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East of Uhuru Highway: Inside Nairobi’s Most Iconic (And Much-Maligned) Neighbourhoods

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EAST OF UHURU HIGHWAY: Inside Nairobi’s most iconic (and much-maligned) neighbourhoods
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Ismael Kulubi is a 66-years-old radio production guru with a scintillating voice that is still in great demand even after retirement. Advertising executives in need of an experienced voice hire him to do radio promos. By all measurable standards, Ismail has had a fulfilling career – he is a widely travelled man who has enjoyed life’s successes as a professional media man.

But his advertising and media professional friends have been always been puzzled by Ismael. With all the riches he made over the years and his ascribed social status, Ismael has lived all his life in Eastlands area, the eastern part of Nairobi that every Eastlander seeks to run away from at the slightest hint of money and success.

Eastlands: “No pretensions here”

A practicing Muslim, Ismael grew up in Majengo, the sprawling slum sandwiched between the famous Kamukunji Grounds and Eastleigh, the inner-city neighbourhood that is often referred to as “Little Mogadishu” Majengo has always been infamous for its variety of sex workers, some of whom come from as far as Burundi, Rwanda, Uganda and Tanzania. The slum dates back to the British colonial era when it was seen as place where prostitution thrived. Women living there were believed to be sex workers who met the sexual needs of the black immigrant labourers employed in Nairobi who were not allowed to bring their families to the city.

After every Friday afternoon prayers, which he religiously observes at Jamia Mosque in central Nairobi, Ismael heads straight to Majengo in his gleaming beige metallic Mercedes Benz, something he has done for many years. His vintage German engineering marvel is still a spectacle to be behold among the ghetto dwellers. But Ismael is considered one of them and his posh car parked outside on Majengo’s main street is as safe as the Kenyan currency locked at the Central Bank building’s underground vaults in Nairobi city centre.

Majengo has always been infamous for its variety of sex workers, some of whom come from as far as Burundi, Rwanda, Uganda and Tanzania. The slum dates back to the British colonial era when it was seen as place where prostitution thrived.

“Majengo has the best pilau you can find anywhere in Nairobi,” Ismael tells me matter-of- factly. Every Friday afternoon, his hot pilau, specially catered to his culinary tastes, awaits him. “Majengo made me and it is a place that gives me immense joy, helps me stay firmly grounded and connects me with the people.” For Ismael, the Friday afternoon sumptuous meal served on large dishes called sinia is a social affair: He has his usual group who he eats with that ranges anywhere from five to ten people.

At one time, Ismael earned a salary that was commensurate with what is paid to top executives of blue chip companies. But that never stopped him from driving from the Karen and Lavington suburbs, where his offices used to be, to enjoy a meal cooked in the ramshackle kitchens and restaurants of Majengo. “Good food is a social engagement, it is not so much about how much money you spend on it,” says Ismael. And he can spend a lot. On any given Friday afternoon, Ismael can spend an upward of Ksh5000, depending on the number of people he is eating with. They will eat from the same sinia with their hands, seated on the floor. “There are no pretensions here, we eat together the way we eat in our respective houses,” says Ismael.

As they eat, Ismael’s Mercedes Benz will be attended to by between three to five young men who give it a clean shine like no other. This is another ritual in Majengo. “My car is never washed anywhere else – the boys know it, they have cleaned it for many years, it is like going to the same barber for many years. You do not want to change him because he has learned the nooks and crannies of your bumpy head.” The young men know that every Friday, some good money will come their way. “Ismael ni boy wetu… yuko chonjo…ua anatucheki kitu poa,” (Ismael is our man…he’s cool and pays us real well), say the young men.

After the sumptuous meal, drowned by the freshest of unadulterated juice, Ismael does not leave Kije (Majengo’s popular name). He has his spot outside where he sits with other men to chew gomba (also known as khat or miraa) that is specially delivered to him by his supplier of many years. He will then chew gombahandas and veve are variants of the same thing – accompanied by copious amounts of black coffee throughout the evening, after which he will drive back home to his house in Buru Buru estate.

“People who live in the so-called leafy suburbs have ghettoised Eastlands,” quips Ismael. “They live in a make-believe world that has blinded them to real-life happenings outside their presumed safe cocoons. They think Eastlands is one huge criminal world. You can imagine what they think of my hood Kije: we are all sons of harlots. That young people here neither have ambitions nor dreams. They are so wrong.” Ismael, whose long dead parents came from Saba Saba location in Maragua, Muranga County, says, “In Kije, the people are real, they have what it takes to live comfortably and decently and they are as informed with local and global current news as the Kenyans of Karen and Lavington.”

If you fly over Majengo slum, you would be amazed by the satellite TV dishes that adorn iron sheet rooftops. Inside some of these mud-plastered houses are some of the latest and funkiest hi-fi equipment and exotic furniture that one can only imagine in a Kileleshwa high- rise flat or in Loresho’s leafy suburbs. These dishes beam news outlets from such channels as Al Jazeera TV, BBC, CNN and France 24 English TV.

I was born and bred in Eastlands, but Eastlands is often viewed as a place – if you were “unfortunate” enough to be brought up there – where you finished school and once you were done, you quickly left the area.

“If you entered some of the houses here in Kije, you would literally be taken aback,” says Ismael. “There are houses that have 42-inch smart cable TV and Persian Bukhara rags and Turkish carpets that can only be a dream for many of the pretenders to middle class tastes. You know those houses where you have to remove your shoes to enter?” Many of these items are imported from Saudi Arabia, the United Arab Emirates (UAE), Qatar and Yemen.

The traditional suspicion about Eastlands as an area where “dreams are made” and once those dreams are actualised you flee from the area to go and live those dreams elsewhere is a long-held stereotype that persists to date. Indeed some of the Nairobians who started life in the Eastlands estates, dingy or otherwise, comprise a big chunk of the most successful Kenyans who now live on the west side of the city’s spatial suburbs. Their pastime is nostalgically recounting how they are wasee wa mtaa (estate mates). Yet many, having bought into the Eastlands narrative themselves, are publicly embarrassed to be associated with the area.

My recent encounter with a high school chum of many years convinced me that the Eastlands narrative is not fading away in a hurry. Steve Ngotho, who has lived in Pretoria, South Africa, for a long time was in town recently. When he gave me a shout, we met at a restaurant in central Nairobi. After the usual pleasantries, Ngotho, who I had always known to shoot straight, asked where I lived…nowadays. “I live in Buru Buru,” I told him. “Ah, you mean you still live in Eastlands?” he asked. What he really meant was: What in God’s name would you still be doing in Eastlands?

Ngotho grew up in the western side of Nairobi, the general area that is west of Uhuru Highway. Uhuru Highway is the trunk road that cuts across the city centre and links the city to the highways that lead to Uganda, Rwanda, South Sudan, the Democratic Republic of Congo (DRC) and the port city of Mombasa.

I was born and bred in Eastlands, but Eastlands is often viewed as a place – if you were “unfortunate” enough to be brought up there – where you finished school and once you were done, you quickly left the area. Ngotho, you can bet, is not the only former Nairobian to still harbour the “Eastlands narrative” (even when he lives abroad) – a place for people with failed ambitions and aspirations, where dreams did not take off.

The Eastlands narrative has its roots in the colonial era when some “African” areas were associated with congestion and crime. Hence, Eastlands to date is viewed as a place that does not have the attraction and aura of suburban “posh living”. For Eastlanders, the “leafy suburbs” imply breezy air, lots of jacaranda and pine trees, bungalows and maisonettes with compounds and open spaces that can only be found across Uhuru Highway.

Dr. Mosley Owino, a consultant dentist, likes to remind me that East London, where he trained as a dental surgeon, has many of the same characteristics and reputation as the Eastlands area of Nairobi: It is a place riven with deep poverty and overcrowding and which is not immune from the social problems that afflict such areas – the existence of rival gangs, loafers, social misfits and petty and hardcore criminals.

Buru Buru: “Like a suburban British hood”

Buru Buru estate, where Ismael bought his house in the 1980s, is one of the iconic estates that sometimes still salvages the Eastlands reputation, even as the estate itself, which has five phases, struggles against ghettoisation. Largely built in the 1970s, with the last phase five completed in 1982, Buru Buru was the estate where newly graduated architects, accountants, lawyers, physicians, quantity surveyors, among other graduates, aspired to live and start out because it captured their upward mobility aspirational lifestyle, its Eastlands location notwithstanding.

