A mechanisation pilot project by the John Deere SMART initiative has doubled the maize yields of two small-scale farmers in one season, and has the potential to usher their whole community into the era of mechanised farming. By Robyn Joubert.

Two of the biggest challenges choking the progress of small-scale farmers are access to finance and good mechanisation. In September 2021, two small-scale farmers in the Eastern Cape were selected to take part in a John Deere SMART mechanisation pilot project to overcome these challenges.

The pilot took the two farmers – Mveleli Mhlonitshwa and Mzimasi Jalisa – on an eye-opening journey of discovery and modernisation. In gaining access to mechanisation that parallels their commercial counterparts, the farmers got their crop in and out of the ground in less time, planted a greater area, and doubled their maize harvest from around 4t/ha to 8t/ha.

What’s more, they had time to offer mechanisation services to community farmers. These positive spinoffs can now empower the men to purchase their own equipment and begin their evolution to commercial farming. The John Deere SMART initiative is a contractor mechanisation model and stands for Solutions for farmers, Mechanisation for higher yield, Access to finance, Reliability for lower costs, and Technology and training.

“The contractor model started in Ethiopia but there is space for it in South Africa, especially in the rural Eastern Cape. Mthatha has significant agricultural potential but progress is constrained by dated equipment and old farming methods like harvesting by hand,” said Zabion de Wee, New Business Development Manager for John Deere AME.

Proper mechanisation is needed for small operations to grow, he said. “Many farmers in the Eastern Cape are working on small areas of 2ha or 10ha, but together it makes up 400ha. Instead of all the farmers trying to buy their own tractor, one farmer buys all the mechanisation that is needed to do the whole 400ha for the community: the planter, the tractor and the ripper.

He charges a contractor fee and the other farmers benefit from proper mechanisation and better yields. Everyone benefits. It is an affordable way to give access to proper mechanisation,” Zabion said.

John Deere worked in consultation with the OR Thambo community in the Mthatha district to identify Mveleli and Mzimasi, who needed access to the right solutions and the right mechanisation to grow their farming operations.

“We customised the John Deere SMART initiative to help solve some of their daily crop production challenges. Our goal was to expose them to mechanisation and tech­ nologies that they need, but have never used before, to enhance their production and reach their true potential,” said Zabion.

Over the course of eight months, the trial took the OR Thambo farmers full circle – from soil preparation to harvest. “We took into consideration what equipment they had, and only upgraded what was necessary, nothing more,” said Zabion.

Mveleli received a 1015 John Deere planter, while Mzimasi received a plough, offset planter and a tractor on demo. Not only did the farmers get their crop in the ground before the end of the planting season, but they managed to plant more hectares, and had time to assist other farmers with planting.

This was a dream come true for Mzimasi, who produces potatoes, green mielies and maize. “I started farming with vegetables on 5ha in Mthatha in 2015. I used equipment that gave many mechanical problems through­ out the season due to it being old and difficult to find parts,” Mzimasi said.

Maize farmer Mveleli also enjoyed the benefits of mechanisation. “Through this initiative, I could plant with a good planter and not experience any down­ time. Everything I needed to do, I was able to do on time,” said Mveleli.

THE EXCITEMENT WAS INCREDIBLE

At harvest time, John Deere brought in a C120 harvester, which drew intense interest from the community. A combine harvester is one of the most desirable, but most expensive machines on a farm.

“The excitement of having a C120 harvester in the field was incredible. Harvesting by hand took these farmers almost four months. In contrast, they completed their harvesting in about three days with the C120, resulting in better­quality produce, ready for market at better prices,” said Zabion.

“Better mechanisation allowed Mzimasi to plant 40ha of maize over and above his normal vegetable farming operation. Before he used to get 3­4t/ha. This season he harvested 7.5-8 tons. With the good maize prices currently, that is a big boost to his income. Mveleli, who used to get 5t of maize/ha, harvested 8.6t/ha.”

Both farmers were convinced of the value of these machines. Mzimasi said not only did his crop double in size, but the quality also improved, while Mveleli said he is now working at the same level as a commercial farmer.

“Mechanisation on my farm has put me in a position where I can purchase my own equipment for my business. It has also helped me decrease my timeframes, allowing me to do the work that usually took me three months in two to three days. I can now work more efficiently, and the equipment I use is top-notch,” said Mveleli.

