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Khaligraph Jones and Emerging Hip Hop Futures in Kenya

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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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The writer is based in Nairobi, Kenya.

Culture

Taita Taveta: The Land of Dietary Contrasts

Low investments in the agricultural sector, inadequate rainfall, reduced crop yields, lack of water for irrigation, land scarcity, and poverty are among the challenges that affect food production in Taita Taveta, rendering the county food insecure.

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Taita Taveta: The Land of Dietary Contrasts
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The Taita occupy the three sub-counties of Mwatate, Voi and Wundanyi in Taita Taveta County. They are thought to have migrated northwards through present day Tanzania to settle around Taita Hills, the northernmost part of the Eastern Arc Mountains. Taveta, the other sub-county within Taita Taveta County, is occupied by the Taveta-speaking people, and borders Tanzania to the South. Taita Taveta is a melting pot of ethnicities although the Taita and the Taveta are the majority. The county covers an area of approximately 17,100 square kilometres, with 62 per cent of the land taken up by the Tsavo East and Tsavo West National Parks. The rest of the land is occupied by ranches, private estates, and human settlements. Landlessness is acute in the county owing to poverty, displacement, evictions and the limited amount of land available for human activity.

The varied topography of Taita Taveta County—the upper zones which include the Sagalla, Mwambirwa and Taita Hills, the lowlands or plains of Voi and Mwatate and the volcanic foothills of Taveta—affect climatic conditions, water availability, and the viability of the land for agricultural purposes. Due its topography, most of the underground water in the county is to be found in the springs in Taveta and around Lakes Chala and Jipe. Higher rainfall is experienced in the highland areas where the forest cover provides a good catchment area. The plains are mostly semi-arid, experiencing very low rainfall. Three rivers—Lumi, Voi and Tsavo—traverse the county and the largest spring, Mzima Springs, is in Voi sub-county. The temperatures average 17°C in the high altitude areas and 30°C in the lowlands. Rainfall is in two cycles annually: the long rains between March and May and the short rains between October and December.

Like other Kenyans, the Taita eat ugali—the Swahili name for a stiff porridge made with maize meal that they call mswara—with an accompaniment of green leafy vegetables such as sukuma wiki (collard greens) spinach, cabbage, mnavu ghwa soko (cowpea leaves), mwapa (cassava leaves), pumpkin leaves, or foraged wild varieties such as mnyunya (wild lettuce), mgagani (Cleome gynandra), mwapa (cassava leaves), mchicha (amaranth leaves), ndunda (black nightshade), etc. Ugali flour is made from dried maize traditionally pounded with a mortar and pestle, then further ground either by hand or machine. Pounded maize is also used to make another Taita favourite called pure (a mix of pounded maize and beans). The maize chaff is traditionally used for making mbangara, the local beer. The Taita used to eat game meat when hunting was legal, or farmed livestock such as cattle, sheep, goats, chickens, ducks, pigs, etc. The meat was either dried on rocks (mdanda) or smoked over a wood-burning stove. Nowadays, most eat their meat fresh.

Habitual approaches to consuming food in Taita are no different from those of other communities around the country. For the Taita, breakfast and the evening meal are centred around family, but lunch is consumed individually wherever the family members are, which could be at work, home, or school. The packed lunch will most likely be the remains of the previous evening’s meal. However, those who can afford it eat this meal in restaurants and cafés.

Gender, feasts and memories

There is a gendered dynamic in Taita homes as food preparation falls to the womenfolk, and the knowledge is passed down the generations from grandmother to mother to daughter. However, many Taita men also know how to cook and in fact, my sister and I learnt how to cook mswara from our dad. Women’s labour is not limited to food preparation; women are involved in the entire food production chain, from cultivation, harvesting, processing, storage, transportation, buying and selling, and finally, preparation.

Food is central to celebrations in Taita. The community comes together to prepare food for communal functions such as funerals, weddings, and other festivities. Women do most of this communal labour although of late those with means pay for outside catering. Meals to celebrate religious holidays such as Easter, Christmas or Eid are made within the family, with sharing in mind. In our Christian household for instance, whenever an animal is slaughtered for such celebrations, it is done by a Muslim in a halal manner, enabling us to share and celebrate with our Muslim kin and friends.