Construction magnate John Mburu has lived in Buru Buru ever since he graduated from the University of Nairobi in the early 1990s. With a yearly turnover of hundreds of millions of shillings, Mburu’s friends in the industry cannot understand why he still lives in the same house he started out in. A shilling billionaire, Mburu says Buru Buru is a suitable place to live in – it does not have the wannabe pretentious suburban lifestyle like many of the new estates that have come up: “It still retains decent, respectable and habitable estate characteristics that represents the lifestyles of people who have progressively grown their incomes.”

Buru Buru is among most famous suburban estates in East and Central Africa. When I first went to Tanzania, a quarter of a century ago, my newly acquired Tanzanian friends would ask me which part of Nairobi I came from. “Ule mtaa ambao unaishi mawaziri na wakuu wa serekali, unaufahamu?” (Do you know the estate that Kenyan ministers and top civil servants live in?) It was amusing to learn that my Tanzanians friends considered Buru Buru to be such a posh estate that only elite government people lived there.

“Buru Buru is very much like a British suburban hood,” says Stacy Wanjiku, who lived and studied at the London School of Economics (LSE), University of London. “Even the way people park outside their houses on the roadside is so British.” Wanjiku, who herself lives in Buru Buru, says the picket fencing may have long gone, but Buru Buru still retain its stand-out character with its shopping centres and it semi-detached architectural design uniformity.

Woodley and Kimathi: Civil servant estates

The estate that comes closer to once being a residential area for senior government civil servants is Woodley, which is located in the south-east of Nairobi, adjacent to Moi Nairobi Girls on Joseph Kang’ethe Road. Woodley is a fashionable estate made of a mixture of high-rise flats and bungalow houses with huge compounds and while it was not largely inhabited by cabinet ministers – at least certainly not in the 1980s – for some reason, Woodley was the residence of the senior-most Luo civil servants.

Alex Oduor, who lives in the estate, which is owned by Nairobi County, tells me that Woodley has all the trappings of a proper middle class neighbourhood: his house is in a safe secluded area, has a big compound for kids to romp about and to host a barbeque and is big enough to entertain guests and host visiting relatives from rural areas. Oduor himself lives in the three-bedroomed house once owned by Washington Okumu, the humongous jolly professor who brokered peace between Nelson Mandela of the African National Party (ANC) and Gatsha Buthelezi, the leader of the Inkatha Freedom Party (IFP), in Johannesburg, South Africa in the 1990s.

The estate closest in resemblance to Woodley in terms of design and layout is Kimathi estate in Eastlands. It is ensconced between Bahati and Jerusalem estates. Built in the early 1970s, Kimathi is your archetypal middle class neighbourhood that has a family ring to it: an “enclosed” estate with modest houses and little compounds. Mwai Kibaki, the third President of Kenya, kept a house there for the longest time. Up to 1974, he represented Bahati constituency which Kimathi estate was a part of. Hudson Mwangi, a businessman who has lived in Kimathi estate for many years, says the estate is unpretentious and allows him to operate “below the radar”, without attracting too much attention from the prying eyes of gossipers and nosy people.

Kilimani and Kileleshwa: “Lonely jungles”

The estates that were truly classical middle class neighbourhoods were the adjoining suburban areas of Kileleshwa and Kilimani located in the west of Nairobi. They were your conventional neighbourhoods for senior civil servants from 1963 to early 2000s. “But today, these areas have become concrete jungles; the high-rise flats that are coming up daily have completely erased the beautiful memory of the semi-detached bungalow and maisonette residential houses that adorned the area,” says print journalist Oyunga Pala, who grew up in the Kilimani area. “In the days that I grew up in Kilimani, the area was attractive and scenic, the houses had huge compounds for children to safely play and run around in, and the neighbourhood had lots of trees and kaiyaba (Kei apple) fences.”

The gentrification of Kileleshwa and Kilimani occasioned by the new money of the nouveaux riches and the recently minted millennial millionaires have transformed these areas into impersonal, “cold flats” where next-door neighbours live like total strangers, meeting only on the staircases and in lifts. Lilian Rice, a British national who lives in one of these flats, told me there is a “fake friendliness” among flat mates living in Kileleshwa. “Every time I visit my friend and workmate in Donholm in Eastlands, I notice the stark differences: the place is bubbly and full of life. The children are running helter-skelter, playing football or hide-and-seek. The neighbours pop in (unannounced) to share a funny anecdote or to enjoy a cup of tea together… I tell you the camaraderie is real and unpretentious.”

Rice says that the corner kiosks and green grocery vibandas (sheds) of Donholm really enchant her. “They serve as meeting points for people to banter and chat.” Rice concludes that Kileleshwa is “a lonely jungle” and Eastlands, with all its “dirt and disorder”, has “variety and vivacity.”

The gentrification of Kileleshwa and Kilimani occasioned by the new money of the nouveaux riches and the recently minted millennial millionaires have transformed these areas into impersonal, “cold flats” where next-door neighbours live like total strangers, meeting only on the staircases and in lifts.

This variety of life was best captured for me by Rhoda Mbaya, who was brought up in an old Kileleshwa neighbourhood. When their father, a senior civil servant, died suddenly, the family had to move out of their five-bedroomed government house and relocate to Uthiru, a peri-urban and semi-rural area on the outskirts of Nairobi, 12km west of the city centre, in a place called 87. “Of course, it was at first traumatising, but we quickly adjusted,” said Rhoda. “The thing about living in the old Kileleshwa was that we led a secluded and shielded life, so when we had to move to Uthiru, it was obviously a scale-down, but we soon realised that Uthiru had its own advantages.”

Used to a subsidised life all her life, Rhoda was gratified to find that Uthiru had a cheaper and affordable lifestyle that was commensurate with her middle class tastes and which did not compromise her family’s social upward mobility. Her five siblings still rent out a five-bedroomed bungalow there, which is much more affordable than a house around the Kileleshwa/Kilimani “posh” areas.

“The vegetables are fresh and cheap, we get the milk straight from the cow, fresh and unskimmed and kienyeji (indigenous) chicken and eggs. The crux of the matter is that you can’t have your cake and eat it,” said Rhoda. “Uthiru is teeming with people, we weren’t used to that, but yet again, the people are cosmopolitan, friendly and hospitable…but you know what? We discovered mutura (a sausage-like delicacy made out of stuffed offal) and pork. Uthiru has the best pork place in town.”

The rapid gentrifications of the city’s better known neighbourhoods, says Oyunga, are robbing the city of its iconic suburbs and traditional beautiful look. Kilimani’s expanding gentrification is already encountering opposition. The Kilimani Residents Association is up in arms against Cytonn Investment Company, a real estate private equity firm that intends to mobilise funds and put up a multi-storeyed building in the area.

Eastleigh: “Where dreams are incubated”

Gentrification in Nairobi has not been confined to the western side of the city. The Somali people’s influx in Eastleigh has led to a rapid and haphazard gentrification of the area. High- rise buildings have risen: some magnificent, some ugly and an eyesore. The buildings are both commercial and residential. A couple of years ago, a former powerful cabinet minister was persuaded to visit Eastleigh – a place he himself had confessed he had not visited for “donkey years”. The minister was astounded beyond belief when he found the area was home to two- and three-star hotels, complete with deluxe suites for accommodation and a la carte three-course menus.

Amid Eastleigh’s chaos, confusion, grime, mounting garbage, open sewers and systemic failure of services, there are Somali residents who live like Arab sheikhs in some of the most crowded and ugly flats. When Abdulrahman let me into his house on the top floor of a flat facing Pumwani Maternity Hospital, I was taken aback by the apparent affluence: The large sitting room was bedecked with jewelry and Arabian Nights-like ornaments, an imported sofa and a thick Afghanistan carpet. His prayer room was a wall-to-wall carpet affair. His expensive cutlery was like that of an emir. It was only after I came out of the house that I realised that indeed I was in the shambolic Eastleigh neighbourhood. Inside Abdulrahman’s house, it felt like I was in an affluent flat somewhere in Qatar or Yemen.

