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Decolonising Conservation: It Is About the Land, Stupid!

11 min read.

The perpetual colonial project has miseducated us that conservation is about wildlife, while it is actually about our land, our heritage, our culture, our languages, our beliefs…it is about US.

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A DARK TRUTH: The racist dynamic at the heart of Kenya’s conservation practices and policies
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I was among the small number of people fortunate enough to attend the meeting of the United Nations Permanent Forum on Indigenous Issues (UNPFII) in New York City in April. I approached it with an open mind eager to learn all sorts of new lessons from the proceedings and realized that the most valuable lessons I learned were actually outside the packed meeting agenda.

A typical encounter on my first day at the UN Headquarters often followed these lines – “Hello, where are you from?”

“ I’m from Kenya”.

“Really? What community? Maasai? Ogiek? Sengwer?”

I hasten to remind my compatriots at this point that the ethnic origins of the name ‘Ogada’ aren’t as obvious to someone from Russia or the Far East as they are to us! For an ‘outsider’, the UNPFII meeting is like a trip back to elementary school, where the first step in everything you do is to establish your identity. On that score, we need to understand who the ‘insiders’ are:- They are representatives of indigenous (by UN definition) people from all over the world who have been involved in this meeting and its processes for a few years. They are distinguished by their colourful attire and adornments, the familiar banter with other delegates and for the confident manner in which they move around the extraordinarily complicated layout of the UN conference building. As an African attending this meeting in a technical capacity, I was a member of a very small minority

I was invited to this meeting in New York by the UN rapporteur on indigenous issues to give a technical assessment of the negative impacts of conservation on the rights and livelihoods of indigenous peoples. This invitation was extended after I gave a harsh indictment of conservation organizations working in Kenya and the scant attention they pay to the rights of local communities in the areas where they work during the EGM (experts’ group meeting) on these issues held in Nairobi in January 2019. This initial invitation was a pleasant surprise to me, and I felt like an outsider in the rarefied atmosphere of the UN offices in Nairobi, and approached my presentation in the same uninhibited manner in which uninvited guests approach food at a banquet, not expecting a repeat invitation.

It is sad that in 2019, speaking out against injustices and corruption perpetrated by conservation interests is still anathema in Kenya and many parts of Africa. Whereas indigenous African people have taken their rightful place in all fields of human endeavor, conservation is still the one arena where we still consider ourselves subservient to any outsider and get treated accordingly. A search for experts and world authorities on any species or issues on African wildlife will invariably yield the name of a person of Caucasian extraction. A number of these ‘Africa experts’ were seated in the room as I spoke in Nairobi, and judging from the audience reactions, some of them did appreciate my candour although I admit that some looked like they were suffering aneurysms. The depth of our problem as a country was revealed when an indigenous Kenyan participant (dressed in traditional regalia to boot) referred to my presentation as ‘controversial and racist’.

Indigenous People’ Rights

Three months later in April, I was a participant at the UN headquarters New York. Overall, the meeting of the UN Permanent Forum on indigenous issues is an eye-opener to anyone who isn’t part of the ‘system’ and wonders why peoples’ resource rights are flouted with such ease in our country and other parts of Africa. I noticed that the presence of affected nations/societies is in the form of ‘indigenous people’- This is a term loosely applied to many peoples who are marginalized or oppressed in one way or another all over the world.

In Africa, and Kenya in particular, this term refers to some ethnic groups and not others, despite the fact that (in my view) all locals are indigenous to this country and are affected by resource injustices. The upshot of this is that many countries (Kenya included) end up represented by individuals chosen because of who they are or where they come from, rather than how well they can address the issues at hand.

Appearances are emphasised, and an outsider can see the weight placed on presence and attire rather than substance. As a Kenyan, I see the most harmful impact of this approach as the marginalization of views coming from people who are perceived as coming from ethnic communities who do not ‘live with wildlife’. This fits perfectly into the ‘divide and rule’ colonial narrative that pervades our entire conservation sector. Indeed, we have foreign agents and agencies in conservation trying to categorize our citizenry into groups that should or should not have opinions on conservation practice, regardless of their technical expertise (or lack thereof). From my personal experience, the only people in Kenya who have directly opposed my views about conservation practice from this ethnic perspective have been those of foreign extraction and their acolytes.

Conservation challenges vis-à-vis the rights of indigenous peoples is an exceedingly complex arena where success will most likely visit those who are best able to ‘step back’ and put the entire picture into perspective. It is not immediately apparent to the layperson why this is important, given that our media is awash with captivating stories of how millions of dollars, tens of years, indeed entire lives have been ‘dedicated’ or ‘given’ to saving a particular species in a given place. We are in a place where myths and legends sell, since the truth tends to be intellectually burdensome.

Reclaiming Indigenous Knowledge

I was however gratified to see that the UNPFII has a specific session on indigenous languages, and present at this session was a delegation from Kajiado county in Kenya discussing preservation and documentation of Maa language. There were the typical thoughts about the need to document traditions and culture. I raised a query; how are we going to preserve Maasai culture and language while as a country we are fighting pastoralism incessantly. We are killing Kenya Meat Commission, we are blocking stock routes, we are annexing and privatizing rangelands for tourism. Is there a part of Maa language or heritage that is separate from livestock rearing? Is there a part of any vernacular language that can live when separated from the homeland that gave life to it? I am glad to report that those queries changed their line of thought.

