Navigating Cross-Cultural Relationships in the Workplace (She Leads Africa)

I'm excited to be working for She Leads Africa as a contributing writer. She Leads Africa is a community that helps young African women achieve their professional dreams by delivering business and career advice, support, and access to a network of driven young women.

I'll be writing for SLA on a bi-monthly basis about a variety of topics. Visit the She Leads Africa website to learn more about their resources.

Check out my first piece for SLA on meditation, and read below for my latest on cross-cultural relationships in the workplace.
 

After years living in France and the United States, Aminatou, an experienced business development consultant, arrived in Abidjan to work for a local social enterprise. Despite the logistical hiccups of working on the continent, she didn’t think the transition would be that much of a problem. After all, she grew up in Saint-Louis, Senegal, and spoke fluent French. She’d worked across Africa for leading multinationals and smaller start-ups for the better part of a decade. But after a few months, she was struggling with her team and considering returning to her job in Paris. What was the problem?

Cross-cultural training isn’t just for the West. As many young African professionals contemplate moving back to the continent —to their home country or somewhere else in the region, they can suffer from the shock of navigating cross-cultural dynamics in the workplace. It’s no secret that business leaders need to understand the cultural nuances of the different regions where their business operates. Yet, aspiring Motherland Moguls returning home might underestimate the need to orient themselves to the minutiae of workplace dynamics across Africa, especially as the continent rapidly transforms. The Ghana, Kenya, or Zimbabwe of 2008 doesn’t look the same in 2016.

Avoid clichés

Clichés and stereotypes can lead to faulty assumptions. While generalizations can be useful, culture is complicated and can’t be measured by one or two factors. Individual people might not fit these generalizations. Even as we advocate for pan-Africanism, we should recognize that each country or region is unique.

For example, there is a prevailing stereotype that Africa is a sexist place and that men will be condescending to women in the workplace. This is not always the case. Assume best intent until proven otherwise, and ask questions toimmediately clear up miscommunication. Overemphasizing stereotypes can have a real cost — misplaced fear of encountering workplace sexism may scare talented female professionals from taking positions in Africa.

As you enter the workplace, you might encounter differences along these four major areas:

1. Different Communication Styles

Across cultures, people communicate differently when it comes to verbal and non-verbal communication. Messages aren’t always explicit — more often than not, you’ll have to read between the lines.

Words and phrases that are common in one place might leave people looking at you in confusion in another. In some countries, there might be more of an emphasis on hierarchy than in others. In Francophone Africa, for example, there is more of an emphasis on formality than in Anglophone parts of the continent.

2. Different Conflict Resolution Styles

Not everyone always gets along. Some cultures approach conflict directly while in other cultures differences are worked out quietly. Feedback might be frank or more diplomatic.

3. Different Approaches to Time Management

Some countries, like Germany and Switzerland, are famous for their strict adherence to clocks. However, in most non-Western cultures, time is better viewed as a polite suggestion. Nevertheless, time management views can defer depending on the situation. People tend to have short-term or long-term orientation when comes to time. In parts of Southern Africa, for example, some people differentiate regarding the urgency of a project by saying “now” (sometime soon) vs. “now now” (right this minute).

4. Different Decision-Making Styles

A cultural frame of reference often shapes expectations about how to make a decision. Does what the boss says go? Is there room for dialogue? The roles individuals play in decision-making can depend on the egalitarian or hierarchical nature of a culture. This determines whether or not decisions are made unilaterally or by consensus.

To successfully navigate cultural differences, follow the three L’s:

  • Listen actively and empathetically to assume best intent,
  • Learn from generalizations, but supplement these with your own observations and,
  • Look at the situation from both the insider and outsider perspectives.

Arm yourself with these tools, and you’ll avoid misunderstandings and conflicts that can cost your team profits or productivity.

 

Maame Adjei Takes Risks Exploring Ghana’s Hidden Gems on Her New Travel Show ‘Girl Going Places’ (OkayAfrica)

Maame Adjei is probably one of the coolest people I've ever met. So when I heard about her new web series, 'Girl Going Places,' I was dying to check it out. in my latest piece for Okayafrica, I chat with Maame about her wanderlust and where it's led her on her quest to explore each of Africa's 54 countries.

Check out the interview on the Okayafrica website or below. 

