Category: Fair Trade


a version of this interview is to appear in the 5th edition of the Film Biz Africa magazine

Steppes in Sync is a creative platform that connects Zimbabweans involved with creative industries with investors across the globe.

Film Biz Africa magazine was privileged to interview Andy Kozlov, Ukrainian creativity maven behind Steppes in Sync, who says:

Film Biz Africa is a Nairobi-based bi-monthly publication about the business side of African film

I have  always been interested in the role of cultural industries in sustainable development. While studying for my BA degree in history,  I got fascinated by people’s use of creative tools to inspire development in unstable economic environments like Africa and in parts of Europe like my home country, Ukraine. (See How culture contributes to development: an UNESCO indicator suite)
Film Biz Africa: Tell us about Steppes in Sync, what inspired you to start this initiative and how has the response been so far?
Andy Kozlov:The idea of Steppes in Sync came to me at the end of 2010 during the preparations for my second trip to Zimbabwe. Initially, Steppes in Sync was a personal blog where I would publish original or reposted material about topics like South-South cooperationdevelopment communication, and African film and literature.
 As the blog’s content grew, I managed to get occasional contributions from others – among them Tendai Huchu, a Scotland-based Zimbabwean author of novel The Hairdresser of Harare, as well as Malian film-maker Intagrist El Ansari, who worked on Yann Arthus-Bertrand‘s projects such as 6 Billion Others and the highly-acclaimed film Home.
 As for the people’s response to the Steppes in Sync initiative so far, we are still at the research phase but, as of recently, we nurtured promising collaborations with creative minds from countries like Nigeria, Kenya and South Africa, apart from our countries of focus – Ukraine and Zimbabwe. I have become an official representative of an African film distribution company, Afriwood, in the Russian-speaking markets. (See Afriwood to participate in 2012 Ukrainian Content Market)

The front page of the Bulawayo-based arts festival, Intwasa, web site

Steppes in Sync and a group of friends in the creative sector of Zimbabwe are currently  working on establishing the Zimbabwe Creative Content Agency, the goal of which is to  promote Zimbabwean talent abroad and strengthen information flow within the creative community there. We have discovered that despite the availability of various funding and publicity opportunities, Zimbabwean talent remains in the shadow, partly because there is fierce (and often blind) competition within the community. For example we are now in talks with the Bulawayo-based arts festival Intwasain southern part of Zimbabwe to manage their public image and attract more visitors from outside Zimbabwe. (See Navigating African cities through our own unique and diverse mental maps)

Film Biz Africa: Who does Steppes in Sync target in particular? Knowing that online media in Africa, particularly in the rural areas, are still in the bud, how do you intend to reach out to the creative talent on the continent? 

Andy Kozlov: The question of internet penetration in Africa is a good one that no-one really has an answer to.  Kenya, for example set the pace of mobile banking for the whole continent.  In the creative field, the South African pay TV Channel M-Net  recently launched the African Film Library availing to the public their 100-plus online library of films downloadable for a fee. They plan to expand it to 700 titles in the near future.

As for us, at present we are still experimenting – something emerging-market actors do, given the incredible lack of reliable data for Africa and often failing communication channels. But one thing we see coming up on the horizon is an increasing interest of Africans in what is going on in other parts of their continent. Cultural industries like film and television are no exception.

Film Biz Africa: Judging by the fact that Steppes in Sync connects international business and development experts to creative talent across the globe, which creative industry would you say has the greatest potential and why? 