This initiative places farmers in a position to get better prices for their products and move them to better markets, assisting farmers to become commercial operators, Zabion said. “The trial will be ongoing until the farmers become commercial. This year both intend to buy their own equipment, including planters,” Zabion said.

Depending on which equipment they opt to purchase, it should take them two to five years to pay off under the contractor model.

“They can afford the machines through their higher yields and by contracting for others. They can apply for financing and we will help them to contract their services more structurally. The contractor model has existed here before, by informally helping neighbours. Now they need to do contracting more formally.”

The SMART model includes training for the customer contractor. “We focus on getting the customer to understand the contractor model: how to plan, how to invoice, how to execute. They need this understanding to make sure they pay back the equipment. Equally important is the operator’s training to get optimal usage and full value out of these machines,” said Zabion.

Mechanisation is essential in a world where agriculture is constantly evolving. “The future is exciting, and there are a lot of opportunities in the area that need to be unlocked. With the support of the John Deere SMART initiative, we can take more farmers to the next level, grow their profitability, and create a more food-secure province. We were able to show what constructive collaborations with private sectors, NGOs and the right farmers can do,” Zabion concluded.

All is set for one of Africa’s most exciting events – YouthConnekt Africa Summit – which is taking place in Kigali, Rwanda this week.

In its 5th year, YouthConnekt Africa Summit 2022, which is organised by the Ministry of Youth and Culture in Rwanda, in partnership with the United Nations Development Programme (UNDP), will take place from 13 – 15 October 2022 at the BK and Intare Arenas on the outskirts of Kigali.

The 2022 continental summit expects to attract about 10,000 participants from across Africa and the diaspora with a target of 90% youth delegates. Representatives from governments, the private sector, civil society organisations, and non-profit organisations, among others, will be in Kigali to engage young people in rich conversations with African youth and move from rhetoric to action.

As the days to the landmark event draw closer, here are five reasons why YouthConnekt Africa, matter:

1. The future of Africa is in its youth

 Development ideologies and agenda post COVID19 should prioritise the youth as key stakeholders. The 2022 summit promises to concretise tangible actions on many issues affecting the youth, including climate change, mental and sexual health, joblessness, skyrocketing commodities prices, and cost of living, among others. As the continent re-imagines the future, that will bring forth new prospects that will leapfrog unexplored opportunities more sustainably and inclusively will not be feasible without its most significant population at the table. It is time for the youth to be part of the solutions and utilisation of resources that build more formidable and resilient societies and a future smart Africa beyond aid. 

2. An Africa that prioritises its young people is the now and the future

In line with this year’s theme – Accelerating Investment in Youth: “Resilient Youth, Resilient Africa”, this year’s event features events curated by the youth for the youth. From plenaries and roundtables, youth labs, research publications, walk-through exhibitions, training Sessions, Xchange lounges, speed networking cafes, Ted-talk style presentations, pop-up events, to city immersion experiences, attending this year’s summit will provide the right platforms for the exchange of knowledge and the start of lasting partnerships.

Rwanda as a nation fully embraces technology and innovation, and this provides a stepping stone for Rwanda’s and Africa’s youth. Out of every ten innovative stories, at least seven belong to young people, representing the power of innovation and hope alive in Rwanda – ensuring our society thrives with the young people at the centre.

3. Co-creating holds a more substantial promise for the youth

YouthConnekt Africa, as a continental initiative, aims to empower young people by enhancing their knowledge, experiences, and skills while investing in their ideas, innovations, and agency. African platforms such as the Timbuktoo Initiative and Norrsken that accelerate African youth’s innovative projects through access to finance, mentorship, and more will be avenues for the young Africans who will attend the summit to create long-lasting beneficial relationships. Suppose we harness Africa’s demographic dividend meaningfully towards achieving Africa’s SDGs mandate, the AU 2063 agenda, and AU Youth Charter. 

