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Eliud Kipchoge: The Making of a World Champion

10 min read. Some pointed to his turbocharged shoes; others came up with culturally reductive theories about why he ran a marathon distance in under two hours. However, Eliud Kipchoge has shown the world that only discipline and endurance can create champions.

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Eliud Kipchoge: The Making of a World Champion
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By now you have heard and read acres of text discussing and dissecting Eliud Kipchoge’s epic performance as the first human to run a marathon distance in under 2 hours at the incredible pace of 1:59:40. Much of the analysis from the foreign press comes with the rider: great athlete but it was not a record-eligible marathon.

The purists point fingers at Eliud’s turbocharged shoes (the Nike Vaporfly Next%), the rotating cast of 41 pacers, a powered carb drink dispensed with precision, the pace car with a laser system as an additional wind breaker, the flat course and the emotional spin of a humble hero, tugging hearts in a compelling story of courage. There were undertones of culturally reductive theories that profile elite Kenyan runners as being forged from the desire to distance themselves from their poverty by running great distances to school – the single story of all great Kenyan athletes.

The outsized PR of the INEOS 1:59 was bound to be a niggling point for the detractors. The title sponsor, the petrochemical business empire that is INEOS and its majority shareholder, Jim Radcliffe, are accused by some of moving their headquarters to Switzerland to avoid paying UK taxes. Critics point to INEOS’s chequered environmental track record in Europe and recent fracking controversies as INEOS flexes muscle in the fossil fuel space in the UK.

For us, his country folk, the Kenyans, it was an ecstatic moment. A once in a lifetime spectacle. I spoke to friends and family who had all reserved Saturday morning to watch Eliud Kipchoge race against the clock and his own limits and many compared it to the euphoric moment in November 2008 when Barack Obama beat Republican Senator John McCain to become the first black president-elect of America. Eliud had cemented his iconic status as a Kenyan hero. In the midst of the despondency with the national state of affairs, the record in Vienna provided a fleeting moment of patriotic fervour.

On the chilly evening of 12th October, I made my way to the VIP reception in honour of the greatest marathoner of our age, hosted at the finish line in the historic Prater park, in Vienna. I battled in my head, trying to articulate what I had witnessed that morning. In a different time and age, this event would have been described as miraculous. 8 hours earlier, I had witnessed how the simple act of running could achieve transcendental importance. The Prater Hauptalee, stretching 4.3 kms, thronged by an estimated 120,000 fans in the morning, was now empty. The only indicator of the event were the barricades stretching down the straight road lined by chestnut trees with yellow leaves.

The city of Vienna had a date with destiny that Saturday autumn morning in October. From the Praterstern train station, one walks past the Vienna Athletic Centre, located about 200 metres from the finish line where Eliud made history.

All agreed that Eliud Kipchoge had cemented his iconic status as a Kenyan hero. In the midst of the despondency that had settled among Kenyans, the record in Vienna provided a fleeting moment of patriotic fervour.

Behind those stadium walls, another Kenyan had set the pace for Eliud Kipchoge six years before he was born. In 1978, the incredible Henry Rono smashed the world 10,000m record in Vienna on his way to the unparalleled achievement of 4 world records (10 000m, 5000m, 3000m and the 3000m steeplechase) in a span of 81 days. Henry Rono was paced by a Dutchman, Jos Hermens, the former athlete-turned-sports management don and founder of Global Sports Communication that manages Eliud Kipchoge.

Vienna was also the birthplace of renowned Austrian athletics coach Franz Stampfl, who coached Roger Bannister for the world’s first sub four-minute mile, the man who would inspire Eliud’s sub 2 marathon attempt.

The venue of the VIP after-party comprised a series of enclosed white tents adjacent to the finish line. Suited bouncers manned the entrance and a DJ livened up the evening. The Kenyan Deputy President William Ruto, was in attendance and in conversation with politician Njeru Githae, the newly appointed ambassador to Austria. Moments after the morning event, I had spotted the Deputy President with an entourage, perhaps on a solidarity run for Kipchoge, jogging down the road past the Vienna Athletic Centre, prominent in team Kenya colours. The irony of the moment was not lost on #KOT (Kenyans on Twitter).