No celebratory Taita meal is complete without pilau, chapati, kuku fry, maharagwe ya nazi, mbuzi fry, choma, kimanga and mbangara. Oh, and tea, litres and litres of tea. As is the case with many other ethnic groups in Kenya, the Taita food culture has been influenced by the culinary traditions of other Kenyan communities, introducing a demand for new foods that were previously not part of the traditional diet.

Food, land and devolution

Rain-fed subsistence agriculture is the main economic activity in Taita Taveta County, with farmers growing maize, beans, sorghum, cowpeas, pigeon peas, green grams and vegetables for their own consumption and selling the surplus. Livestock farming is either on communal or government ranches, or by small-scale farmers rearing animals in their homesteads or bomas in the plains (kireti). Agricultural labour is provided by the farmers’ families and hired full-time or part-time labourers.

The 2013 devolution of agricultural functions to the county level prompted the County Government of Taita Taveta to work together with farmers, the County Assembly of Taita Taveta, traders, Agro-NGOs and consumers to ensure the county’s food security. According to the county’s budget estimates for 2019-2020, approximately KSh800 million was earmarked for the agricultural, water, and ecology sectors, as well as agribusiness development. Some of the allocated funds came from development partners such as the World Bank, the European Union, and Sweden. This money was intended to improve the agricultural food supply chain starting with production, i.e. development of water infrastructure for irrigation, access to seeds, agricultural extension services, etc., to enable farmers produce the food. To ensure that this produce gets to markets, investments in infrastructure like feeder roads and actual markets were planned for. Investments in the areas of agri-business were meant to supplement farmers or individuals in establishing value addition businesses. As Taita’s main economic activity is subsistence agriculture, the county government hoped that this investment would improve farmers livelihoods thereby increasing their purchasing power.

As is the case with many other ethnic groups in Kenya, the Taita food culture has been influenced by the culinary traditions of other Kenyan communities.

However, a look at the 2020 County Budget Review and Outlook Paper, which reviews the county government’s actual fiscal performance for 2019-2020, shows that out of a budget of KSh4.73 billion, KSh3.96 billion or 84 per cent of the budget, was used for recurrent expenditure, leaving about KSh77 million for all county projects, a far cry from the budgeted KSh800 million for the agricultural and water sectors alone.

Besides the low levels of expenditure for agricultural projects, a myriad of other factors including low rainfall, reduced crop yields, lack of water for irrigation, environmental and climatic factors, land scarcity, and poverty affect food production and accessibility, rendering Taita Taveta food insecure. This food insecurity is felt the most in the drier Taita region and for decades now Taveta has been Taita’s key food supplier. Taveta is able to supply the Taita region for two reasons: its topography and its location.

Sitting on the volcanic foothills of Mount Kilimanjaro, Taveta has fertile soils and, more importantly, it has both aboveground and underground water that can be used for irrigation. With water from Lake Chala and from Njoro Springs, Taveta has been able to irrigate up to 53 per cent of its potentially irrigable acreage, compared to Taita where only 14 per cent of land is under irrigation. In addition, Taveta has more smallholder irrigation schemes per square kilometre—4 per cent, compared to Taita’s 0.55 per cent.

The second reason why Taveta is important as a source of food supply for the Taita region is its location. Taveta borders Tanzania to the South and has a thriving border economy with the country that has been enhanced following the opening of the Taveta-Holili one-stop border post. In addition, the new Taveta market has increased Taveta’s access to agricultural produce—such as maize, beans, vegetables, fruits and rice—from the Northern Kilimanjaro region. To the west, Taveta also has access to food markets in the Kenyan interior via the Loitokitok Sub-County of Kajiado County.

This food insecurity is felt the most in the drier Taita region and for decades now Taveta has been Taita’s key food supplier.

The county government of Taita Taveta is trying to promote a move towards commercialisation of farming as evidenced by the mandates of both its departments of Agriculture, Livestock, Irrigation & Fisheries and Water, Environment & Sanitation. These departments have drawn up strategies that include increasing the acreage under irrigation, developing irrigation infrastructure, mechanising farming, encouraging the formation of cooperatives in the agricultural sector, supporting value addition agri-businesses, etc., to improve farming output and the agricultural supply chain. The government is also supported by development partners in this commercialization push, either through direct funding or expertise. Livestock farming, fish farming, macadamia farming, bee keeping, rice farming, and groundnut farming, are some of the areas being encouraged and supported.