4. Innovation spurs bolder ideas

At the height of the pandemic, African youth proved that this continent is a hotbed for innovation and home-grown solutions. Like previous summits, the Kigali YCSA 2022 brings an array of inspiring and unique creations with great potential to revolutionise development in Africa – as they say, the future of Africa’s development is in its young people’s hands. At the summit, participants will interact with various possible solutions that can be replicated and scaled up to address some of Africa’s biggest challenges. All created by our very own African youth, proving that we can harness localised solutions to address globalised challenges. Through the summit, Africa’s home-grown solutions will showcase, shifting the narrative regarding Africa’s place in development. 

5.Platform to influence/foster change and development through policy and investments

Without the involvement of youth, Africa’s future is limited. Like the previous editions of the summit, the 2022 gathering of young people will renew the persistent call to action, challenging policymakers and leaders, business enterprises, and thought leaders to put the youth at the forefront and centre of their plans and investments to guarantee a future-smart Africa. The creativity of the young Africans deserves recognition by creating the space and the market for them.

6. A Community of Game Changers 

“Instead of better glasses, your network gives you better eyes.”-Ronald Burt. The 5th edition of the YouthConnekt will provide a platform for #African youth to connect and exchange ideas with like-minded people from all over Africa and beyond. Good networks offer practical advice, funding and investments, clients, referrals, and many more. Join thousands of young innovators, problem solvers, entrepreneurs, and policymakers from across the continent!

African youth have a huge potential to leverage their collective capabilities, ideas, and innovation to design the Africa they desire for themselves and others. The YouthConnekt Africa Summit provides a platform where youth can connect with their peers, exchange knowledge, and foster new ways of collaboration beyond their borders. With close to 10,000 youth in attendance, this is arguably the ‘Davos’ of African youth, where new ideas will emerge and be co-created, with the tried and tested ones finding new markets and opportunities for replication.

7. Rwanda is open!

When we say Rwanda is open, we don’t refer to post-covid re-opening. We mean that visitors from ALL African, Commonwealth and Francophonie countries have full access to the land of a thousand hills through a 30-day free-visa entry! Visit the most beautiful country to experience the rich culture, local tourism, and much more!

Initiated in 2012 by the Government of Rwanda in partnership with the UNDP as a multifaceted youth empowerment model that focuses on leveraging youth employability, entrepreneurship, and civic engagement through innovation, the 5th edition of the summit is a homecoming, and Rwanda is open and ready to receive all of Africa young people. With these five reasons, it’s compelling why young people should grab their spot and be part of the annual dialogue that continues to shape Africa.

By Dominique Somda

The Hollywood movie The Woman King, released in mid-September, became an immediate box-office success. The triumphs of the Agoodjies, the women warriors of the ancient Kingdom of Dahomey in today’s Benin, west Africa, are as magnificent as the public had anticipated. In this epic historical drama, African women take centre stage.

Abomey (the kingdom’s capital) and Ouidah (the main port under its control) are shown from the perspective of Nawi, a novice in the all-female regiment. She opposes the enduring injustice of gender expectations, espouses the camaraderie of her sisters in arms and faces the brutality of slave traders. The humanity of the Dahomey women is superbly portrayed.

But the film has drawn controversy from many angles.

The US far right has condemned it for depicting black women murdering white men. The hashtag #BoycottWomanKing has also trended on social media among black users.

The film in fact attracted racist rhetoric even before it was released. Online commentators condemned the perceived savagery of the Dahomey kingdom. In those reports, particular attention was given to the “annual customs” in Dahomey, the palace rituals that sometimes included massive human sacrifices.

Criticism has also been levelled at the film from people presenting themselves as “ADOS” (American descendants of slavery). They have called for it to be boycotted because it glorifies an African kingdom that brutalised their ancestors.

Disapproving notes have also come from specialists of 19th-century Dahomey history who have publicly shared their concerns about the misrepresentation of the slave trade in the film.

Finally, a recurring argument is that the Kingdom of Dahomey, with its many flaws and crimes, was not worthy of representation. Some social media users, calling for more representations of positive black stories, have also questioned the choice of Dahomey. One Reddit user asked a question that has echoed online in various forms: “Why the hell would you make a movie about Dahomey when you have Toussaint?”.

Toussaint Louverture is the hero of the Haitian revolution – and, coincidentally, the son of a woman enslaved during wars waged by the Kingdom of Dahomey.