Henry Rono was paced by a Dutchman, Jos Hermens, the former athlete-turned-sports management don and founder of Global Sports Communication that manages Eliud Kipchoge.

Eliud arrived in his classic understated manner, making his way from the back to the front without a fuss, pumping hands along the way and charging the energy in the gathering to fever pitch. He was indeed the happiest man that day and you could see the joy on his face after those many months of anticipation and meticulous planning. Catching his physio Peter Nduhia on the sidelines, he recapped the tension in the engine room leading up to the main event.

On the afternoon of 11th October, Eliud complained of muscle strain after rising from a sitting position on a slack sofa. Luckily, it proved to be nothing threatening but is frightening to imagine that the entire attempt would have been sabotaged by the cushioning of a couch.

The speeches commenced with a word from the organisers and the CEO of INEOS, Jim Radcliffe, reiterating that a billion people in the world had recognised that something incredible happened in Vienna. Then Eliud took the stage. As he stepped onto the raised platform, the audience burst into a thunderous cheer. He cut a diminutive figure in a fitting black tracksuit. When he started to speak, the audience fell into complete silence, hanging onto his every word. Several phones were in the air recording video.

Eliud graciously dished out his rounds of thanks to everyone involved in the success of the event, with emphasis on the 41 pacemakers, acknowledging the power of collaboration, sharing the moment and settled into his core message:

“I always say no human is limited. I hope the limitations from today will not appear anywhere in this world. I am the first and I trust that in the near future, more athletes will run under two hours.”

Of the many references made of Eliud’s sub 2 marathon history-making feat, from Neil Amstrong’s moon landing in 1969 to Edmund Hilary and Tenzing Norgay’s climbing the summit of Mount Everest in 1953, it is Sir Roger Bannister’s 4-minute mile record that Eliud has referenced consistently.

Eliud alluded to the story of the Englishman Roger Bannister who in 1954 ran a mile in under 4 minutes and broke an athletic barrier hyped as an impossible feat by journalists of the day. He mentioned this event when he revealed that experts had stated that the sub 2 hour marathon barrier would be unbreakable until around 2075.

A man’s heroes can offer a window into his own motivations.

Sir Roger Bannister (died March 3, 2018) was the first man to run one mile in under 4 minutes at 3:59:4. Comparatively, the 1 mile to the 26.2 miles ( 42 km) is world’s apart even in the categories of distance running. What is similar between these two men six decades apart is their grit. Bannister, like Eliud, had made an attempt on the record coming close and building the confidence required for a sub record attempt. Both men made the record attempts in what were managed speed trial events with pacesetters. Both men set out to make sporting history, and did.

No pain, no gain

Eliud’s daring and consistency in performance has raised his profile to global iconic status. He has achieved greatness as an exceptional athlete and a gracious individual. His work ethic and discipline is admired by sportswriters. There are YouTube videos analysing his running efficiency and form.

Fellow athletes marvel at his ability to maintain composure under great physical strain. It is that pain management that sets Eliud apart even within the elite ranks.

Endurance is a measure of high pain tolerance and Eliud is known for his ability to rise beyond pain, which is characterised by his signature smile in the heat of battle. Olympian Bernard Lagat, second only to Hicham El Guerrouj as the fastest 1500m runner of all time, looks up to Eliud as an inspiration. Lagat, who is Eliud’s senior, has been a collaborator on the sub 2 challenge, featuring as a pacesetter during the Breaking 2 Nike attempt in Monza, Italy. He featured twice as a pacemaker during the 1:59 challenge, and he put it plainly:

“It doesn’t matter who you are, at some point you will feel the pain.”

Peter Nduhiu, Eliud’s physio for 16 years, continues to marvel at Eliud’s ability to block pain and suspend it until the end of business. To endure the pain, one returns to the core tenet of Eliud’s training regime:

“With perfect preparation you can handle any pressure.”

