We’ve all seen the classic scene: A beautiful princess wearing a diamond tiara with the sparkle of diamond earrings that catch your eye; a handsome man on one knee, proposing with a breathtaking diamond ring. In movies and now often in real life, diamonds represent love and glamour.
However, we tend to forget that we usually only see the end product: a clean-cut sparkling gem. The illusion we have of this precious stone is quickly destroyed when we look further down the production line. For those working on the raw material end of this industry, the reality is quite different. To them, diamonds often represent hate, violence and death.
After the popularity of movies such as ‘Blood Diamond’, that somewhat shed a light on these affairs, the problems became more known to the average consumer. Unfortunately, twelve years after the movie, the situation has only improved a little. We’ve just done what we tend to do with horrendous news, we’ve forgotten and replaced them with new horrendous news.
The organisation Human Rights Watch has recently brought attention to this topic again. Much like in other industries with complex supply chains (cocoa, garment, coffee) human rights abuses are still very much prevalent in the diamond industry. People, families, indigenous locals and children are being misplaced, tortured, and enslaved to work for large mining corporations. Not to mention the harm mining fields cause on the environment.
On one hand, these human rights violations can be traced back to the corrupt military, governments and individuals owning and managing the mining fields. They are the ones who are directly and indirectly engaging in numerous infringements.
On the other, we can also blame larger diamond companies, buyers and consumers on our end of the production line. We tend to be disinterested in where our products come from.
Overall, it’s about accountability. Specifically, the lack of accountability. Unfortunately, we live in a society where being compassionate isn't a given. We have become individualistic and stopped caring about others unless it involves us in any way. Most people need an incentive to do something benevolent and this is reflected in the diamond industry.
Because global supply chains have become incredibly complex and unintelligible, it is difficult to trace and properly check up on each diamond.
We all know what is happening in the diamond fields in Marange for example, but we tend to have a “don’t see, don’t know” attitude towards these things.
We need more accountability. As individuals, companies, and industries; as a whole.
Large diamond corporations, on all ends of the supply chain, need to be transparent about the source of their product and honestly answer the questions “where? how? and by whom?”
But they won’t until we make them. These companies are for-profit, thus they'll supply only if the people demand. That is why accountability and change start with the individual.
Consumers need to start demonstrating accountability when buying a new pair of diamond earrings or a jewelled ring. Make sure they have been sourced ethically and sustainably.
If one starts asking the important questions, a “one” can change into a collective “we”.
Ultimately our actions will be seen by larger companies/the industry and inevitably change their practices. They will be forced into transparency and potentially shorten their supply chains.
Some of this change is already visible. Trends have shown that younger generations are becoming increasingly conscious and this is killing the diamond industry. They’re not willing to spend thousands on jewellery, especially if the sector is corrupt and exploitative.
Millennials, for example, are turning to lab-grown diamonds. Not only are they cheaper, they are traceable and don’t cause any damage to people, communities and the environment. Opting for lab-grown diamonds is a great way to demonstrate accountability and showing the industry that we won’t welcome exploitative practices anymore.
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The Intercept has just released "A Message From the Future," a short science fiction movie narrated by Alexandria Ocasio-Cortez and drawn by Molly Crabapple, describing the coming "Green New Deal Decade," when Americans pulled together and found prosperity, stability, solidarity and full employment through a massive, nationwide effort to refit the country to be resilient to climate shocks and stem the tide of global climate change.
It's an astonishingly moving and beautiful piece, and deploys a tactic that has been surprisingly effective at mobilising large groups of people: creating a retrospective describing the successful project to inspire people to make it a success. Famously, this is the tactic that Jeff Bezos insists on at Amazon for the launch of new internal projects: ambitious internal entrepreneurs must submit a memo describing the project as a fait accompli, and if the description is compelling and exciting enough, they get the resources to make it happen.
But it's not just Amazon: as anthropologist Gabriella Coleman describes in Hacker, Hoaxer, Whistleblower, Spy, her seminal 2014 study of Anonymous, this is how Anon ops get started: an individual Anon makes a video announcing victory in some op that hasn't taken place yet, and if enough other anons are inspired by it to make it happen, then it happens.
In her article accompanying the video, Naomi Klein describes the audacity of other projects on this scale, like FDR's New Deal, and how much skepticism they were met with at their outset -- and how, as the vision caught on, it spread like wildfire through the population, so that something that was once impossible became inevitable.
"One reason that elite attacks never succeeded in turning the public against the New Deal had to do with the incalculable power of art, which was embedded in virtually every aspect of the era’s transformations. The New Dealers saw artists as workers like any other: people who, in the depths of the Depression, deserved direct government assistance to practice their trade. As Works Progress Administration administrator Harry Hopkins famously put it, 'Hell, they’ve got to eat just like other people.'
Through programs including the Federal Art Project, Federal Music Project, Federal Theater Project, and Federal Writers Project (all part of the WPA), as well as the Treasury Section of Painting and Sculpture and several others, tens of thousands of painters, musicians, photographers, playwrights, filmmakers, actors, authors, and a huge array of craftspeople found meaningful work, with unprecedented support going to African-American and Indigenous artists.
The result was a renaissance of creativity and a staggering body of work that transformed the visual landscape of the country. The Federal Art Project alone produced nearly 475,000 works of art, including over 2,000 posters, 2,500 murals, and 100,000 canvasses for public spaces. Its stable of artists included Jackson Pollock and Willem de Kooning. Authors who participated in the Federal Writers Program included Zora Neale Hurston, Ralph Ellison, and John Steinbeck." (A Message From the Future With Alexandria Ocasio-Cortez
Last February, Facebook announced that it will release a donation sticker feature on Instagram, giving its users the possibility to support charitable organizations through Instagram Stories.