African histories matter

As an anthropologist who has studied the legacies of slavery in Africa and who grew up in Benin, I argue that our approaches to internal slaveries or African participation in the slave trades must not be minimised. Their existence should also not serve the dehumanisation of Africans or justify the erasures of their complex histories.

My criticism of the movie is related to the misuse of fiction. Film making often involves the liberal creation of plot points and characters arcs. But is there a limit to our our right to alter history?

African histories are not inconsequential; they don’t deserve simple reinventions. Africans have a right to demand fair and layered representations.

Distortions

The film resorts to considerable distortions. The trajectory of King Guézo (1818-1859) of Dahomey seems particularly contentious. Historian Ana Lucia Araujo alerts us to his role in continuing his engagement with the transatlantic slave trade – abolished in 1807 by the British but eradicated only decades later. The last documented transatlantic slave voyage occurred in 1866. https://www.youtube.com/embed/3RDaPV_rJ1Y?wmode=transparent&start=0

By contrast, King Guézo in the film (handsomely interpreted by John Boyega) affirms his commitment to ending the slave trade despite the greed of Brazilian merchants and the rival Oyo kingdom (an important neighbouring kingdom and a leading participant in the slave trade in the Bight of Benin).

The film seems to rely on a central dichotomy to lay out moral and political ambiguities: it pits the “evil” Oyo kingdom against the “innocent” Dahomey kingdom.

In the US, implicating African kingdoms such as Dahomey in the context of the proliferation of revisionist curriculums – for instance, that propose to teach the slave trade as a simple relocation of people – can be daunting.

Far too often, the recognition of the role of African political entities in the transatlantic slave trade (the women warriors of Dahomey were tasked with capturing fellow Africans to be sold into slavery) is interpreted as a permission to absolve Euro-Americans of their responsibilities as enslavers of Africans.

The price of entertainment

Asked to react to the controversies around the film, US actress Viola Davis, who stars in the movie, explains:

“We entered the story where the kingdom was in flux, at a crossroads. They were looking for a way to keep their civilization and kingdom alive. It wasn’t until the late 1800s that they were decimated. Most of the story is fictionalised. It has to be.”

Julius Tennon, a producer on the movie and Davis’ husband, adds in the same interview: “It’s history, but we have to take license. We have to entertain people.”

The film could be praised as an alternate history, belonging to a genre of fiction where actual historical events receive different endings. Popular movies, series, and novels have used this type of narration. The resolution can provide consolation, a sense of hypothetical retaliation, or conversely cause utmost terror.

For example, in Tarantino’s Inglourious Basterds, Hitler and Goebbels are shot by a Jewish-American commando. In the TV show Watchmen, Charles Lindbergh, the real-life aviation pioneer, becomes the US president and implements fascist and antisemitic policies.

Whether dystopian or utopian, alternate histories can work when they transform notorious events and disrupt known historical orders – narratives so familiar that they surprise, but without instilling any doubt in the minds of their audience.

With this genre, fiction reveals itself as fiction because of the magnitude of the changes it imposes.

In the case of The Woman King, however, it is fair to assume that the history of Dahomey is relatively unknown to a large part of its global audience.

Anthropologist Nigel Eltringham, in the book Framing Africa, reminds us of the distinction between “true inventions” of fiction – those which may remain intentionally truthful – and the falsifications that distort histories beyond repair and recognition when they, for instance, remove the blame for actual crimes committed by historical figures.

Falsifications may undoubtedly undermine our sense of justice and trust in history. A group of US-based historians, Ana Lucia Araujo, Vanessa Holden, Jessica Marie Johnson, and Alex Gil, have assembled an extensive and impressive online document, The Woman King Syllabus, for viewers interested in “the history beyond the fiction”.

Should one watch it?

The Woman King should be seen. For its spectacular celebration of the Agoodjies’ strength and its invitation to explore their meaningful, public and intimate lives. And also for – rather than despite – the political and ethical conundrums it occasions.

It is, however, best viewed with an awareness of its extensive alterations.

Dominique Somda, Junior research fellow, Institute for Humanities in Africa (HUMA), University of Cape Town

This article is republished from The Conversation under a Creative Commons license. Read the original article.

feature photo: Ilze Kitshoff/Sony Pictures Entertainment/Tiff