After 10 marathons under 2:05 and a world record set in Berlin, Eliud had already traveled beyond previously set limits. It has been a long career of over 15 years of steady progress towards this mark.

For those who know Eliud, the record was never in doubt. His teammates, men such as Geoffrey Kamworor, the half marathon world record holder and Olympian Augustine Choge debated whether he would run a high or low 1: 59.

Eliud’s notoriety is single-minded focus and unwavering commitment to his goals. Alex Korio, one of the many pacesetters during the challenge, admired Eliud’s ability to be absolutely free of distraction. In Eliud’s own words,

“ Don’t make excuses. When you decide to do something, do it.  Self-discipline is a lifestyle. Only the disciplined ones are free in life”.

He is a sought-after sports celebrity known for his motivational speeches and clear insights where he discusses running as a metaphor for principled living and a matter that involves not just one’s legs but also the state of one’s heart and mind.

James Baldwin, sharing advice on writing that applies equally across life noted:

“Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but, most of all, endurance.”

The way of the elite athlete is one of dedication and commitment to a monastic routine. This is now the common feature of the Kenyan athletes’ creed. It is the philosophy of the training camp: hard work, good form and teamwork.

Eliud has been a good ambassador for the marathon and a timely hero in a country where people also smile through their pains. He has the charisma and likeability of Liverpool football manager Jurgen Klopp, a man who is hard to hate.

Eliud’s notoriety is single-minded focus and unwavering commitment to his goals. He is a sought-after sports celebrity known for his measured speech and clear insights where he discusses running as a metaphor for principled living.

1: 59 becomes a symbolic number in the ranks of Roger Bannister’s 4-minute mile and as a source of inspiration. True to that spirit, a day after Eliud’s achievement on the 13th of October, Kenyan athletes swept the Chicago marathon in both male and female categories. Lawrence Cherono broke away from a three-way battle to sprint to victory in the final mile and Brigid Kosgei smashed Paula Radcliffe 16-year-old marathon record. It is worth noting that Eliud’s first World Marathon Major was in Chicago in 2014.

A nation of champions

Eliud Kipchoge stands on the shoulders of his predecessors and he has taken the sport to unprecedented heights as the Tiger Woods of the marathon. However, his story is the culmination of three decades of marathon progression in Kenya. If Eliud has traveled far, it is because he built on the successes and failures of those who came before him.

Today, Kenya’s marathon talent runs so deep that the only athletes who make it to national prominence are world record holders and Olympic gold medalists. Every weekend somewhere in the world, there is Kenyan winning a marathon. Vincent Kipchumba, who won the Vienna marathon in April (2019) and the Amsterdam marathon a week after Eliud’s challenge would only be recognised by seasoned sports journalists. Indeed, before his world record feat in 2018, Eliud’s face was not even instantly recognisable in Eldoret, the hometown of the champions.

An excerpt from In Running with Kenyans by Adharanand Finn, tells the story of the phenomenal emergence of Kenyan running talent in the marathon.

“In 1975, no Kenyan had run a marathon time below 2hrs 20 minutes, compared to a time accomplished by 23 British runners and 34 US athletes. By 2005, only 12 Britons and 34 US runners had done a sub 2: 20 compared to 490 Kenyans.”

It is also easy to forget that Kenya only started to appear as a contender in the marathon as recently as 1987. The Japan-based Douglas Wakiihuri brought in the first gold medal at the world championships in Rome in 1987 and the Olympic silver in Seoul, South Korea in 1988. He was also the first Kenyan to win the London marathon in 1989.

The Olympic gold eluded Kenyans for another two decades. Many came close. Erick Wanaina with the bronze in 1996 in Atlanta followed by another bronze by Joyce Chepchumba in Sydney 2000.

In 2003, the year that Eliud’s career started to show promise with a gold in the World Championships in 5000m in Paris, another phenomenal Kenyan athlete, Paul Tergat, who switched from a successful career on track to marathon greatness, broke the world record in Berlin.