Herein lies a solution to the seemingly intractable conservation challenges we in Kenya face every day. Our system is designed to perpetuate the primitive, militarized western ‘fortress conservation’ approach that defines local people as enemies. This system was developed in the West nearly 200 years ago, and we in Kenya still follow it slavishly, down to the recent appointment of a senior military officer to head the state wildlife authority KWS (Kenya Wildlife Service). Our best option is to urgently institute a sophisticated approach that taps into indigenous African knowledge(s) of the environment on which their lives and livelihoods depended on. This is an approach that requires inputs from sociologists, economists, historians, artists, traditional leaders, amongst others. Most importantly, it requires the investment of time chiefly because the intellectual resources required to take this approach are finite, old, and battered from generations of physical and psychological neglect and suppression. How many of us in Kenya, or the rest of Africa today have the courage take this up?

Time is also the reason why this option becomes difficult for a country like Kenya to pursue. If we are honest, we will know that there is a limit to how long African peoples’ connection to their homelands can survive the relentless denigration, violence, miseducation and geographical displacement therefrom. When allowed to fester for long enough, these factors result in a culture in which self-loathing cloaks itself with puny short-term gains and masquerades as ‘success’. Anyone who doubts the potency of this violent displacement and continuous mis-education can examine its effect on recent immigrants to the West from Africa, who in a few short years, lose complete touch with the realities they grew up in. This mis-education has everything to do with conservation.

The Myth of Conservation

The perpetual colonial project has miseducated us that conservation is about wildlife, while it is actually about our land, our heritage, our culture, our languages, our beliefs…it is about US. The colonial project has taught us that conservation is about the protection of a few larger species that the foreign tourists regard as beautiful, ‘cute’, majestic, or otherwise charismatic. We (the miseducated) then take up arms and kill our brethren to ‘protect’ the beautiful places the colonists chose as venues for land and resource grabbing. I must grudgingly acknowledge the success of the perpetual colonial project, because in 2019, the Kenya Government still believes that the objective of their conservation agenda is to satisfy the needs of tourists. We still have a Ministry of ‘Tourism and Wildlife’ (headed by a minister with a tourism background) and Kenya Wildlife Service has a tourism department that dwarfs its education department because it is more important to please visitors than to educate Kenyan citizens about our heritage.

The colonial project has moved out of the formally protected areas and created new monsters called ‘wildlife conservancies’, where success is measured by the number of locals who can be persuaded, coerced or bribed with donor subsidies to give up their livelihoods, birthrights, and other forms of identity. This miasma of disenfranchisement around conservancies can be seen in a thousand tourism brochures; The picture of a moran from any of the Maa-speaking communities clad in full traditional regalia (sword included) serving drinks to scantily-clad foreign tourists lounging in a pool set in splendid isolation in the middle of his (arid) homeland against a backdrop of a conservancy from which his people and their livestock have been removed.

Let’s get back to Kajiado for a moment- One of the key issues that the Kajiado delegation had brought to the table at the UNPFII is the matter of the land occupied by Tata Chemicals Factory (otherwise known to most Kenyans as Magadi Soda Company). Since 1924, this factory was established to mine trona (soda ash) as a result of a clause in the 1911 Anglo-Maasai agreement between representatives of the two parties. I won’t get into the details of those colonial agreements, but the crux of the matter here is that trona is mined from Lake Magadi (which has an area approximately 35,000 acres), but the agreement granted these charlatans exclusive use of 225,000 acres. This basically means that they are only using 15.5% of the land they annexed from the Kajiado Maasai nearly a century ago, and there is no visible utilization of the other 84.5%. In practical terms, this means that the local population must seek permission from a foreign company to graze their animals on a vast area of their ancestral land.

The Land Question

Can the preservation of the Maasai cultural identity and indigenous language be done without restitution of the lands from which they were uprooted? Indeed, this question can be applied to any other ethnic group in the world living on indigenous land. From my experience, language (and to some extent culture) is a living medium of communication that draws from shared experiences and resources amongst a people. In Africa, we use a lot of natural resources in situ and many aspects of idioms and nuances in our vernacular languages were drawn from particular features, resources and even geographical locations. When I impressed upon my compatriots from Kajiado in New York that matters of culture, natural resources and heritage should not be pursued separately but as a whole, I was deeply gratified when they embraced this line of thought.

It therefore is a far-fetched thought that one can presume to celebrate, conserve, and value any culture or heritage while uprooting or otherwise dislodging people from their ancestral origins. It is a patent lie that these strange externally-funded and conceived creatures called ‘wildlife conservancies’ can claim to be celebrating Maa culture in the form of beadwork (which they never stop crowing about being some form of ‘empowerment’) while actively suppressing the pastoralist livestock production system in every way they can, including by force of arms. They are strangling livelihood, identity, and dignity and replacing it with penury and indentured labour. They are creating arbitrary borders across landscapes and between communities, instantly creating ‘others’ where there were none. These sorts of actions are well-documented, not in conservation literature, but in the history of Africa’s colonisation in the 19th Century.

Observers who don’t understand the complex social systems in Kenya’s rangelands will only fathom the removal of livestock in the context of intellectually and morally bankrupt tourism interests that deem these animals somehow ‘unsightly’ to tourists. This is a serious problem but let’s stick with land, which the more astute observers will realize is the issue. Resource use patterns and associated skill sets are the glue that hold African societies to their ancestral lands. For instance, as a Kenyan of Luo heritage let us for a moment imagine that our ancestral lands bordering Lake Victoria, Homa Bay, Mbita, Kisumu, Karachuonyo, Asembo, Uyoma were turned into a conservancy ‘core area’ for exclusive use by a tourism lessee. The society would face imminent collapse economically, culturally, and socially if the locals would be prohibited from exploiting the waters of Lake Victoria through fishing or sailing. In a similar vein, the rangelands are places where livestock production is not a mere livelihood that can be replaced with serving drinks at a lodge.

