article by Vicki Hearn via venturesafrica.com
Innovators across Africa are harnessing digital technology to develop new ways of tackling social and economic challenges. From the rise of Silicon Savannah to the launch of M-PESA, the continent has a burgeoning tech sector that is driving a social tech movement that puts people before profits. These inspirational projects are making a positive difference to people’s lives in their own communities and creating social change at a national level.
For the last four years, Nominet Trust has identified and celebrated 100 different socially-motivated startups from across the globe. In our 2016 NT100, we feature some extraordinary examples of how pioneers from across Africa are using tech for good to promote education equality, economic empowerment and access to medical care.
Education equality
1. OneUni
In Kenya, a lack of physical space at universities and the prohibitive costs of attending can be barriers to often capable students pursuing degree programmes. Daystar University in Nairobi and California startup, OneUni, partnered up to tackle this and make university education accessible to more Kenyans. Together they created Africa’s first smartphone degree programme, Daystar Mobile, where all course materials are made available through an app. They now have plans to expand the model to other African countries to reach thousands of more students, aiming to make university education more accessible across the continent.
2. Tunapanda Institute
Another venture bolstering education in Kenya is Tunapanda Institute. Approximately one-third of Kenyan children do not enrol into a high school because of financial constraints, so brothers Jay and Mick Larson created a free, open source online training programme to help bridge this digital divide. Tunapanda Institute currently delivers three-month intensive learning courses in technology, design and business, giving students access to vital skills that can act as an alternative to traditional high school diplomas. At the institute’s HQ in Nairobi, specific workshops are also held to provide girls with skills in the STEM subjects, helping address the gender gap in these fields. To date, 100 people have graduated from the programme, of whom 85 percent are in meaningful employment as a result.
3. Well Told Story
After the disputed elections in Kenya in 2007, over 800 people were killed, leaving a generation of youths feeling disenfranchised. To help get to the heart of what young Kenyan’s wanted to talk about, Rob Burnet established Well Told Story, a research consultancy which is famous for creating Shujaaz, meaning ‘heroes’ in Sheng. Shujaaz is a free, international Emmy-winning comic book that now has a monthly circulation of 500,000 and a readership that Burnet estimates to be five million Kenyans aged between 10 and 25. The content is lovingly crafted by young people based in Well Told Story’s Nairobi office and offers readers tips on everything from planting maize to contraception, information about upcoming elections and careers.Enhancing daily living
4. Lumkani
In Cape Town, communities living in deprived areas are threatened by the devastation caused by house fires which can sweep through the neighbourhood. Lumkani, which means ‘beware’ in Xhosa, was created by a group of students horrified by the danger faced by less advantaged citizens in their city, to help save lives in the event of these fires. Lumkani transmits a signal to devices within a 20-metre radius so that neighbours are aware of potential danger and can mobilise help or evacuate. Since launching in 2014, Lumkani has been installed in 7,000 homes in Cape Town, and co-founders Francois Petousis and Samuel Ginsburg say that the device has already prevented the spread of what could have been five major fires.
5. Digital Matatus
Although 70 percent of Nairobi’s population rely on the matatus – 20,000 private vans which transport people around the capital – there’s very little information available on how to navigate this seemingly chaotic system. In 2011, researchers at MIT, Columbia University and the University of Nairobi, together with design agency Upshot, began a collaborative mapping project to make sense of the matatus system to support those travelling on it. By recruiting Kenyan students to ride the matatus and log journeys using mobile and GPS, by 2015 Digital Matatus had recorded almost 3,000 stops on more than 130 routes. Since its release, the city of Nairobi has adopted the map as the capital’s official transit guide and more than 5,000 people have downloaded it online.
Economic empowerment
6. Illuminum Greenhouse
Childhood friends Brian Bett and Taita Ng’etich, whose families are farmers, set out to explore better solutions to farming after their young tomato crop was destroyed by flooding. They developed a system using low-cost materials and advanced sensor technologies to monitor their crops to prevent this happening again. When neighbours started asking them to build their own greenhouses, they founded a new business: Illuminum Greenhouses. Each greenhouse is fitted with sensors that monitor temperature, humidity and soil moisture, alerting farmers to change the settings via text messages. To date, more than 750 Kenyan farmers are using Illuminum’s technology and the pair aspires to scale the innovation so it can be deployed all over Africa and Latin America.
To read full article, go to: 10 African ‘tech for good’ startups to watch in 2017 – Ventures Africa
It’s the Monday morning of Paris Couture Week, and Lupita Nyong’o appears, right on time, from the elevator of Le Bristol hotel. Never mind that she’s come direct from a trip to her native Kenya, which she just happened to combine with an elephant-saving mission. Or that her flight landed only a few hours ago. Or that all her bags were lost en route. She is wearing a dramatically sculpted scarlet Dior minidress, her short hair is teased into a halo and held off her face with an Alice band, and her beautiful skin gleams with health. As she bounces into the lobby, her mirrored, blue-tinted Dior sunglasses reflect a roomful of transfixed admirers.
“Hello-ooo!” she says, her voice deep and warm, as she breaks into a gigantic smile. She removes her sunglasses to reveal wide, dark eyes, sprinkled with glittery silver eye shadow. Her eyebrows are precision-plucked—no Cara Delevingne strays for her. “Really, I’m not tired,” insists Lupita. She’s beaming with excitement. This is her first Paris Couture.
There are few actresses as instantly recognizable as 32-year-old Lupita Nyong’o, who took on the role of the slave girl Patsey in Steve McQueen’s 12 Years a Slave while a student at Yale—and went on to win an Oscar in 2014. In one fell swoop Lupita conquered Hollywood, seduced the fashion world, and found herself shouldering the dreams of an entire continent.
