aid the apartheid government in further profiting off of them. The regime believed that the radio stations would play exclusively folk music, but the result was somewhat different. Bantu Radio began broadcasting more than a dozen different genres of music, among them Afro-jazz, kwela and isicathamiya. These genres exploded in popularity, bringing fame, recognition and influence to many South African music industry figures.

The South African Broadcasting Corporation was soon brought in to monitor and regulate the music being produced to ensure that the messages of the music didn’t criticise the apartheid regime or its policies of systemic racism. Further regulatory bodies were established to control the music being played. They did so effectively on the Bantu Radio network, but had also inadvertently “let the cat out of the bag”. There had been a long history of rebellious action through music in South Africa, but now there was an audience of millions who had several genres in mind on what to pursue. Popular artists who were censored on the radio took their messages directly to their audiences. There was an exodus of musicians who left South Africa in order to make music against the apartheid regime without censorship or reprisal. In 1982, the Botswana Festival of Culture and Resistance was held with much of the attendance made up of South African exiled musicians. At the conference, it was decided that the primary weapon of the struggle against apartheid would be culture.

Accidentally, through an attempt to further exploit and divide, the regime had laid the groundwork for both widely popular musical genres with a captive local audience. By 1994, when the last remnants of apartheid were finally thrown aside, the music industry grew massively and continues to be a dominant presence into the 21st century.

Anti-apartheid films, rising from South African independent cinema experiencing a boom in the early-80s – the same period when there was a proliferation of video cassette recorders – allowed the viewing of “subversive” productions. Some of these same anti-apartheid films (banned by the regime), such as 1984’s Place for Weeping, gained international traction and helped to establish South Africa’s film industries as influential outside of the borders of the apartheid regime.

What the creative industry has done for other nations

A UNESCO convention in 2005 stated that there is still a need for governmental frameworks that focus on “emphasizing the need to incorporate culture as a strategic element in national and international development policies, as well as in international development cooperation”. By this standard, the example of South Korea once again stands out. Just how did South Korea springboard its culture into a massive entertainment and creative sector in such a short period of time? The answer is fairly straightforward: the progress of South Korea’s entertainment sectors centres around heavy governmental support, funding and infrastructural management. The government designed and implemented a multi-stage plan towards increasing the profile, impact and economic viability of its entertainment industries.

With the example set, it becomes all the more glaring that the Government of Kenya has turned its back on its own creative industry. The Korean problem of foreign influence is a Kenyan one; foreign acts are flown in and given top billing, foreign media houses dominate the telling of Kenyan stories, and the latest Marvel films always find themselves on movie-house posters. Ask yourself, when is the last time you saw a Kenyan-made film on an IMAX screen playing to a packed audience? The lines are there, but who are there to see?

The state of regulation and progress within the creative sector in Kenya reflects an acute failure of the state to implement the very policies it has outlined. One needs to look no further than the Kenyan Constitution of 2010 and the Vision 2030 Development Goals to find evidence of this.

With the example set, it becomes all the more glaring that the Government of Kenya has turned its back on its own creative industry. The Korean problem of foreign influence is a Kenyan one; foreign acts are flown in and given top billing, foreign media houses dominate the telling of Kenyan stories, and the latest Marvel films always find themselves on movie-house posters.

In Kenya, a nation that jailed poets and playwrights only two decades ago, the promotion of the creative arts is evolving too slowly. While the Constitution included the mandatory promotion of the arts and cultural sectors, it has taken close to a decade to pass legislation regarding these industries. The government itself has acknowledged these disconnects: the National Music Policy of 2015 states that the Government of Kenya has not adequately enacted policy relating to the creative sector, which in turn has promoted a disconnect in communication and stymied the potential for growth within the industry.

Addressing the state of the creative industries in Kenya, UNESCO contends that there is no facilitative policy framework regarding the creative sector. Or, more bluntly: talk is cheap. The Government of Kenya is definitely aware of the potential impact of growing these specialised industries; it just avoids enacting any meaningful regulation surrounding them. Take the film industry for example. While the talk has been big, there has been no sign of the promised public investment.

The creative sector has long been associated been with the employment of youth. The United Nations has released a series of reports contending that a key path towards combating youth unemployment is through the promotion of the creative industries. Unfortunately, it seems that the Government of Kenya is yet to take heed of creative-driven solutions. The country is currently mired with massive youth unemployment, with rates of over 20 per cent, dwarfing the levels of unemployed young people elsewhere in the East African region. It is clear that from an economic standpoint, the policies of industrialisation have long since proven themselves to be insufficient in terms of impacting the youth of Kenya in any sort of meaningful way.

One reason why the government is reluctant to promote the arts is because of its delicate sensibilities: it fears supporting creative minds that may turn out to be critical of it. This is evident across the archaic policies of the KFCB, the exodus of locally produced textiles for fashion, the lack of funding for the National Theatre, the government stake in Safaricom, which is currently facing a backlash for the low rates of compensation given to musicians streamed on its ring-back tunes application, Skiza.

On the basis of the examples given, the lessons to be learned from South Africa can only be to lean harder into criticism of the government. While this seems to be an oft-visited theme throughout the creative sectors in Kenya, the apartheid era of South Africa’s music industry remains a solid reminder: that there’s no point backing off if the government refuses to change.

This rings doubly true in cases such as that of Ezekiel Mutua, who seems hell-bent on smothering the Kenyan film, theatre and television industries to death through self-claimed piety. His crusade against homosexuality and what he describes as “immorality” must be viewed as a neocolonial one; its aim is to kill off grassroots Kenyan enterprising creative expression. The efforts against him should focus on his willful draining of the Kenyan economy’s untold economic and cultural potential.