Sometimes the best adventures are in our backyard and Maame Adjei knows this well. Adjei, an actress and producer best known for her work on An African Cityhopes her new travel show, Girl Going Places, will dispel Africa’s “dark continent” narrative and highlight the continent’s natural beauty and dynamism. The first six episodes of the pilot season take viewers around Ghana to explore undervalued gems like the Likpe Caves and Ada. Future seasons will find Adjei exploring cities all across Africa’s 54 countries in an effort to make travel on the continent a more accessible experience.

Okayafrica caught up with the globetrotting Adjei to hear more about her adventures, and where this girl is going next.

Akinyi Ochieng for OkayafricaCan you tell me about when and why you decided to move home to Ghana from Philadelphia?

Maame Adjei: It was very impulsive. In September 2012, I was in Ghana for a quick two-week vacation to celebrate the anniversary of my Grandmother’s death. Before I left, I felt this pull to move back—it was time to move home. I returned to Philadelphia, drafted my letter of resignation, shipped all my things, and by December 1 of that year, I was back in Ghana. My background is actually in healthcare finance, so that’s what I initially thought I’d do in Accra. For the first few months, I looked for jobs in that field, but I realized I was tired of pursuing a career that I wasn’t passionate about. I decided to take off 2013 and travel Ghana. When I had come for my grandmother’s funeral, it was my first time visiting my mother’s hometown and I loved it-the landscape and the people. Seeing outside Accra was a great experience, and I was eager to explore Ghana more.

Moving in such a short amount of time would be daunting to most people. Are you naturally adventurous? How did doing this show force you step out of your comfort zone?

I’m naturally a risk-taker, especially when it comes to just packing up and moving around. When I was 15, I decided to move from Ghana to England to live with my dad. When I was in London, I decided I wanted to move to Philadelphia for college despite not having any family or knowing anyone in that area. When it was time to move back to Ghana, I decided to just drop everything and do it.

The show definitely pushed me to be more adventurous. In the first episode, you’ll see me crawl down to hike inside Likpe Caves. Initially, I thought I was going to get there, park, cross the street and see the cave. If I had known I was going to go in, I might have been more hesitant, but once I arrived, there was no backing down.

Always being up for a challenge, being open to exploring—is that what it means to be a “girl going places” or is there more to it?

That’s certainly part of it. A “girl going places” is someone who has found something they’re passionate about and is pursuing it vigorously. Someone who is confident, fearless, and approaches life’s difficulties saying, “I can do this.”

Why did you decide to create the show and how do you see it as a movement?

I consider myself a real Ghana girl, Ashanti to the core and proud of it. But as I began to explore Ghana for myself, I realized how sad it was that I had never really explored my own country before. I hadn’t even been to Kumasi or seen Manhiya Palace [the seat of the Ashanti kingdom]. Many of my friends had never been outside of Accra.

When I started this project, I was really just documenting things for friends, people, and myself to show the world outside of Accra. As time moved on, I thought it would be great to share with more people, especially other Africans, and show that the beauty and history we look for elsewhere outside of Africa is right here under our noses.

You don’t have to go to Milan for a cultural experience. You don’t have to travel to Jamaica to get a beach vacation—you can go to Zanzibar. Africans have to be able to travel and learn about our own spaces before we venture elsewhere, and I don’t think we’ve done that enough, for many reasons.

One of the reasons which frequently comes up is cost. Getting from Nairobi to Dakar will cost you around $1200 while Nairobi to London is $600. Any advice for exploring the continent on a budget?

The cost of travel around the continent is ridiculous. It’s one of the largest deterrents to travel. Why pay all that money to go to Dakar when you’re not even sure what’s there when you can pay half the price and go to London where you know what to expect? London markets itself beautifully, and Dakar or Accra or Abidjan have to do the same.

So if you’re traveling the continent, make sure to get that bang for your buck. If I’m traveling from Ghana to South Africa, for example, that’s time to take advantage of the neighboring countries like Botswana or Namibia. Make your travel itinerary such that you can explore a region rather than just a country.

You mentioned the failure to market our gems. In Ghana, where you’re from and where season one is focused, what do you think the government is—or isn’t—doing to support growth in domestic and regional tourism? 

There’s a tourism board and Ministry of Tourism, but what are they doing to market our country? In Jamaica, you know what to expect. When you think Jamaica, it’s “beauty,” “beaches,” and “vacation.” In Ghana, tourism revenue is huge, but I don’t know where it goes. There are few government-owned rest stops on the way from Accra to Kumasi—they’re all privately owned. There have to be greater efforts to provide structure to spaces and tourist sites to encourage people to visit places around the country.