There are a few major private agro-estates and ranches, such as Lualenyi Ranch and Teita Estate, and a few county government ranches that produce milk and beef for sale outside the county.

Farms, food markets and seed culture

Apart from the climate challenges, land scarcity, deforestation and low rainfall that are creating food insecurity, the cost of farm inputs is another challenge for Taita farmers.

Traditional seed preservation and sharing methods were cheaper for the farmers as they could swap or sell seeds to each other. Where formerly farming families kept back seed for planting in the next season, this is now impossible given the seed laws that have criminalized sharing, exchanging or selling uncertified and unregistered seeds, creating dependency on seed companies. Having said that, one must acknowledge that due to the lack of water for irrigation and low rainfall, the farmers need to move to other farming technologies that would improve their crop. To resolve this issue, there is ongoing research within the county, undertaken by NGOs and research institutions, to develop drought-resistant seed varieties that can do well under Taita Taveta’s climatic conditions. However, this still does not address the concerns regarding the draconian seed laws which ignore the fact that, according to Greenpeace, up to 90 per cent of seeds planted in Kenya come from informal seed systems on which 80 per cent of smallholder farms rely.

Value addition is another key area that is lacking along the food production chain in Taita Taveta where most of the produce is sold or consumed in its most basic form. The county government is intent on developing capacity for value addition businesses in order to safeguard agricultural produce, create employment opportunities, and avail markets to the farmers. Calls for stalled projects to be completed, such as the Taveta Banana Processing Plant, are frequently heard.

Food production in Taita is also affected by human-wildlife conflict, with cases of marauding elephants from the neighbouring national parks rampaging through farms and destroying crops, baboons harvesting farmers’ crops or big cats making away with livestock being frequently reported. A 2020 study found that most farms in the Taita Hills were raided on a weekly basis by monkeys and, to a lesser extent baboons, and that this posed a serious threat to food security in the area. Local NGOs have embarked on a project to create a forested wildlife corridor along the Voi river, linking the Taita Hills with Tsavo East National Park to keep the primates away from the farms (although the study’s findings that farms close to the forests are raided more frequently may cast some doubt on the utility of this approach if farmers keep encroaching on wildlife areas).

According to Greenpeace, up to 90 per cent of seeds planted in Kenya come from informal seed systems on which 80 per cent of smallholder farms rely.

In addition, frequent clashes between pastoralists and farmers due to land scarcity are another area of concern. According to a 2013 study, Taita Taveta has since pre-colonial times experienced societal disruptions caused by cattle rustling, and persistent droughts that have weakened pre-existing regional networks of interaction, exchange, and crisis management. The establishment of the Tsavo National Park, which alienated traditional land, and land grabs by local elites related to commercial farming and mining opportunities, have further intensified these conflicts, leading to disruption, displacement and loss of life, with the attendant impacts on access to food.

All is not gloom and doom, however. Together with the newly operationalised modern markets in Mwatate and Taveta, the County Government of Taita Taveta has also opened many markets throughout the county, improving access to food, and creating avenues for the people and the county to earn revenues while also bringing improvements to other sectors such as the transport sector. These and other initiatives that the agriculture stakeholders in Taita Taveta are taking should surely turn around the food security situation in the county.

This article is part of The Elephant Food Edition Series done in collaboration with Route to Food Initiative (RTFI). Views expressed in the article are not necessarily those of the RTFI.

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Culture

Food Culture at the Kenyan Coast

Coastal cuisine is known for being cheap and providing value for money. However, ironically, in the rural areas and informal settlements within the coastal region, a balanced diet is often inaccessible.

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Food Culture at the Kenyan Coast
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For many years the 1420-kilometre-long Kenyan coastline has provided home and sustenance to Arab, Swahili, and Mijikenda societies and boasted food influences from far and wide. These culinary influences have at various stages in history included Chinese, Portuguese, African, Arab, Indian and Italian cuisines. In A history of African Cuisine James McCann defines a cuisine as “a distinct and coherent body of food preparations which is based on one or more starchy staples, a set of spice combinations, complementary tastes, particular textures, iconic rituals, and a locally intelligible repertoire of meats, vegetables and starchy texture … form[ing  a] structure of both preparation and presentation”. Swahili cuisine is a blend of Bantu, Indian, Arab, Persian and Portuguese cuisine that Nasra Bwana describes as a diverse and flavourful culmination of inter-community exchange that it is “rooted in lengthy history”.