Paul Tergat was the first Kenyan to hold a marathon world record and the first man to run a sub 2:05 time. Tergat in my books was the greatest distance runner of his generation and he carried himself with a level of grace and humility that is epitomized in Eliud’s celebrity today. The following year, the sensational Catherine Ndereba brought home the first female silver in Athens 2004. Eliud Kipchoge won a bronze in 5000m final in those games.

In 2008, Japan-based Samuel Wanjiru, following in Wakiihuri’s footsteps became Kenya’s first Olympic gold medalist in the marathon in Beijing and set an Olympic record. The phenomenal Samuel Wanjiru went on to win the London marathon in 2009 and the Chicago marathon in 2010, two years before Eliud switched to road racing.

Tergat who was the original king of the roads believed that even the greatest runners in the marathon had their limits. When Wilson Kipsang lowered the mark in 2013 to 2:03:23, Tergat, watching victory in Berlin, had stated that he did not envision a sub 2: 03 marathon in his lifetime:

“Take it from me today; forget about it, it will never happen. It’s impossible”.

A year later, in 2014, Dennis Kimetto, took it under 2 hours 3 minutes, and Eliud Kipchoge lowered it further to its current mark at 2:01:39 in 2018. If the history of Kenyan performance in the marathon teaches us anything, it is that limits are to be challenged.

A good career is marked by one’s ability to meet challenges against the odds and rise beyond the established limits of the chosen discipline. However, even moments of greatness in life are fleeting. Like the rise and fall of legendary Henry Rono, ultimately an athlete’s career is a short episode in the span of a lifetime. There a dozen or so athletes who have run a sub 2.05, but only two have run a sub 2.02. One is Eliud Kipchoge and the other is his greatest rival Kenenisa Bekele who missed the world record by two seconds ( 2:01:41) in Berlin this year.

The phenomenal Samuel Wanjiru was Kenya’s first Olympic gold medalist in the marathon. He won the London marathon in 2009 and Chicago in 2010, two years before Eliud switched to road racing.

Eliud still has it in his tank to lower the world record in a World Major given his INEOS 1:59 confidence boost and to wrap up his incredible career run with a second Olympic gold in Tokyo in 2020.

His brand of humility amidst all the hype around his accomplishments has endeared him to the growing hordes of fans globally. (There were 11 billion impressions on Twitter during the 1:59 challenge.)

Humility is a core part of the Eliud Kipchoge brand and something his coach of 18 years, Patrick Sang, consistently echoes as a foundational principle behind his success.

“Life is not about stardom,” says Sang. He reassures that Eliud is not just a great athlete, he is also a great human being, inspiring in all aspects of his life outside his profession. Sang admits that in the last three years, he has moved from being Eliud’s role model and teacher, to now what he feels is the humble position as his student.

I prod him for the significance of the moment, and after a short pause in reflection, he wraps it down to a one-liner, “We implemented the belief”, leaving me ruminating on how far one can broaden their horizons with mental fortitude. Beyond the inspiration of Eliud’s transformational message #nohumanislimited lies the subtext of excellence which is not just belief but also execution.

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Oyunga Pala is a Kenyan newspaper columnist.

Culture

The Life and Lens of Mohinder Dhillon

11 min read. 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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Khaligraph Jones and Emerging Hip Hop Futures in Kenya

12 min read. 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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Khaligraph Jones and Emerging Hip Hop Futures in Kenya
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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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Speak to My Heart! A Place for Indigenous Languages in African Fiction

12 min read. African mother tongue languages are increasingly being abandoned, with sub-Saharan Africa being one of the regions with the most endangered languages. But the solution will not come from simply promulgating policy. The “African society” must hold conversations with itself and overhaul its value system, because language is culture, and culture is empty without its set of values and truths.