One of the most basic areas that can be addressed is infrastructure—roads. Driving outside of Accra to reach the Volta Region in episode one took five hours (when it should have taken three) because the roads get really bad at a point. Government has to make it more accessible to travel within the country.

Are there any hidden travel gems in Ghana that you wish more people knew about?

My favorite place in the whole word is Cape Three Points. It’s about an hour and a half outside of Takoradi, which is about four hours drive from Accra. A few years ago, I’d say probably 90 percent of my peers had no idea about Cape Three Points, but now more people are learning about it. It’s so beautiful—a beach with a seemingly endless coastline and a gorgeous, old lighthouse that was built when it was used as a trading post. Cape Three Points is all about relaxation and untapped, natural beauty It’s what I imagine an island destination like St. Lucia is probably like —clear water, clean sand, palm trees.

What’s at the top of your Africa travel wish list?

Namibia. I keep hearing how beautiful and dynamic it is, so it has been at the top of my mind.

 

Sitting Still is the New Move: On Meditation (She Leads Africa)

I'm excited to be working for She Leads Africa as a contributing writer. She Leads Africa is a  community that helps young African women achieve their professional dreams by delivering business and career advice, support, and access to a network of driven young women.

I'll be writing for SLA on a bi-monthly basis about a variety of topics. Visit the She Leads Africa website to learn more about their resources.

First up? Learn why "Sitting Still is the New Move."

Almost everyone I know is either busy or tired. In this age of hyperconnectivity, we’re always “on.” In the race to stay on top of work, news, and friendships, it’s difficult to find time for self-care. By creating the space to embrace the present, meditation gives us the time to tune out the noise and listen to our inner voices

I first learned the importance of meditation at my Quaker high school. Silence is a unique features of a Quaker worship service. Through silence, Quakers believe they can listen, reflect, and deepen their connection with God, their community, and themselves. For forty-five minutes once a week, teachers and students met in a sunlit room to sit in silence. In such a competitive, Type A environment, the fact that we came together weekly to affirm the time to reflect and to dream is extraordinary. Taking the time for mindfulness helped me listen to my inner self rather than follow the crowd.

As a teenager trying to figure out life, that space was essential. But as a young woman in the digital age, I find the need for silent reflection even more essential. It was easy to meditate in high school when the time was carved out for me—it’s harder to accomplish now as an adult with a hectic schedule. But according to experts, meditation one of the best ways to focus and be present rather than in “react” mode.

Ready to start meditating? Here are a few tips for incorporating it into your life:

– Start small. Sit for just five minutes a few days a week, and gradually build upwards.

– Check in with yourself. How do you feel—tired, anxious, energized? Focus on your state of being and you’ll learn more about yourself.

– Don’t worry about doing it right. For some people, meditation is about clearing the mind or avoiding all thought. While that can happen during meditation, that’s not the point. It’s normal to have thoughts, and meditation can help you better focus the direction of your attention.

– Create a space. When you’re meditating for short periods of time, your location might not matter as much, but as you increase your time spent meditating, you should be comfortable. What does your soothing environment look like? Do you need a pillow? Do you prefer sitting in the sunlight or an evening session with candles? Design a calming space that helps you clear your mind.

– Make it part of your daily routine. Set a reminder to meditate each morning to help get your day off to the right start. Switch off your phone and find a quiet space. Can’t take the time before the morning commute? Try carving out a little bit of your lunch break or use meditation as a strategy to unwind before bed.

– Join a community. There are Meditation Meetups in thousands of cities worldwide. If you can’t find a group that suits you, create one with family, friends or colleagues. Depending on where you are, you can look into your company benefits—many employers now provide meditation training to promote wellness and productivity.

– Try an app. Some crowd favorites include HeadspaceBuddhify, and Mind.

Every morning, I take half an hour to meditate. The silence helps me cope with the deluge of information I receive everyday in my full-time job as a Communications Manager at multi-stakeholder industry association and my night-owl assignments as a freelance writer and editor. In the words of Buddha, “All that we are is the result of what we have thought. The mind is everything. What we think, we become.”

 

The Divine Way of Making Chocolate (OkayAfrica)

Photo: Meghan LaPrairie Photography, courtesy of Divine Chocolate.

Photo: Meghan LaPrairie Photography, courtesy of Divine Chocolate.

Last month, I attended a chocolate, cheese, and wine tasting in celebration of another year of Divine Chocolate's growth as a company, both in the United States and globally. (I know, my job is so hard, right?)