A few minutes later we are crawling through traffic, heading to the Dior show at the Musée Rodin. Settling herself patiently in the back of the car, Lupita tells me, “I didn’t know the power of couture until I tried on a couture dress. It made me cry.”
Lupita has an old-school attitude to fashion. She calls pants “slacks.” When I joke about this with her, she responds, “What can I say? I’m a Pisces. I have the soul of an 80-year-old woman inside me.” Long before the world was awed by her movie debut and her Oscar speech, for which she wore an exquisite baby-blue Prada chiffon gown, Lupita was properly turned out. Her first memory of fashion was at age five, wearing her “very eighties red cord miniskirt with suspender straps. Presentation is extremely important in Kenya. You dress formally. You can’t just wear flip-flops. My mother always had her own style. She wore A-line, tea-length flowery dresses, very well fitting. Her nails were always perfectly done.” As a girl in Nairobi, Lupita recalls, “salons were a big feature in my life. We would go every two weeks to get our hair braided, washed, or treated. That’s where I read American, British, and a few African magazines.Then I would design my own clothes. In Kenya it’s much cheaper to get clothes made than to buy them. We would have everything run up by a tailor, or my aunt Kitty, who is very creative, would sew things for me.”
It may seem an unlikely combination, but politics were as ever-present in the Nyong’o household as style. Lupita’s father, Peter Anyang’ Nyong’o, now a senator, was for a long period an opposition politician under the repressive Moi regime. He spent three years in self-imposed exile with his family in Mexico, where Lupita was born.
The Nyong’os returned to Nairobi when Lupita was one. The following years she remembers as “scary, but I was at an age where you couldn’t fully understand what was happening.” Her father was at times detained in jail, once for an entire month, and the family “had to destroy a lot of his documents. I wasn’t allowed to go to school. We were basically locked up in the house. The curtains were shut all the time, and we were just burning papers.” She says the experience made her resilient. “I was definitely exposed to some extreme situations. Tragedy is something that I have known and that I have tried to accept as part of life. But I don’t dwell on it. . . . OK! I need to powder my nose!”
We have arrived at the Dior show, and Lupita, her beautiful nose suitably blotted with custom-blended Lancôme Miracle Cushion (she is the newest face of Lancôme), strides confidently across the lawn toward a vast glasshouse that has been splashed with Pointillism-style dots. Photographers snap pictures constantly as she is escorted by a gaggle of worshipful Dior publicists to the front row.
The sublime collection makes me want to throw out every single piece of clothing I own. As Lupita walks backstage afterward to meet Dior designer Raf Simons, she says, “I loved the breeziness of everything, the coats thrown over the dresses.” Her favorite piece is a demure, New Look–inspired green-and-pink print, A-line silk pleated coat. It’s the kind of thing a very, very chic Sunday-school teacher might have worn circa 1952. “I can work a pleat,” adds Lupita. (At Cannes this year she did just that, twirling up the red carpet in an emerald-green Gucci dressthat was a swirl of hundreds of pleats.) Backstage, while the model Rosie Huntington-Whiteley and the singer Grimes look patiently on, Lupita is greeted with excitement by Simons. He thinks Lupita is “so radiant and seems to take such pleasure in playing with fashion.” Next, the actress Emily Blunt, chic in white, grasps Lupita’s hand. “I am so thrilled to meet you,” she declares. “I am a huge fan.”
I can’t think of another actress who has appeared in only one major role in an American film and caused quite such a stir. (Lupita also played a smaller part in last year’s Liam Neeson movie Non-Stop.) But, as she tells me that evening, her output will be dramatically upped this fall. We visit the historic restaurant Le Grand Véfour in the Palais Royal for an indulgent dinner. The maître d’ offers Lupita the honor of sitting in Napoleon’s seat—now a plush crimson velvet banquette—and she accepts gracefully. She is dressed in an asymmetric print Dior silk top, skinny black pants, and high heels (all on loan while the aforementioned lost luggage is being located). While we tuck into delicious platters of fish, sorbets, and cheeses, Lupita tells me that she has just spent four months filming a CGI character—a pirate named Maz Kanata—for J. J. Abrams’s Star Wars: The Force Awakens, opening this December. “We needed a powerful actress to play a powerful character,” the director explains to me later. “Lupita was someone I’d known a little and was enormously fond of. More important, her performance in 12 Years a Slave blew my mind, and I was vaguely desperate to work with her.”
Acting a motion-capture character was “really bizarre and lots of fun,” Lupita says. “I really enjoyed the fact that you’re not governed by your physical presence in that kind of work. You can be a dragon. You can be anything.”
When I ask her, “How do you act ‘anything’ ?,” she says, “My training at Yale is the core of the actor that I am. Before that I was just going on instinct . . . having my imagination take over. But Yale taught me that it’s about giving yourself permission to pretend.”
An important pretending trick is to dress in the same “uniform” every day while going to and from set. If she doesn’t have to think about what she’s wearing when she’s not in costume, this allows her to focus. When she was recently filming the Mira Nair–directed Queen of Katwe, the true story of a chess master raised in a Ugandan slum, she wore an A-line skirt and blouse every single day because that’s what her character wore. “One amazing thing about filming in Uganda was that on the first day of rehearsal we were all barefoot,” she remembers. “I looked down and all the feet were my complexion. That had not happened to me before. I was reminded that I’m actually not that special. There are lots of people in the world who look like me.”