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In an interview on Chimurenga’s Pan African Space Station radio back in 2017, celebrated South Sudanese essayist, poet and scholar Professor Taban lo Liyong’ was asked by the interviewer to give his thoughts on the famous first African Writers Conference that took place on June 1, 1962 at Makerere University, Kampala. Taban, whom I fondly call the ‘poetrigenarian’, did not mince his words. He quipped that the Conference of African Writers of English Expression, as it was dubbed, not only isolated East African writers but also snubbed African writers who had published their works in indigenous languages. He went on to observe that Ugandan poet Okot p’Bitek “invited himself” to the conference while Ngugi wa Thiong’o – then James Ngugi, attended it, not as a writer of fiction but as a journalist. At the time, Okot had published Lak Tar (White Teeth) in Acholi while Ngugi would proceed to give his The River Between manuscript to Chinua Achebe at the conference, a book that the South Sudanese interestingly describes as “algebraic” as it is “the writing of Achebe’s Things Fall Apart in the Kenyan context”.

Taban further observed that the isolation of East Africans from a conference that occurred right on their territory was meant to “shame them into writing since East Africa was a literary desert at the time”. But Taban was particularly disturbed by the deliberate move to lock out African writers who wrote in their mother tongue. In so doing, the Western organisers of the conference simply told Africans that English was superior to African languages and had a special place in the land they had colonised.

Ironically, it was after this conference that Nigerian scholar Obi Wali published his controversial essay titled The Dead End of African Literature in which he argued that “an African writer who thinks and feels in his or her own language must only write in that language”. English, he argued, did not have the capability to “carry the African experience”. Some of the writers like Achebe argued to the contrary that Africans could Africanise English to authentically convey our cultural truths. But Wali’s paper inspired young writers of the time, notable among them being Ngugi wa Thiong’o who went on to become one of the chief proponents of writing in indigenous languages.

Mukoma wa Ngugi, in What Decolonizing the Mind Means Today, an article published in Literary Hub in June 2018, echoes his father’s views when he observes that the relegation of African languages in the post-colonial literary space influenced Ngugi to publish Decolonizing the Mind: the Politics of Language in African Literature in 1986. In the work, Ngugi rightly spiritualises language as culture and demonstrates its critical role in the decolonisation of the mind.

Earlier in 1966, Ngugi together with Taban and p’Bitek led other scholars at the University of Nairobi in pushing for the abolition of the then English Department and its replacement by a new department that would open up the study of literature to African literature and literature from other cultures. Indeed, the Department of Literature was finally established by the university and this saw the introduction of courses like East African Literature.

It’s more than half a century since these writers challenged the colonial hoisting of the English language post the fall of the Union Jack. Today, the University of Nairobi’s Education Building hosts, among other departments, three key departments that teach languages and literature: the Department of Literature, the Department of Linguistics and the Department of Kiswahili. In major universities across Anglophone Africa there exists a department that teaches African Languages, notable among them being Makerere University, University of Botswana, University of South Africa, Wits, Stellenbosch and University of Zimbabwe, among others. In these universities, post-graduate students are at liberty to identify and conduct research on any language or literature of their choice, including indigenous knowledge systems.

It’s safe to say that the rise of African languages and literatures in African universities is something that should be treasured. However, it’s hard to identify any palpable influence beyond the theoretical walls of academia. In fact, there is every indication that we have come full circle, and despite academic research in universities, mother tongue languages are increasingly being abandoned, mostly by educated native speakers in cities and towns. In particular, Generation Z or Gen-Z (described by the BBC as anyone born after 1995) represents a generation that can hardly communicate in their mother tongue. A majority of Millennials (the generation preceding Gen-Z) are equally unable to speak their mother tongue. The only difference is that the former are generally apathetic – if it’s not technology or social media, it’s not worth their time.

UNESCO observes on its website that Sub-Saharan Africa is one of the three regions with the most endangered languages, the other two being Melanasia and South America. But Sub-Saharan Africa has a special relationship with French just as it does with English and Portuguese. According to a report published by Quartz Africa in October 2018, French is now the world’s fifth most spoken language “thanks largely to the millions of Africans who speak it each day”. The report states that 35% of the three million French speakers are from Sub-Saharan Africa while Asia only accounts for 0.6%. Interesting.