Swahili cuisine ranges from the simplest to the most intricate of dishes catering to a wide palate. The mix of cultures, ingredients and cooking methods has produced a wide variety of signature foods. Take the case of Italian cuisine in the north coast area of Malindi that was introduced by Italians who came to work at the Broglio Space Centre that served as a spaceport for the launch of both Italian and international satellites between 1967 and 1988. Many went back home after the launches stopped but a few stuck around long enough to introduce their cultures and cuisines to the local communities. Today the town brims with Italian restaurants, pizzerias, delis and gelato shops. Pizza, pasta, lasagna and risotto are the legacy of their continued stay here. Kenyans along the north coast have picked up these foods and incorporated them into the local restaurant dining experience.

Commissioner James Robertson notes in a 1962 report on the Kenyan Coastal Strip Conference that “apart from the period of strong Portuguese influence in the sixteenth and seventeenth centuries, the presence of Europeans as residents is comparatively recent and can be measured in decades. Arabs, Persians and Indians, on the other hand, have been present in the Coastal centres for as long as there is recorded history”. This is reflected in some of the notable dishes that form Swahili cuisine.

Pilau, a very fragrant dish of rice made with a variety of spices including cloves, coriander and black pepper, has its origins in pulao, a similar dish originating in central Asia. Pilau can be eaten on its own or with chapati, urojo (a popular Zanzibari meat stew or spicy soup) and kachumbari (a relish made with onions, chilli peppers and lemon juice). Like chapatti and urojo, Biryani is a popular dish originating from South Asia, specifically India and Pakistan, a legacy of the historic trading links with that region.

Cloves are a typical Swahili spice, often used in pastries, beverages and foods. The prevalence of this particular spice is a nod to the region’s long association with Zanzibar, where a spice trade flourished prior to the arrival of the Portuguese at the end of the fifteenth century. Following their expulsion by the Omanis in 1698, large-scale clove plantations were established, with indigenous Africans used as slave labour, and by the second half of the nineteenth century, the archipelago had become the world’s single largest clove producer. The then Sultan of Oman, Seyyid Said, had at the time moved the capital of his empire to Zanzibar and the Kenyan coast came under his dominion.

Other spices to be found in your typical coastal kitchen are cinnamon, black pepper, cardamom and chilli, seasonings used in pilau, biryani, kahawa chungu, tea or mahamri.  Meals are centred on communal dining that brings together extended family, neighbours and guests. The food is served on a sinia, a round shallow plate from which everyone eats with their right hand.

The then Sultan of Oman, Seyyid Said, had at the time moved the capital of his empire to Zanzibar and the Kenyan coast came under his dominion.

Kahawa chungu is very similar to Arabic coffee but has a strong clove and black pepper aroma. It is usually served without sugar hence its name chungu which means bitter. Mahamri and mandazi are pastries that look similar but taste different. While mahamri are made with flour, yeast, cardamom and coconut milk, mandazi are made using either flour and yeast or baking powder but no spices are added.

Coconuts are a local crop that is used in most dishes; while coconut water is used to quench thirst (madafu), coconut milk is used to prepare mbaazi, mahamri, beans, rice and fish. Sea food is also an integral part of the food culture here because it is easily available.

In the past, interaction between the coastal strip and the Kenyan hinterland was limited by terrain. Robertson writes, “Until the construction of the railway line in modem times, the dry, unfriendly stretch of scrub land starting from twenty to thirty miles inland insulated the Coastal Belt from contact with the African interior more effectively than the oceans separated it from Asia and Europe, and it was undoubtedly for that reason that the slave trade routes and the early exploration of the hinterland started from Zanzibar through what is now Tanganyika and not from Mombasa.” However, modern Swahili cuisine is today dependent on produce from the rest of the country. In his PhD thesis Positioning The Gastronomic Identity Of Kenya’s Coastal Strip, Dr Anthony Pepela notes that most of the strip’s signature foods “relied on materials from other regions which were procured from the local market. [Chefs] consented that they could not do without these ingredients in preparation of their dishes. They only had a small fraction of ingredients sourced from the local farmers which created the distinction”.