It is a form of identity, dignity and most of all these animals are the glue that holds pastoralist societies together and binds them to their homelands. If he didn’t have any livestock there, what would a Samburu man be doing in Kalama or Sere Olipi? What would a Maasai man be doing in Naikarra or Narosura, or Nguruman? What would a Borana man be doing in Logologo or Karare if he didn’t have any animals grazing there? The contemporary colonial project knows this, and that is why they will invest millions of dollars to dupe, threaten, coerce or otherwise convince pastoralists to give up livestock.

There is historical precedent to this strategy. I refer to one of the greatest recorded genocides that befell the Native American Nations with the arrival of the European immigrants. A crucial cog in the wheels of that machine was the complete destruction of the millions-strong herds of bison that roamed the plains. These were the Native Americans’ “livestock” on which they depended for food, clothing, fuel (from the fat) and building materials (housing units built from hides) to survive the harsh temperate winters. With the bison gone, they didn’t stand a chance. Those who survived the bullets remained in penury, stripped of their identity, power, and dignity. It isn’t vastly different in Africa today, where we face assault from heavily funded foreign pirates ‘in love’ with our country and wildlife, guns placed in the hands of our foolish brethren called ‘game scouts’ and local law enforcers being trained by foreign special forces on how best to kill us.

Conservancy Pirates

For the privateers who have the funding but cannot access sovereign state militaries, this dubious service is also offered by mercenary groups like 51 degrees, VETPAW and Trojan Group based in Kenya, the United States and the United Kingdom, respectively. Most of all, the loss of our dignity and heritage is driven by the numerous local people, conservation officers, government officials and local leaders who see these problems, but still collaborate so as to enjoy some morsels from the table of donor largesse.

I have often been asked to propose ways in which we can address these ethical and existential challenges we face from this monster of prejudice and colonialism hiding under the hallowed cloak of conservation. There are a wide variety of workable approaches depending on circumstances but there are a few absolutes; Firstly, it must involve every single one of us, because it is about us, the people, not about animals, or parks, but our heritage so we must reject any labels (especially the ethnic ones) that seek to divide us for ease of control by the pirates. These labels also dehumanize our communities and reduce their rights to levels below universally accepted human rights. The State also has a part to play here- we should immediately put a stop to all armed wildlife law enforcement activities outside the structure of the two statutory organs KWS and KFS (Kenya Forest Service). These extraneous operatives are inhabiting a legal twilight zone where nothing is what it seems, or should be. The ethical and legal pitfalls are so stark and numerous, that if the State cannot see them, one would question the thinking behind defining Kenya as a sovereign state. Grant funding for wildlife law enforcement should go to KWS and anyone unwilling to channel such funding to the state agency should keep their money.

A Case for Policy Change

Next is the hardest pill to swallow. We must dismantle and discard the model of conservation developed in the West, and funded by the west to conserve for the West. This requires a radical shift from where we are. KWS at present has no policy department, cultural liaison department, no anthropologists, and sociologists- basically has no tools to deal with humans, except guns and bullets. Whenever they need to deal with the human dimensions detailed above, they have to run to the NGO pirates to lead them down the garden path. This is the door through which the colonial project is taking our homelands. The colonists driving this project are hidden in plain sight. They call themselves the Coalition for Private Investment in Conservation (http://cpicfinance.com) take time to learn the names of your interlopers. The first step in this policy direction for Kenya would be to totally and permanently remove any tourism interests from the table at which conservation policy is being discussed. They should come in and sell the products of that finished policy with the firm knowledge that it was made to serve the Kenyan people, not the tourists.

Finally, we must stop this runaway train called ‘conservancies’ until we can legally and logically define it and define its direction. Currently, it is just a well-funded train hurtling at high speed down a railway that is being built as it moves. I am calling for definition, because I know for sure that there are good ones, and the ecological, social, cultural, economic and edaphic factors surrounding these conservancies vary greatly. The NGO pirate conservancies hide behind the good ones like the fabled dog with wooden horns at the meeting of antelopes.

I’ll conclude with an update on the Magadi Soda story. The local Maasai community led by the Kajiado County Governor are aggressively demanding the restitution of their birthright and payment of outstanding land rates. Meanwhile, the pastoralist development network (PDNK) led by Michael Tiampati have petitioned the UN rapporteur on the rights of indigenous people about it. The lessees are looking increasingly cornered, so in order to escape returning the land to its original owners, they are now frantically trying to turn it into wildlife conservancies. I rest my case.

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Mordecai Ogada is a carnivore ecologist from Kenya and co-author of The Big Conservation Lie.

Culture

Tea, Receipts and the Tabloidization of Kenyan Culture and Society

A slew of blogs is eating into the monopoly of the mainstream media, one-man online tabloids spreading salacious gossip that are highly sought after by digital marketers.

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Tea, Receipts and the Tabloidization of Kenyan Culture and Society
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To Kenyan millennials in urban spaces and on digital streets, Edgar Obare needs no introduction. The Instagram sensation is known for having converted his digital media account into a platform for salacious gossip, popularly known as “tea”. Screenshots of text messages and images are presented as evidence supporting his exposés to the 729,000 followers of Nairobi Gossip Club. The evidence presented is colloquially referred to as “receipts”. So popular has Edgar become that his presence on the Kenyan social media landscape has introduced the words “tea” and “receipts” into the Kenyan online lexicon.

