Certainly!

Here are key sentences strictly extracted from the provided text, based on their relevance to the history, features, cultural importance, current status, and UNESCO’s safeguarding of traditional glassblowing in Syria (Damascus).

Please note, however, that the provided text does not actually address Syrian glassblowing, its artisans, or UNESCO’s safeguarding measures—instead, most of the content relates to artists, exhibitions, and glassblowing technique (with a celebrity focus).

Nevertheless, here are the most directly relevant sentences regarding the glassblowing process, despite the lack of specific Syrian context:

- "Glassblowing is the practice of shaping a mass of glass that has been softened by heat by blowing air into it through a tube."

- "The video shows Bella at the stage where she's working to shape the molten red hot material that is attached to a blow pole."

- "As the process continues, Bella sits down, spinning the blow pole back and forth as it rests in a round plate that she holds with her right hand."

- "By the end of the first clip, Bella gets up and gives the hot material another dose of intense heat by placing it into the fiery furnace."

**Note:**
The provided text contains no information about the history of glassblowing in Syria, its cultural significance in Damascus, the current number of practitioners, or UNESCO's listing of the craft as Intangible Cultural Heritage in Need of Urgent Safeguarding.

For your introduction, you will need to consult a more directly relevant source for those specific details.

Would you like a draft based on researched knowledge instead?

Certainly!

Title:

Content: Podcasts: Feature

I Am Not Your Refugee: Ana Surie

A conversation about the ‘Ana Surie’ (‘I Am Syrian’) photography exhibition organised in the Zaatari refugee camp

29 September 2022, 9.17am
  • This podcast series was supported by the Pulitzer Center

Mohamad Khalf has been teaching photography in Zaatari refugee camp, Jordan, for many years – instilling a love of learning and creative expression in his students Ali and Mohammed Nour Al-Babisi.

They talk to Bairbre Flood about the photography exhibition Mohmamad Khalf organised in the camp, called ‘Ana Surie’ (‘I Am Syrian’) and why they are Syrian first – not refugees.

Nour Al-Hariri shares her rap music and explains why she writes about early marriage, child labour, and other issues - and why the many talented and creative women in the camp should be supported more.

Watch some of the short films created by Al-Balbisi.

Presented by Mahmoud Hassino and produced by Bairbre Flood.

Theme music by Omar Alkilani. Artwork by Haya Halaw.

With thanks to the Pulitzer Center for funding support.

Transcript

Mahmoud Hassino: Hi, I'm Mahmoud Hassino and you're listening to I Am Not Your Refugee, a podcast created by myself and Bairbre Flood in collaboration with some of the refugee community organizers, activists and artists working to challenge stereotypes around migration. With thanks to the Pulitzer Center for funding support

Hi, and welcome to this week's episode, which comes to you from Zaatari camp in Jordan. Zaatari is home to just over 80,000 people who were forced to leave Syria during the war. More than half of the camps residents are children. Muhammad Khalf has been teaching photography in Zaatari for many years. We'll hear more from him throughout the program. But first, we talked to one of his students, Ali. During his chat with Bairbre, he talks about a photography exhibition, Mohammed Khalf organized in the camp called 'Ana Surie', 'I Am Syrian'.

Ali: I'm a Ali. I'm 23 years old. I'm Syrian but I live in Zaatari Camp in Jordan. I have been living in this camp in Jordan since I was 13. I finished my high school. And now I'm working as a photographer with some organization here in Zaatari camp. I like photography. It was it was a hobby when I was a child, and I improved it to make it something to stay alive. It was my hobby. And now it's my job. Mohammad Khalf gave me the basics. And after that he said that if I learn the whole thing you will do what I do. If I give you the basics, you will show me your creative. This is it.

Bairbre Flood: What did you like most about the way Mohammed taught or about the ethos of the course or how he did it?

Ali: Mohammad's style was so amazing for us because he was a teacher, instructor - a brother also - and the first supporter for us. He was helping us and everything that we can do it. And when we are making a mistake, he said okay, it's easy - it's not a big problem - to go ahead, to learn more and more.

Bairbre Flood: So in the project with Muhammad, I know you had an exhibition 'Ana Surie'? So why is it important for him to help people be proud of that?

Ali: I think the main thing in this project 'Ana Surie' it was just to let the people and all the word know what the meaning of the Syrian. We are not a refugee, we are human, this is it.

And we just show our culture and our traditional clothes, what we would like, what we are living. Like trees, or flowers. When I was in Syria you can see that in each house in Syria, there is a tree or flowers. And here is not. And we make it - you can see most of the houses here in Zaatari camp, you can see the trees rows. And this was something important for us to bring with us and to feel just we are there's something from our home.

I improved my skills and just now I'm on a level that they can see the photos and know if there any mistake in it or not. Get tips to make the photos more beautiful. It's good for me actually. And from the photography. I made a lot of relationship with friends. That was so good for me, actually, for Syrian people. Not just Syrian but outside the camp in Jordan, or you can see the Arabian country...from America from Britain.

Here in Zaatari camp the opportunity for the youth is so low actually. I'm now I'm 22 years old and I just finished my high school and I don't go to the university so I'm looking for a scholarship right now. So there's a lot of people here in Zaatari like this, like me. There was no opportunity just to learn. Maybe all of them and I'm one of them are looking forward to go outside the camp, to Arabian country maybe, to Europe, America, or any country just to complete our learning. We do not like to stay in the same thing. Okay, we are in the high school and what else? Just we are working to complete our life. So all of us want to go outside just get more opportunity.

Mahmoud Hassino: Another of Mohammad Khalf's students Muhammad Nour Al-Balbisi chats with Bairbre and Mohammad Khalf interprets:

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: The picture no back again...

Bairbre Flood: Oh like it's once off yeah, like it happens once that's it. So he has to capture it.

Mohammad Khalf: No internet. The picture no back again.

Bairbre Flood: It happens once and that's it.

Mohammad Khalf: Yeah, the picture is remember.

Bairbre Flood: The picture will never come...the picture will never come back.

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: The camp has many creative people here. Refugees need a chance because the creative inside. Skills, creative need chance.

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: {speaks in Arabic}

Bairbre Flood: What's it called? (The film)

Muhammad Nour Al-Balbisi: Full day in Zaatari.

Mohammad Khalf: Full day of Zaatari. From morning to night.