Street food—from snacks to complete meals—is popular in Lamu, Mombasa, and Diani. Street food vendors cater to different clienteles, with some specialising in pastries and sweets such as mahamri, dates, halwa, ubuyu kashata and achari while others sell fast foods like French fries, viazi karai, samosas and mishkaki. Whole meals such as chapati maharagwe biryani are also sold on the street. Beverages include sugar cane juice and tamarind juice (ukwaju).

While the preparation of meals in the home is largely a female affair, both men and women prepare and sell food in the restaurants and on the streets. However, women are the custodians of recipes in families and even in spaces that are visibly male. They are often the glue that holds the business together, either as partners or as aides, with some cooking at home the food that the men sell on the streets, or helping in advertising it online.

Huda, a food vendor in the Sunpark area of Malindi, wakes up early every morning to prepare breakfast dishes for her customers. Early in the morning, as soon as Muslim prayer of fajr is over, Huda and her husband both head to her kitchen where duties are divided: he prepares the dough and she does the frying. After their children have had their breakfast and left for school, Huda sets out tables on the street in front of her house and starts serving customers while her husband remains in the kitchen cooking the rest of the food. Customers buy takeaway breakfasts or sit quietly sipping their spiced tea. Mahamri and mbaazi are top sellers that sometimes have to be booked in advance as they quickly run out.

To make mahamri, dough is mixed with cardamom, yeast, sugar and coconut milk, then allowed to rise before frying the pastry. This has to be done at least an hour before customers start streaming in, says Huda. Breakfast is served until around 9 a.m. by which time most of the items on the menu have been sold out. The lunch menu is biryani, pilau, and accompaniments which are usually prepared early in the morning or the night before depending on the workload. The best seller on the lunch menu is biryani kuku (chicken biryani) and ukwaju juice, with kachumbari as an accompaniment.

The popularity of street food at the coast is due to the influence of communal dining while the practice of eating outdoors is greatly influenced by the environment and the coastal weather; it is easier to keep cool during meal times and also to accommodate a large number of guests. There is also a high degree of customer trust in the integrity of food vendors, which means that you can stop anywhere in Mombasa, Malindi or Lamu to purchase food. Unlike in cities like Nairobi, sea food at the coast is fresh while access to the ocean also means that unlike the case with Lake Victoria, there is a wide variety of fish. This, however, does not mean that seafood is cheaper at the coast. In 2021, fish was more expensive in Mombasa than in Nairobi because of the availability of cheaper imports in the capital city.

By observation, the population of the Kenyan coast is less segregated socially, which means that, regardless of class, everyone eats more or less the same thing. Trust in the safety and quality of the ingredients used to prepare meals also undergirds outdoor dining and the popularity and accessibility of quality Swahili food explains why fast-food restaurants find it harder to penetrate markets within the coastal region than in mainland Kenya.

Swahili cuisine offers the diversity that lacks in many modern fast-food restaurants/franchises. While fast-food franchises offer competition, it is not enough to put street vendors out of business en masse. For franchises to survive at the Kenyan coast they have to incorporate local cuisines as has been done elsewhere, such as on the Indian subcontinent. Dr Pepela’s study found that although the perception of hygiene in an establishment could drive a preference for fast foods, particularly among those reluctant to try new foods, the majority of international and local tourists visiting the coast prefer the local cuisine.

By observation, the population of the Kenyan coast is less segregated socially, which means that, regardless of class, everyone eats more or less the same thing.

Because of the integral part that local foods play in the lifestyle and culture of the community, coastal communities have been able to hold on to and transmit knowledge of Swahili cuisine in spite of modernization. It is a normal and highly encouraged practice for many local Mijikenda, Swahili, Arab or Indian households in neighbourhoods such as in Mombasa’s Old Town to live in extended families under one roof or in close proximity. This allows knowledge in the form of recipes to be passed on from one generation to next. Because women are the guardians of culture and tradition in these communities, knowledge is transmitted from generation to generation within the confines of the kitchen, with recipes often passed down from mother to daughter.