The move is part of Facebook conglomerate’s increasing interest in philanthropy. If you’re on Facebook, you’ve probably already come across a fundraiser from a friend, asking you to donate to a charitable cause. Or maybe, you set one up yourself for your birthday. This Charitable Giving feature on Facebook raised over $ 1 billion as of November 2018.
It seems that Zuckerberg’s plan is to transform his social media into the go-to virtual place for charitable donations. The endeavor appears nothing but noble and laudable.
On Facebook, donors enjoy a smooth experience that allows them to donate to their favorite organizations in a matter of seconds and to share their philanthropic efforts with friends and followers. Moreover, Facebook does all of this for free, having abolished its transaction fee in November 2017. There are no reasons to suspect that Instagram’s upcoming donation sticker will be anything but another sleek and convenient feature of the Facebook family.
However, over the years, we have learned that when Facebook says “it’s free”, it might mean you’re paying in currencies different than a direct monetary transaction.
Again, there are no reasons to suspect that it will be any different when it comes to Instagram’s new donation sticker.
To explain my point, let’s look at the bigger picture and consider the general direction Instagram is going towards. Last March, the social network rolled out a new feature called “Checkout”, which enables users to buy directly from select brands on the platform.
Users can shop for items on their favorite brands’ Instagram profiles and head to an in-app payment screen to order them, paying with the credit card information they have stored on the platform.
The aim is evidently to transform Instagram into an e-commerce app, adding another revenue stream next to the ad dollars.
Soon after Facebook announced the “Checkout on Instagram” feature, Deutsche Bank wrote a note to investors highlighting how the move could enable an “incremental $10 billion of revenue in 2021”.
Wondering if the average user would be willing to hand payment data to Instagram, the Deutsche bank memo fconcluded that many people already use Facebook for charitable donations through the app’s giving tools, and might be willing to extend that to shopping.
From this perspective, the upcoming Instagram donation sticker would certainly facilitate the acquisition of users’ credit card information. After all, you’re much more inclined to give up your payment data if a trusted friend asks you to support a human rights organization rather than if you have to buy the umpteenth pair of sneakers from a large, anonymous corporation. But, of course, once your credit card number is stored in the app that alluring pair of sneakers becomes literally just a click away...
In a way, it seems that Facebook will use philanthropy as a lubricant oil to ease its transition from a social media platform to an e-commerce one.
I’m not saying that this is the only reason Instagram is adding a donation sticker to its deck (they also just like to monopolize your digital life) or that the donations made through it will be tainted. This is just an invitation to reflect on the way social media are reshaping the world of philanthropy and whether we like it or not. Full disclosure: one of the reasons I've been thinking about this is that also here at Kinder we're trying to build some digital tools to make donations to charities more convenient and rewarding.
Obviously, we don't have Facebook's firepower so I hope that Facebook's donation tools will continue raising generous amounts of money. It's just that they're also part of the company's bigger expansion plans. Since philanthropy really is a noble undertaking, it would just be better if the donation tools were clearly separated from Facebook’s more commercial functionalities.
But Instagram’s donation sticker has yet to be implemented on the platform, so there’s still plenty of time to fully remedy the situation.
Credit header image: Wikipedia
In March 2019, Mozambican professor Emília Nhalevilo took office as dean of the recently-created Púnguè University, becoming thus the first women to ever lead a public university in the African country.
She was nominated by President Filipe Nyusi, but the decision about the recently-created universities was announced by the Council of Ministers on January 29. Nhalevilo will remain in office, in principle, for a period of four years.
Born in Nampula, the most populous province in Mozambique, Nhalevilo holds a doctorate and master's degree in education from the University of Perth, Australia, and a bachelor's degree in science education from Pedagogical University (UP).
From 2005 to 2007, she worked as Professor at Curtin University of Technology, in Australia. In 2008, Nhalevilo became the head of the chemistry department at UP, and then took office as deputy director of the Center for Mozambican Studies and Ethnoscience, a research center at the same institution.
In 2017, she was a fellow with the Fulbright Visiting Scholar Program at the Steinhardt School of Culture, Education, and Human Development of New York University, in the United States.
Nhalevilo was the vice-dean for research and extension in the UP since 2018.
As dean of a public university, her current position is equivalent to that of a minister in Mozambique.
In Mozambique, women still face challenges in accessing leadership and management positions. But there have been improvements: in the current parliament, for example, both the president of the assembly and the heads of the two largest political caucus are women.
But gender inequality still prevails in the southern African country.
The UNDP's 2016 Africa Human Development Report, whose title is “Accelerating Gender Equality and Women's Empowerment in Africa,” revealed that Mozambican women and girls continue to suffer from inequalities, such as poor access to justice, poor access to school and health care, and repeated acts of violence.
In 2018, there were 25,356 cases of domestic violence in Mozambique, of which 12,500 were against women and 9,000 against children.
Mozambique ranks 10th in the world for child marriages, according to a UNICEF report from 2015. The organization defines “child marriage” as a marital union in which at least one person is under the age of 18.
In mid-2018, pilot Admira António became the first woman to ever captain a flight in Mozambique, while in December 2018, an all-female flight crew took to the skies for the first time.
In 2014, when the Police of the Republic of Mozambique turned 39, Arsenia Massingue was presented as the first woman general in the corporation.
This article is republished from Global Voices. It's written by Alexandre Nhampossa and translated by Dércio Tsandzana. You can read the original article here.