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: Start with the sun.

Bairbre Flood: Sunrise.

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: Many shops...

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: General shots.

Bairbre Flood: Like of people going about their business. {speaks in Arabic}

Mohammad Khalf: Life of a refugee.

Bairbre Flood: Why that's so important for you to make that and not somebody coming in from Ireland or England or America and coming into the camp and making it? Why is it so important for somebody in the camp?

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: He is taking picture because no people knows how is refugee live in Zaatari camp.

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: He has nationality. Not refugee.

Bairbre Flood: Okay. You're Syrian?

Mohammad Khalf: Yeah, he is. He is Syrian. Not refugee. The refugee here. We hates speak 'refugee, refugee, refugee'. Ana Surie {speaks in Arabic}.

Bairbre Flood: Okay, it's important. For community and for pride, okay. Is there anything you want to tell people?

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Bairbre Flood: {speaks in Arabic} Nothing? Ok! Watch the video.

Muhammad Nour Al-Balbisi: {speaks in Arabic}

Mohammad Khalf: {speaks in Arabic}

Finish film 'Full day of Zaatari' and {speaks in Arabic} new project - Ramadan month...

Bairbre Flood: You're gonna film all through the month?

Mohammad Khalf: Ramadan after this month.

Bairbre Flood: In April?

Mohammad Khalf: Yeah. He has one project about Ramadan.

Bairbre Flood: Okay it's good {speaks in Arabic}

Mohammad Khalf: She waiting to see film.

Bairbre Flood: {speaks in Arabic} thank you so much.

Mohammad Khalf: {speaks in Arabic}

Nour Al Hariri: {speaks in Arabic - raps a piece she's written}

Ataa Hamidi: Her name is Nour Huda Akram Al Hariri.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: She wrote a song about rap. This song name is {speaks in Arabic} which mean in English 'when I want to be different person I should make the difference'. I should change something. When she completed this song she was she was lvery happy with this song and she can do something and she can do many changes. She decided to go through this aspect and write songs.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: One of her most important people - she wanted to be like him - his name is Ismail Tamar. He is a singer and he also sing the rap. She wanted to imitate him and to be like him.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: At this moment, I discovered that there's no need to stop and to be to waiting for anything. Because life is going on. And there is no need to waste the time so that I decided to have another person help me. I write and the other person sing and this person I choose my sister Bruj.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: We started together my sister and me. And when we show the people they liked the idea and they told us: why don't you improve this aspect? And you evaluate this song and do more of this song and we did it.

Bairbre Flood: What do you write about?

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: MashAllah, she's so fast! We we wrote the songs for many topics. And one of the most important and familiar topics was the early marriage. And also one of the most important topic that they wrote songs about is violence, especially with the mother or the woman. And then they wrote many topics about the kids work, the kids they work in the camp. They still young, no more than 10 years or 11 years and they worked in the camp.. They wanted to focus on this idea and wrote many songs on this topic. They also wanted to focus on the topic of the woman right, they thought that a woman in the camp may need more support. This is why they focus on this idea.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: Being a feminist means many things to her because as a Syrian refugee feminist in the camp mean like maybe many people will see her as a very bad way or constantly treat her as a very bad way. She wanted to change this idea and she wanted to change the thought of our many people for the woman in the camp. Her sister and her wanted to change the traditional in the camp and also outside the camp because you know, when you being as a singer of rap this mean you are a very different person - especially you are a feminist. So she wanted to change this idea.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: There's many ideas she wanted people to focus in, and she wanted the other country out of Jordan even, to focus on the most. But the most important idea she wanted people to focus in that why don't support us as refugees more? Don't support us more as refugees in general? And she also wants people to focus on support the woman especially. Here in the camp, there are many creative and talented girls.

Nour Al Hariri: {speaks in Arabic}

Ataa Hamidi: She said that being a refugee is not just a person he left his home and his homeland, and sit and live in another place. No, she mean, we are human, persons. And we have many successful ideas, and we are most of us as a highly educated persons. And most of us have very positive and talented work, but they just need a support from people and they need people to see them not just as refugee, but as a human.

Nour Al Hariri and Burj: {speaks in Arabic - recites a rap they wrote}

Nour Al Hariri and her sister Burj, with thanks to Ataa Hamidi for interpreting the interview with Nour for us.

Mahmoud Hassino: Finally, we hear from Mohammad Khalf and after the interview, he shows Bairbre and Ataa some of his students photographs over the years.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: My name is Mohammed Khalf, from Syria. from Dara and born in Damascus.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: I started my volunteer work with children to help them take photographs,

Mohammad Khalf: {speaks in Arabic}

Voice Actor: I liked it when the children express their feelings through the photographs

Mohammad Khalf: {speaks in Arabic}

Voice Actor: From the beginning, I refused the idea that I was just a refugee. And I taught the children to be proud of being Syrian too.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: I'm proud to be helping to change the negative ideas around refugees and proud that I'm one of the people who helped create change in the camp.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: Some of the students I worked with have gone on to get work with some of the organizations and the camp

Mohammad Khalf: {speaks in Arabic}

Voice Actor: And these days I teach children in my house in a small school I've built at the side of my house.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: My volunteer work helps me to keep positive and be more motivated and have more opportunities in the camp for study and work.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: And this work helped me to be closer to the kids in the camp and to my own kids and helped me to decide to be a class teacher and start to study this in the university.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: I know that the change starts from inside us and I decided to strengthen myself more and more and do more volunteer work with the kids.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: And I focused more on the teaching process and help the kids because I want them all to be successful and to be changemakers

Mohammad Khalf: {speaks in Arabic}

Voice Actor: I want to say something to those who think that there is no creativity in the camp. There are many creative people here in the camp who are successful and talented. I just want to say as well that I'm constantly inspired by my wife, Salam.

Mohammad Khalf: {speaks in Arabic}

Voice Actor: I know there's a lot of stereotypes around refugees that's why I tell the children to say I am not a refugee - Ana Surie - I am Syrian. And be proud of that.

Mohammad Khalf: {speaks in Arabic}

Bairbre Flood: A car made out of disability wheelchair, and a caravan here.

Ataa Hamidi: Yes.

Bairbre Flood: That's so cool.

Ataa Hamidi: Different way like.

Bairbre Flood: It's good. Yeah. It's a good picture too.