The best long-term solution in Kenya’s case is a sort of middle-ground between the policies of localised emphasis of the 1970s and the government of South Korea in the 1980s and 1990s. Ideally, the Ministry of Sports, Culture and the Arts would be divided towards being specialized; the government would either put in or find real public and private funding for the arts and then actually implement and regulate the policies, such as the National Music Policy of 2015, which outlines a mandated quota for Kenyan-made content to make up 60 per cent of the music aired by the media within the country. They would enforce the regulations but let artists do their own thing as a private enterprise, as they know the ins and outs of the industry. When grievances arise, representatives from the creative sector would have a meaningful seat at the table to dialogue with the government. Unfortunately, none of these solutions are being sought.

This rings doubly true in cases such as that of Ezekiel Mutua, who seems hell-bent on smothering the Kenyan film, theatre and television industries to death through self-claimed piety. His crusade against homosexuality and what he describes as “immorality” must be viewed as a neocolonial one; its aim is to kill off grassroots Kenyan enterprising creative expression. The efforts against him should focus on his willful draining of the Kenyan economy’s untold economic and cultural potential.

The issue remains that while Kenya’s creative industry is at par with nearly any other in the region, the continent or the developing world in terms of potential, it is being systemically held back from reaching the heights of its peers. Both South Africa and Nigeria’s situations can be viewed as the regimes having stumbled into a goldmine of creative industry potential during brutal regimes, but in both cases there was at least an initial search for the vein (racist though South Africa’s was). In the case of South Korea, there was almost a resolute desperation to never return from whence they came. They were willing to try outside-the-box solutions to get there and to put their money where their mouth was. All three situations in 1979 stood on a precipice, and all three could have easily changed course into further crackdown or lack of interest and being left devoid of a cultural sector. Kenya’s creative sector situation is dire. This constraining of creativity must be viewed in the light that it is impeding Kenya’s progress in the opening decades of the new millennium.

The artistic industries in Kenya are currently at a crossroads. Though ideas, products and creativity coming from the country are only growing in terms of influence and quality, without support, all potential is destined to languish in obscurity. Seventeen years since the transition out of the Moi regime, there has been no golden age of the arts, no explosion of international influence and possibility. The talent is there; the infrastructure of community radio, self-starter production houses and subversive literary talent is pervasive in Kenya. However, the government is simply too afraid or too obtuse to put anything behind these efforts.

What will the economy of Kenya 40 years on into the future look like? As things stand, without the government at least trying something different, South Africa, Nigeria and South Korea will continue to lap Kenya, toasting to their home-grown billions of dollars and expanded economic influence. Will Kenya’s government officials continue to pretend to scratch their heads in search of “new solutions” when the answer is literally painting the picture before them?

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Alex is a journalist and social media expert based in Nairobi, Kenya

Politics

East or West? What Africans Think of China and America

A majority of Africans favour democracy over other forms of governance but an authoritarian system with a capacity to deliver public goods rapidly on a vast scale cannot be dismissed off-hand.

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What Africans Think of China and America
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That a major contest has kicked off between the US and China over their influence in Africa is now abundantly clear, an integral part of the monumental spat between the two superpowers that blew out into the open under President Trump — partly articulated in America’s 2017 National Security Strategy — but whose essentials are clearly being retained by the Biden administration. China is now considered America’s most significant geopolitical competitor and threat, a posture that is reciprocated by Beijing.

Still, it is also obvious that the US is racing to catch up with a China that has dramatically deepened and expanded its relations with Africa since the early 2000s. Ironically, just as the US was checking out of Africa in terms of trade and development and focussing instead on security — and in particular on the so-called “war on terror” — China shifted gear, especially through its giant Belt and Road Initiative (BRI). According to the conservative American Enterprise Institute’s China Global Investment Tracker, China has made a total value of US$303.24 billion in investments and construction in Sub-Saharan Africa since 2005. Indeed, by 2019 one in five major infrastructure projects in Africa was financed by China and one in three was being constructed by Chinese companies. China is now Africa’s biggest trading partner and, under President Xi Jinping, the country has rapidly expanded its cultural, social, military and other relations with African countries. In typical Chinese style, this scale-up has been both huge, efficient and rapid.

In East Africa, it is estimated that 55 per cent of all large-scale construction projects are undertaken by the Chinese who also finance a quarter of them. There has been considerable controversy about the extent to which these projects have contributed to a deepening debt crisis on the continent. The opacity and alleged corruption that surround the accumulation of this debt have also been the cause of deepening concern for policymakers and citizens alike. That said, the infrastructure projects align most closely with the African Continental Free Trade Agreement (AfCFTA) — currently our biggest “existential project” as Africans. The relationship between Africa and China is complicated. Indeed, relations with all great powers are complex and difficult for developing countries.

The Chinese model

A majority of African countries are aspiring democracies in one form or another. This democratisation stated after the 1989 fall of the Berlin Wall and by 1995, multiparty democratic constitutions had been promulgated across the continent. The US was a prominent driver of this process and at that point, the West’s push converged with the will of a majority of Africans exhausted by the single-party regimes and dictatorships that had ruled since independence. Today we can agree that the quality of this democracy varies considerably from country to country.

What is increasingly referred to as the “China model” is most obviously not a liberal democracy. All serious polling done by respected organisations such as Afrobarometer confirms that a majority of Africans continue to favour democracy — despite its messiness — over other forms of governance. I should think that this is in part because between independence and the early 1990s, Africa tried a wild assortment of authoritarian models of governance. These were stifling at best and disastrous at worst, especially when led by military cabals who had taken power through violent coups.

By 2019, one in five major infrastructure projects in Africa was financed by China and one in three was being constructed by Chinese companies.

The freedoms that have come with our democracies have in turn become embedded in our broader governance DNA, with our young population unable to conceive of a time when their basic freedoms of thought, speech, association, movement, etc., could be dramatically curtailed. And yet, the “China model” of an authoritarian system that combines a high level of state capacity to deliver public goods such as health, education, etc., to the majority of its people rapidly and on a vast scale cannot be dismissed off-hand.