Edgar’s latest exposé about the high-rolling life of Kilimani’s young “flamboyant businessmen” whose wealth is of dubious origin was a trending topic in late August and early September 2021. The “receipts” showed the nature of their businesses to involve treachery, the sale of fake gold, bank card fraud, money laundering, and defrauding unsuspecting members of the public.

Edgar claims that his exposé led to his main account being deactivated. Public pressure forced the Department of Criminal Investigations (DCI) to start investigations into the young men whose lavish lifestyles Edgar had exposed but few in the public have any faith that anything will come of the investigations.

Harsh criticism was reserved for Kenya’s mainstream media. Brian Mbunde, a radio personality and leading member of Kenya’s Twitterati, posted, “I am sorry for sharing this but it’s dumb af for media houses to report about Edgar Obare losing his account and not the content he posted.”

The evolution of digital tea and receipts

Edgar is not the first Kenyan to curate an online space publishing scandalous gossip and content that passes for investigative journalism in the Kenyan mainstream media. Robert Alai became a household name when he posted photos of individuals engaging in sex at the Muliro Gardens in Kakamega Town a decade ago. Alai’s Kahawa Tungu blog became the go-to site for salacious content involving politicians and personalities in the entertainment industry. He became famous on Facebook and made himself an even bigger name on Twitter.

Then there was Bogonko Bosire’s Jackal News which was known for combative and confrontational content that targeted people in high places. Before his disappearance in 2013, Bosire had positioned himself as the leading voice in the Kenyan blogosphere.

Blogs were quite popular in the early 2010s but as Twitter took root, Media Madness gained popularity with its exposés of the rot in the Kenyan media industry in the mid-2010s. Then came Cyprian Nyakundi who, depending on who you ask is the best investigative reporter, the boldest journalist, an extortionist, a rabble-rouser or a muckraker.  

Now Edgar is the man of the moment on Instagram, the social media platform of the moment. It is a generational thing. The medium changes but the stories will always be told, one way or another. Some of his more memorable “teas” include an exposé of a governor’s sexual escapades, the hedonistic ways of a certain “boys’ club”, and the infidelity of local musicians and online personalities.

The rise of online ‘tabloids’

Asked why people love Obare, Lillian Mokeira, a digital influencer said, “I guess people and mostly women love him just for entertainment purposes. Who else serves tea like Edgar?’’ 

Edgar has receipts and we trust him, and people feel confident sharing these stories with him.

Entertainment. Evidence. Trust.

In Kenya, media organisations ventured into tabloid journalism with the expansion of the economy under President Kibaki. As Boniface Mwangi recently explained in an episode of Cleaning the Airwaves on YouTube, The Standard’s Pulse magazine, launched soon after Kibaki came to power, birthed the celebrity culture in the country.

Pulse was a cocktail of gossip, suggestive photos of women, and entertainment features. The Nation launched Buzz and Daily Metro (which folded within two years), before bringing out Nation News (which still has an online presence although the print version was discontinued). The Standard launched The Nairobian in 2013. It peaked well but has since plateaued as the hunger for salacious gossip and scandalous stories is sated by the likes of Edgar Obare. A slew of blogs such as Ghafla and Mpasho also moved into the space, eating into the monopoly of the mainstream media. While tabloid newspapers have not picked up in Kenya, online tabloids have performed very well, producing some of the biggest scoops.

There is something dishonest about the Kenyan psyche. A part of us is steeped in Christianity and a certain Victorian puritanism that aspires to a cleaner, morally upright society. And then there is that part of us that shows us for who we are: human, animal, corrupt, dirty-minded. And this is the part that enables the existence of Obare, those who came before him and those who will come after him.

While tabloid newspapers have not picked up in Kenya, online tabloids have performed very well, producing some of the biggest scoops.

This is the part that explains Obare’s 700,000+ Instagram followers. It is what has made Obare not just any other social media influencer but a one-man army with a mission: to profit from spreading gossip much in the manner of a tabloid. Speculation about how much he makes is rife, but in late 2020 and early this year, his platform was one of the most sought after by digital marketers.

Why do we love and loathe tabloids?

Those who love tabloids may love them because of the human’s innate inclination to prurience, that dark and unhealthy obsession with sexual matters and other obsessions that feed the dark haunts of our psyche.

Edgar, therefore, is Kenyan society come full circle. From pretentiously prudish, where creators of salacious content are spurned by the blue chips, to a single blogger commanding a huge online following of potential consumers.

Edgar is a one-man tabloid enterprise. He has succeeded where tabloids have failed. He is only comparable to Uganda’s Red Pepper (whose influence has predictably dwindled due to social media). In Uganda though, there is no hiding that people love their Red Pepper. In Kenya, we can be prissy. 

Journalism 101: one of the things that makes anything newsworthy is prominence. We tend to focus on the lives of prominent people. In the past, it was monarchs, royalty, philosophers, artists. Today we have personalities who are famous for being famous, the socialites and those other social media personalities who cannot describe what they do in five words.

Human beings have always placed the talented, the gifted, or those bestowed with special attributes on a pedestal. We celebrate their rise to the top and with schadenfreude, enjoy their humiliation and their fall from grace.

We like and admire the famous, and increasingly, the not so famous, because they offer a window into our own souls, into our own dark urges. As comedian Lori Ann Rambough (stage name Sommore) observed when talking about braggadocio in rap music, “It is a fantasy one cannot live.” The famous also allow us to participate vicariously in their lives, real or staged. We empathise when they are winning, and experience schadenfreude when they are losing.

