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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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Adipo Sidang’ is an award-winning author, poet, playwright and consultant on governance and culture issues. His first work of fiction was a collection of poems titled Parliament of Owls published by Contact Zones Series Nairobi in 2016. The title poem Parliament of Owls was adapted into a stage play and staged in Nairobi by Agora Theatre. His second work A Boy Named Koko, a novella, won the 2017 Burt Awards for Young Adult Literature and was shortlisted for the Jomo Kenyatta Prize for Literature (Young Adult) in 2019. Sidang’ was part of the jury for Goethe Institut’s 2018 Afro Young Fiction Competition for young adult fiction from Africa. He’s currently working on a number of projects including a collection of poems in his mother tongue titled Abaramach which will be out in March 2021. Email: adiposidang@gmail.com

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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