One of the areas that has been under perpetual threat of gentrification is Eastlands itself. The vast estates of Bahati, Hamza-Makadara, Jericho, (Lumumba and Ofafa) Jerusalem, Kaloleni, Makongeni, Maringo, Mbotela and Uhuru that make up the “real” greater Eastlands area and whose fame has rested on council houses belonging to the now defunct Nairobi City Council, are being targeted by “private developers” who have been marking them for a long time to bring them down in the name of constructing “better” and more spacious accommodation for the residents.

“Eastlands maybe the place where dreams are incubated and people are not pretentious, but it can be also a place that drains and sucks up your energies”

It is true that many of these houses could be past their building life cycle. Their average lifespan is 60 years – Maringo estate was built in 1958, for example.The Kaloleni “bungalows” were built in the 1940s. During the 1960s, this was one of the poshest African quarters. Jericho Lumumba was built in 1962, a year before Kenya got its independence from the British. A beautiful, well-designed and laid-out estate, with ample open spaces for recreation, it still retains its shine despite obvious neglect that includes peeling paintwork that no one remembers when it was last undertaken, uncollected garbage, dilapidated plumbing and open sewers.

Peter Mugo, who is a resident here, allowed me into his “humble abode” for a cup of African tea that has the milk, tea leaves and sugar all boiled together. Mugo’s humble abode is a two-roomed affair but the house is nonetheless as middle class as they come: it has all the gadgets and trappings of modern urban living. He has the latest Samsung smart TV, Sony Hi-Fi music system complete with woofers, stylish settees and an expensive carpet to boot. “My subsidised rent allows me to save enough money to send my kids to quality private schools,” Mugo told me. His youngest 10-year-old son is busy with his play-station, while his second born daughter is on her laptop googling her school homework on the Wi-Fi that her dad has installed in the house.

“Eastlands maybe the place where dreams are incubated and people are not pretentious, but it can be also a place that drains and sucks up your energies,” says Victor Ochieng. Before moving to the west of Nairobi, Victor lived in Donholm for several years. “I used Jogoo Road (the trunk road that runs through the major Eastlands estates). All the time I lived in Doni I can tell you the traffic snarl-ups on Jogoo Road used to give me incessant headaches. Doni was also not an easy estate to live in: if it’s not water shortages, its garbage strewn all over. And when it rains, it floods. That was enough stress for me.”

Still, after moving to the west side of Nairobi, he now appreciates that people in Eastlands at least live within their means. “There’s a lot of flush money in places like Kileleshwa and the majority of lifestyles are sustained by credit cards. In essence, people here live beyond their means, all in the name of maintaining class and status.”

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Mr Kahura is a senior writer for The Elephant.

Culture

Thandika Mkandawire: In Memory of a Beautiful Mind

Prof. Paul Tiyambe Zeleza celebrates the life of his friend and mentor Thandika Mkandawire, remembering his devotion to Pan-Africanism and the diaspora, his deep sense of globalism, his lifelong and unromantic commitment to progressive causes, his generosity in mentoring younger African scholars and his unwavering faith in Africa’s historic and humanistic agency and possibilities.

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Thandika Mkandawire: In Memory of a Beautiful Mind
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Thandika Mkandawire, the towering Pan-African Malawian-Swedish public intellectual died on March 27, 2020. The world of social thought, as Samir Amin, another departed luminary, called it, is so much the poorer that he has left us, but so much the richer that he lived for eight decades. Through his copious writings, engagements in numerous forums, and teaching in various universities, he incited and inspired minds and imaginations for generations across Africa, the diaspora, and the world at large with his extraordinary intellectual insights and incisive and surgical critiques of conventional, sometimes celebrated, and often cynical analyses of development and the African condition, to use a beloved phrase of the late Ali Mazrui, the iconic man of letters.

Thandika, as we all fondly called him, has joined our illustrious intellectual ancestors, whose eternal wisdom we must cherish and embrace in the continuing struggle for the epistemic, existential, and economic emancipation of our beloved continent.

When I think of Thandika many images come to my mind: of the luminous beauty and brilliance of his mind; his passion for rigour and impatience with lazy thinking; his bountiful joy of living; his love of music and the arts; his devotion to Pan-Africanism and the diaspora; his deep sense of globalism; his lifelong and unromantic commitment to progressive causes; his generosity in mentoring younger African scholars; his exemplary leadership of the Council for the Development of Social Science Research in Africa (CODESRIA) and the United Nations Research Institute for Social Development (UNRISD); and his remarkable modeling of the life of a principled public intellectual.

He is simply one of the most brilliant people I have ever known in my life. As my wife observed on several occasions, Thandika was the only person she witnessed who I was so enthralled by that I could sit and listen to for hours! To be in his company was to marvel at the power of the human mind for extraordinary insights and the joys of living, for he was a bundle of infectious joviality, humour and wit. The breadth and depth of his intellectual passions and unwavering faith in Africa’s historic and humanistic agency and possibilities was dazzling.

I had known Thandika years before I met him in person. I had heard of this fiery Malawian intellectual who as a young journalist had been at the forefront of the nationalist struggle. Like many of us born before independence, his personal biography encompassed the migrant labour political economy of Southern Africa: he grew up in Zimbabwe, Zambia and Malawi. And like many smart and ambitious young people of his generation in the early 1960s, he went to the United States for higher education as there was no university in Malawi at the time.

He was a student in the United States in the 1960s at the height of the civil rights movement, and as an activist Thandika immediately saw the intricate connections between the nationalist and civil rights movements in Africa and the Diaspora. This nurtured his profound respect and appreciation of African American society, culture, and contributions, which was a bedrock of his Pan-Africanism in the tradition of Kwame Nkrumah and others. Also, like many activists of his generation, the trajectory of his life was upended by the political crisis in Malawi, known as the “Cabinet Crisis”, that erupted a few months after independence in 1964.

The conservative and authoritarian Malawi leader, Dr. Hastings Kamuzu Banda, fell out with his radical younger ministers who preferred democratic politics and more progressive development policies. They were forced to escape into exile. Thandika was suspected of sympathising with the “rebels” as Banda’s regime vilified them, and his passport was revoked. Thus began his long personal sojourn into exile and the diaspora, and professional trajectory from journalism into academia. His exile began while he was in Ecuador on a project and, unable to return to the USA, he got asylum in Sweden.

His experiences in Latin America and Sweden globalised his intellectual horizons and reinforced his proclivities towards comparative political economy, a distinctive hallmark of his scholarship. They also reshaped his interests in economics, pulling him away from its dominant neo-classical paradigms and preoccupations, and anchoring it in the great questions of development and developmental states, areas in which he made his signature intellectual and policy contributions.

Thandika also immersed himself in the great debates of the 1960s and 1970s centred around Marxism, dependency and underdevelopment, African socialism, and the struggles for new international orders from economics to information.

The intellectual ferment of the period prepared him well to participate in African debates about the state, democracy and development when he joined the newly established Institute for Development Studies at the University of Zimbabwe in the early 1980s in the immediate euphoric aftermath of Zimbabwe’s liberation victory. In 1985, he became the head of CODESRIA as Executive Secretary.

He joined CODESRIA in the midst of the draconian anti-developmentalist assaults of structural adjustment programmes (SAPs) imposed on hapless and often complicit authoritarian African states by the international financial institutions working at the behest of the market fundamentalism ideology of neo-liberalism propagated by conservative governments in Washington, London, Berlin, Ottawa, and Tokyo.

Through his own comparative scholarship on regional economic histories, development paths, and the patrimonial state in Africa and other world regions, especially Asia, as well as national and multinational projects commissioned by CODESRIA, he led the progressive African intellectual community in mounting vigorous critiques of SAPs and offering alternatives rooted in the historical realities of African economies and societies, the aspirations of African peoples, and the capacities of reconstructed African democratic developmental states.

In the late 1980s, when the gendarmes of neo-liberalism and apologists of Africa’s bankrupt one-party states were railing against democracy and the struggles for the “second independence”, Thandika unapologetically called for democracy as a fundamental political right and economic necessity for Africa. He was particularly concerned about the devastation wrought on African capacities to produce knowledge through the willful dismantling of African universities and research capacities.

At a conference of Vice-Chancellors in Harare in 1986, the World Bank infamously declared that Africa did not need universities. Mendacious studies were produced to show that rates of return were higher for primary education than for tertiary education. Rocked by protests against tyranny and the austerities of SAPs that dissolved the post-independence social contract of state-led developmentalism, African governments were only too willing to wreck African universities and devalue academic labour.