Andy Kozlov: In a sense, making cute pots or wooden and soapstone statues can hardly be compared to highly-expensive TV or film productions. The former is usually a work of an individual artist. The latter requires collaboration of a team of people, each one of them with a set of specific creative skills. If you judge by the items that recently went under the hammer at Christie’s in New York, the returns from a single painting can fund roughly over 5,000 Nollywood-produced films. (See Copyright wars II: What “pirates” of Hollywood (read “American film-making pioneers”) share with Nollywood marketers)

One thing is for sure, in the world  that is undergoing a huge technological  transformation, an average video like Kony 2012 can go viral in an instant and an expensive theater production somewhere in South Africa can go flop taking downhill  all the aspirations and promising careers of the actors and producers. No doubt for example, IT and web-supported cultural industries is the happening place for Africa. Look at Samsung. This Korean company is implementing a program in a host of countries in Western Africa as well as in Kenya to introduce  to the market TVs with an in-built satellite receiver. Something like this never took place anywhere else in the world. Christoph Limmer, senior director of marketing development and marketing, Africa, at SES (telecommunications company that helps broadcasters deliver almost 6,000 TV channels to over 245 million homes worldwide) put it this way commenting on the partnership with Samsung:

Our cooperation will not only help to improve access to digital content for African consumers but it will also encourage African broadcasters to launch more content. In servicing more than 40 African countries, we are well aware of the huge demand for more and higher quality TV services. The opportunity lies in providing an increasingly sophisticated African viewership with a significantly increased number of TV channels – a first for many African countries. (See 16 million eyes of ZBC viewers could add on several millions moreSinS book review. Africa Rising: how 900 million African consumers offer more than you thinkUkrainian Media Content Market 2012 scheduled for SeptemberTurkey’s ‘soap power’The World’s most inventive and pro-active television comes to town  and I want My TV in Afghanistan!)

Companies like Samsung have developed a nose for where the potential is. (See Africa-Asia prospects II: more solid research on Africa needed to inform Sino-African relations)

Film Biz Africa: What are your visions for Steppes in Sync?

Andy Kozlov: Steppes in Sync is first of all a platform for collaboration, and dissemination of creative-arts related information. There is a high demand for this in Africa and former Soviet nations. So, I can see us growing in the near future. African cultural market is by and large untapped. Africans are willing to learn. And it is important to collaborate with them, to teach them how to share ideas in a way that will contribute to their personal development and the development of their communities. We are certainly learning from Africa, too. So there is a lot of work to be done.

Film Biz Africa is a Nairobi-based bi-monthly publication about the business side of African filmChiaka Esther Desmond edits the magazine.

Zimbabwean director and film producer, Stephen Chigorimbo, has something up his sleeve to resuscitate Zimbabwean film industry. He intends to do it by distributing African film productions to all corners of the world with the help of Afriwood, an audio-visual marketing and distribution company. (See What some Zimbabweans know and those that don’t can learn from other nations’ film industries)

Chigorimbo set up Afriwood in 2010 capitalizing on almost 40 years of international experience in film and music industries. He is often part of international film events across the world, including FESPACO, film festivals in Cannes, Cairo and Harare, and Input. (See From Zimbabwe to Australia: Stephen Chigorimbo on the International Public Television event)

Up to 300,000 viewers in the Commonwealth of Independent States constitute an untapped market for African-produced films

Soon, up to 300,000 Russian-speakers in the Commonwealth of Independent States (CIS) will get a chance to experience Africa filmed by the continent’s talent. Explains Andy Kozlov, “In April, Afriwood partnered with the Kyiv-based Media Resources Management and will be in the Ukrainian capital this September as a seller at the 2012 Ukrainian Content Market. My task, as an Ukrainian with a knowledge of African film sector, is to facilitate contracts for the purchase of exhibition rights by TV channels from various regions of the Russian-speaking world. Concurrently, Afriwood intends to enter into partnerships with production studios in Ukraine and Russia to help co-produce films and TV programs both in CIS countries and on the African continent.” (See Ukrainian Media Content Market 2012 scheduled for September)