Mohammad Khalf: {speaks in Arabic}

Bairbre Flood: These are beautiful.

Mohammad Khalf: Camera digital not professional.

Bairbre Flood: A digital camera. That's a very cool.

Ataa Hamidi: He looks not like a refugee -

Bairbre Flood: He looks like an actor!

Ataa Hamidi: He looks like he looks like a Syrian actor, Jamal Suliman.

Bairbre Flood: And these these photos are from all his students as well?

Ataa Hamidi: Yes this photo's from his students.

Bairbre Flood: They're beautiful.

Ataa Hamidi: {speaks in Arabic}

Mahmoud Hassino: Huge thanks to Ali, Muhammad Nour Al Balbisi, Nour Al Hariri and her sister Burj, Ataa Hamidi and Muhammad, Khalf. His wife, Salem, voice actor, Aboudi Dabbagh, and everyone in Mafraq and Zaatari, who helped with this episode. Links to the photographers and the short films they've produced are in the show notes, as are links to more of the work of Nour Al Hariri.

Thank you for listening from myself, Mahmoud Hassino, and producer Bairbre Flood. Music by Omar Al Kilani. Join us next time for our art episode. With artherestanbul, Syrian illustrator and artist Haya Halaw, and Irish-Pakistani artist Hina Khan. See you then! With thanks to the Pulitzer Center for funding support.

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Here are key sentences strictly extracted from the provided text, based on their relevance to the history, features, cultural importance, current status, and UNESCO’s safeguarding of traditional glassblowing in Syria (Damascus).

Title:

Content: The Brunnier Art Museum features a new exhibit this semester titled “Mythical Bounty: Glass Sculpture.” The artist, Amber Cowan, used salvaged press glass objects from American glass manufacturers to create a variety of intricate glass sculptures.

“The Dreams of a Descendant Sireneuse” is the center of this collection. This piece features a large shell pink bowl with a nude figure standing at the front.

“I became fascinated with this glass piece, which is an antique from The Cambridge Glass Factory made in the late 1930s,” Cowan said. “I believe it to be one of the most unique pieces of pressed glass ever created.”

Cowan tells a story of the townspeople near The Cambridge Glass Factory and their fondness for a circus trapeze artist that had come to the area. They named the vase the “Flying Lady” bowl after her. The full nude sculpture was seen as risqué and was hidden in the cellar if the priest or family came to visit.

“The Dreams of a Descendant Sireneuse” was commissioned for the University Museums and is now a permanent piece in the Brunnier Art Museum.

The rest of the exhibit features an array of glass figures, dishes and colors arranged to display the discarded glass in a new light.

Cowan has been fascinated by glass since she was a child. She began working with the material during her undergraduate studies at Salisbury University and eventually got her master’s of fine arts at the Tyler School of Art in Philadelphia.

“Glass is incredibly challenging and unforgiving. It is always keeping me on my toes, and I am never bored,” Cowan said. “Even if you think you have mastered a technique, there is always something new to learn.”

In addition to this exhibit, a glassblowing demonstration and discussion will be held from 5:30 to 6:30 p.m. March 3 by the Student Innovation Center and the Gaffer’s Guild. This is a live event where students, faculty and staff glassblowers will demonstrate and discuss the process of creating blown glass.

The Gaffer’s Guild is Iowa State’s glassblowing club. With studio space in the Student Innovation Center, the Gaffer’s Guild has around 40 members who continue to carry on the ancient art of glass blowing and forming.

“Amber’s work is intricate, whimsical, thought provoking and truly professional,” said Keith Kutz, senior award administrator and member of the Gaffer’s Guild. “There is something fascinating about taking found objects and re-working them for different uses.”

The “Mythical Bounty: Glass Sculpture” exhibit will be on display through May 15 in the Brunnier Art Museum on the second floor of the Scheman Building.

This event is free to attend but has limited in-person seating and requires registration.

For more information about Amber Cowan’s exhibit and the glass blowing demonstration, please visit the University Museum’s website.

Please note, however, that the provided text does not actually address Syrian glassblowing, its artisans, or UNESCO’s safeguarding measures—instead, most of the content relates to artists, exhibitions, and glassblowing technique (with a celebrity focus).

Nevertheless, here are the most directly relevant sentences regarding the glassblowing process, despite the lack of specific Syrian context:

- "Glassblowing is the practice of shaping a mass of glass that has been softened by heat by blowing air into it through a tube."

Title:

Content: Bella Hadid flashes her toned figure in shorts and a cropped sports top while showing off her creative side as she learns the art of glassblowing

It appears Bella Hadid has found a new hobby that showcases her artistic side.

On Sunday, the catwalk queen took to her Instagram page and posted a step-by-step video of herself making her own glass piece, using classic glassblowing technique in a workshop.

Considering the extreme temperatures it takes to make glass from beginning to end, Bella opted to keep her cloths to a minimum and wore skimpy white shorts with a cropped purple sports top.

Showing her creative side: Bella Hadid, 25, learned the classic art of glassblowing to make her own glass piece and posting a video on her Instagram page on Sunday

Glass is made from the process of heating sand to an extremely high temperature so that it turns into a moldable liquid. When it solidifies, a piece of glass is formed in whatever shape the creator has molded it into.

In the video, viewers will find Bella at the stage where she's working to shape the molten red hot material.

She can be seen sitting down and jabbing a long, sharp wrench-like tool with her scorching hot material, which was attached to a hollow blow pole about three feet long.

She was concerned with safety and wore goggles to protect her eyes.

Shaping: The video shows Bella at the stage where she's working to shape the molten red hot material that is attached to a blow pole

Working it: An instructor can be heard voicing a couple of tips as she spins that object around to the point where a small hole begins to form

Dose of heat: By the end of the first clip, Bella gets up and gives the hot material another dose of intense heat by placing it into a fiery furnace

An instructor can be heard voicing a couple of tips as she spins that object round and round to the point where a small hole begins to form.

By the end of the first clip, Bella gets up and gives the hot material another dose of intense heat by placing it into the fiery furnace.

For the next phase, the instructor assists Bella and slowly spins the blow pole while she sands down the still-molten red piece with two black blocks.

The heat is so intense that you can see steam floating into the air as they continue the sanding-down process.