On the African continent, the Rwandan and Ethiopian models have been compared to the Chinese model. The engagement with China, including its controversial debt-related aspects, has been transformative, especially in regard to the development of critical infrastructure. This cannot be argued with. And this transformation has taken place with unprecedented speed, changing skylines across a continent which has some of the world’s fastest growing cities and the world’s youngest, most rapidly growing population.

Still, the opacity and corruption that sometimes seems to typify the accumulation of commercial debt has been particularly troublesome in a range of developing countries around the world. This is still playing out and African countries are in the middle of a delicate diplomatic balancing act between a risen China, a giant and often thin-skinned partner, and a West that is now in aggressive competition with China. We are caught in between. Western nations are also increasingly vociferous in their complaints about human rights abuses in China. The human rights situation vis-à-vis minorities such as the Uyghurs of Xinjiang Province and the peoples of Tibet has for decades been the source of intense advocacy among human rights activists. The recent governance overhaul backwards in Hong Kong and apparently upcoming one in Taiwan have caused similar distress. Understandably, African policymakers have been profoundly circumspect about joining in these calls. This is despite the fact that African states have over the last 30 years gradually become less tolerant of gross human rights abuses on the continent. Coups are generally a no-no in this day and age, and a state that deliberately seeks to destroy an ethnic group would cause even the usually politically judicious African Union to voice strong opposition. This is in part because orchestrated mass violence against particular groups in one country inevitably spills across our fake borders. The 1994 Rwandan genocide was, and remains, profoundly chilling.

China has been steadfast in its policy of non-interference in the governance of other nations, a stance which is deeply appreciated by an Africa that is finding its voice. Supporters of democracy point out that this approach can sometimes end up propping up some of the most incompetent and dictatorial regimes on the continent. The West has its list of similar clients too though. Suffice it to say that China also retains currency among African elites because it has never been a colonial power on the continent despite China’s Admiral Zheng He (Cheng Ho) and his fleets visiting the East African coast several times between 1405 and 1433. China’s engagement with Africa back then contrasts starkly with Portuguese navigator Vasco da Gama’s blood-soaked expeditions in the region from 1497 as he sought a plunder route to India. From the 1950s onwards, China also contributed significantly to African liberation struggles, often in direct opposition to the US and its allies.

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From the language and tone over the last few years, one would be forgiven for believing that the US is ready to adopt a Cold War posture with China. There is nothing that causes greater nervousness among African policymakers than the continent finding itself forced into the kind of stark polarity President George W. Bush encapsulated on the 20th of September 2001 when he told the world, “Every nation, in every region, now has a decision to make. Either you are with us, or you are with the terrorists”. This time around however, the relationship between China and Africa is very different from the one Africa had with the Communist bloc in the period after independence. Whereas ideology and the practicalities of the struggle for independence were at the heart of the Cold War relationship, for African elites in particular, China today is first and foremost a development partner. Besides, the Cold War posture was also generally bad for basic freedoms.

From the language and tone over the last few years, one would be forgiven for believing that the US is ready to adopt a Cold War posture with China.

Part of the challenge the US faces as it ramps up the contest with China is one of perceptions: the “shithole” countries, as President Trump called them, aren’t that shitty to other countries that have travelled the difficult development road we are on. For urbanised African youth with access to the internet, the America they view and read about today isn’t necessarily the one America’s unrivalled soft power juggernaut, Hollywood, portrays. A significant amount of bandwidth is instead taken up watching black people being murdered by a clearly systemically racist police force and the ensuing consequences. However, it is also part of the fundamental dynamism of US democracy that President Biden and his team have made so many progressive policy U-turns since taking office 100 days ago. Since he took office Biden’s administration has overseen the vaccination of over 130 million Americans – half the population!

Africans still overwhelmingly support the democratic model but feel the relationship with China is a win-win for Africa.

Other critical rising powers

While there has been considerable focus on China, India, Russia, Turkey and other rising nations have raised their profiles in Africa as well.  They have done so without much fanfare but in a manner that has afforded local elites policy choices that were unthinkable as recently as the 2010s. The Russia-Africa Sochi Summit in late 2019, for example, was part of an accelerated engagement by Russia with Africa over the past decade especially in the extractive sector and military trade. Today Russia is by far the continent’s largest arms supplier, accounting for almost half of all military sales to Africa. In 2019, 12 African ministers of foreign affairs visited Russia, and that country’s long serving minister of foreign affairs, Sergei Lavrov, and his deputy Mikhail Bogdanov, held talks with nearly 100 top African politicians between January and September 2019 alone. Bogdanov is said to maintain sustained intensive interactions with African Ambassadors in Moscow. While Russian policymakers emphasise a deepening of “political cooperation” with Africa, they have indicated heightened interest in economic relations — especially in the extractive sector, agriculture, health and education. The speed with which Russia developed its Sputnik V vaccine was startling and its “vaccine diplomacy” in Africa has been more aggressive and successful than that of any other region. Welcome to our new multi-polar world.

What Africans think of China

As I said, Africans still overwhelmingly support the democratic model but feel the relationship with China is a win-win for Africa — with China winning more of course — being  qualitatively different from the relationship with the West.

Source: Source: What Africans think about China: Findings from Afrobarometer, E. Gyimah-Boadi, CEO, Afrobarometer, February 2021

Source: Source: What Africans think about China: Findings from Afrobarometer, E. Gyimah-Boadi, CEO, Afrobarometer, February 2021

Afrobarometer recently polled African attitudes towards China in 22 countries including Ethiopia, Kenya, Senegal, Ghana, Guinea, Uganda, Nigeria, Angola, Namibia, Zambia among others. In the 22 countries, an average of 33 per cent of those polled thought the US was the best model for development. Twenty-three per cent felt China was the best model of development followed by former colonial powers at 11 per cent and South Africa at 10 per cent. China is emphatically  the preferred model for development in Benin, Burkina Faso and Mali. In Liberia, Angola, Sierra Leone and Cape Verde the US is by far the preferred model. In Kenya 43 per cent of respondents prefer the US model compared to 23 per cent who prefer the Chinese model.