Food preparation is group work, with specific persons taking up the menus that they are best skilled at. Younger men and women, and those yet to master certain recipes, get to learn from those with the experience and expertise. Proximity to vendors and markets such as Mwembe Tayari is another reason why the street food culture has flourished, especially for consumers who want to take away food to eat at home.

Food festivals have become an annual affair; the Lamu Food Festival and the Mombasa Food Festival bring together food lovers and food vendors with the aim of cultivating the interest in the region’s food cultures and developing the local food economy. The events lean on the organic 24-hour economy—especially around the entertainment industry—that has enabled the street food culture to flourish and compete favourably with mainstream fast-food franchises or restaurants.

Digital media has expanded the interest in Swahili culture and cuisine, with pages like @lifeinmombasa (twitter and Instagram) showcasing it through photography. Vlogger @Swahiligal (twitter, YouTube and Instagram) showcases Lamu through videos and photos and organizes visits to the coastal town, enabling visitors from the mainland and from outside Kenya to get a taste of Lamu.

The increase in online chefs and food bloggers has also brought the cuisine to a wider audience. Chef Ali Mandhry has a page providing a step-by-step guide on how to make even the most intricate Swahili dishes. @shobanes says his aim is to make cooking Swahili food as simple as possible and uses slang to reach a much younger and urban audience. YouTube is the platform of choice that both professional and novice cooks use to share recipes with a much larger audience.

Coastal cuisine is known for being cheap and providing value for money. However, ironically, in the rural areas and informal settlements within the coastal region, a balanced diet is often inaccessible, especially when the rains fail. In 2020, local health officials warned of a surge in cases of malnutrition in children under five, with around 90 children diagnosed with severe malnutrition in Mombasa town alone. In 2021, health officials raised the alarm about nutritional deficiency in Kilifi where they estimated that 148,000 people were facing possible starvation, with this number rising to 200,000 in 2022. Kilifi is a paradox in that while the street food is very cheap in urban areas like Malindi, Watamu and Kilifi town, the county also has a 90 per cent malnutrition rate in babies under two years.

The increase in online chefs and food bloggers has also brought the cuisine to a wider audience.

Acute poverty and lack of access to food in some areas has led to reliance on wild fruits. Residents of the Bofu Magarini area have been known to eat cactus and many homes restrict themselves to one meal a day. Children are constantly fed unsweetened maize porridge leading to nutritional deficiencies like pellagra in infants and pre-schoolers. While street food offers pocket-friendly balanced meals, it turns out that it isn’t truly pocket friendly for everyone, especially those without a regular income.

The construction of new roads, ports, dams and irrigation schemes by both county and national governments, and the influx of Kenyans from upcountry, will likely have an impact on and enrich the variety of Swahili foods and their methods of preparation, just as interaction with the outside world has always done. It has given us a rich food history such that many towns around the country are now opening restaurants specialising in Swahili dishes to bring these food varieties to other counties. Still, it is important to continue to document the cuisine, the recipes, the history and culture that have evolved over the many years of interactions between the Kenyan coast and the rest of the world.

This article is part of The Elephant Food Edition Series done in collaboration with Route to Food Initiative (RTFI). Views expressed in the article are not necessarily those of the RTFI.

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Culture

The Emblems of Food Aid in West Pokot

In the eight decades since drought was first recorded in the 1940s, food scarcity still afflicts the region, creating a demographic of the satisfied poor who count on relief food to supplement their production.

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The Emblems of Food Aid in West Pokot
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Up until the advent of devolution in 2013, several regions of West Pokot including Kacheliba, Alale, Kongelai, Lelan, and Sigor, had one thing in common: the bags of yellow maize that would arrive promptly from the National Cereals and Produce Board (NCPB) storage facilities about two months into the planting season, or when the stores of the previous season’s harvest began to diminish.

Food aid from donors, development partners, state agencies and well-wishers had over many decades become crucial to the residents of these regions despite the significant pockets of onion, maize and beans farming.

While food scarcity affected the better part of the region all the way north to neighbouring counties, it tended to be more pronounced in these areas where underdevelopment had left the populations mired in a continuous struggle for food. So neglected were certain parts of the region that, for example, the electrification of Chepareria Town under the NARC government was greeted with relief and jubilation.