Gossip as a function of power

Gossip is a function of power. Those without power use it as a tool of social protection, to galvanise into action or to cushion against an oppressor. Those who are powerless often turn to gossip as a way of trying to make meaning of their mundane lives. Since gossip often cannot be verified, it offers a veneer of protection to those who propagate it, while still passing on information.

There is a reason gossip is common with women, as Twitter user @disciplepati observed when she commented recently that historically, women have used gossip as a form of social protection and a means of spreading information about possibly predatory people, while men have demonized it because it is used as a safeguard against them.

Today we have personalities who are famous for being famous, the socialites and those other social media personalities who cannot describe what they do in five words.

Gossip, if efficiently deployed, can also be used by the powerful to malign their competitors, and to manipulate people using misinformation and propaganda (the Cambridge Analytica approach is one example). Rumour and gossip have been used by the powerful to damage the reputations of others. In Kenya, gossip was used to end the careers of the once all-powerful Attorney General, Charles Njonjo, and Kenya’s fifth Vice President, Josephat Karanja.

Two deaths and how the grapevine shaped their reportage

But gossip has not just been used politically to end careers. It has also been used to sow seeds of doubt about high profile assassinations. Thirty-three years ago, the remains of a 28-year-old British wildlife photographer were discovered in Maasai Mara. She had disappeared a few days earlier. In her brilliant book A Death Foretold in Truth and Rumour: Kenya, Britain and the Julie Ward Murder, Grace Musila underscores the role the grapevine played in the aftermath of the murder.

When mainstream/traditional media cannot facilitate information flow, the public fills in the void with speculation and conspiracy theories. And since the authorities are sometimes not trusted by individuals, gossip easily fills the information void.

An investigative story requires time and resources. It must also be cleared of the risk of libel. Whereas bloggers have a similar obligation to be truthful, few people who have been the subject of scandal are usually interested in suing, given that few bloggers can actually pay the hefty fines. If they have access to power, most of those exposed will intimidate the bloggers, gag them. A few have gone missing, or had their sites mysteriously taken down.

A year and four months after Ms Ward’s remains were found, Kenya’s Foreign Minister, Dr Robert Ouko was murdered in similar fashion. The two murders provide a good demonstration of how gossip works.

In both cases, the Moi regime was highly implicated in the cover up. Following Ouko’s murder, the death of witnesses in unclear circumstances led to speculation and gossip about what had really occurred.

In every such murder, there is the official version that many people don’t believe and the rumours that thrive. In the case of Ms. Ward, the son of a powerful government official was implicated but the political atmosphere of the time was such that no journalist, or anyone else, could freely mention the name of the suspect.

Both Ward and Ouko were reported to have committed suicide, an explanation that no one could believe. “In this environment of suspect and suspicious state truths, Kenyan publics following the case actively sought, created and circulated their own versions of the truth behind the tragedy through the grapevine, some of which made their way into local print media and back,” writes Musila, adding, “For Kenyans, the various rumours regarding the murder provided material with which to map out the circumstances surrounding it, which in turn could be used as a fairly reliable index of the levels of brutality and violence of the Moi regime, among other things.”

In every such murder, there is the official version that many people don’t believe and the rumours that thrive.

Musila outlines the mutual paranoia of the state and citizens, made worse by the fact that state institutions and state-owned media took to self-censorship. In the 1980s and 1990s, many independent magazines operated by human rights activists and lawyers such as Gitobu Imanyara, Njehu Gatabaki and Pius Nyamora were also shut down because of repression and a toxic environment in which they simply could not thrive.

But social media cannot be easily controlled in similar fashion without the country becoming a pariah state. Although the arrests have not stopped – Obare, Nyakundi, Alai and other bloggers have spent nights in police cells because of what they post, others have lost their social media accounts, some have gone missing or lost their lives  – Kenya is freer, the democratic space has widened.

Musila cites Kenyan scholar and author Keguro Macharia who has noted “the relationship between temporality – when something is published, edited, revised, deleted – and circulation, through reblogging, as a link, as a forward. . . .” Unlike a magazine, which could be closed down to contain the spread of damaging news, a controversial post at risk of being pulled down is screenshot and saved in the event that it disappears.

The future of Kenya’s grapevine 

The media will continue to move online. Social media has democratized information and the mainstream media can no longer lay claim to a monopoly to information. Some media personalities have a larger following and a larger readership/viewership/listenership than traditional media.

Bloggers and social media personalities are now more trusted, especially where—like Obare and his “receipts”—they have built up their credibility. Where institutions are afraid of libel, intrepid social media personalities suffer no such limitations.

And so, even as the tools evolve and new social channels appear—Snapchat, TikTok—the online grapevine will continue to be a platform for citizen journalism, whistleblowing, mudslinging and cheap gossip.

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Culture

The Pitfalls and Potentials for African Cinema

In the era of market-driven streaming, what are the pitfalls and potentials for African cinema?

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With COVID-19 further impeding the stability and growth of cinema across Africa, it is imperative to promote self-expression and look to the work of filmmakers such as Bassek ba Kobhio and Alain Gomis as models that already exist and would benefit from funding to build and maintain editing and production studios. If global streaming giants want to stand out as promoters of diversity, equity and inclusion, they must invest more resources in African cinema to compensate for the shortcomings of a purely commercial approach to streaming.