Not many cocoa farmers have tasted the fruit of their labor. Despite the rising demand for chocolate and rising cocoa prices, the majority of farmers growing the crop are poor. Divine Chocolate is a fairtrade chocolate company that is co-owned by the 85,000 farmer members of Kuapa Kokoo, the cooperative in Ghana.

Check my article about Divine's business model in Ayiba Magazine's Formation Issue. It features some amazing suggestions for chocolate and cheese pairings.

 

 

Kenyan Start-Up ‘Enda’ Aims to Make the First Made-In-Kenya Running Shoe (OkayAfrica)

My latest for Okayafrica takes a look at the story behind Enda, a new start-up hoping to make the first made-in-Kenya running shoe. Check it out on the Okayafrica website or below. 

For decades, Kenya has been East Africa’s (and the continent’s) anchor when it comes to running. Did you know Kenyans hold world records in virtually every category of mid- and long-distance running? The country takes 17 of the top 25 male record holders for the 3000-meter steeplechase, and eight of the top 10 fastest male marathoners and four of 10 female marathoners are Kenyan too.

Since Wilson Kiprugut won bronze in the 800m in the 1964 Tokyo Olympics, Kenya’s abundance of talent has translated into a gold mine—for a few. Earlier this year, ascandal rocked the country as Kenyan athletics officials pocketed money intended to train poor athletes. While a handful of Kenya’s most famous runners earn lucrative sponsorships and coveted prize money, the vast majority of Kenyan runners remain impoverished.

Navalayo Osembo-Ombati and Weldon Kennedy are two social entrepreneurs who want Kenya to benefit more from its famous running reputation. Their new start-up, Enda—meaning “go” in Kiswahili—aims to make the first high-performance made-in-Kenya running shoe. Since launching a crowdfunding campaign less than a month ago, Osembo-Ombati and Kennedy raised $100,000, which will help Enda kickstart production later this year.

Growing up in a village near Eldoret, located in Kenya’s North Rift region and home to the country’s running champions, Osembo-Ombati dreamt for years of ways of leveraging Kenyan sports to better support local development. After meeting Kennedy at an entrepreneurial workshop, the idea for Enda was born.

To break into the $17 billion athletic shoe market, Enda hopes to take advantage of preferential tariff rates for importing footwear and apparel to the United States under the African Growth and Opportunities Act (better known as AGOA), a trade deal between the U.S. and 40 African countries renewed last year for a decade. Under AGOA, Enda’s shoes will be exempt from import taxes.

The company’s debut shoe, the Enda Iten, is a lightweight, neutral training shoe named after a small, nondescript town that is increasingly gaining a reputation as the world’s foremost producer of elite running talent.

To develop the Iten, the Enda team partnered with Birdhaus, a design studio that has worked with Under Armour, Reebok, and Keen. For Osembo-Ombati, comfort comes first. “People have different running styles and gaits, so we developed a shoe that would be universally appealing. It has a wider toe-box, so the feet aren’t squeezed together and features just the right amount of cushion for trail running.”

The shoe’s design features nods to Kenya’s heritage. The Iten’s three colors—green, red and black—and the spear logo nod to Kenya’s flag while its heel mimics the shape of the Rift Valley hills. Twelve lines appear on the lateral side of the Enda Iten to recognize Kenyan Independence Day, December 12.  On the sole, the word Harambee—Kiswahili for “all pull together”—celebrates the community-focused drive at the heart of Enda.

But making the shoes in Kenya isn’t easy.  “We want to champion national pride by proclaiming that Enda products are fully Kenyan-made. The material we’re using for our mid-sole is just not available locally,” Osembo-Ombati says.

In the long term, Osembo-Ombati and Kennedy plan to source all components of Enda shoes in Kenya, but in the meantime, they plan to assemble and package shoes in Kenya, and increase local sourcing as they go along.

“We’re hoping that through economies of scale and building a global market for our shoes, it’ll provide an incentive for factories in Kenya to increase local availability of materials,” Osembo-Ombati says.

For Enda, social enterprise isn’t just a catch-phrase—it’s a commitment. Founded as a benefit corporation, the company is legally obligated to make reports on activities contributing to its social mission, and is held accountable by stakeholders. Enda plans to set aside a portion of profits to fund community development projects. In the future, anyone who buys a pair of Enda shoes will be able vote to determine which projects benefit from their purchase.