There is every indication that we have come full circle and despite academic research in universities, mother tongue languages are increasingly being abandoned

In the meantime, African languages are falling off the scale. UNESCO’s Atlas of the World’s Languages in Danger 2010 observed that Sudan had the highest number of endangered languages, a total of 65; Cameroon was second with 36; and Nigeria tied with Chad at number three with 29 endangered languages. Kenya was third from last with 13 endangered languages; with slightly more than 60 indigenous languages in the country, this is tragic. In Kenya, languages like Burji, Suba and Boni are considered endangered while Yaaku and El Molo have been declared extinct. These deaths occur more as a result of political rather than natural causes.

The cemetery of dead languages may have no physical graves or tombs but it surely is just as unnervingly silent as the human cemetery. These languages are buried in the minds of native speakers as a memory of an empty epitaph – one that cannot be understood, retrieved and passed on to the next generation.

Long before we began committing linguicide (death of a language), the colonial masters knew how valuable our indigenous languages were to us and ensured that they colonised us culturally by perpetuating injustices against our languages. Through subjugation, slavery and total dehumanisation of Africans, the colonial master succeeded in creating an image of Africa and Africans that couldn’t exist independent of the colonial crown.

Every country had its fair share of colonial experience. In most of these countries, the colonial experience created a black mzungu (Englishman/woman) out of the educated class and those born afterwards inherited the primitive worship of mzungu as superior to us.

UNESCO’s Atlas of the World’s Languages in Danger 2010 observed that Sudan had the highest number of endangered languages, a total of 65

In Kenya, the black mzungu syndrome is linguistically evident in our collective response to the misguided belief that the English language is superior to our indigenous languages including Kiswahili. To be educated in Kenya is to speak good English; you are a genius if you speak the Queen’s English. English is a key metric of academic excellence. Woe unto you if you speak English with your mother tongue accent, even though Kenyans admire Russians when they speak English with a Russian accent and are glued to their TVs when an Italian speaks Swahili or Kikamba with an Italian accent. Those of us who stay in America for a minute land back home with an American “accent” that openly clashes with our mother tongue accent. To sound American is to sound polished.

But our love for foreign accents strangely isn’t limited to the West. I have come across Kenyans who while they shame or bully a fellow Kenyan on social media because he or she speaks English with a heavy mother tongue accent, delight at and in fact mimic with admiration how, say, South Africa’s Economic Freedom Fighters leader Julius Malema says “Mama, give us a signal”. Somehow, it doesn’t bother them that Malema’s accent is influenced by his mother tongue, and he’s perfectly proud of his mother tongue just as other South Africans probably are. The same thing can be said of our celebration of Nigerian pidgin. Clearly, our disdain for how we speak English points to an identity crisis we host in our bodies. It has appreciably affected how we relate with our mother tongue languages and with one another.

Some of the Millennials and Gen-zers attempt to justify this disdain by claiming rather erroneously that indigenous languages are a cause of disunity in pluralistic societies like Kenya. Yet inter-ethnic hostility is not a function of one’s language. Rather it is a by-product of misguided tribal attitudes characterised by hate and insecurity. But it is not surprising that these two generations cannot appreciate the place of the indigenous language in their culture; the education system never trained them to. It is proof that learners in our schools deserve a system of education that destroys the black mzungu mentality and enables them to creatively learn their mother tongue, particularly in lower primary school.

In 2019, a Member of the Nairobi County Assembly, Ms. Sylvia Museiya, sought to introduce a Bill in the County Assembly to make learning the mother tongue compulsory for Early Childhood Development learners. She proposed that parents be compelled to teach their children their mother tongue at home with the learners then expected to speak the language in class. Ms. Museiya’s concern came from the fact that most children in Nairobi cannot speak their mother tongue and their parents seem to be the enablers of this self-inflicted injustice. One may not approve of her approach, but there is consensus that there exists a problem somewhere. Ironically, while learners in Nairobi are soon being forced to learn to speak their mother tongue, learners in rural schools have always been punished for speaking their mother tongue. In my formative years, we had the dreaded “disc” – a physical object that pupils hung around their necks whenever they were “caught” speaking their mother tongue. Same system of education, different motivations. In one, the city parent is guilty, in the other, the rural teacher is.