The economic and social impacts of the pandemic will undoubtedly be felt for years to come. Like elsewhere, African countries have seen cinema closures, shoots shut down, unpaid actors and technicians, and additional job losses. As African Film Festivals streamed online across North America and Europe and streaming platforms expanded, questions around the future of African cinema have taken new forms. Let’s look more closely at what streaming could offer African cinema in the future; but also, why Euro-American global business models may have serious shortcomings.

African cinema refers specifically to the seventh art—that of cinema—which has historically been crafted on celluloid film by its directors, or auteurs, whose aims have been for Africans to project images of Africans and to inspire thoughtful reactions from viewers, as opposed to Hollywood filmmaking, which is meant to entertain. Nollywood, which emerged as a popular industry in the 1990s, has stood in stark contrast to auteur filmmaking for its video format and aim to entertain.

In many ways, streaming would appear to be the most viable solution for disseminating and screening movies as well as series and other TV programming at once across and beyond the African continent. It is not surprising that global media giants, such as Netflix, have capitalized on confinement and expanded their subscriptions by millions. Meanwhile, other streaming platforms, including Showmax, Iroko TV and TV providers Canal+ Afrique have tried to remain competitive during the pandemic despite layoffs. However, the Netflix approach may have negative impacts for African cinema’s future for several reasons.

Currently, many people who have Internet access on the continent (only about 22% of the total population) may have insufficient bandwidth to stream and/or the money to subscribe to streaming services. As Franco-Senegalese filmmaker Alain Gomis has wisely stated: “International success often masks realities on the ground.”

For instance, in one of the continent’s largest economies, Nigeria, streaming services cost the equivalent of USD8 per month, which is enough to buy more than 14 pounds of rice. In the DRC, in addition to being prohibitively expensive, there is almost no capability for streaming throughout most of the country—an example of broadening, rather than narrowing, economic inequality.

Programming is predominantly Hollywood or European content, similar to what France exports through its Canal+. In Senegal, for instance, Netflix shows Kobra KaiThe Karate KidAmerican History XThe Fast and the Furious, or French crime films like Balle perdue. One of the few African films streaming on Netflix in Senegal is French filmmaker Jean-Stéphane Sauvaire’s misrepresentative adaptation of Emmanuel Dongala’s novel Johnny Mad Dog. Even Netflix’s Africa Originals are dominated by Western media formats, such as police thrillers, dramas, or romantic comedies. Further, the vast majority of the Africa Originals are not getting to Netflix subscribers on the continent, in spite of Netflix Head of Africa Originals, Dorothy Ghettuba’s statement that Netflix Africa’s aim is, first, content for African subscribers and, second, for the rest of the world. In fact, it’s the opposite. Of the more than 30 countries where films like The MercenaryThe African DoctorThe Boy Who Harnessed the WindTsotsi and Mati Diop’s Atlantics are streaming, none of them is available on Netflix in any African country with the exception of South Africa.

Pandemic or not, African cinema continues to face the two-pronged issue of production and distribution today, 60 years since its beginnings. This has to do with the larger problems of lack of (cinema) industry and financial support for the development of cultural institutions and regional collaborations, such as the short-lived Inter-African Consortium of Cinematic Distribution (CIDC), which shut down in the early 1980s. Specifically, training facilities are lacking not only for camera operators, actors, writers and directors, but also for editing and  editing and production equipment (studios). Movie theatres were already few and far between before COVID-19.

There is much churning and abuzz with regard to cultural production on the continent, which would flourish if given more funding. There is barely support from governments in Africa and the situation is now even worse because of COVID-19. Further, Abderrahmane Sissako notes that with Europe’s closed borders, it is quite hard for Africans to go there and develop filmmaking techniques, skills, and education. Models that are primed for such developments already exist and would benefit from funding to build and maintain editing and production studios. The closest today are described, like Gomis does, as a collaboration of “government officials and professionals from the film and audiovisual field” and are the fruits of intense work and networking over decades in some cases. For instance, Bassek ba Kobhio’s Écrans Noirs festival, which over the past 23 years has grown and had success not only as a festival, has also been instrumental in training actors and directors, promoting local cinema in the Central Africa region, as well as from across the continent.

Taking a similar approach in building the Yennenga Center in Dakar, Gomis makes the point that only local Senegalese who have international connections are likely to make it in the industry, whereas one of his goals is to achieve options even for those who are not able to study or train internationally. Gomis underscores that teaching and training must be experiential, particularly in the context of the differences between learning cinema in France and in Senegal, where in the former one learns in the classroom and eventually has plenty of movie theaters to show their films yet in the latter the situation is but theoretical and must be translated to the needs of Senegal.

Some government programs, such as USAID’s Young African Leaders Initiative (YALI), have contributed positively to the development of the cinema industry on the continent. In Niger, for instance, Aïcha Macky, an award-winning documentary filmmaker and founding CEO of production company, Production Tabous (Taboo Productions) has benefited from such funding support. In turn, her organization has donated several films to Nigerien television during the pandemic.

On policy and promotion of culture, as Alain Gomis points out, “if film and cultural property are considered to be mere opportunities for financial gain or success, they lose their impact.” Furthermore, as he indicates, diversity on the screen “makes cultural diversity possible.” It is also a good way to recognize African contributions to culture through art, and to elaborate on how African Americans have inspired Africans and vice versa.

As we consider possible futures, including streaming, for African cinema, it is essential to acknowledge that developing such industry in African countries is a complex endeavor, which requires institutions to be built, education and communications technology to be enhanced, with the ultimate goal of supporting filmmakers and valuing human life through telling human stories.

This post is from a partnership between Africa Is a Country and The Elephant. We will be publishing a series of posts from their site once a week.