Source: What Africans think about China: Findings from Afrobarometer, E. Gyimah-Boadi, CEO, Afrobarometer, February 2021

Source: What Africans think about China: Findings from Afrobarometer, E. Gyimah-Boadi, CEO, Afrobarometer, February 2021

Importantly, 62 per cent of all those polled across Africa felt China has a largely positive economic and political influence on their countries while 60 per cent felt the same for the US.

Source: Afrobarometer

Source: What Africans think about China: Findings from Afrobarometer, E. Gyimah-Boadi, CEO, Afrobarometer, February 2021

Indeed, the main takeaways of the Afrobarometer report released in February 2021 include the fact that Africans feel generally positive about China. Significantly, according to the researchers,

“Though new on the block, the attractiveness of China’s development model is second only to the US (especially among older adults). Perceived Chinese influence is on a par with that of the US and well above that of the former colonial powers. Chinese economic and political influence is seen in largely positive terms. Respondents who feel positively about the influence of China also tend to have positive views of U.S. influence as well – suggesting that for many Africans, U.S.-China “competition” may not be an “either-or” but a “win-win” proposition. Popular awareness of China as a lender/giver of development aid to African respective countries is unmatched by the common place talk of Chinese “debt trap” diplomacy in Africa…
Be that as it may, a plurality of Chinese loan aware Africans perceive fewer strings attached to those loans/development compared to other donors. 
Awareness of repayment obligations to Chinese loans/aid is however high among those who know about Chinese loans/aid to their country – suggesting the need for more information sharing about Chinese aid. 
Indeed, awareness of Chinese loans to the country generally goes hand in hand with expression of concern about the entailed indebtedness…”

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The former top Singaporean diplomat, academic and author of Has China Won?, Kishore Mahbubani, argues that the COVID-19 pandemic has confirmed the shift of global power from West to East. He points out that from 1AD until 1820 the world’s largest economies were India and China and that the last 200 years of Western domination are a historical aberration. All aberrations ultimately end. We are living through these tectonic changes. Exciting times. Nothing expresses the contradictions that this means in our daily lives than the way our urban youth use their mobile phones and American platforms such as Twitter and Facebook as instruments of accountability in a complex age.

It is ironic too that the murder of George Floyd by a white policeman that caused such powerful global outrage last year was filmed by 17-year-old Darnella Frazier using her iPhone made in China and uploaded onto American social media platforms not allowed in China, provoking a powerful reaction that continues to reverberate around the world.

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Do You Know What Is on Your Plate?

You may not know it but you’ve probably been ingesting carcinogenic, mutagenic and neurotoxic chemicals along with your ugali, sukuma wiki and kachumbari.

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I had never really given much thought to what I ate and how it was produced. That is until, in the early 90s, an outbreak of Bovine Spongiform Encephalopathy – BSE, more commonly known as mad cow disease – led to the slaughter of 4.4 million head of cattle in the United Kingdom in an effort to contain the disease, and to a decade-long ban of British beef exports that ruined that country’s beef industry. The BSE outbreak is thought to have been caused by the practice of supplementing cattle feed with meat-and-bone-meal (MBM) rendered from the remains of other animals. The disease soon crossed over to humans through the consumption of BSE-contaminated beef, a new version of the neurological Creutzveld-Jakob Disease (vCJD) that took its first victim in May 1995 and has killed 177 people to date. In 2013 researchers reported that one in 2,000 people in the UK are carrying the human form of mad cow disease.

That same year, in February, a government livestock inspector was assassinated outside his home in the Belgian Flanders; Karel Van Noppen had been investigating the illegal trade in synthetic growth hormones that unscrupulous beef farmers were using to speed up the fattening of beef cattle and turn a quick profit. The use of synthetic growth hormones in cattle rearing has been found to have adverse effects on human health. I was living in Belgium at the time and I started asking myself what I had been eating. I wasn’t the only one; by the end of the decade, astute beef farmers were turning a tidy profit from the sale of organic beef to consumers like me who had become wary of the factory methods of production that had led to the BSE crisis.

With the appearance of organic beef on Belgian supermarket shelves, other organic produce soon followed and the shelf space dedicated to organic foods steadily grew. IFOAM-Organics International defines organic agriculture as “a production system that sustains the health of soils, ecosystems, and people. It relies on ecological processes, biodiversity and cycles adapted to local conditions, rather than the use of inputs with adverse effects. Organic Agriculture combines tradition, innovation, and science to benefit the shared environment and promote fair relationships and good quality of life for all involved.”

Today, in the West at least, it is perfectly possible to eat, drink and even dress only organic; but you must have deep pockets because organic produce is more expensive than conventionally grown produce.

The right to adequate food is recognised in the 1948 Universal Declaration of Human Rights and is enshrined in the 1966 International Covenant on Economic, Social and Cultural Rights of which Kenya is a signatory. The Office of the High Commissioner for Human Rights of the United Nations clarifies that the right to adequate food implies that food must be available, accessible and it must also be adequate, meaning that “the food must satisfy dietary needs . . . be safe for human consumption and free from adverse substances, such as contaminants from industrial or agricultural processes, including residues from pesticides, hormones or veterinary drugs . . . .” The irony is that even though produce that is certified organic meets all of these requirements, it is not produced in sufficient quantities and where it can be found, it is beyond the reach of most consumers, whether they are in the West or here in Kenya.