Post-colonial scholars questioned and sought to dethrone colonial ideologies that shaped education and gave learners a false consciousness through “internalisation of the image of the oppressor” and the oppressor became “the model of humanity” for learners as Brazilian scholar Paulo Freire observed in his influential work Pedagogy of the Oppressed.

As post-colonial scholars sought to install the indigenous language at the center of literary and linguistic studies in our universities, the education system of the time was already dehumanising learners in primary school with a warped philosophy that radicalised learners into disowning their languages. Metaphorically speaking, post-colonial African scholars prepared the way but no one really showed up; young learners had been directed the other way.

Over time, our society and its political body parts (citizens and institutions) have become more culturally unconscious in a world that is fast changing. Consequently, identity becomes loose if not nebulous since people are generally learned but not necessarily educated. This lack of cultural consciousness is proof of failure on the part of our social institutions and explains why over fifty years later, we are still debating whether we should write in our indigenous languages.

Nonetheless, I find it grossly unfair to assess the African writer’s commitment to his or her culture based on whether he or she has authored works in his or her indigenous language. As much as an indigenous language enables its speakers to authentically express their truths and values, these truths and values may still be expressed in a foreign language. Achebe’s Things Fall Apart back in 1958 and Yvonne Adhiambo Owuor’s Dust fifty years later are just but a few demonstrations of this possibility.

This view is not to be interpreted to mean that a foreign language can usurp (violently or on the pretext of conveying a people’s truths) the cultural power of an indigenous language. Foreign languages shouldn’t be made or be seen to compete with indigenous languages because they actually can co-exist. They should not be considered as alternatives to the existence of any indigenous language.

There wouldn’t be a better time than the time when Africa starts to produce just as much writing in indigenous languages as in foreign languages. But how would it be possible if African governments do not devotedly invest in their languages and cultures? How would it be possible if the West that controls the African fiction enterprise continues to respond to the demands of their (Western) market? How would it be possible if the 21st Century African writer is blamed for a problem that is clearly not of his or her own making?

It is not enough for the older generation of African writers to simply cheer younger African writers into writing in their mother tongue. In fact, it would be a catastrophic failure on the part of the former if they didn’t appreciate that writing in indigenous languages is dependent on various dynamics and thus cannot be resolved by merely “encouraging” the younger generation of writers to write in their mother tongue.

First, take for instance the cancer of cultural illiteracy that prevails in our society today. We live in a society that perpetuates, against itself and its own offspring, the colonial and neocolonial ideologies. It’s a generation of culturally illiterate learners who are hardly interested in literature published in their indigenous languages. If they don’t speak it, either because they can’t or because they don’t want to, will they read it? In this environment, the African writer of mother tongue fiction isn’t guaranteed returns and thus has every right to choose a language that guarantees financial reward. Writing is not martyrdom.

Sadly, this cultural illiteracy is sustained by a snobbish political class that clings to the traditional hierarchical exercise of power through domination and thus is antagonistic to open and truly participatory policy-making processes that involve stakeholders. The recent contentious implementation of the Competency Based Curriculum (CBC) that replaced the 8-4-4 system in Kenya amply embodies this problem.

Secondly, textbook publishing has bedeviled the growth of fiction in Kenya. In a country where publishers are motivated by profits, fiction writers are bound to struggle to get their work published. It can only get worse for writers of mother tongue fiction. In an article published in The Elephant titled African Publishing Minefields and the Woes of the African Writer, Kenyan author Stanley Gazemba lays bare the inability of the local publishing industry to support the growth of fiction. He observes that the local publisher is profit-motivated and would rather invest in publishing books for schools than take a leap of faith into works of fiction. These publishers fundamentally publish fiction for speculation; if they don’t see a set book or a school reader in a writer’s manuscript, they’ll most likely not publish it. It’s for this reason that the African writer turns to foreign publishers, which as Gazemba observes, is a difficult expedition.