 Afriwood seeks to promote and distribute African movies in such a way that the producers make enough money to enable them to work on another production. (See On the winding roads of African film distribution)
 ”Most of the documentaries that we have done were broadcast by either ZTV or SABC, Danish television [stations] or BBC,” says Chigorimbo. “If they put the money they own the rights. But now Afriwood has acquired the rights back so we will be able to distribute these productions in our own capacity.”
Afriwood is not the first African film company that intends to enter the Russian-speaking market. Last October, the first Nollywood film was co-produced in Ukraine. Starring Nigerian celebrity Omoni Oboli and Ukrainian actor Andrew Rozhen, Feathered Dreams is based on the true story of a Nigerian girl sent to study in Ukraine. (See Multikulti Ukraine)
List of Afriwood titles
1. THE GENTLEMAN – ZIMBABWE
LOBOLA/DOWRY – ZIMBABWE
2. INGXOXO – THE NEGOTIATION – SOUTH AFRICA
 3. YOU OWE ME – ZIMBABWE
4. THROUGH THE GLASS – NIGERIA
5. A SMALL TOWN CALLED DESCENT – SOUTH AFRICA
7. THE LONG NIGHT – ZIMBABWE
8. FOREIGN DEMONS – SOUTH AFRICA/NIGERIA
9. THINK – ZIMBABWE
10. MIND GAMES - GHANA
11. CHI CHI – ZIMBABWE
12. CHOICE – ZIMBABWE
13. DEPRAVED – ZIMBABWE
14. SORES OF EMMANUEL – ZIMBABWE
15. CRY OF LOVE – SOUTH AFRICA
16. THE ALGIERS MURDERS – SOUTH AFRICA

Afriwood founder Stephen Chigorimbo by Eastgate in downtown Harare

this review by Steppes in Sync founder Andy Kozlov appeared in the March 2012 issue Hello Harare! 

In Zimbabwe, Coca-Cola Africa, in cooperation with Population Services International, uses its extensive delivery networks to help distribute condoms to fight the HIV/AIDS epidemic (image courtesy of www.utexas.edu).

When Vijay Mahajan‘s marketing-focused travelogue of Africa hit the shelves of American brick boxes of chain bookstores in 2009, Africa was indeed rising. And already then the author, whose name is immortalized in the name of an American Marketing Association award  for career contributions to marketing strategy, had to apologize in the very first lines of the preface for overlooking Africa in the years preceding his 250-plus-paged revelation of ‘how 900 million African consumers offer more than you think.’

I could now go into saying that we, living in Africa, know that those proverbial 900 million African consumers can offer a lot. And some of us knew it well before Mahajan, an Indian-American, embarked on his ‘consumer safari’ (this is what Unilever executives that the author met in Harare back in 2008 call their initiatives to spend a day with consumers in their homes to understand how they use products). But I won’t go into all that.

I bought my copy of  Africa Rising last year, when many of its predictions had probably been proved wrong, at a bookstore at Johannesburg’s OR Tambo airport . The book’s cover is less than attractive. So, why did I cash out almost 260 rand for the ‘outdated’ volume? What I was looking for is a human face to all those numbers trumpeting from every corner that Africa is rising.

You can flood me s much as you want with stats showing how we all in Africa have progressed in the last five years, but until I start seeing real people attached to your numbers, I won’t even begin connecting the dots. And Mahajan’s does a great job in bringing together the bread bakers of Zimbabwe and the film lovers of Nigeria, dropping examples of water East African purifiers in between.

Africa Rising offers an unprecedented account of the continent that even in 2012 can be rivaled by the few of its kind. Reading this book, one gets a new mindset that, with some training, pays off by making the reader see an immense pool of opportunities in the potholed roads, blackouts and chronic disease.

Vijay Mahajan (image courtesy of www.utexas.edu)

Despite its crusade-like mission of opening the world’s eyes on the business opportunities in Africa, Mahajan’s book stays in touch with the reality and, like any other business-focused volume, is an easy read that one can process on a lazy Sunday afternoon, as well as a hectic kombi ride from NSSA to ‘College.’