Having jumped on the organic consumers’ bandwagon back in Brussels after the 1998 dioxin- contaminated chicken crisis finally convinced me to abandon conventionally-grown produce, I was keen to maintain the lifestyle once back in Kenya, only to find the limited choice of produce that is certified organic prohibitively expensive. I did the next best thing and decided to grow organic fruits and vegetables, both for my own consumption and for sale to the end consumer, and thus did I come into close contact with the world of farming.

City girl born and bred, and never having grown so much as a blade of grass, I needed all the help I could get and turned to Mr John Wanjau Njoroge, founder and director of the Kenya Institute of Organic Farming and a pioneer of the organic movement in Kenya. Mr Njoroge sent me a recently graduated young couple who set me on the road to organic farming. It has been a steep learning curve; after a first successful crop of greenhouse tomatoes, bacterial wilt decimated the second one.

Kenyan smallholder farmers produce 80 per cent of the 400,000 tonnes of tomatoes produced annually — representing 7 per cent of all horticultural produce grown every year — but commercial production of the fruit is fraught with difficulties; if it isn’t tuta absoluta, it is fusariam wilt, or if you’re really unlucky, it is both. And so, to control these and other pests and diseases, farmers reach for chemical pesticides and fungicides.

The trade in pesticides in Kenya is largely in the control of private sector distributors and retailers who import and distribute the products to the Kenyan end-user, but there appears to be a training deficit in the safe use of these chemicals. Farmers rely on agrovets and agricultural extension officers for information on pesticides, yet the Kenya Organic Agriculture Network (KOAN) has reported that “they are recommending pesticide products that are toxic to human health, bees and fish”.

An analysis of pesticide residues in tomatoes and french beans from Murang’a and Kiambu counties found the presence of omethoate in tomatoes, an active ingredient whose use in vegetables is banned in Kenya, suggesting “poor pesticide handling practices by some tomato farmers in the two counties”.

And the situation is not much better in Laikipia County where a 2019 study of pesticide application and pesticide residue levels in kales and tomatoes in the Ewaso Narok wetland found that the majority of farmers had no training in the use of pesticides. The study also found chlorpyrifos and diazinon residues in the tomatoes sampled; both these active ingredients are banned in the European Union.

It is particularly worrying that chlorpyrifos — a pesticide that is harmful to the brains of foetuses and young children — can still be found on the Kenyan market. Chlorpyrifos was banned in the EU in February 2020 but it is also one of the seven active ingredients in the pesticides and fungicides that were found by KOAN to be in use in Kirinyaga and Murang’a counties.

KOAN reports that “The pesticides withdrawn in Europe are mostly used on tomatoes (15 active ingredients), followed by kale (14), maize (14), cabbage (10), coffee (10) and french beans (6). Since tomatoes, kale, maize and cabbage are part of the daily Kenyan diet, there is a real and significant threat to food safety.” The study found that tomatoes had the highest toxicity score, followed by kales and maize, all foods eaten by Kenyans daily.

It is particularly worrying that a pesticide that is harmful to the brains of foetuses and young children can still be found on the Kenyan market.

But even more worryingly, KOAN reports having found high residue levels of acephate and methamidophos in the tomatoes sampled. Acephate, which has been withdrawn in Europe, is registered by the Pest Control Products Board for use on roses and tobacco. Methamidophos is not registered for use in Kenya.

The reason why active ingredients which have been withdrawn in the EU (or whose use is restricted) find their way to Kenya is because of the so-called Double Standard; EU Regulation EC304/2003 allows EU companies to produce and export to other countries pesticides that are banned or restricted in the EU, effectively protecting EU citizens while exposing non-EU citizens to the ravages of dangerous chemicals and infringing on their right to food that is safe for human consumption. Indeed, the United Nations Special Rapporteurs on Toxic Wastes and the Right to Food have found that “widely divergent standards of production, use and protection from hazardous pesticides in different countries are creating double standards, which are having a serious impact on human rights.”

And while the Rotterdam Convention requires an exporter based in an EU member state to indicate their intention to export banned or severely restricted chemicals to a non-EU country so that the latter is alerted, this arrangement is hypocritical and merely serves to enable EU companies to continue manufacturing dangerous chemicals for sale in non-EU countries while providing them with the ready excuse that importing countries are aware of the nature of the chemicals they are bringing in.

Domesticating the 1966 International Covenant on Economic, Social and Cultural Rights, Article 43 (1) (c) of the Constitution of Kenya 2010 states that, “Every person has the right to be free from hunger, and to have adequate food of acceptable quality.” In line with this last requirement, and in the face of the dangers presented by the poorly regulated trade in pesticides, the Route to Food Initiative (RTFI), Biodiversity and Biosafety Association of Kenya, Kenya Organic Agriculture Network and Resources Oriented Development Initiative petitioned the National Assembly in September 2019 to withdraw harmful pesticides from the Kenyan Market.

In their petition, they reported that there are products on the Kenyan market which are classified as carcinogenic (24), mutagenic (24), endocrine disrupter (35), neurotoxic (140) and many others which have been shown to have an effect on reproduction (262). The petitioners argued that, while the volume of imports of insecticides, herbicides and fungicides had grown 144 per cent between 2015 and 2018, there was no data available concerning pesticide use and its impact on food and the environment, and also noted that the increase in pesticide use had not been accompanied by the necessary safeguards to control their application.

The petitioners also said that by failing to publish information in its possession on the levels of pesticide residues in food samples collected, and to put in place a monitoring system, the Kenya Plant Health Inspectorate Service (KEPHIS) was acting in contravention of Section 15 of the Pest Control Products Act. The petitioners also accused the Pests Control Products Board (PCBP) of failing to adhere to the international codes of conduct of the World Health Organization (WHO) and the Food and Agriculture Organization (FAO).