Market days in places like Ortum, Orwa, Kerelwa, Kanyarkwat, Chepunyai, and Morpus were a hive of activity, with barter trade taking place between farmers from the outlying hills where furrow irrigation fed the hillside farms that produced onions, cassava, millet, maize and beans.

Still, for decades, the imported yellow maize continued to occupy a central place in the diets of a population scarred by decades of political marginalization. Yellow maize provided relief to food-deprived households, especially during the drier months and just before the harvest season. The relief food also benefited isolated herders who would move with their cattle through towns like Sigor, Orwa, and Sebit in search of pasture.

The locally manufactured hand-operated maize mill was a rare sign of self-sustenance in a region that before devolution offered little opportunity for advancement. Milling maize into flour using grinding stones was more common—a tedious and time consuming chore often left to the womenfolk.

The first major drought during which food aid was provided to the region occurred in the early 1940s and changed the colonial administration’s policy towards the North Rift region. The drought prompted the colonial government to push pastoralists into the cash economy; locals were forced to sell their herds of cows, goats and sheep to the colonial administration in exchange for jobs and cash.

The locally manufactured hand-operated maize mill was a rare sign of self-sustenance in a region that before devolution offered little opportunity for advancement.

In the mid-1980s, catholic missions and Scandinavian donors stepped in to try and alleviate the perennial food scarcity caused by drought and insecurity, inadvertently laying the grounds for high reliance on food aid. The poorer families among the Pokot would camp at food distribution centres, at church missions and at the offices of non-governmental organisations waiting for food donations.

President Daniel Arap Moi’s frayed diplomatic relations with donors in the 1980s, the structural adjustment programmes imposed by the International Monetary Fund in 1990s and their impact on the economy, as well as the area’s agricultural systems, further negatively impacted the fortunes of many households in the lower economic ranks. In the 40 years since the food aid framework was put in place, food aid continues to occupy a significant place in the region’s socio-political and dietary conversation.

The available data exploring the rainfall patterns, food security and land use, as well as vegetation cover in West Pokot between 1980 and 2011 shows that rainfall has been erratic. Farmers report declining rainfall, rising temperatures and a shortened growing season that has lowered food production. A meteorological mapping of the region over the last few decades confirms the farmers’ observations, leading to notable changes in policy responses such as increased stocking, crop diversification, crop area expansion, but also a reliance on food aid.

Dependence on food aid is, however, not uniform across the highland zones; Kapenguria and Lelan have a lower dependency rate than regions like Chepareria or the more food crisis-prone areas like North Pokot and Kacheliba.

Being a semi-arid, food-deficient and food insecure county, West Pokot requires constant climate change impact assessments, the study of local agro-systems and their incorporation into the formulation of modern adaptation strategies.

The droughts that followed in the wake of the failed rains between 1999 and mid-2002 proved to be the worst in the county’s history. Recorded levels of crop failure were at times as high as 97 per cent, animal numbers fell and aid agencies had to step in yet again to address the food crisis.

Deforestation is the unintended consequence of insufficient food production. Small-scale farmers cut down trees and burn charcoal for sale to supplement their meagre incomes. Sacks of charcoal by the roadside are a common sight, targeting commuters on the Orwa-Wakor-Ortum-Chepareria route.

Sigor, where trees covered 19.9Kha in 2000—or roughly 10 per cent of the land mass—had lost 378ha of humid primary forest or 8 per cent of its tree cover by 2020, leading to an overall decrease in vegetation cover of 7.6 per cent over that period. This has had a direct impact on the recorded rainfall within an area that relies on rain-fed subsistence farming.

The droughts that followed in the wake of the failed rains between 1999 and mid-2002 proved to be the worst in the county’s history.

In the eight decades since the 1940s drought, food scarcity still afflicts a significant portion of the population of the region. In March 2020, exactly 80 years after the first recorded drought, the national government sent food aid into the county: 150,000 kilograms of rice, 120,000 kilograms of beans, and 60 cartons of corned beef were given out to 31,000 households affected by drought across the county at a per capita ratio of 6kgs of rice and 4kgs of beans.