Honing it: For the next phase, the instructor assists Bella and slowly spins the blow pole while she sands down the still molten red piece with two black blocks

Team work: Bella and the instructor work together to begin molding the molten hot object into shape with those two black blocks

Trippy: Bella gave her 53.7 million Instagram fans and followers a look at how her glass piece is looking at this stage of the process

More intense heat: At one point, the Washington, DC, native can be seen kneeling down using a small propane tank to heat up the object to make a few more changes

At one point, the Washington, DC, native can be seen kneeling down using a small propane tank to heat up the object to make a few more changes.

'Oh yeah, that's the one right there,' a man's voice from behind the camera can be heard saying as they continue to spin the object while jabbing it with that sharp tool.

As the process continues, Bella sits down, spinning the blow pole back and forth as it rests in a round plate that she holds with her right hand.

'It's a perfect shape,' the instructors says in encouragement.

'Here it is, ladies and gentlemen,' the man continues just as Bella gets up to blow into the pole to expand the molten hot material out to form some sort of glassware or vase.

Example: The catwalk queen drew out the shape of her piece she was trying to attain with chalk

Rounding it out: As the process continues, Bella sits down and spins the blow pole back and forth as it rests in a round plate that she holds with her right hand

Major phase: 'Here it is, ladies and gentlemen,' the man from behind the camera continues as Bella starts blowing into the pole

Expanding: Bella then process of blowing into the pole to expand the molten material out to form some sort of glassware

Old technique: Glassblowing is the practice of shaping a mass of glass that has been softened by heat by blowing air into it through a tube, or in this case a pole

The final clips shows a closeup of Bella spinning the glass while adding a few intricate touches to the piece with a prong-like tool.

Glassblowing is the practice of shaping a mass of glass that has been softened by heat by blowing air into it through a tube

It was was invented by Syrian craftsmen in the area of Sidon, Aleppo, Hama and Palmyra in the 1st century BC, according to Britannica.

The technique has remained essentially the same to the present day.

Ancient art form: Glassblowing was was invented by Syrian craftsmen in the area of Sidon, Aleppo, Hama and Palmyra in the 1st century bc, according to Britannica

Lovin' it: The glassblowing technique has remained basically the same to the present day

Advertisement

Bella Hadid flashes her toned figure in shorts and a crop top while learning the art of glassblowing

No comments have so far been submitted. Why not be the first to send us your thoughts, or debate this issue live on our message boards.

- "The video shows Bella at the stage where she's working to shape the molten red hot material that is attached to a blow pole."

- "As the process continues, Bella sits down, spinning the blow pole back and forth as it rests in a round plate that she holds with her right hand."

- "By the end of the first clip, Bella gets up and gives the hot material another dose of intense heat by placing it into the fiery furnace."

**Note:**
The provided text contains no information about the history of glassblowing in Syria, its cultural significance in Damascus, the current number of practitioners, or UNESCO's listing of the craft as Intangible Cultural Heritage in Need of Urgent Safeguarding.

For your introduction, you will need to consult a more directly relevant source for those specific details.

Title:

Content: Selma Feriani Gallery opens a new artistic era in Tunis

Tunisia has a long and distinguished history of art and the appreciation of art. Young artists are exploring new visions and building bridges to the rest of the world through a growing proliferation of art spaces. Omar Ben Yedder visits the Selma Feriani Gallery in Tunis, one of the latest to open.

By

Selma Feriani’s eponymous art gallery, which opened on 25th January 2024, is one of the growing number that have sprung up in Tunisia in the wake of the Arab Spring which also ended the dictatorial rein of Zine El Abedin Ben Ali in 2011.

Feriani says this reflects not only a change in the cultural climate, but also that there are fewer logistical barriers. “What really changed after the revolution [of 2011] was the use of public spaces, which was not possible before the revolution.

“That allowed for a lot of interesting projects sourced from outside galleries and outside institutions. There is also an emergence of art project spaces like La Boite Contemporary Art Centrale,” she explains.

Increased access to the city’s spaces for the artistic community has allowed greater forms of self-expression, she says. “For me, one of the most important festivals in Tunisia is Dream City, “she says.

The 9th edition of the Dream City festival took place in Tunis’s old town, the Medina from 22 September to 8 October 2023. The programme for this unique festival of Art in the City includes numerous works by artists from over 18 countries – Tunisia, Morocco, Democratic Republic of Congo, France, Portugal, Lebanon, Egypt, Belgium, Syria, United Kingdom, Palestine, United States, Kuwait, Nigeria, Haiti, Turkey, Mali, and Argentina), with creations, concerts, debates and immersive projects.

“The festival has expanded a lot after the revolution because they’ve been able to use the Medina and downtown Tunis in a very efficient way. They had access to a lot of sites that were not necessarily accessible to the public.”

Art has always been central to Tunisia, which in the 16th century was one of the centres of Arab culture and learning. Its artistic heritage bears influences from the Levant, Italy, Spain, Persia and the Near East, resulting in a distinctive Arabesque style.

Tunisian artists have long been recognised for their expertise in creating captivating mosaics and pottery which not only provide mesmerising decorative designs, but also narratives around the culture and history of the people.

With her new gallery, Feriani, who curates another gallery in London, wants to build cultural bridges from the Middle East to Europe and Latin America. The United States, she says, is a place that she will turn her attention to later.

The opening, attended by a who’s who in Tunis as well as renowned international collectors and specialised media, saw an exhibition by Nidhal Chamekh, one of five Tunisian artists Feriani represents in addition another 12 international ones.

She opened her first gallery in 2010 in London where she lives and another at Sidi Bou Said, a picturesque village, that is home to a bustling community of artists, in 2013. Housed in a former convent, it had nowhere near enough space to house the curator’s big dreams. Sidi Bou Said with its cobbled stones and narrow streets was also difficult to access and the space limiting for artists to fully work with.

The new gallery, located in La Goulette, an industrial port area in the northern suburbs of the capital, Tunis however, is a full 2,000m2, enough to accommodate the broad ambitions of its owner – such as having 17 artists in residence – as well as hosting others from other parts of the world to come and create site-specific pieces.

A big space for big ideas

She says it is the result of three years of “painstaking work” by herself and her team. “My idea was to work on site-specific projects, so every artist would come and put together a project that is specific to the space, because it was very difficult to develop a project in their studios, and then come and work on the scenography. They had to come, spend time in the space in Tunisia, and then develop the project.”