In its report on the petition tabled a year later in October 2020, the National Assembly’s Departmental Committee on Health responded that a blanket ban “without due consideration or risk assessment will not help, especially in the tropical conditions and areas experiencing an invasion of pests and diseases throughout the year.” The committee also argued that “severe limitation of the number of products available . . . will make sustainable use of plant protection products difficult, particularly managing the development of resistant pest populations.” The committee claimed that such a ban would threaten food security, lead to expensive food and reduced farmer incomes due to insufficient production.

The committee did however recommend that the PCPB develop regulations to ensure that only licensed and registered persons run agrovet outlets, and that the Ministry of Agriculture, Livestock and Fisheries undertake an analysis of the products on the Kenyan market in order to exclude those that are carcinogenic, mutagenic, neurotoxic and endocrine disruptors, and recommend the withdrawal from the Kenyan market of harmful and toxic pesticides. All this was to take place within 90 days.

Well, I visited two agrovets in our little township here in Nyandarua County who both told me that PCPB inspectors came calling last year to ensure that licence fees were paid and to ascertain that the products on their shelves had the PCPB logo indicating that they are authorised for sale in Kenya. Neither has been informed of any changes in the PCPB list of pest control products registered for use in Kenya and I could have bought pesticides and fungicides containing all but two of the active ingredients that KOAN found on produce in Kirinyaga and Murang’a counties: chlorpyrifos, which as I have mentioned above is harmful to the brains of foetuses and young children; diazinon, a neurotoxic organophosphate;  permethrin, a neurotoxin that is also highly toxic to animals, particularly fish and cats; bifenthrin, which has been classified as a possible carcinogenic; and carbendazim, a mutagenic fungicide that can cause birth defects and damage fertility. These active ingredients — all of which are banned in the EU — are among the top ten most harmful ingredients in terms of toxicity for humans and the environment.

Route to Food, which has done a study on pesticide use in Kenya, notes that, “Pesticides can persist in the environment for decades and pose a global threat to the entire ecological system upon which food production depends. Excessive use and misuse of pesticides results in contamination of surrounding soil and water sources, causing loss of biodiversity, destroying beneficial insect populations that act as natural enemies of pests and reducing the nutritional value of food.”

If we are agreed that access to safe food is a human right, then we must reject food production methods that endanger our health and put our lives in peril, that pollute our water and our environment and jeopardise our biodiversity, methods that put the profits of the shareholders of companies domiciled in foreign countries before the wellbeing of Kenyan consumers.

It is ironical that Kenya goes to great lengths to meet the phytosanitary conditions and Maximum Residue Levels (MRLs) imposed by the EU – Kenya’s main market for horticultural exports – while at the same time exposing its own citizens to the dangers of toxic pesticides manufactured in the EU.

If we are agreed that access to safe food is a human right, then we must reject food production methods that endanger our health.

We are not condemned to remain on the path of industrial agriculture, which has proven to be so devastating to the environment and to human health. As Daniel Maingi notes, “Perhaps it is time we looked to nature and farmers’ know-how in using another branch of science called agroecology” which, as the Food and Agriculture Organization (FAO) has recognised, is “holistic, balancing focus on people and the planet, the three dimensions of sustainable development – social, economic and environmental – while strengthening the livelihoods of smallholder food producers.”

We must therefore be vocal in our support of the endeavours of organisations such as the Route to Food Initiative, Biodiversity and Biosafety Association of Kenya, the Kenyan Organic Agriculture Network and Resources Oriented Development Initiative, in order to ensure that the recommendations of the National Assembly’s Departmental Committee on Health do not remain a dead letter but form the basis of a fundamental change in the way we produce the food we eat.

This article is part of The Elephant Food Edition Series done in collaboration with Route to Food Initiative (RTFI). Views expressed in the article are not necessarily those of the RTFI.
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How Biotechnologies are Shaping Kenya’s Food Ecosystem

Kenya has severally taken the top spot in “enabling the business of agriculture” annual rankings, opening its doors to patent-protected biotechnologies that could lead to the effective loss of our food sovereignty.

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It has been said that he who controls the food, controls the people. But others have added that he who controls the seed, controls the food system. The race by multinational corporations (MNCs) to own and register patent protection on seeds and genetic traits, including DNA sequences, has led to a hierarchy of big players who now dominate the global markets through national and international legal instruments.

We have reached the stage where only four corporations dominate the global seeds and genetic traits markets, as they roll out patent-protected biotechnologies to both large and smallholder farmers worldwide. This is seen as a critical step in shaping food ecosystems here in Kenya and elsewhere in the world.

Power relations and roles in the biotech industry

During the last three years the world has witnessed spectacular mergers and acquisitions amongst the biggest actors in the industry — DowDuPont now Corteva, Bayer-Monsanto now just Bayer, and Syngenta/ChemChina. Together with BASF, these merged MNCs now control over 70 per cent of the global seed and pesticides market.

Their far-reaching wealth and power has been enabled by states and government actors working with global organisations such as the WTO (World Trade Organization) and UPOV (Union for the Protection of New Plant Varieties). The consequences have been a concentration of market share and influence, capital accumulation, and unprecedented economies of scale which have led to the marginalisation and the disinheritance of our common seed and genetic resources. The process of agricultural investment in so-called biotech innovation has come to be known as “the Green Revolution” or, increasingly now, the “Gene Revolution”.

Green Revolution (GR) is best understood as the wide-scale adoption and use of disruptive agricultural research and various technologies, including biotech, that are intended to increase agricultural productivity. Green revolutions therefore effectively convert farming and agriculture into an industrial system, because of the extensive adoption and use of new high-yielding seed varieties that often must be accompanied by the intensive use of mechanisation, large volumes of water and expensive irrigation infrastructure, pesticides, and fertilisers. The seed is a critical piece of GR and is the first portal to creating large-scale bio-economies, and imposing and enforcing patent and breeders’ rights protection through national and binding international laws.