He was particularly concerned about the devastation wrought on African capacities to produce knowledge through the willful dismantling of African universities

Under Thandika CODESRIA valiantly sought to protect, promote, and project an autonomous space for African intellectual development, for vibrant knowledge production. That is how I finally met Thandika in person. In 1989, CODESRIA established the “Reflections on Development Fellowship”. I was one of about a dozen African scholars that won the fellowship. My project was on “African Economic History in the Nineteenth and Twentieth Centuries”. This resulted in the publication of A Modern Economic History of Africa. Volume 1: The Nineteenth Century in 1993, which went on to win the prestigious Noma Award for publishing in Africa in 1994. Some regard this as my most important book.

Thus, like many other African scholars who experienced the devastation of African universities during the continent’s “lost decades” of the 1980s and 1990s, I am deeply indebted to Thandika and CODESRIA for ensuring our intellectual support, networking, sanity, and productivity. This is at the heart of the outpouring of tributes by African scholars since his passing. Thandika was not only one of the most important African intellectuals of the late 20th and early 21st centuries, but he was an architect of an African intellectual community during one of the bleakest periods in the history of the African knowledge enterprise His intellectual and institutional legacies are mutually reinforcing and transcendental.

Under Thandika CODESRIA valiantly sought to protect, promote, and project an autonomous space for African intellectual development

In August 1990, the recipients of the “Reflections on Development Fellowship” met for nearly two weeks at the Rockefeller Conference and Study Center, in Bellagio, Italy. It was an intellectual palaver like no other I had experienced before. Thandika dazzled the fellows, who included several prominent African scholars, with his incisive comments and erudition, legendary humour, and striking joyousness. Meeting him at Bellagio left a lasting impression on me. His brilliance was accompanied by his uncanny ability to put very complex thoughts in such a pithy way, rendering an idea so obvious that one wondered why one hadn’t thought about it that way before.

Thandika was an architect of an African intellectual community during one of the bleakest periods in the history of the African knowledge enterprise

Thandika was one of those rare people who effectively combined institutional leadership and intellectual productivity. This was the praxis of his reflexive life, in which administrative challenges inspired academic work. While at CODESRIA he pioneered and produced important studies on structural adjustment, development, and African universities and intellectuals. In 1987 he edited the ground-breaking collection, The State and Agriculture in Africa; in 1995 he edited the comprehensive collection on structural adjustment, Between Liberalisation and Oppression; and in 1999 he co-authored, Our Continent Our Future. His articles included “Adjustment, Political Conditionality and Democratisation in Africa” (1994).

After he joined UNRISD, he continued with his old intellectual preoccupations as he embraced new ones as reflected in his journal articles and book monographs. The latter include the co-authored, African Voices On Structural Adjustment (2002); and the edited, African Intellectuals: Rethinking Politics, Language, Gender and Development (2005). Soon after joining UNRISD, which he led from 1998 to 2009, he launched a program on social policy that increasingly reflected his growing research interests. The articles include, “Thinking about Developmental States in Africa” (2001); “Disempowering New Democracies and the Persistence of Poverty” (2004); “Maladjusted African Economies and Globalisation” (2005); “Transformative Social Policy and Innovation in Developing Countries” (2007); “‘Good Governance’: The Itinerary of an Idea” (2007); “From the national question to the social question” (2009); “Institutional Monocropping and Monotasking in Africa” (2010); “On Tax Efforts and Colonial Heritage in Africa” (2010); “Aid, Accountability, and Democracy in Africa” (2010); and “How the New Poverty Agenda Neglected Social and Employment Policies in Africa” (2010).

In 2009, Thandika was appointed the inaugural Chair in African Development at the London School of Economics. This gave him space to expand his intellectual wings and produce some of his most iconic and encyclopedic work as evident in the titles of some of his papers: “Running While Others Walk: Knowledge and the Challenge of Africa’s Development” (2011); “Welfare Regimes and Economic Development: Bridging the Conceptual Gap” (2011); “Aid: From Adjustment Back to Development” (2013); “Social Policy and the Challenges of the Post-Adjustment Era” (2013); “Findings and Implications: The Role of Development Cooperation” (2013); “Neopatrimonialism and the Political Economy of Economic Performance in Africa: Critical Reflections” (2015); and “Colonial legacies and social welfare regimes in Africa: An empirical exercise” (2016). He also published monographs including the co-authored, Learning from the South Korean Developmental Success (2014), and a collection of lectures he gave at the University of Ghana, Africa Beyond Recovery (2015).

Following my encounter with Thandika at Bellagio, our personal and professional paths crossed many times over the next thirty years. The encounters are too numerous to recount. Those that stand out include CODESRIA’s conference on Academic Freedom, held in November 1990 and at which the “The Kampala Declaration on Intellectual Freedom and Social Responsibility” was issued; and numerous CODESRIA conferences, workshops, and general assemblies including the one in 1995 where I served as a rapporteur. These forums were truly invigorating for a young scholar meeting the doyens of the African intelligentsia. Like many of those in my generation, I matured intellectually under the tutelage of CODESRIA and Thandika.

Thandika was one of those rare people who effectively combined institutional leadership and intellectual productivity

In return, when I relocated from Canada to the United States in 1995, I invited Thandika or played a role in his invitation to conferences in the US including the 25th Anniversary of the Center for African Studies at the University of Illinois in 1995, where I served as director of the center, and to the 1996 US African Studies Association where he gave one of the most memorable addresses, “The Bashorun M.K.O. Abiola Distinguished Lecture”. The lecture, later published in the African Studies Review entitled, “The Social Sciences in Africa: Breaking Local Barriers and Negotiating International Presence”, was a veritable tour de force. It brilliantly traced the development of social science knowledge production on Africa and offered a searing critique of Africanist exclusionary intellectual practices.

Later, when Thandika was head of UNRISD, he invited me to join the nine-member Gender Advisory Group to work on a report on the implementation of the United Nations Fourth World Women’s Conference held in Beijing in 1995. Out of this conference came the report, Gender Equality: Striving for Justice in an Unequal World published in 2005 to coincide with the 10th anniversary of the Beijing conference. Also, in return, I invited Thandika to contribute to my own edited collections, including The Encyclopaedia of Twentieth Century African History to which he contributed a fine essay on African intellectuals.

Our personal encounters were even more frequent and deeply gratifying. In the 1990s, I used to go to Dakar quite often, sometimes several times a year. On many occasions, Thandika hosted me or took me out to sample the incredible culinary delights and vibrant music scene of Dakar nightlife. I recall one night going to a club where Youssou N’dour was playing. It was an indescribable treat. In his customary insightful and pithy way, he made me understand the social vibrancy of Dakar: it was an old city whose residential patterns and social geography were embedded in the rhythms of local culture in contrast to the apartheid cities of Southern Africa from which we were alienated and relegated to the townships.

Another memorable encounter was Christmas in the early 2000s where our two families and close friends spent the entire day at the lake in Malawi. As usual, he regaled us with jokes interspersed with acute observations on Malawian history, society, economy and politics. And last December, he and his dear wife, Kaarina, were in Nairobi. What had been planned as a luncheon turned into an engagement that lasted till dinner and late into the night. We hadn’t seen each other for several years, although we had been in touch, so there was so much to cover. We excitedly discussed his forthcoming 80th birthday celebration, and the possibility of him joining our university as a Visiting Distinguished Professor.

It turned out to be our last meeting. But what a special day it was. Thandika was his usual self, affable, hilariously funny, and of course he made brilliant observations about African and global developments. Thank you Thandika for the privilege of knowing you and your beautiful mind. I was truly privileged to call you a friend. You will always be a shining intellectual light for your generation, my generation, and generations to come of committed, progressive African, diaspora and global academics, researchers, thinkers and activists.

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Culture

The Life and Lens of Mohinder Dhillon

A.K KAIZA, one of the writers who worked with the late Mohinder Dhillon on his autobiography, My Camera, My Life, recalls the special moments he shared with this remarkable cameraman.