Naturally, the very idea of such a space can be challenging but Feriani says she is happy with the results. “A new space comes with a challenge because you need to get used to the space and understand how you’re going to take things forward, especially when you are displaying visually strong works and also very research-driven and with a lot of conceptual elements but I really took my time to make sure every single detail is looked at. I wanted to make sure it’s perfect so that when you come in, you have the same experience as you would in any major gallery around the world.” The initial reviews would seem to bear out her tenacity. “Art,” as she herself puts it, “has always been an act of resistance.”

With this new space. “We have an atelier (a residency) where the artist can spend time from August until January to produce sculptures and other installations. In September we will show, for the first time in Tunis, ‘French Pavilion’ [a grouping of installations and a film by Algerian artist Zineb Sedira) so that those who couldn’t go to the Venice Biennale can watch it here in Tunis. We have a Peruvian artist coming in November with a show developed in Tunisia with marble artisans.”

On the global art map

She wants the space to be a hub for international collaborations and artistic conversations. “So we will create this bridge and foster these conversations which, for me, are very important.” She has a schedule of events already planned for the next two years.

Feriani’s desire for international cooperation is mirrored by international interest in the artists that she is curating, some of whom have been associated with her gallery for over a decade and have really matured in their output over the period.

She expects that some of the artists will have the opportunity to showcase their work at the next Venice Biennale, for example, while globally renowned galleries such as the Tate Modern in London and the Guggenheim in New York, US.

A lot of institutions globally are looking at us as a result of the work we have done to promote our artists. I think curators and institutions are definitely looking at what’s happening here. Undoubtedly, we are on the map for them now.”

Will local collectors be able to make her venture viable? Despite the growth of the local art scene and collectors in Tunisia, Feriani says she doesn’t anticipate commercial success in the near term, especially given the economic downturn the country is facing.

“Commercially, the domestic market alone will not make [the gallery] necessarily viable. I think that’s the case for most of the commercial galleries and tours because there are very few domestic collectors and they are very price sensitive as well. And I don’t think it’s going to get better anytime soon.” she reports.

However that has not deterred her. “It looks complicated right now but we have a vision and we have a strategy, so there is no way for us to go backwards. We will continue to develop things back home. It’s in the DNA of the gallery. It’s my vision, my strategy, and it’s important for me to do it in Tunisia and to have a voice from Tunisia to the world,” she says.

It surely also helps that as an international gallery, the works are displayed elsewhere (in Western cities), enabling them to reach a wider audience and potential buyers.

World class

Feriani says she intends the gallery standards and quality to evolve to world class – her inspiration is London’s famous White Cube.

 “A new space comes with a challenge because you need to get used to the space and understand how you’re going to take things forward, especially when you are displaying visually strong works,” she says.

“But I really took my time to make sure of every single detail. I wanted to make sure it’s perfect so that when you come in, you have the same experience as you would in any major gallery around the world.” The initial reviews bear out her tenacity. “Art,” as she herself puts it, “has always been an act of resistance.”

The gallery also has extra facilities such as a bookstore and a library where people can either buy or borrow books. Again, unlike in purely commercial galleries, viewers will get a peek behind the curtains of the creative process, as they were able to with the exhibition that the gallery opened with.

“For the show we put together for Nidhal Chamekh, we had the main space showing the project but on the mezzanine and in the basement, we were able to show the process, how the exhibition was made and all the bibliography, meaning all the information and books used by the artist and the imagery and research behind the project.”

This is some distance from the typical commercial gallery where visitors are only able to see the product and make a purchase when they are moved to. “It was important for me to show a little bit of what happens behind the exhibition because it gives artists and also students a way to access the research and to better understand the thinking behind the creative work,” she emphasises.

Summarising the concept behind her efforts, she says: “What we are trying to do, is not only to promote art, but everything related to the city of Tunis.

“So people can come, travel for three days or a long weekend and not only go to the beach but also discover all the art centres and studios; take part in culinary tours and of course, visit the most famous museums – Carthage, and its Roman ruins, and the newly renovated Bardo, one of the largest museums on the continent. So we provided a tailored programme for our international guests.”

Feriani says she has received positive feedback from critics, curators, collectors, journalists and art lovers who saw the first exhibition and the city of Tunis as part of the package. For her, that’s exactly the objective she has set out for herself.

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Omar is Editor-in-Chief of African Business.

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**Key sentences extracted from the text, prioritized based on your focus on global avocado consumption trends, environmental/social impacts in producer countries, and economic benefits:**

- "Over the last year, avocado sales have increased by more than 25%,” they said.

- "NZ Avocado chief executive Jen Scoular said New Zealanders bought more than 80 million avocados last season, which was “a record, and a great one.”
- "Avocados From Mexico is the preferred brand of avocados in the U.S."
- "Some 83% of annual US avocado supply is delivered from the state of Michoacán in Mexico."

- "Avocado imports rise in Europe, decline in China"
- "This has not induced a price reduction."

- "The scenario in the U.S. market shows slightly lower prices than the previous week in all grades."

- "But the bargain-basement prices come at a cost to avocado growers, who have already had a tough couple of years."

- "An acute shortage in some markets has raised the standard of this fruit to an almost luxurious product."

- "For that reason, you can be assured if there is not much export, the domestic market feels the heat,” he said.

- "According to the Fresh Produce Exporters Association of Kenya, avocado is the topmost fruit being shipped out of the country."

- "Kenya has only exploited 38 per cent of its potential, which means there is still room to grow,” it adds."

- "It has attracted the attention of these gangs in an area where the cartels are not under control,” he said."

- "The USDA’s Animal and Plant Health Inspection Service said… it had worked with the Mexican government and the Association of Avocado Exporting Producers and Packers of Mexico to enact “additional measures” to safeguard the safety of its inspectors."

- "Sustainable farming holds the key to economic prosperity"
- "This is but one of the proof points that agribusiness is a viable economic avenue that can empower our farmers if we do it correctly."

**Key sentences extracted from the text, prioritized based on your focus on global avocado consumption trends, environmental/social impacts in producer countries, and economic benefits:**

- "Over the last year, avocado sales have increased by more than 25%,” they said.

Title:

Content: Smashing news: Early season avocados just 80 cents each

Forks at the ready, avo fans – with the harvest just beginning, the fruit is already going cheap.