It’s a generation of culturally illiterate learners who are hardly interested in literature published in their indigenous languages

But the reality is that it’s rare to come by foreign publishers interested in mother tongue fiction. Those that are will ask for a translation (to see if it meets their threshold, and fits their style and audience) and the assessment will most likely be based on the translation, not the work in its original form. Not even the many online literary journals and magazines that dominate the African literary scene today are actively publishing works in mother tongue save for a few editions here and there. In 2016, for instance, Jalada translated into over 30 languages Ngugi wa Thiong’o’s Gikuyu fable The Upright Revolution: Or Why Humans Walk Upright. In an interview with the Guardian newspaper, the then Jalada Managing Editor Moses Kilolo said Ngugi was “uniquely placed to be the first distinguished author and intellectual featured in our periodical Translations Issue”. During the 2017 Caine Prize Writers workshop in Tanzania, the Director of the Prize, Dr. Lizzy Attree, commissioned the translation into Kiswahili of selected excerpts from Lidudumalingani Mqombothi’s “Memories We Lost”, Lesley Nneka Arimah’s What it Means When a Man Falls from the Sky and Abdul Adan’s The Lifebloom Gift. Such projects are expensive and are isolated cases on the continent; it explains why I can’t seem to find Jalada Translations Issue No 2 four years later. Away from this, there’s hardly any fiction published today in indigenous languages in Kenya, besides Kiswahili which is one of the two official languages.

In my early school years, I came across a number of Dholuo stories that are mostly out of print today. These included Otieno Achach, a classic by Tanzanian writer Christian Konjra Aloo, published by East African Publishing House in 1966; Masira ki ndaki (Misfortune is Inevitable) by the late Professor Okoth Okombo, Miaha by Grace Ogot (later translated as Strange Bride by Okoth Okombo). Asenath Bole Odaga perhaps stands out as the greatest contributor to Dholuo literature, with works varying from short stories and oral literature to an English-Dholuo dictionary. It would be accurate to say that, unlike today, publishers of the time embraced mother tongue fiction..

Without a doubt, because of these dynamics, the African writer may lack the motivation to write or even translate works of fiction into his or her indigenous language. The popular line has been that writers should be left to choose their preferred language of telling their stories, a position that I do not have a problem with. However, it’s reasonable to argue that our choices could have been different if our collective experiences had been better. It would help if we held the political class accountable for their cultural sins of enabling cultural servitude through neocolonialism and moral corruption in independent Africa. In so doing, we can reward ourselves with the opportunity to redefine the determinants that govern the choices that this and the next generation will make. This is a critical stepping stone to a more sustainable conversation.

At the risk of sounding academic, Sun-ki Chai, in a paper titled Rational Choice and Culture: Clashing Perspectives or Complementary Modes of Analysis, reports that individuals’ actions usually are “dependent on preferences that are determined by socio-psychological factors” and that “culture plays a role in shaping the behavior of rational individuals”. In this context, the African writer’s choice to write in a foreign language is influenced by his or her past and present environment.

In light of this, it is necessary that the society interacts with its past and present to eliminate encumbrances that stifle the growth of indigenous languages in all forms. These hindrances are more political than we would want to imagine. Since politics can be complex and subjective, the solution will not come from simply promulgating one policy after another. The “African society” must hold conversations with itself and overhaul its value system, because language is culture, and culture is empty without its set of values and truths.

Since politics can be complex and subjective, the solution will not come from simply promulgating one policy after another

Finally, an anecdote. I once bumped into a professor of Literature along the pavements of University of Nairobi. The professor was chatting with a female colleague and I gathered he was trying to speak to the lady in her mother tongue which was not his mother tongue. She kept smiling. The professor then went on to wittily tell me he was trying to “speak to her heart”. He said that when a man speaks in English to a lady whose first language isn’t English, he speaks to her head; but when he speaks to her in her mother tongue, he speaks to her heart. In our case, the lady goes by the name Africa. She may understand English, French or Portuguese, but I’m sure she misses mother tongue stories and the poems of the African writer audibly flowing in the calm beat of her heart.

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