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“You cannot write about Mohinder without first mentioning his fundamental humanity – the abiding reality that he is an all-round lovely man.” — Jon Snow, presenter, Channel Four News

It was August 7th, 2008. The time would have been a little past 11 in the morning, the usual coffee, tea and cakes break hour at the literature festival in Nairobi that I was participating in. We had come out of the Braeburn School room onto the lawn for coffee, and also for the sun. And there, standing with his back to the sun, the sunlight turning his white hair into a shiny glow, was Mohinder Dhillon – ramrod straight, despite the walking stick. He carried about him the air of something profound about to happen.

The Braeburn School was on holiday and that had left it open for Kwani to hold the Kwani LitFest. A gathering of writers, guest speakers and would-be writers was holed in at the place. To an outsider, as I was, Nairobi was a little jarring. People seemed to get over-excited when talking, too shrill, too waxed. It was a society, as I later understood, that had never experienced civil war, and was struggling to find stability after the post-election violence of 2007/2008 that had shocked the nation.

Later that evening, at a drinking session with fellow writers, including Binyavanga Wainaina, Tom Maliti, Billy Kahora and Kalundi Serumaga, the Kenyan writer and journalist Parselelo Ole Kantai said, “There is this incredible fellow in my class. He has the most unbelievable story. He was a cameraman who went everywhere.”

This “incredible fellow”, Kantai continued, had been to the Congo, to Vietnam. He had also almost been shot at by a firing squad in 1964. He wanted to write a book about his life.

If I did not think about the “incredible fellow” that evening, in barely a month – and for the rest of my years in Nairobi – I was to think of little else. It took me a while to appreciate that the man who I spoke with at least once a week for twelve years had been one of the pioneers of international television news. Many of the places he went with his camera had never been filmed before.

He led a unique life.

Lunch at Sir Mohinder’s

Events seemed to have moved very fast after that August. In September, I moved to Nairobi and would stay there till the end of 2011. A week later, I was asked if I would meet a certain man the syllables of whose name came in one ear and went right through the other.

We were to meet him for lunch, somewhere in Westlands. We drove up to his house, in a place I was to know as Brookside Drive, which abuts the dipping curve of Lower Kabete Road as it begins the rise to Spring Valley. The house was a bungalow set on a half-acre suburban plot. What struck me, going up the rising drive, was the garden, its gaiety of colour, the bright birds of paradise, the heliconia whose deep red seemed otherworldly, the powder puff trees, marigold aplenty, a bud or two of amaryllis, and the roses, and yet more roses.

Mohinder was waiting for us outside. I notice that he has keen eyes and that up close, he is a giant of a man. But he carries a certain humility. The smile on his face is the smile of a man not totally sure of himself.

This “incredible fellow”, Kantai continued, had been to the Congo, to Vietnam. He had also almost been shot at by a firing squad in 1964. He wanted to write a book about his life.

He leads us into his house and to the circular dining table very heavily laden for just three guests. And in what I would later learn was his child-like fascination with everything, and a party trick he doubtless liked to put on show for his guests, he reaches out and gives the table a twirl. It is one of those dining tables with a swivel top. And as the table rotates, the aroma of salad dressing, grams, and mutton permeates the air.

A fellow foodie! Where had I been all my life when Mohinder’s house was the place to be?

This septuagenarian, in this very neat and attractive house, with the beautiful, tiny figurines and artworks that you are unlikely to run into daily, was saying, relax, be yourself, start from there.

I look out of the window, and see a bird feeder outside next to a wind chime. It is not only us humans who come to lunch at Mohinder’s. And when the sunlight streams in through the corner window, you can see in the light the shades of the flowers outside that the sun picks and dashes about on the walls. Whatever this writing assignment, my heart and soul have already said yes before Mohinder has even asked if it was possible. There is something rip-roaringly alive about him.

Leaving India

Food was a constant motif in the story of Mohinder’s life as we wrote it. Of the many facets of a life lived intensely, it was always food that came to mind as the thread running through a long, eventful life. There had been the street food in Vietnam that Mohinder described with such relish that I grew jealous of him. There was the dinner he had in Korea which he spoke about in such tones that the taste of it crept onto my tongue, as if it was just last week, rather than three decades back in 1974. There was the butter in Retla that his grandmother made. “She broke the milk,” was the way he described it.

He had fond childhood recollections, from his birth in 1931 in Punjab, in a hamlet called Babar Pur, named after the first Moghul emperor, but which was previously known as Retla. There had been the kite flying. He told me to watch the movie, The Kite Runner (which in 2008 was all the rage), to get an idea of the value placed on this activity/sport. He had been the kite flyer, and his brother, Jindi – later a Kenyan Olympian in the 1956 Sydney event, and now a British medical doctor – had been his kite runner. There had also been the game known as kabadi.

Food was a constant motif in the story of Mohinder’s life as we wrote it. Of the many facets of a life lived intensely, it was always food that came to mind as the thread running through a long, eventful life.

Then there was Raja, his champion fighting cock. In later years, Mohinder regretted keeping a fighting cock. But he and Raja, as is the case with pastoralists and their livestock, were soul mates. What hurt Raja hurt Mohinder even more. But Raja was not for eating. A neighbour, whose fighting cock had been decimated by Mohinder’s, had lured Raja to his place and broken his leg. The inconsolable Mohinder reset Raja’s bones, and fed him tumin and almonds till he got well. His grandmother complained about the extravagance on a cock. As I got to know more about her, I realised that his grandmother had shaped Mohinder’s life the most.

But the cloistered life he led during his childhood, so long ago, so far away in Punjab, would never return. His father had worked for the Uganda Railways from 1917 and decided to move his family to Kenya. The 1940s world in which Mohinder came of age was totally different. It was not until Mohinder came to East Africa that he learnt that there had been a World War. He first heard of Mahatma Gandhi when he was settled in Nairobi.

He remembered setting sail for Africa with his family from Bombay (now Mumbai):

“The bustle of Bombay – the first big city I had ever seen – was overwhelming. I was afraid to cross the road. On reaching a street, I’d just stand there, transfixed. Bombay was awe-inspiring. Everything was new to me. There was almost nothing in Bombay we could relate to, except the vegetables.”

In Mombasa, once the Khandala, a coaling ship, had deposited the family, he set out with one of his brothers, Inderjeet (later a media personality in Kenya who died in a tragic accident), and they followed, pied piper-like, men with stoves and clinking cups and the strong aroma of some strange drink that smelled like almonds. He was to discover much later, once settled in Nairobi, that it was on the streets of Mombasa that he first smelled coffee.

And so I had found the point of gravitation with Mohinder. This was not a story of woe and strife. Mohinder’s life story, and the book it would birth, I could see, would best be started off as a memoir of an enchanting childhood. How else, when the best memories of Mohinder’s life were those of the wide-eyed pleasure he experienced when seeing something for the first time?

***

When the Khandala drew close to the shores of Mombasa, Mohinder saw strange men in white furiously swinging sticks. They just kept swinging, as if sword-fighting, but against no one.

“David,” Mohinder tells me, his voice rising. “We knew nothing. That was my first time seeing golf being played.”

On the day they left Mombasa for Nairobi, on the train, his father, Tek Singh (fondly referred to in the home as Bau Ji) off-handedly commented on the strange, lopping bird out on the savannah. He said that one of its eggs could make an omelette for an entire family. It was the first time Mohinder had seen an ostrich.

“An omelette for the entire family? Father, what is an omelette?”

“That over there is a lion.”

“A lion?”

“Father, does a lion lay eggs?”

“The lion is the king of the jungle. It can do whatever it likes.”

Above all, Mohinder was a comedian, with perfect timing. We spent many afternoons digging up and dishing out jokes.

His first camera, when he started taking television news footage, was heavy. But he did not know it.

“It was a studio camera but I never felt the weight,” he said. “I grew up drinking buffalo milk.”

“There was one from 1979, oh, I already told the one about matooke at the Sheraton? How about fingernails?”

“Which one?”

“Oh, the ITN reporter I was with he said to me, ‘Mohinder, look how fertile Uganda is. You can put your finger in the ground and the nails grow instantly.’”

Idi Amin and the media circus

There was more than one from 1979. There was an entire world of experiences condensed into that year.

For Mohinder, 1979 was a very important year. It was, I sensed, the year when he made up his mind about many things.

The media circus. There was plenty of that. He had known Idi Amin all of the nine previous years. He had been genuinely scared of him, and even more scared of his henchmen. And so, upon the coup that felled his regime, they rushed to Makerere University where a British newspaper had reported that Amin’s soldiers had lopped off female students’ breasts.