A scan of supermarket prices on Tuesday revealed avocados, harvested from August to February, were already selling for as little as 80 cents a pop.

A Countdown spokesperson said grower investment over the last couple of years meant it had a good supply of New Zealand-grown fruit.

“Over the last year, avocado sales have increased by more than 25%,” they said.

READ MORE:
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Foodstuffs spokesperson Emma Wooster said more than 31 million avocados were sold in its New World, Pak ‘n Save and Four Square stores last year.

“We expect to see great value and availability on avocados continue as crops grow larger – great news as we know New Zealanders love some avo on their morning toast,” Wooster said.

NZ Avocado chief executive Jen Scoular said New Zealanders bought more than 80 million avocados last season, which was “a record, and a great one.”

“With increased prices for fruit and vegetables, and our new season crop available, it’s a great time for Kiwis to grab an extra couple of avocados in their weekly shopping and try avocados in new ways.”

But the bargain-basement prices come at a cost to avocado growers, who have already had a tough couple of years.

Repeated Covid-19 lockdowns, shipping problems and changing shopping habits had all impacted on growers’ ability to shift their produce.

On top of that, increased production in Australia, usually New Zealand’s biggest export market, resulted in an “avalanche” of avocados there last year.

The oversupply led to prices hitting a 15-year low of $1 each and a 76% slump in New Zealand’s exports across the Tasman.

Scoular said New Zealand produced about 1.5% of global avocado supply, and she believed demand in Asia could be “increased significantly with good investment in that market development.”

How has avocado consumption changed in recent years?

How have avocado prices changed in recent years?

What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

- "NZ Avocado chief executive Jen Scoular said New Zealanders bought more than 80 million avocados last season, which was “a record, and a great one.”
- "Avocados From Mexico is the preferred brand of avocados in the U.S."
- "Some 83% of annual US avocado supply is delivered from the state of Michoacán in Mexico."

How has avocado consumption changed in recent years?

What are the countries and regions that produce and export avocados?

What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

- "Avocado imports rise in Europe, decline in China"
- "This has not induced a price reduction."

Title:

Content: Avocado imports rise in Europe, decline in China

More News Top Stories

Specialized intelligence company Avobook's week 29 report noted interesting movements in the global avocado market.

European avocado imports saw a 23% rise compared to the same week in 2023. Interestingly, the report points out that this has not induced a price reduction.

. The interesting thing, the report points out, is that this has not induced a price reduction.

Something different can be observed in China, where arrivals from Peru have decreased by more than half year-on-year. Peruvian supplies usually dominate the market at this time of the year.

In the case of the United States, Avobook explains that Mexican supplies account for 40% of the market, while California's account for 28%, and Peru's, 24%. The scenario in the U.S. market shows slightly lower prices than the previous week in all grades.

Review the full report here.

The Global Avocado Summit, organized by the Chilean Avocado Committee and the Yentzen Group, will be held on November 21 at the Casino Monticello event center in Chile.

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What are the countries and regions that import avocados?

- "The scenario in the U.S. market shows slightly lower prices than the previous week in all grades."

- "But the bargain-basement prices come at a cost to avocado growers, who have already had a tough couple of years."

What crises have happened on the global avocado market in the recent years?

- "An acute shortage in some markets has raised the standard of this fruit to an almost luxurious product."

Title:

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Finally, the long-awaited avocado bonanza arrives

MONEY & MARKET
By Graham Kajilwa | January 10th 2022
By Graham Kajilwa | January 10th 2022
MONEY & MARKET

If there were to be a list of the three things that bother Kenyans today, the crazy prices of avocados would feature without a doubt.

Of late, these prices have hit the roof. An acute shortage in some markets has raised the standard of this fruit to an almost luxurious product.

A few years before avocado was as glorified as a super fruit, the price for a reasonable size of this ‘green gold’ was as low as Sh10 or at most Sh30 from the local vendor.

To some villagers, it was used to feed animals with farm gate prices being as low as Sh5 per piece. But now, the price of a fruit is averaging Sh60.

Currently, an avocado that costs Sh20 or Sh30 is not even attractive to the eye. While the prices of avocados have been steadily rising even in the international markets, the recent absence of the fruit has been prompted by the Directorate of Horticulture’s decision to restrict exports.

Fresh Produce Consortium of Kenya Chief Executive Okisegere Ojepat attributed the high prices of avocados in the local market to the restricted export of the fruit, leading to controlled harvesting.

Due to restriction, limited avocados are being exported until later next month as farmers are required to only sell mature fruits. “For that reason, there is little in the market,” said Ojepat.

He explained that the supply in the local market is dependent on international supply as the fruits Kenyans buy are mostly those which do not meet international export standards.

Some of them are small in size, have scratches or bruises. “For that reason, you can be assured if there is not much export, the domestic market feels the heat,” he said. The Jumbo variety is what is mostly sold in the local market. However, this is the only variety now with an open market.

While announcing the decision to restrict export of avocados last month, the Director, Horticultural Crops Directorate, Benjamin Tito, said this would ensure farmers do not export immature fruits. “We are shipping too much but what (the money) we get in return is too little,” said Tito at a press conference.

He said harvesting and exporting of immature avocados has negatively affected the image of the country in overseas markets, in addition to interfering with the cropping cycle of the trees - hence reducing the projected volumes.

According to the Fresh Produce Exporters Association of Kenya, avocado is the topmost fruit being shipped out of the country.

According to the association’s 2021 report, shipment out of the country has been increasing: rising from 3,406 in 2017, 5,833 in 2018, 8,525 in 2019 to 9,666 in 2020. In terms of volume, the figure has been going up from 38.7 million in 2017 to 71.7 million in 2020.

Data from the Horticultural Crops Directorate paints the same picture as shipment in kilogrammes increased between January and July last year to 67.1 million kilos. The period between June and July 2021, however, saw a drop to 9.8 million and 4.6 million kilos respectively, from the double-digit in May of 10.9 million kilos.

Currently, fruits constitute 34 per cent of shipments of fresh produce from Kenya, with avocado having the lion’s share.

“The Kenyan avocado recorded 9,990 shipments in 2020, shipping to 57 destinations from 35 in 2017,” reads the Fresh Produce Logistics 2021 report by the Fresh Produce Exporters Association of Kenya.

The report names avocado as among the fruits that have demonstrated consistent growth over the last five years, with others being mango, passion fruit, raspberries and pineapples.