The larger GR endeavour was initiated by Norman Borlaug. With funding from the Rockefeller Foundation, Borlaug helped develop high-yielding dwarf varieties of rust-resistant wheat. The Green Revolution’s early success in India was led by the agricultural scientist M. S. Swaminathan. He is known as the “Father of Green Revolution in India” for his role in introducing Borlaug’s dwarf varieties of wheat and rice in India. One of the impacts of this green revolution was that the yields of wheat and rice doubled, but the production of other food crops such as indigenous rice varieties, sorghums, millets, and pulses declined. This led to the loss of distinct indigenous varieties from cultivation and also caused the extinction of others.

Seed biotechnologies have profoundly changed consumption patterns over the years; the dietary diversity of India’s population has decreased as Indians eat more wheat and rice devoid of nutritive value.  Studies have shown that traditional coarse cereals (complex carbohydrates, high protein) have been permanently replaced by more white wheat and polished rice diets (simple carbohydrate, low protein), with the accompanying effects of obesity and malnutrition. An overweight population (BMI>25) has emerged as a new public health challenge, and this is most evident in large-landholding households, especially in the high-input agriculture areas.

In Africa, the first green revolution was a failure and efforts have been underway for a relaunch. The Alliance for a Green Revolution in Africa (AGRA) was founded in 2006 to bring high-yield agricultural practices and biotechnologies to millions of smallholder farming households. Bill Gates has an absorbed relationship with the wonder of computers and technologies.  Fascinated by the possibilities of big data and biotechnologies as the centerpiece for a new disruptive revolution in Africa’s agriculture, Bill Gates, through the Bill & Melinda Gates Foundation, together with partners including the Rockefeller Foundation, have collectively pumped more than US$1 billion in funding to the Nairobi-based AGRA.

Indians now eat more wheat and white rice devoid of other nutrients that used to come from the inclusion of sorghum, millet and mung beans in traditional diets.

To the delight of agribusiness corporations, GR means an expansion in the use of new biotech seeds, fertilisers, pesticides and, of course, irrigation infrastructure and the related mechanisation. To ensure that new seed technologies are adopted and used on a larger scale, Bill Gates has also channeled significant funding to entities such as the African Agricultural Technology Foundation (AATF), African Seed Trade Association, Kenya’s seed trader associations, and private companies. The goal is to influence and catalyse the transformation of agriculture policies and legislations and open up Kenya for commercial agriculture.

Together with the World Bank, the Gates Foundation has funded local stakeholders to lobby and advocate for reforms to remove “obstacles” in policies, laws, and regulations in agriculture, in what they term as “enabling the business of agriculture” (EBA). The annual ranking of countries is closely watched by investors and used by the World Bank, USAID, DfID, and other bilateral donors, to guide their funding. As a result, EBA drives the race to deregulate. Governments in poor countries compete with each other to “reform and change their agricultural laws” so that they can be ranked among the “Doing Business” best performers. Kenya’s performance in these rankings is also keenly followed by pro-biotech advocacy lobby groups.

The technology is the seed

Seeds carry the genetic traits or DNA sequences claimed as proprietary rights by the breeders or corporations that control them. The technology is in the seed and is the seed. Through stewardship agreements, farmers purchase seed, promise and sign on the dotted line that they are merely renters of the biotechnology and not owners. As such, they cannot multiply that seed for replanting; new seed must be purchased. They can also not store, give to others or even sell their harvested seed. Failure to adhere to these terms is a violation punishable by national and international laws. This means that MNCs are effectively controlling what food ecosystems emerge once a country decides to rely on biotech-gene seeds. It is an effective loss of food sovereignty and an abuse of farmers’ rights to seed, including the right to food at the household level.

Unfortunately, there have been many incidences where seed corporations systematically replace indigenous seeds with their proprietary hybrids through “generous donations”. After a few seasons, faced with a lack of alternative sources, the users must purchase patent-protected seeds.

Such is the case of the recently rolled-out Bt. cotton hybrids in Kenya. Dubbed first-generation biotech crops, Bt. traits focused on increasing market share and profits to patent holders by promising to eliminate the need for pesticide sprays against a limited range of insects. Another GM crop resistant to Round-up herbicide sprays caused enormous increases in Bayer’s sale of its herbicide, resulting in massive increases in market dominance. Once these crops become entrenched in the market and food ecosystem, farmers are often faced with a serious challenge as there are no alternative versions from other competing companies. In Kenya — as in India — Bayer-Mahyco has absolute power and market control, a situation enabled by the government with little public discourse.

Through stewardship agreements, farmers must purchase seeds and promise by signing on the dotted line that they are merely renters of the seed and not owners.

In the second-generation biotech crops, there was a focus on the traits desired by farmers, and much of the research was funded by public-private partnerships, as opposed to being funded only by the private sector, as was the case for first-generation GMOs. Virus-resistant cassava and sweet potato, together with GM banana in Uganda, are candidates in the former category, which is seen as an attempt by MNCs to repair their public image with the help of philanthro-capitalists like Bill Gates. These Biotech crops are vegetatively propagated (not grown from seed), and are not amenable to traditional plant breeding, creating an opening for a GM approach. Critically, vegetative propagation also means that farmers do not need to repurchase seed every year. What effect these second-generation feel-good biotech crops will have on the food ecosystems is yet to be ascertained. Second-generation GMOs in agriculture include “functional” plants designed to produce pharmaceuticals, fuels, and industrial compounds. It is doubtful that these new biotechnologies will have a role in Kenya’s food ecosystem.

The future of GR in Kenya’s food system

In India, GR technologies were rolled out in 1967 when dwarf and rust-resistant wheat varieties were released. The results were so fast and so significant that, just three years later, Norman Borlaug was awarded the Nobel Peace Prize in 1970 in recognition of his contributions to world peace through increasing food supply. It is claimed that he saved a billion people from starvation.