“David, there were many terrible things Amin did,” he told me. “But the warden we approached told us, ‘Don’t make up stories about Amin. No girls had their breasts cut off.’”

For the international media, the “Third World” was fair game.

“It was a studio camera but I never felt the weight,” he said. “I grew up drinking buffalo milk.”

One day, Mohinder told me that Ryzard Kapuscinski had sat down with him and told him stories about famines and huts and snakes. In the great Polish writer’s books appear minute details of what Kapuscinski had encountered in his journeys across Africa – details that mirrored Mohinder’s own journeys, which made one wonder whether Kapuscinski might actually have been describing Mohinder’s experiences.

My real job, as it quickly became clear, was to sit and listen.

Babar Pur. India. Vietnam, Robert Mugabe, Ethiopia, Nigeria, Congo.

Talking about Mugabe brought in Nyerere, as if to clear the air. Mugabe, the most complex character Mohinder ever turned his camera lens on, back in 1979-80. A man so wily, it was thought that not even the British, who spent so much time profiling him, could not tell what he was up to.

“What about Mobutu?”

“A fop, dressing to the nines.”

“And Patrice Lumumba?”

“I only met his son, a sad-faced young man, when he came to commission a bust of his father in Nairobi.”

“Laurent Desire Kabila?”

“I did not make much of him. It was in the 60s. He sat there saying nothing in the presence of Somialot.”

“Kenneth Kaunda?”

“Too emotional. The smallest thing about Zambia set him crying. The reason he kept a handkerchief constantly was so he could wipe away the tears. There was a joke in which Zambia rhymed with some beer. The drinking in his country made Kaunda cry too.”

“Idi Amin?”

On Idi Amin, there was not a straightforward a response, except that Amin liked to clown around as a kind of diversion. When he sentenced men to be executed during Ramadhan, the Saudis got upset so Amin faked a coma. They said he was hospitalised and there was going to be an operation. It turned out to be a cyst in his backside.

Names from a bygone era, Talbot, Indira Gandhi, the Queen Mother, Emperor Haile Selassie, a portrait gallery from the dawn of the Cold War.

Food and famine

Mohinder always had stories about food, laid out as state dinners, or as history-makers.

The 20th century, a century of great famines. The food that ran out.

In 1964, when what was meant to be a few days of getting images of the Simba rebellion in Eastern Congo, turned into a two-week nightmare in what was then Albertville, now Kalemie, on the western shores of Lake Tanganyika. It was two weeks during which he met a young man named Laurent Desire Kabila who turned up with Simba rebel leader, Somialot. Locked out, and with no transport over Lake Tanganyika, they ate fish and hard, inedible French bread.

There was the dinner in Kurdistan and in Afghanistan, with hosts he never forgot who were under Soviet and Iranian attack.

There was the crisis of the El Molo whose single diet of fish had ravaged the community, which Mohinder had captured on camera decades ago.

“Too emotional. The smallest thing about Zambia set him crying. The reason he kept a handkerchief constantly was so he could wipe away the tears. There was a joke in which Zambia rhymed with some beer. The drinking in his country made Kaunda cry too.”

And above all, there was the failure of harvest, in 1984, when an entire nation, Ethiopia, had no food.

The darkening of Mohinder’s vision of the world from 1984 left a shadow that hung over his head till the end of his life. Till his last months, whenever Mohinder spoke of the Ethiopian famine, he started to shake, as if he was going to go into convulsions. The image of the old man carrying a lifeless child to bury, and Mohinder, ever the witness, unable to properly carry his camera because tears are flowing down his own face. And in a charter plane doing the documentary, African Calvary, about the famine, Mohinder walks over to Mother Teresa and she takes his hand and consoles him, “My son, it is Calvary.” And so they name the film.

There had been the famine in Karamoja before that, in 1980. Between 1980 and 1984, the images that Mohinder captured on camera had inspired thousands of people to donate millions of dollars to buy food for famine victims.

Then there was too much of the wrong food: the matooke in Kampala in 1979 that they could no longer stomach. Kampala had been in lockdown following the Tanzanian invasion that flushed Idi Amin out of Uganda and the markets were shut. (Somehow, Mohammed Amin, a friend and rival, with whom Mohinder’s name had been intertwined in the 1970s and ‘80s, managed to get hold of some steaks and joints.)

The decline of Empire 

There was the scale of time, of history and the insurmountable bulk of an empire that lay between me and Mohinder. He was already 44 years old when I was born; when he died this year, I was 44. Life experiences too vast to comprehend, even when explained.

He had along the way been given a knighthood, which is why he was Sir Mohinder. Well into his 80s, he received an honorary Ph.D, Dr. Mohinder Dhillon.

He counted in his circle an emperor, presidents, prime ministers, Nobel laureates. He had been the personal cameraman of Emperor Haile Selassie in the waning days of his life, when the Emperor was starting to become senile.

He had been there when Belgium crashed out of the Congo. He had been there for the independence of nearly all African countries, and there too, when the dominos continued to collapse as the structures of colonialism crumbled and gave way to newly independent states.

There he is, on 26th January 1971, a morning in Kampala. Idi Amin, likely drunk, on the morning after the coup, speech slurring, not yet fully comprehending what his coup means.

There he is as Belgian missionaries catch the last planes out of the Congo.

***

The last meal I had with Mohinder was a hasty breakfast on Riverside Drive, his last home, in 2019. I was in a hurry to catch a bus to Kitale. Mohinder insisted I first eat something. I gulped down a cup of coffee and snatched a banana. It had been many years since that lunch in 2008.

He counted in his circle an emperor, presidents, prime ministers, Nobel laureates. He had been the personal cameraman of Emperor Haile Selassie in the waning days of his life, when the Emperor was starting to become senile.

By then, his health had deteriorated. He barely left the house. But the big lunches had continued. Lunchtime, I had grown to learn, had been a favourite hour to visit Mohinder, as attested by the endless stream of guests who dropped in. Peter, his long-time cook, had been one of the most popular people in Nairobi, judging by the very eminent calibre of people who dropped in on Mohinder: academics, human rights lawyers, environmentalists, international television correspondents, Hollywood film stars, activists, chief justices. And as each came in, and sat at the rotating table, there was Peter, apron on, beaming, his forever-oily face advertising the goodness coming out of the kitchen.

But I sensed too that the reason Mohinder paid attention to meals, and taking care of his guests, was to keep alive the memory of his wife, Ambi, who died during the meningitis epidemic of 1990. It was she who had trained Peter. By all accounts, she had been a woman worthy of Mohinder, and when she died, he and his son Sam lost the pillar in their lives.

He greatly loved life, but he also longed to see Ambi again.

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Culture

Khaligraph Jones and Emerging Hip Hop Futures in Kenya

Kenya’s hip hop scene has been nothing but a graveyard of mixtapes which, while offering a glimpse of spirit and experimentation, deny listeners the beauty of intention, coherence, and completeness. Testimony 1990 is a New Age album, warm and optimistic. It does not lament. It chronicles contemporary challenges besetting a young man in Nairobi.

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A talent emerged with a vociferous, shrill and piercing cry deep in the heart of Kayole on June 12, 1990. It was an uncertain time. Agitations for multiparty democracy clouded the air amidst arbitrary detentions, torture and killings. Still, a mother – freed from the listlessness of a third trimester – rocked a plump newborn. As the cries of Robert Ouko’s assassination tapered, it was only fitting that the mother in Kayole thought it wise to name her new hope – Brian Ouko Robert – perhaps as a silent resistance against the dictatorial regime. I do not know. I have not asked. But I know we use names to resist erasure.

Brian Ouko Robert – aka Mr. Omollo aka Khaligraph Jones – was welcomed by a troubled country of barely 20 million people. Exactly 28 years later, this baby released a debut album, Testimony 1990, and give us a chance to look back not only at this baby who has now become a man, but at a country whose population, just like its troubles, has doubled. Let us talk about the music of this prodigious talent.

Testimony 1990

Testimony 1990 is a testimony of Kaligraph Jones’s life, his troubles, and those of his country. Khaligraph is not an overnight celebrity. His success is not the product of the modern viral phenomenon, where the gods of the internet choose to crown a new artist with a million views on Youtube for some mumble rap. He is not the product of accidental fame but of tenacity.