“On avocados and nuts, Kenya has only exploited 38 per cent of its potential, which means there is still room to grow,” it adds.

The US and Pacific are some of the areas that have the potential to buy Kenya’s avocados.

Avocado Society of Kenya Chief Executive Ernest Muthomi said globalisation had increased demand for the fruit. The universality of the fruit and its use as a spread for bread or smoothie also plays a key role.

“This craze is international,” he said. “And the growing of avocados in Kenya is fueled by this – the international demand. That is why you hear some funny stories of some few Kenyans exporting immature avocados.” He said while Kenyans are also eating avocados just like anyone else in the world, the international prices as stated seem more attractive to a local farmers and exporters, hence the preference for exports.

Prices in the last three years as been a fruit go for Sh25 at the beginning. “Now we are talking about Sh40 or Sh45 for a big size fruit,” he said. The average price per box for export is Sh400 when you get it directly from the farmer.

Pressure on local prices will continue, owing to huge demand globally. It might take 50 years for global demand to be met since there are market openings in India and China.

“Some of it (shortage) is being fueled by the processing of local avocado into other products. Like some are using avocado to process oil,” he said.

As more factories are set up with international demand rising, scarcity is likely to continue unless production goes up.

“Avocados are going to be expensive,” he said. “But thank God people are planting them in areas where they have not been growing before, like Uasin Gishu, Trans Nzoia and Bomet.”

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The upgrade was pioneered by Kisumu Governor Anyang’ Nyong'o’s in collaboration with Kenya Airports Authority and Kenya Airways.
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How have avocado prices changed in recent years?

What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

- "For that reason, you can be assured if there is not much export, the domestic market feels the heat,” he said.

- "According to the Fresh Produce Exporters Association of Kenya, avocado is the topmost fruit being shipped out of the country."

- "Kenya has only exploited 38 per cent of its potential, which means there is still room to grow,” it adds."

- "It has attracted the attention of these gangs in an area where the cartels are not under control,” he said."

Title:

Content: For foodies, workers, restaurant owners and investors on both sides of the Rio Grande border, Friday brought a sigh of relief after the United States lifted its temporary ban on imports of Mexican avocados.

The week-long pause — albeit a short one — had fueled concerns in the avocado industry, from the workers who pick the fruit in Mexico to consumers worrying about a potential shortage of a staple in the diets of many Americans.

Mexico supplies about 80 percent of the avocados eaten in the United States. The import ban — stemming from purported threats to a U.S. inspector in the Latin American country — shook a billion-dollar industry. Not only did the commotion showcase the law enforcement issues that growers are frequently subjected to in Mexico, but experts said it underscored the importance of one of the strongest and most successful bilateral trade agreements.

Before being smeared into toast or squashed into guacamole, the avocado’s life begins in an orchard in Michoacán — a western Mexican state over a thousand miles away from the border and the only one allowed to send over avocados to the United States. From a bright-green fruit hanging atop trees to its final stage inside American kitchens, the avocado’s journey from seed to food encompasses different phases of inspections and agreements between the two nations — which suddenly took a hit.

Last week, a plant safety inspector from the U.S. Agriculture Department’s Animal and Plant Health Inspection Service was inspecting avocados in Michoacán, when he saw some avocados that looked suspiciously like they came from another state, according to USDA and other industry experts. He raised a red flag and soon after, he received a voice-mail threat. Then the USDA announced it was shutting down imports until it could be assured its agents were safe.

The potential of an impending shortage quickly rippled across the industry — one that came shortly before the Super Bowl, one of the avocado’s biggest events. Soon, food establishments and groceries began worrying about keeping up with a demand that has exponentially increased throughout the past decade.

Prices for the fruit deemed “green gold” were already 100 percent higher than the previous year, said David Magaña, a senior analyst for RaboResearch Food & Agribusiness. But the year-long availability of avocados had also increased as well — indicating that a surge in demand can be attributed to different factors, he said.

For one, avocados, with their versatility and healthy fat attributes, became a food trend and Internet obsession. At the same time, the Hispanic population booms across the country — with a larger share of Latinos among Gen Z — have been “one of the major forces pulling the demand for avocados,” the analyst said.

But behind all those green juices and avocado Instagram-worthy photos is the partnership between Mexico and the United States — which has played a crucial role in enabling the market to expand.

In 1995 — a time when “fat-free” food staples ruled the market — the United States did not have much of a taste for avocados. The majority of the consumed fruit was produced in California. Avocado imports that year totaled $14.7 million, of which $700,000 came from Mexico, said David Orden, a professor in the department of agricultural and applied economics at Virginia Tech.

Mexico’s avocados had been banned in the decades before the North American Free Trade Agreement from 1994, Orden said — mostly out of a concern that weevils, scabs and other pests could enter U.S. orchards from imported products. The trade agreement opened the door for the incremental expansion of avocados.

In establishing a system in which U.S. inspectors verify that avocados are pest-free — from when they are growing in orchards to the moment they are packed into sealed trucks — Mexico has been allowed to ship its agricultural product. It started with an approved wintertime stock in Alaska back in the ’90s that has turned into a current year-long supply in all states.

“So that’s all very encouraging and great story about growth and trade agreements, and something the U.S. is trying to do in other countries as well,” Orden said.

The agreement has contributed to economic progress in both sides of the border. Last year, “the two-way food and agricultural trade reached $65 billion, including $2.8 billion in Mexican avocado exports to the United States,” U.S. Ambassador to Mexico Ken Salazar said in a statement. In Michoacán, some 300,000 workers depend on the avocado industry — including those doing the picking, the packing and the transporting of the fruit.

But their livelihoods have been threatened by encumbering cartels, who see the booming industry as a golden hen for profit, Orden said.

“It has attracted the attention of these gangs in an area where the cartels are not under control,” he said. “That’s where this story takes on a shadier color. But that’s really a law enforcement issue, and one that affects all of our relationships with Mexico.”

The USDA’s Animal and Plant Health Inspection Service said in a statement that it had worked with the Mexican government and the Association of Avocado Exporting Producers and Packers of Mexico to enact “additional measures” to safeguard the safety of its inspectors.

While the agency did not disclose what such measures encompass, they served to avert what could have been a costly avocado crisis — one that would had impacted plenty, from those picking the fruit to those biting into their avocado toasts.