The effects of climate change and population growth have forced farmers and pastoralists in parts of the county to move towards diversification of food sources. One example is the Wei Wei Farmers Association that was formed in the late 1980s to implement an irrigation scheme that would sustain year-round farming. The project involves 600 pastoralists who have put 225 hectares of land under irrigation, with a potential of  1,200-2,000 tonnes of produce per cropping season that could bring in KSh100 million annually.

Food production remains a key priority and a challenge for the county’s leaders. The devolution of agriculture in 2013 placed the responsibility of overseeing food systems in the hands of local leaders who are engaging smallholder farmers, reviving ageing agro-projects, and establishing new ones. But ten years after devolution, many households still partly depend on relief food from local aid agencies and state agencies to supplement the production from subsistence farming.

The effects of climate change and population growth have forced farmers and pastoralists in parts of the county to move towards diversification of food sources.

In 2021, humanitarian agencies in the wider North Rift region placed the number of those at risk of starvation at about 250,000. Decades of partial dependence on food aid in the county have produced a demographic that sees little need to pursue development amidst a perennial food crisis and the predictable intervention of non-state actors. Poor farmers and pastoralists have come to expect—and have incorporated—relief food into their requirements as their incomes are not enough to meet their food needs, factoring in the black tax and reliance on donors and well-wishers.

This demographic is referred to as the satisfied poor in a theory that combines learned helplessness, cognitive dissonance and the subjective quality of life to map out instances in which certain persons and regions outsource their food autonomy to aid agencies irrespective of the projected size of their annual harvest.

Developed by Geraldine Olson and Brigitte Schober in 1993, the paradigm attempts to explain the satisfaction paradox—why some people who are objectively deprived nonetheless claim to be satisfied with their quality of life. They concluded that “being unhappy with the living conditions and yet ‘knowing’ that all available coping-strategies will have no positive effect on the situation, creates a cognitive dissonance within the individual that he will try to reduce. This reduction can be achieved either by finally using an effective coping-strategy or by the re-evaluation of the perceived situation with adapted (lowered) standards”.

Thus when the long-term structures that shape access to and affordability of food do not present clear pathways towards self-sustenance, poor households may learn to lean more heavily on the relatively more predictable provision of food by aid agencies, the state and well-wishers despite the fact that such efforts are meant to be temporary stop-gap measures.

In the longer run, this reliance on aid may result in deliberate disengagement by some from the affairs of the community. In fact, in recent years, the county administration has decried the rise in idling as a social malaise in the region.

Still, it should be noted that the structure of aid programming can also induce dependence, particularly in instances where the aid is sporadic and poorly connected to the food sourcing and storage needs of the local communities.

One can laud the sustained efforts to alleviate food insecurity in West Pokot—where 57 out every 100 residents struggle to meet their basic nutritional needs—while remaining cognizant of the need to move beyond aid. The local administration has brought together a collaborative team from across several sectors with the expectation that a wider pool of stakeholders will more ably fight food insecurity in the region.

Initiatives such as the pro-active poverty graduation policy are closely linked to the mission of West Pokot County Integrated Development Plan (CIDP), the overall framework that seeks to transform livelihoods through an equitable and sustainable utilization of resources in order to bring to an end the dependence on food aid.

In the longer run, this reliance on aid may result in deliberate disengagement by some from the affairs of the community.

To deal with the social and psychological underpinnings of the helplessness that is driving dependence on aid, the CIDP has placed the focus on food and nutrition security, and on improving equity in socio-economic opportunities by 2025.

Given the current food scarcity and impending crop failure, state agencies must continue to coordinate with aid agencies and well-wishers in the provision of relief food. However, critical medium and long-term interventions need to be implemented to undo the learned helplessness that decades of food aid have engendered in the minds of the poor.

A broke treasury, near-empty county coffers and failing rains means that in the short run dependence on relief food might actually escalate. However, aid providers must begin to robustly debate how food self-sufficiency might be achieved both in terms of availability, access, affordability and nutritional diversity.

It just maybe the right time to start working towards not just ending food dependency but also phasing out the gunny bags and the many emblems that symbolise the reality of dependency among the local farmers and pastoralists.

This article is part of The Elephant Food Edition Series done in collaboration with Route to Food Initiative (RTFI). Views expressed in the article are not necessarily those of the RTFI.

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