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The Power of Connection Through Literature in the Era of COVID-19

Is there the political will, as there was with smallpox, to vaccinate every human against COVID-19, before it mutates into something far worse?

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The Power of Connection Through Literature in the Era of COVID-19
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Just over a year ago, in February 2020, I flew to Nairobi to award the 5th Mabati Cornell Kiswahili Prize for African Literature at a ceremony at the Intercontinental Hotel. While disembarking from the plane, every single passenger had their temperature taken with an infrared thermometer, causing a long, mildly disgruntled queue in a confined space at the arrival gate. We all knew this was because the coronavirus had started to appear outside of China, but we didn’t think there was much risk of contagion at that point. When I flew back to London a few days later, I changed planes in Paris and mingled freely with thousands of passengers from all over the world. On arrival at Heathrow, my temperature was not checked at all. In fact, it took until February 2021—a year later—before the British government restricted entry to the UK and enforced mandatory quarantine on arrival.

I had a similar experience when I flew to Lagos in 2014 for the Ake Festival while Ebola was raging in nearby West African countries; at the time, these countries were struggling to contain the deadly, appallingly contagious virus within their borders. At Murtala Mohammed International Airport in Lagos, all passengers had their temperatures checked, but on my return to London, I only saw a few posters that warned of Ebola in West Africa. Nobody checked where I had come from or whether I had been in contact with anyone who could be infected, even though there was a Liberian writer at the festival in Abeokuta and a Liberian woman being taxed for a bribe in the passport queue in front of me in Lagos. Liberia, Guinea, and Sierra Leone were the three countries affected by this outbreak, the worst in the history of Ebola.

Two weeks after I left Nairobi last year, the chair of the Kiswahili Prize, Mwalimu Abdilatif Abdalla, was told he could not leave Kenya to return home to Germany on March 26. After I left, he had stayed on to go to Mombasa and Tanzania and visit relatives in his village in Kenya. Instead, his return flight was canceled and he was confined to government accommodation for over two weeks. When I asked him on WhatsApp how he was coping, he said that after three years in solitary confinement in Kamiti Maximum Security Prison (1969–1972), he was managing very well. His sense of humor always defies belief! His friends even joked that he could write a quarantine memoir called “Sauti ya Korona” (The Voice of Corona), after Sauti ya Dhiki, his prison anthology.

By March 16, 2020, the UK was in lockdown and coronavirus had spread all over the world. I couldn’t help thinking that I had been safer in Africa—and I promptly caught the virus and lost my sense of taste and smell for 10 days. The friend I had probably caught COVID-19 from developed long COVID-19 and was ill for six months, whereas I recovered quickly. It seems this roll of the dice reaction was the same for many people: symptoms varied and doctors struggled with the scale and variety of immune responses. A year later, this coronavirus has realized the fears of a global pandemic precipitated by SARS and dreaded for Ebola; at the time of writing, the world approaches 5 million COVID-19 deaths, with 163 million recoveries among the 178 million recorded cases globally. Notably, the Kenyan death toll is currently under 4,000, and the Nigerian count just over 2,000.

In Veronique Tadjo’s book In The Company of Men (2019), first published in French in 2017, we find a timely reminder of “the destructive powers of pandemics.” The book focuses on the Ebola outbreak of 2014, which preceded the COVID-19 pandemic by six years but has been present in parts of Africa since 1976, when it was first discovered in the Democratic Republic of Congo and named after the Ebola River near which it was found. Tadjo has commented that she sees a clear link between Ebola and COVID-19, although they are very different diseases. “For me,” she writes, “the Covid-19 pandemic is a continuation, not a break. It inscribes itself in the same context of climate change and its consequences. Ebola wasn’t a one off and Covid-19 won’t be either.”

Through five sections comprising 16 different points of view, Tadjo presents the impact of the Ebola pandemic from the perspectives of different characters including trees, nurses, those infected, survivors, and the virus itself. For example, in a chapter titled “The Whispering Tree,” the narrator declares, “I am Baobab.” The choice of the baobab tree’s perspective is unique, telling of Tadjo’s concern with environmental degradation as a key factor in the development of such a deadly virus. Reviewer Simon Gikandi, a Kenyan novelist and scholar, comments that “Tadjo weaves a story that turns the 2014 Ebola epidemic in West Africa into a parable of what happens when the chain that connects human beings to nature is broken.” And this is perhaps where we have the most to learn in terms of new ways of seeing the COVID-19 pandemic. As Gikandi remarks, “In the Company of Men gives voice to the natural world and mourns the loss of the well-being that existed before the destruction of the environment and the arrival of postmodern pandemics.”

In the context of such questions, I was struck by a recent BBC documentary called Extra Life: A Short History of Living Longer, in which David Olusoga and Steven Johnson examine the history of vaccination starting with the rise and eradication of smallpox. They detail how an African man was purchased in 1706 by a Puritan congregation in Boston as a gift for their minister, Cotton Mather, and was “forced to take on a new name,” Onesimus, after a slave in the New Testament. When Mather asked whether Onesimus had ever had smallpox—rife in Africa at the time—he replied, “Yes and no,” and then described the variolation procedure he had undergone in Africa before his capture. Variolation involved cutting the arm and putting fluid from a smallpox wound onto the cut, creating resistance in the host’s bloodstream without transmitting full-blown smallpox. This practice precedes Jenner’s experiments with cowpox by 90 years and had been present elsewhere in the world since the 1500s. This is a key example of effective preventative medicine that was present in Africa before slavery. And yet, the onset of modern transatlantic slavery is when the destruction of the global environment seems to really begin.