According to Osembo-Ombati, “Having a social impact extends not only to the people we hire, but to the communities we touch.”

‘Arts of the Monsoon’ Is a Striking Documentary Exploring the Cultural Connections Between Oman and Zanzibar (OkayAfrica)

I recently had the opportunity to attend an advanced screening of new documentary, Arts of the Monsoon, a documentary commissioned by the Smithsonian’s National Museum of African Art. I gave Okayafrica sneak peek of the film. Hop on over to their website to take a look or view the full text of the article below.

When you arrive on the Swahili coast, it feels like a different world from the savanna landscapes or the booming cities of Nairobi or Dar es Salaam that dominate East Africa’s travel guidebooks. The acacia-dotted savannas are replaced by palm trees and mangoes. Instead of the experimental, futuristic design of postcolonial cities, visitors find heavy wooden teak doors and windows dating back centuries.

Omani visual artist Madny Al Bakry in Arts of the Monsoon. Photo still courtesy of the Smithsonian’s National Museum of African Art

Omani visual artist Madny Al Bakry in Arts of the Monsoon. Photo still courtesy of the Smithsonian’s National Museum of African Art

Arts of the Monsoon, a new documentary film commissioned by the Smithsonian’s National Museum of African Art, takes viewers into the traditions of this unique corner of the world by exploring the connections between Zanzibar and Oman through the eyes of musicians, artists, and cultural experts.

At first glance, I’m intrigued by the film, which explores an area that is foreign yet familiar. I spent idyllic childhood summers in Mombasa, watching the dhows(fishing boats) cut through the sparkling waters of the Indian Ocean, wandering its labyrinthine streets, the smell of fresh coconut-infused pilau with its rich medley of cardamom, turmeric, and cloves wafted through the air. Today, separatist and terror activity has left the city a shell of its former self. The same story plagues Lamu, one of Kenya’s oldest town and one of the first Swahili settlements. Despite occasional bouts of violence, Zanzibar remains the last true gem of the Swahili coast.

While the stories of Portuguese and British colonialism are by now familiar and well recorded, the Sultanate of Zanzibar, the Omani colonial commercial empire that controlled the maritime Silk Road from the 17th to 19th centuries, is less commonly explored in the history books. Separated from its Gulf neighbors by the vast expanses of desert and maritime borders, Oman took to the seas and forged connections more with East Africa than with its Arab neighbors. Over hundreds of years, trade between the isolated Gulf state and East Africa produced a distinctive cultural fusion that still exists today.

Arts of the Monsoon is connected to a larger exhibition at the National Museum of African Art funded by a $1.8 million gift from the Sultan Qaboos Cultural Center in Washington, D.C., an educational institution seeking to promote cross-cultural dialogue between Oman and the United States. Launched in 2013, the multi-year education program, “Connecting the Gems of the Indian Ocean: From Oman to East Africa,” highlights the evolution of Omani arts and cultures, the beauty of the arts in Oman and its connections to the East African Coast.

In a scene recorded in the port city Sur, filmmaker Dodge Billingsley shows Omani dancers in long, flowing white robes beating drums then transports viewers back across the ocean to heartaarab, traditional Zanzibari music that combines Arab scales with African rhythms. Elsewhere, we find other juxtapositions—the Swahili kanga, a traditional cloth worn by women on the streets of Zanzibar’s Stone Town and Oman’s Salalah, and the clove carvings on doors of Stone Town, Muscat and Mizanfah recalling the region’s long history of spice trade.

“When you say Africa and Oman, they are like twins,” professes one artisan in the film, as he leads viewers through the maze-like markets of Muscat. Indeed, throughout the film we meet Zanzibar-born Omanis who switch between Arabic, Swahili, and English effortlessly—fluent in both the language and rituals of Oman and the coast. The word “Swahili” itself even comes from sawahil in Arabic, meaning “coast.”

In the Western world, media and academia often focus on West Africa and its postcolonial history, neglecting the rich history of the great empires of Mali and Songhai—or the rich and complex cultural exchanges of the Indian Ocean world. Arts of the Monsoon dispels the narrative of a “dark continent”—re-shaping our understanding of the continent and its centuries-long influences throughout Asia and the Middle East.

Join the Smithsonian’s National Museum of African Art for the public premiere of ‘Arts of the Monsoon’ on Saturday, June 11, at 2:00 p.m. with a Q&A session with executive producer, Nicole D. Shivers, to follow. Register for free here.