In Africa, it has now been 15 long years since the new GR was launched. AGRA pledged in self-declared milestones that it would double the earnings of 20 million small farmers by 2020 while halving food shortages in 20 African countries. A Tuft University study found little evidence of significant increases in productivity, income, or food security for people in the 13 main AGRA target countries, but rather, demonstrated that AGRA’s Green Revolution model is failing. Between 2013 and 2015, AGRA and CIMMYT released at least 25 water-efficient drought-tolerant maize hybrids (WEMA) for farmers in Kenya. To date, there have not been any magical yield increases as was evident in India when the hybrid wheat and rice varieties were released. Despite the widespread use of these biotech varieties, the increased use of pesticides and fertilisers, and the extensive use of tractors, GR remains a dream in Kenya’s food economies.

There have been many incidences where MNCs systematically replace farmers’ own indigenous seeds with their proprietary hybrid seeds by providing “generous seed and fertiliser donations”.

Why is it so difficult to ignite a green revolution in Africa? AGRA has funded projects and lobbied African governments for the development of policies and market structures that promote the adoption of Green Revolution technology packages. Kenya has taken the top spot in enabling the business of agriculture, opening its doors to these biotechnologies. It has won praise and accolades from donors and partners. What else is there to be achieved? It is highly doubtful that affixing Bayer’s Bt. insect toxin gene to the drought-tolerant WEMA (now TELA) trait will be the launch of Kenya’s green (maize) revolution. It is also highly uncertain that Kenyans will suddenly change their modern dietary habits and start eating biotech cassava, engineered, not for high yields, but to resist viruses.

There is a wave of “new genetic modification techniques” touted to lead to the third generation of GMOs. These include genome editing using various tools such as special enzymes to cut, repair, or even bring new segments into the DNA of living food organisms. Such technics appear to be science visioning, with biotech supporters saying that one will be able to delete allergy traits from the DNA of peanuts and make lactose-free milk to the joy of lactose-intolerant populations.  These modification techniques have already been tested out in the current roll-out of mRNA-mediated covid-19 vaccines, and appear poised to make a thundering entrance into Kenya’s and Uganda’s food ecosystem through cassava that is protected against viruses. Noteworthy is that citizen resistance against this GMO technology will be met with a stern and stark reminder that it is the same GM technology that was used to protect us from the coronavirus and its associated mutations. The new GM technology skipped many important safety and risk assessments and the vaccines were released under public emergency orders worldwide.

In 1967, Norman Borlaug’s GR varieties undoubtedly averted food shortages albeit temporarily. But they were unable to deter poverty. In fact, GR technologies might have added to it. The high-yielding seeds demand expensive fertilisers and more water. In India, GR led to rural impoverishment, increased debt, social inequality, and the displacement of vast numbers of peasant farmers.

What then must we do to ensure a just and equitable food system in Kenya? What is the way forward for gene and green revolutions in Kenya? It appears that our experts and technologists have had every room and resource to make Kenya food-secure using all forms of modern biotechnologies yet there have been no significant results to phone home about. Perhaps it is time to cut our losses and shirk the industrial-agricultural model that is based on industrial principles. Climate change is not helping Kenyan farmers. Researchers have been unable to come up with solid biotechnologies that can sustainably overcome stresses from our unique harsh farming climates. Perhaps it is time we looked to nature and farmers’ know-how in using another branch of science called agroecology.

GR agriculture increased farmer debt, which resulted in increased social inequality, and the displacement of vast numbers of peasant farmers who had to make way for larger farms.

Agroecology encourages the building of resilience through crop and varietal biodiversity on the farm. Monocrops are to be avoided to reduce pests and diseases. Farmers and extensionists teach that planting mixed varieties of locally adapted maize on the same farm creates resilience against pests like stem borers and fall armyworms that GMO Bt. maize seeks to control. Farm-level diversity is the key to survival. Seeds with many traits – drought resistance, early ripening tendencies – make for greater ability to adapt to climate change. Relying on just a few varieties is dangerous and making unending royalty payments to the holders of those food varieties is worse as it undermines food sovereignty at the farm level.

Agroecology encourages the defense of farmers’ rights, the rights to nature, and demands the renegotiating of the contract between state and society as stipulated in our 2010 constitution. Farmers have a right to seed for food and livelihoods. They should be able to freely keep, further develop, sell or even gift their planting material as is culturally accepted. The government should be at the forefront of protecting their rights – and not creating skewed power relations between farmers and farm input providers.

Good agroecology practices further demand an accelerated shift towards local food production and short supply chains. The emphasis is on local food sufficiency that encourages ethical consumerism.

There is an urgent need to review, reform, and reconfigure the UN’s agri-food agencies to be more responsive to the poor and disadvantaged in the food system. The FAO (Food Agriculture Organization) and the CGIAR (Consultative Group on International Agricultural Research) have received funding from the World Bank and the Bill & Melinda Gates Foundation, swaying research and policy priorities towards more biotechnologies in our food systems. Dr Agnes Kalibata, President of AGRA and board member of the International Fertilizer Development Center, has been appointed as the UN Secretary General’s special envoy to the 2021 UN Food Systems Summit to be held in September 2021. This signals that the summit will be yet another forum that advances the interests of MNCs and agribusiness at the expense of farmers.

It is time to put the seed back into the hands of the farmers. Remember, he who controls the seed controls the food system. If Kenya is to take back control of its food system and reassert its sovereignty over its agriculture, its citizens — free from corporate influences — must be at the forefront of any restructuring of the food system. This is the only path to a just and sustainable food bio-economy that is not subject to the whims and fancies of corporate controllers of biotechnologies.

This article is part of The Elephant Food Edition Series done in collaboration with Route to Food Initiative (RTFI). Views expressed in the article are not necessarily those of the RTFI.
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