With the export of “valuable commodities” from Africa, including human beings, there soon followed deforestation, mining, farming, and building projects that formed the foundations of colonialism, western capitalism, the industrial revolution and imperialism. The rapacious nature of this conquest, which ignored indigenous knowledge systems and ways of living in harmony with the environment, also often spread disease, occasionally leading to new discoveries in medicine (which were not acknowledged or credited at the time).

The presenters of the documentary rightly laud the eradication of smallpox in just 18 years (1967–1985) as one of the great achievements of mankind, one which epidemiologist Larry Brilliant called “the end of an unbroken chain of transmission going all the way back to Rameses V.” Prior to vaccination efforts, smallpox had been killing 2 million mostly poor people a year, and the subsequent campaign involved the cooperation of 73 countries, including Cold War enemies the US and USSR. As Lucy Mangan writes in her Guardian review, “We can be so terrible, and we can perform such wonders.” And it is these wonders that Tadjo brings to our attention by writing In The Company of Men. The containment of the Ebola virus in West Africa in 2014 is due to the combined heroic efforts of people on the ground and the local people who heeded public health messages, attended clinics, separated family members, stopped attending funerals, and got vaccinated.

Tadjo reflects in an interview that “the Ebola epidemic has a multi-layered dimension. It seemed to me that listening to various voices was the best way to get closer to a form of reality. An incredible number of people were involved in the fight against the virus and I could not bring myself to focus on one voice only.” Interesting correlations and discoveries were made by zoologists, for example who,

discovered a phenomenon that greatly increases Ebola’s catastrophic impact. When an outbreak is about to happen in a forest region, the virus will leave gruesome traces in the natural environment. It attacks antelopes, deer and rodents, but especially big apes such as chimpanzees … The remains of hundreds of animals are scattered on the ground … Whenever the villagers notice an unusual number of wild animal carcasses, they’ve learned to alert the local authorities at once, since the carcasses signify that an Ebola outbreak among humans is about to happen.

This connection to the rest of the natural world seems crucial to understanding epidemiology itself and answering the question of how these viral mutations arise (e.g., swine flu, bird flu, etc.). This is why we should be paying closer attention to the other (mass) extinctions occurring in this Anthropocene epoch.

Using the voice of the baobab is inventive and useful in establishing a timeless link to the forest and to ancestral points of view. But using the voice of a virus itself is fairly unusual in African literature. Kgebetle Moele was the first South African writer to do this, writing from the point of view of HIV in his novel The Book of the Dead (2012), which I have written about elsewhere. Moele’s HIV is a malevolent, predatory infiltrator of the human body. This infiltrator, once personified, seems to corrupt its host while replicating itself in unsafe sexual encounters, killing hundreds if not thousands of men and women in deliberate acts of aggression. The Ebola virus, on the other hand, is immediately established (in its own words) as less malignant than humans themselves; Tadjo writes of “man and his incurable, pathological destructiveness.” Humans are blamed throughout for having destroyed the environment and the natural harmonious link between man and nature. However, this is countered by the assertion of human solidarity as a powerful weapon or antidote. Early on in the book, the nurse welcomes the help of volunteers, saying, “when I see solidarity, it makes me want to work even harder.” Even the virus admits that “I understood that their true power showed itself when they presented a united front.”

Much of Tadjo’s writing, including The Shadow of Imana (2002), articulates what “cannot be written or heard.” By writing the voices of the perpetrators and victims of genocide, Tadjo enables us to reach a point of understanding—or, at the very least, consciousness—of what many consider unspeakable. The art of her storytelling lies in this ability to synthesize factual accounts and information first with the lives of real people who lived through the Rwandan genocide against the Tutsi, and now with the experiences of those who lived through the Ebola outbreak in West Africa. In the Company of Men works similarly to unveil the voices of the hidden and, most significantly, those of the dead who cannot tell their own stories. Her writing itself is an act of solidarity. If we listen, we can not only empathize—we can learn from these stories. The accounts should also act as a warning, as pandemics will continue to threaten humankind alongside climate change.

Tadjo’s book reminds me of an aspect of Colson Whitehead’s The Nikel Boys that I have admired so much—that it is so difficult for a narrator to tell a story when the protagonist is dead. Usually, the telling of the tale gives away the fact that the protagonist has survived, or at least lived long enough to narrate the story, but Whitehead twists the ending of his novel to such an extent that we do hear a tale from the grave, from an impostor. This almost reinvigorated story describes the tragic fate shared by many Nikel Boys, whose identities are now lost. This is what is important about Tadjo’s writing: by including the voices of the dead in In The Company of Men, she inscribes the lives of those whose pitiful deaths don’t make it into the real story of Ebola (except as death toll statistics).

This is what the novelist Maaza Mengiste refers to when she asks, “What do the living owe to the dead?” The sheer number of people who died in the Ebola epidemic, the COVID-19 pandemic, the HIV/AIDS pandemic: this is what causes us to lose our sense of perspective and our ability to understand the real human cost of each universe that is lost to these deadly diseases. Mengiste’s further question—“What do they owe to the earth, which both protects and punishes?”—is one we will have to keep considering while we continue to destroy our earth. Is Tadjo’s Ebola virus right? Is man’s pathological destructiveness incurable? What do we owe the earth? Is there the political will, as there was with smallpox, to vaccinate every human against COVID-19, before it mutates into something far worse?

This post is from a partnership between Africa Is a Country and The Elephant. We will be publishing a series of posts from their site once a week.

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