His interest in music began at an early age in elementary school. He attended Imara Primary School and Brucewood Secondary School, and at 13 his love of music was visible and palpable. It helped that his older brother loved music too. Together they released their first rap track in 2004.

But Kenya has one of the most unforgiving hip hop music ecosystems. There are only two options for an artist: have the right connections and money, or be willing to toil for years through venom-infested underground rap battles to gain recognition.

Khaligraph made his bones the hard way.

In 2009, The Channel O Emcee Africa tour, sponsored by Sprite, came calling in search of the premier freestyle MC. They dubbed it the Channel O MC Challenge. At the heart of the competition was the desire to initiate awareness of “street life” as a sociocultural context captured by local hip hop music. Khaligraph, then a 19-year-old lad, laced his gloves and threw himself into the ring.

Let us recount the day.

A Saturday night. June 6 2009. The venue is Club Clique. The finals for the Emcee Africa Kenya edition. Early that day, over 50 MCs flocked to Baricho Road to register for the competition. The fans were your typical pre-skinny-jeans hip hop crowd. Baggy jeans, hoods, Timbaland, bling bling – fake no less – and a gangsta attitude to boot. The judges: Mwafreeka, Abbas Kubaff aka Doobeez, and Nazizi. Three notable voices with sledgehammer disc tracks to their names.

Kenya has one of the most unforgiving hip hop music ecosystems. There are only two options for an artist: have the right connections and money, or be willing to toil for years through venom-infested underground rap battles to gain recognition.

The judges have their ears tuned for isolating the dope from the whack rappers. During the auditions, Mwafreeka is reported to have told a hopeless contestant to say aloud how whack they were. This nitbit reminds me of my primary school teacher, Mr. Odede, who, when we could not get our mathematics right, admonished us, en whole, to shout, to the world how sheep we were. Sheep most were.

A line-up of 10 MCs is selected to battle for the top spot. They are: Point Blank. Long Jon. Lethal Dynamic. Oluchina. Khaligraph. Kip. Kimya. Bizzle. O.D. And one female MC, Xtatic. I lioness out to destroy the cabal of bloody manes.

It was simple: get to the stage and showcase your lyrical prowess, spitting spur-of-the-moment rhymes, either acapella or on beat boxing, or you could prompt the judges to give you a topic if you thought you had mad skills. Eliminations pitted Point Blank vs Khaligraph for the big prize = $10,000. That is, 780,000 Kenya shillings. (A dollar was going for 78 Kenyan shillings in 2009. It goes for 100 Kenya shillings today. A weaker shilling.)

Point Blank floors Khaligraph. Everybody agrees. But this would mark the beginning of Khaligraph’s ascendancy. In that list of 10 MCs, 10 years later, none has been as industrious as Khaligraph. None can challenge him to the throne of Kenya’s top MC today. None dominates the airwaves like he does today. Testimony 1990 is a testament of his focus, the fire lit that Saturday night in 2009.

It is a New Age album, warm and optimistic. It does not lament. It chronicles contemporary challenges besetting a young man in Nairobi. It is not belt out in broody lyricism, perhaps because Testimony 1990 comes from an artist who has achieved remarkable success. It is not a chronicle of his status now, as an artist, but a sort of reflection of a past lived through, of battles won. It is unlike the legendary Kalamashaka with their gritty rhymes and the personal catastrophe of jumping a thousand hurdles and still not making it to the Promised Land.

The album opens with “Testimony” featuring Sagini, a quintessential recap of the spirit of the album, and “Blessings” – a track thanking God. The warmth and reflection is a manifestation of the prevailing mood in the hip hop world today. One can say most albums released in 2018 sailed in a sea of positivity. Warm dynamic performances packaged with the versatility of moods and styles. “No chance, featuring the immensely talented Fena Gitu, is a clean introspective lay of wisdom. It is a combination of rapping and singing, away from the old times when rappers laid two or three verses on a solo cut. Instead we have a fluency where rap is blended neatly with song, interacting much more than you’d find in the two-dimensional hook-led templates of old.

It is customary to catch an older cat being mentioned, or a style or voice aped, sometimes temporarily. It is paying homage when a rapper references an older rapper or quotes a line. It is a nod of influence. An acknowledgement that the old wordplay still lives, that it has been connected to the present. Not sure whether anybody realized it, but even in that track with Msupa S, Khaligraph pulled a little of Johhny Vigeti: that raspy voice. He does it again in “For Life”. If you love Mr Vigeti, you can pick Khaligraph channeling him Vigeti from mid second verse.

The album opens with “Testimony” featuring Sagini, a quintessential recap of the spirit of the album, and “Blessings” – a track thanking God. The warmth and reflection is a manifestation of the prevailing mood in the hip hop world today.

The production of some of the tracks is a nod to the prevailing styles ruling the market. “Gwala”, like “Yego”, is trap music, same as “Taking it all” with Timmy Blanco, same as “Don’t Know” with KO. All nods to the South African contemporaries, that up here in East Africa, we can do it just like you do. “Beat It” channels the pop icon Michael Jackson. “Make Babies” is a typical Khaligraph lyrical flexing: just shouting from the rooftops that he can accelerate if he wants to. He channel’s Eminem’s flow towards the end.

“Instagram Girls” and “Superwoman” are storytelling tracks. “Aisee” with Ray C is a light danceable beat. Ray C was the sultry goddess of our teenage years. She peppered our adolescence with sexual provocation. As a playlist, the album, with its solid lyrical releases, reflects an artist who has grown and is comfortable with his voice, an artist who is ready to put Kenya’s hip hop on the international map.

On the other hand, there are concerns over the lack of politically-conscious hip hop in Kenya.

Hip hop as a political force

Hip hop is inherently political. With its roots traced to the militant spoken word by groups such as The Last Poets and The Watts Prophets, hip hop has always delivered political missives from the front line. In the 1980s, hip hop chronicled and reacted to the policies of US President Ronald Reagan, which called for widespread tax cats, decreased social spending, increased military spending and the deregulation of domestic markets. Reaganomics led to massive cuts to social programmes and widened income inequality, consequences which were particularly worse for African American families.

Grandmaster Flash & the Furious Five captured this devastation in “The Message” in 1982. Robert Hilburn of Los Angeles Times described the single as “a revolutionary seven-minute record that is a brilliant compact chronicle of the tension and despair of the ghetto life that rips the innocence of the American Dream.”

These hip hop forefathers opened the door for younger fiery voices. When Public Enemy came to the fore, they earned the moniker Black America’s CNN. Public enemy centered political and cultural consciousness in a sonic experimentation infused with skilled poetic rhymes. They were ferocious unlike anything that had been seen before.

Hip hop is inherently political. With its roots traced to the militant spoken word by groups such as The Last Poets and The Watts Prophets, hip hop has always delivered political missives from the front line.

Life outcomes were no better in Kenya. The economy collapsed from a nominal GDP of USD 7.265 billion in 1980 to USD 6.135 billion in 1985. Even worse, Kenya became one of the first countries to sign a Structural Adjustment Programme loan with the World Bank. The trade liberalisation experience was a gross disappointment and threw the early 1990s into great uncertainty. But before the ship could be directed away from the high waves, Kamlesh Pattni, as the chief architect of what became known as the Goldenberg Scandal, in collaboration with the top operatives in the Moi government, including the president himself, raped the country, stealing billions from the public coffers. An ignominy that lost the country the equivalent of 10% of GDP.

The economic devastation created fertile ground for the emergence of one of the most influential hip hop acts in Kenya, Ukoo Flani, in 1995. The group’s music flourished as a form of protest – authentic, gritty, and startling in its boldness. Ukoo Flani historicised slum life, using Dandora as a poster child for the effects of endemic corruption, breakdown of public service delivery, rampant crime and police brutality, and immense suffering during the Moi dictatorship. Hip hop, belted out in Sheng – to escape the censor of the police state– became a tool for the disenfranchised young men in the sprawling ghettos to voice their dissatisfaction and dissent.

Over the past two decades, hip hop has oscillated from social and political commentary to easy-going party jams, or a mix of both. In America, subgenres such as gangsta rap brought news styles to socio-political commentary, as reminiscent in NWA’s “F**k the Police”. But this was clouded by portrayals of masculinity, sexuality, and materialism in ways that seemed anti-ethical to the messaging of the preceding decade. In Kenya, artists, particularly those in the Underground, continued to rail against urban violence and dysfunction, police brutality and extrajudicial killing of young men in slums.