Who knows, maybe reading the book while riding in a kombi will inspire you in a Newton-like manner to come up with a creative solution to Harare’s public transportation challenge.

You can write to Andy Kozlov on a.kozlov@steppesinsync.com

Sir Henry Wotton, XVIIth-century author and British ambassador to Venice

Sir Henry Wotton, who served King James I as ambassador to Venice, once stated that “an Ambassador is an honest man, sent to lie abroad for the good of his country.”

In the multi-polar interconnected world an aspiring diplomat no longer has to be drilled by a formal academic program. And the state that uses diplomat’s services will often abide with philosophies different from her own countries.

It could. in fact, be a supra state like the EU. Or consider the work done by an UN citizen ambassador. Or if one were to find this position too symbolical than how about putting on a hat of a freelance diplomat? There are provisions specifically included in the articles of Vienna Convention on Diplomatic Relations, which allows a non-national to represent another country diplomatically.

According to Wikipedia, freelance diplomacy is a form of self-financing diplomatic representation used by countries who as a general rule, could not afford to hire expert diplomatic consultants full time. A freelance diplomat is hired for a specific task or may sometimes be contracted on a permanent basis to run a Delegation, Mission or Embassy. They may also be used to promote investment into the country they work for. It is understood to be a performance-based relationship, where the diplomat is paid on results only.

It would be interesting to note that some intellectuals put diplomats (statesmen) close to artists. Especially when we are talking about the Western civilization.  John W. O’Malley, in his book Four Cultures of the West, describes the prophetic, academic/professional, humanistic, and artistic cultures all as being part of larger Western philosophy. He puts statesmen in “culture three” (humanistic) because they are concerned with contingencies. O’Malley says a statesman must ask: “Is war required of us now, under these circumstances?” A statesman argues, therefore, from:

probabilities to attain a solution not certain but more likely of success than its alternatives. Like the poet, then, the statesman deals with ambiguities, very unlike the protagonist from culture two, who traditionally argued from principles to attain truth certain and proved to be such; cultures two and three represent, thus, two different approaches to problem solving. Like the prophet of culture one, the statesman of culture three wants to change society for the better, but to do so he seeks common ground and knows that to attain his end he must be astute in compromise. He does not shun the negotiating table.

And, let’s face it, to be a freelance diplomat, one needs creativity. The same principle applies to small states that often use the services of freelance diplomats.

The more adept small states have managed to join bodies, regional or global, and maneuver to promote their interests within frameworks established by and for larger powers.

A Founding Partner of the Centre for Small State Studies at the University of Iceland Michael Corgan writes:

Among the earliest small states to do so were the Venetian Republic and Vatican in the 17th century. The text of the Peace of Westphalia, the wellspring of the current state system, credits Venetian diplomats for bringing an end to this general war in Europe.

The Papal Nuncio to the United States, Archbishop Pietro Sambi, gives Communion in the hand to Senator John Kerry, 2006 (image courtesy of traditioninaction.org)

And the 1962 Vienna Diplomatic convention includes the designation nuncio as co-equal to ambassador, in part a recognition of the centuries-long role played by the Holy See’s diplomats and diplomatic practice. In more modern times some small states, notably Switzerland and the Nordic countries, have shown how a focused and well-informed diplomacy can produce remarkable results, especially when vital economic or security interests are involved.

One of the first major decisions of the UN’s International Court of Justice was the 1951 Anglo-Norwegian Fisheries Case.  Although this in itself could be considered a victory for a small state on the world stage, it was an even smaller state, one only 7 years independent, that seems to have made the most of the decision. Iceland’s government immediately saw a trend in world affairs and notions of sovereignty and promptly extended its own fisheries limits from 4 out to 12 miles. Nor were the Icelanders finished yet. Over the next quarter of a century this smallest of the small states that had chosen to join the world’s major bodies aggressively and progressively led the way in extending protected fisheries limits out to the now universally accepted 200 miles.