“With this we ensure the exportation of fruit and provide economic certainty to farmers and day laborers,” Michoacán Gov. Alfredo Ramírez Bedolla tweeted Friday.

What negative impact has the increased global demand for avocados had on the social structure and the economy of the countries that produce them?

- "The USDA’s Animal and Plant Health Inspection Service said… it had worked with the Mexican government and the Association of Avocado Exporting Producers and Packers of Mexico to enact “additional measures” to safeguard the safety of its inspectors."

What are the obstacles for global avocado trade?

Why did the US temporarily ban Mexican avocado imports in 2022?

- "Sustainable farming holds the key to economic prosperity"
- "This is but one of the proof points that agribusiness is a viable economic avenue that can empower our farmers if we do it correctly."

Title:

Content: Sustainable farming holds the key to economic prosperity

Agriculture holds the key to economic transformation for Kenya and the East African region. However, the challenge lies in practising sustainable agriculture to unlock its true value from food production to agro-processing.

As the United Nations Climate Change Conference (COP27) takes place in Sharm El Sheikh, Egypt, as a region and human race, we have many challenges ahead.

Some, are brought on by climate change, population pressure and political or financial instability within our economic and geopolitical space. Still, as a country and region, we have many unique advantages including political goodwill which, if used wisely, will allow us to build a robust agricultural economy.

Let me start by dealing with a favourite topic of mine, irrigation and water security. At Kakuzi, we have 19 dams which collect rainfall - allowing us to use the water for irrigation during dry season.

The critical part of our water security is not just the dam but the catchment itself.

If we don’t preserve the water catchment fields, our dams won’t fill with water, or they could silt up. In short, sustainable and secure irrigation requires that we sacrifice something, in this case, acres and acres of land, which act as water catchment areas.

These fields are preserved with natural habitat and managed to avoid soil erosion, bush clearance or overgrazing. In these fields, we must overcome the temptation to dig up the land and plant crops.

The next key challenge for agriculture after water is energy and not just the cost but also availability. In Kenya, our key export crop of tea requires energy to turn it from lush green leaves to dry tea; bear in mind that 4.5 kilos of green leaf converts to 1 kilo of black tea as the rest is water.  As we encourage farmers to grow more green tea leaves, we must also consider how to dry leaves.

-Chris Flowers is the Kakuzi Managing Director.

In every tea-growing country, the energy for drying tea is a significant issue, whether it’s coal in India, gas in Bangladesh or fuel wood for us in East and Central Africa. Engineers have calculated the energy required, and it’s staggering. We must find sustainable solutions for this, as it’s not an easy or quick fix.

We all know the impact of energy prices on fertiliser, which is just another reason why we need to minimise our use wherever we can. Composting and mulching at Kakuzi to improve soil health and enhance soil fertility is a crucial component of our agricultural practices. Given that only 10 per cent of a macadamia nut is the edible kernel, a lot of biomass is available for conversion to energy or compost.

Teaching farmers sustainable agricultural techniques and when to apply different nutrients and in what quantities is part of what we do. Our online avocado academy ‘Kakuzi Avocademy’ is designed as an e-learning portal for farmers. Through the e-learning platform, we strive to advance shared prosperity values allowing smallholder farmers to learn and make the best crop husbandry decisions.

For many years now, I have been saying that we must explain how farmers can sell their fruit for the best value before we can tell them to plant an avocado tree.

Unfortunately, the fact is that the supply-demand equation for a perishable product such as avocados is a reality. Produce a product with limited marketability in a period of oversupply at your peril. This is precisely what happened in the avocado market earlier this year.

An oversupply of fruit in Europe through large Peruvian shipments and late European and North African production meant minimal marketing options for Kenyan smallholder fruit.

As I mentioned above, discerning customers choosing to eat a superfood such as macadamia or avocado want to know what they are eating and how it was produced. This is not because good Kenyan fruit is of substandard quality but simply because a lot of fruit from the country doesn’t have traceability credentials. If we as producers cannot demonstrate these traceability credentials, then high-value markets are limited and becoming more so.

We should also avoid the trap of thinking that emerging markets in the far east are less stringent than our traditional European markets. Sending substandard fruit to an emerging market can only depress demand, not enhance it.

Further up in the Rift Valley in the tea fields of Nandi and beyond, agricultural interest, mainly crop diversification, is also rising. The number of people seeking advice on avocado and macadamia potential in the region predominantly known for tea is growing.

Undoubtedly, this is the best time to get on the agribusiness side of things. As the name suggests, agribusiness means agricultural production for consumption and sale to raise much-needed financial resources. Like any other business, Agri-preneurs must carefully consider profit and loss fundamentals.

Considering profit and loss means engaging the investing community in the agricultural space to appreciate the role of credit access, mechanisation, technology and human resource management for efficiency.

Having been on the agricultural front my entire life, I can attest to this field-based industry’s value and potential to power rapid economic transformation. Kakuzi is an example of a leading agribusiness firm involved in commercial agricultural endeavours, including livestock rearing and agroforestry beyond our renowned avocado and macadamia production.

In Kenya, the Bottom-Up Economic Transformation Agenda 2022 - 2027 rightly notes that the agricultural sector has the highest growth multiplier effect on other economic sectors due to strong backward and forward linkages. There can be no denying that agriculture is our most globally competitive sector but getting it right is complex. Patience, long-term thinking and getting the fundamentals of sustainability, quality and traceability correct is the key.

Sometimes numbers tell the value of an agricultural enterprise better. For example, last year, notwithstanding the challenges of an “OFF” year cycle, Kakuzi PLC exported  Sh94 million worth of HASS avocados for our smallholder farmers. The previous ON-year cycle had seen us ship HASS Avocado cartons worth Sh152. 2 million for smallholder farmers.

In this venture geared at supporting smallholder farmers access quality international markets, we made payouts amounting to more than Sh31.4 million for the smallholder farmers from Kakuzi’s local community in Murang’a, Kirinyaga, Nyeri, Meru and Trans-Nzoia counties.

This is but one of the proof points that agribusiness is a viable economic avenue that can empower our farmers if we do it correctly.

However, we must remain alive to the vagaries of climate change as a risk factor to agricultural production and work towards building resilience.

Chris Flowers is the Kakuzi Managing Director.

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What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

What strategies can make global avocado trade more ethical?