Khaligraph’s music attempts to carry both social and political commentary and easy-going party jams. While a majority of his tracks are fashioned for the club, a few explore social and political themes. The track “Gaza” is a song about Nairobi’s notorious criminal gang by the same name. The track juxtaposes a dialogue between two people – a living gang member and a deceased one, with the threat of Hessy – Nairobi’s super cop – in the middle. The living gang member, as most are wont to be, is steeped in anger, crime and violence, spewing threats at Hessy for cutting down the gang friend, and vowing revenge. In slow, introspective storytelling, the dead gang member feeds the living member with sober, down-to-earth advice to let go of the idea of meting out revenge on the cop, or they’ll eat copper – Sheng’s euphemism for the rampant extrajudicial killings of young men perceived to be members of criminal gangs.

Hip hop, belted out in Sheng – to escape the censor of the police state– became a tool for the disenfranchised young men in the sprawling ghettos to voice their dissatisfaction and dissent.

“Chali ya Ghetto” (2017) is a narrative of life in the ghetto, one that extols the virtues of hard work and focus. The central message is that fortitude is the only path ghetto youth have for getting out of the slums alive, for social mobility. Such tracks, however, do not detail the extent of systemic marginalisation that not only pushes young people to drugs and gang violence but also effectively imprisons 60% of Nairobi’s population in informal settlements.

The question of whether hip hop can become a political mobilising force beyond the restrictions of personal protest is an old one. Most rappers start their musical career with an outrage against a system of oppression. As their careers progress, most tone down their lyrics to gain mainstream approval. It is only those who persist in the Underground that model their entire career on social and political commentary. In the modern marketplace, post-2000s, mainstream hip hop, inspired by gangsta rap, features the symbols of crass materialism – from gold chains, souped-up cars, toxic displays of masculinity, and sexual objectification.

Thanks to the Kanye West era, which began with the College Dropout in 2004, hip hop has succeeded in breaking down the old impregnable wall between commercial and socially-conscious hip hop. As Common told Fader in 2016; “Kanye kind of brought in a thing where it was like, you can rap about getting money and ‘Jesus Walks’. You can be down with Jay Z and Mos Def. Kanye brought together those different worlds.” This is the seismic shift that made Kendrick Lamar’s 2015 album, “To Pimp a Butterfly” or Childish Gambino’s “This is America” possible.

These shifts have also been replayed in Kenya. The mixing of commercial success and socially-conscious hip hop is what has made it possible for a commercial artist such as King Kaka to release “Wajinga Nyinyi” (2019) – one of the most impactful political protest tracks in recent years. It is not that the track tells Kenyans what they don’t know; rather, King Kaka serialises what is discussed daily on social media, and what is splashed on the front pages of daily newspapers. The lyrics translate the dysfunctions of a nation – clothed daily in civil terms – into the raw, unadorned, unpretentious language of the streets. #WajngaNyinyi tells Kenyans to stop being stupid and start holding the system accountable.

Urban colonial identity

This is the music culture that Khaligraph grew into, one in which hip hop was broadcast news from the ghetto, the hood. Rappers repped their hoods. Ukoo Flani made Dandora the capital city of Kenya’s hip hop, decked it with rhymes depicting an unforgiving cityscape for adult males and a space of tough love as Zakah na Kah depicted in the eponymic “Dandora L.o.v.e.”

When Khaligraph came of age, he began to identify with Kayole. Kayole 1960. The origins of the estates and route numbers, and the pervasiveness of these bus routes in Kenyan hip hop relate to the vital role recorded music plays in the construction of personal and collective cultural memory. While these bus route numbers evoke nostalgia over the years when the city was efficiently managed, the carrying forward of this colonial heritage in modern hip hop imagination shows the extent to which our collective memory and identity bears the remnants of the colonial state.

The bus route numbers go back to pre-independence years. Overseas Transport Company of London established the first local bus in Kenya in 1934, with a fleet of 13 buses plying 12 routes. The City Council of Nairobi, in 1966, awarded Kenya Bus Service (KBS) a monopoly franchise to run the country’s first formal means of public transport. The heydays of KBS was a demand-driven, efficient and predictable transport system. Fares were regulated.

The design of route numbers was in three dimensions. Route numbers above 100 series were for peri-urban routes, routes below 100 were intra-urban and urban, with the exception of 1, 2, and 3 which were peri-urban. All peri-urban routes terminated at Machakos Bus Station and all buses ending with the 100 Series terminated at the Bus Station. The addition of a letter to a route number signified that there were shorter routes that did not reach the specific destination, or they deviated from the original route then later joined it. Other routes, such as 9 and 6, were circular routes. A vehicle heading to Eastleigh, number 9, would use route 6 when coming back to town. Some of these route numbers have changed, others remain. Route 1 used to be from the City Centre to Dagoretti Corner. Routes 61 and 60, plying the City Centre to Kayole, are no longer in operation, and were changed to Route 1960 and 1961. Hence Kayole 1960.

Nazizi, the First Lady, was the first of Kenya’s MCs to chronicle the route number phenomenon in urban rap through the track “Kenyan Girl, Kenyan Boy”, and the recent “Mat Za Ronga” by Tunji ft Khaligraph Jones follows that age-old feature of Nairobi’s urban rap. Octopizzo, Khaligraph’s longtime rival to Kenya’s King of Rap throne, reps Namba 8 – Kibera.

Music marketplace

Over the past decade, there has been a resurgence of political themes in hip hop albums. Kendrick Lamar’s vignettes capturing the African-American life is the poster political-hip-hop-album for the decade. Juliani’s 2016 album Mtaa Mentality is a definitive entry for politically-conscious albums in Kenya.

For the most part, away from the pioneering hip hop albums of the late 1990s and early 2000s, Kenya’s hip hop scene has been nothing but a graveyard of mix tapes which, while offering a glimpse of spirit and experimentation, deny listeners the beauty of intention, coherence, and completeness. Kenya is home to “superstar” musicians without music albums. Music singles, which had hitherto been known as a precursor to an album, have in most cases been the only output Kenyan fans have received from their musicians.

Given the predominantly club-banger focus of a music single, it is often difficult to chart the trajectory of a musician from the perspective of their thematic concerns. However, the album Testimony 1990 is a condensed piece of work that offers us coherence, a singular thematic focus, and a snapshot of the career progress of the artist.

Sheng, as a practice of moving across languages, has always been the choice for urban youth to resist and to engage in socio-political commentary and protest. But with the breaking down of market boundaries through the dominance of a few US-based music streaming platforms, language is once again becoming a significant indicator for capturing the international market.

For young African artists, the future belongs to those who can blend local languages and the lingua franca with the dominant language of business, in this case English. It is the reason why Tanzania’s Diamond Platnumz, while capturing the local East African market on the back of Swahili lyrics, resorts to English when doing collaborations with American artists such as Rick Ross and Omario. Khaligraph is the evolution of that trend, and it will not be long before he begins hustling for that big collaboration with a major American artist.

The album Testimony 1990 is a condensed piece of work that offers us coherence, a singular thematic focus, and a snapshot of the career progress of the artist.

There is a new legion of internet-born artists, genre-bending productions and visuals, serving digital native fan bases with exciting single tracks. The Gengetone – perhaps the most significant development in Kenyan music in years – is already stealing the airwaves from maturing acts such as Khaligraph, Octopizzo, and King Kaka. The new wave is characterised by explicit content, with song lyrics promoting violence and misogyny, and videos promoting the sexual objectification of women.

However, as writer Barbara Wanjala notes: “Kenyan artists have been experimenting to see what will capture the youth. The contemporary sound landscape runs the whole gamut, from songs that speak about debauchery to conscious lyricists rapping with conviction. Other artists straddle both worlds, producing output that has commercial appeal as well as tracks that are socially responsible.”

It remains to be seen whether, in addition to documenting, socio-politically conscious hip hop can engender political mobilisation and drive political change in Kenya. Perhaps Wakadinali’s “Kuna Siku Youths Wataungana” (2020) – which explicitly calls on youth to organise, mobilise, and take political action – is an encouraging direction for the new decade.

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