Iceland accomplished its aims against the efforts of much more powerful states, notably the UK and later Germany as well, taking advantage of several factors such as its geo-strategic value to NATO and clever use of media characterizations of a David versus Goliath. The principal asset this state—with fewer than a quarter million people—took into its three so-called Cod Wars, however, was the skill, persistence, and thorough grounding in facts of the issues of its diplomatic corps.

Nor is it only Northern European small states that have had an impact on events out of all proportion to their size. It was a Maltese UN diplomat, Arvid Pardo, who introduced the concept of the “common heritage of mankind” into the Law of the Sea section dealing with rights to resources on the deep seabed. This idea, which looked to the interests of all small states, was extended into the Law of Space where the sharing of data includes micro-states with no hope of themselves participating in any space exploration.

Though the idea of an International Criminal court had been talked of for some decades after the UN’s establishment, the spur for the effort that actually led to the Court’s establishment was begun by Trinidad and Tobago in the early 1990s as a way to deal with drug traffickers.

Emerging economies are turning to experienced freelance diplomats to increase trade and procure private investment from abroad.

Born and educated in England, Colin Evans (born 1964) is widely considered to be the best example of a “freelance” or Commercial Diplomat in the world today. He is a fluent English and Portuguese speaker. He has represented countries from Africa, Central America and the Pacific and is often hired as strategic consultant to delegations at the FAO and UNESCO.

Freelance diplomats are often presented with diplomatic credentials and other documentation to facilitate their work, including diplomatic passports and CD license plates.

The Turkish Republic of Northern Cyprus, Western Sahara and Somaliland may not have much in common, but they share the same predicament: all are unrecognized states striving to capture international attention. Enter Independent Diplomat (ID) (Facebook page) – a non-profit organisation founded in 2004 by former British diplomat Carne Ross.

The nonprofit group, comprised of former diplomats from a variety of nations, stands ready to help would-be governments navigate the complex system of national bureaucracies and international organizations designed to accommodate established nations.

”Very often government or international officials will refuse to talk to our clients, or if they talk to them they’re reluctant to give them the information they need,” said Nicholas Whyte, who heads the Brussels office of the nonprofit group.

”And from our clients’ side, they are often inexperienced in dealing with international bureaucracies precisely because nobody talks to them,” said Whyte, an Irish international affairs expert.

ID’s projects have included: helping Kosovo achieve recognition as a new state, the National Coalition Government of the Union of Burma, Somaliland, Northern Cyprus and Western Sahara.

ID has also assisted various non-profit organizations, including: Human Rights First, the International Center for Transitional Justice and the World Wide Fund for Nature.

Nicholas Whyte heads the Brussels office of the Independent Diplomat

The group also counsels established nations on issues where they lack expertise, including advising the Republic of the Marshall Islands on the U.N. climate change process and working with East European countries applying for EU membership.

Independent Diplomat adheres to a strict policy of rejecting clients engaged in armed struggle.

But critics say ID can only accomplish so much without involving governments and should not pretend to have more influence than they do.

Robert Cooper, the former secretary-general of the European Council in Brussels, also questioned the group’s influence. ”Achieving anything in foreign affairs is very difficult for non-governmental groups,” he said. ”Some NGOs perform extremely valuable work and are well respected … but in the end nothing is achieved without governments [and] they should not pretend that they have influence when they don’t.”

Still, Richard Dalton, the former British ambassador to Iran, said those involved in the endeavor were ”individually capable people” who could make a difference. ”Their philosophy and their code — and the approach that they take — does fill a gap for countries and for movements who don’t have access to the international system,” he said.

With offices in New York, Washington, London, Brussels and Addis Abeba the organization provides its clients with guidance on how to approach foreign governments or international organizations such as the United Nations or the European Union.

Independent Diplomat’s annual budget comes from foundation and government donations, as well as client fees. Clients are charged according to their ability to pay, with the poorest paying only nominal amounts.

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