There was initially a slight conflation between the Afrobeat genre and its later reincarnation as Afrobeats. Recently however, there has been a demarcation between the two genres even though they share certain antecedents of lineage.
Fela Kuti—visionary composer, multi-instrumentalist, radical social activist, cultural renegade, political prisoner and pan-Africanist amongst other things—is regarded as the foremost exponent of Afrobeat and his life and work have been amply documented. Kuti’s brand of Afrobeat emerged after years of experimentation during which he lived in London as a student in the 1950s and 60s and then in Los Angeles in the late 60s. Kuti had studied classical music in England where he also spent time moonlighting in jazz clubs. Jazz, and not classical music, had been his first love. On completing his studies, Kuti returned to Nigeria where he had a stint in broadcasting before going into a full-time career in music.
At the time, West African highlife music was all the rave. Highlife is reputed to have been pioneered by E.T. Mensah, a Ghanaian exponent, but the genre soon gained widespread acceptance all over the West African coast. It was an intoxicating blend of Latin sounds and African polyrhythms served with bluesy horns. Essentially, it was feel-good music with little or no overt political content. It certainly didn’t need to be politically conscious because many African countries were still in a euphoric mood after recently gaining independence from their erstwhile colonisers.
For a while, Kuti dabbled in what he termed highlife-jazz. And then at the end of the 60s, he visited the United States on a musical tour. On getting there, he discovered that he and his band hadn’t obtained the correct visas that would permit them to work. In Los Angeles, he met Sandra Izidore, a young and beautiful African American woman who would change his life.
A student of anthropology, Izidore was also a radical pro-black activist who turned Kuti to the ideology of the Black Panther Party. The civil rights movement had gained tremendous momentum, with black leaders calling for urgent sociopolitical change. Such transformation also meant cultural assertion and empowerment as exemplified by James Brown’s radical cry, “Say it loud, I’m black and proud”. Brown in turn preached his searing political message through a diet of gut-bucket funk. Funk was unapologetically black at its core; the kind of music that in earlier times would be classified as race music. Basically a groove-based music, its energetic, funky drum patterns and heavy bass lines distinguished it as a form that spoke directly to the gut and soul.
Meanwhile, Kuti was taking copious notes on everything, from the strident political messaging to the indispensability of the groove coupled with the hypnotic and electrifying effects of gut-deep funk. There was clearly a lot to be learnt from a culturally resurgent black America.
Although Kuti deeply admired jazz, he still felt it lacked something. In particular, he believed that more obvious elements of African music needed to be added into the mix. These ingredients included powerful ancient West African drumming traditions. Within those illustrious percussive traditions, drummers had discovered a way to make drums “talk” in honouring their deities and forging stronger communal ties.
Kuti promptly set about incorporating those vital elements of West African music into his ever-expanding repertoire. Apart from his own indigenous Yoruba drumming, these elements included Ghanaian styles, highlife textures, jazzy horns and deep funk grooves. He also learnt about the power of African trance music and its innate spirituality. Having selected these assorted sonic elements, Kuti turned to questions of ideology and political message; it was an unlikely combination of ingredients funnelled through a highly idiosyncratic imagination.
Izidore had preached the necessity to develop a clear political vision. In America, political struggle was defined by the imperatives of black empowerment and the language of civil rights. Back in Nigeria, as the euphoric haze of independence wore off, Kuti was confronted by enervating postcolonial anomie. The ruling classes, both civilian and military, had become insufferably corrupt. Instead of real national development, Kuti saw missed opportunities and truncated potential which infuriated him. He started to lambast the decadent ruling classes and soon incurred their wrath. He was constantly harassed, arrested and beaten by military goons.
But Kuti had found a powerfully distinctive musical voice and an equally impressive political message to sit within it. Fastened together, his sonic template and ideological vision became a formidable weapon that attempted several things all at once: sociopolitical transformation, cultural and aesthetic affirmation, spiritual re-discovery and individual liberation.
Kuti came to be viewed as a disconcerting maverick, an irrepressible icon who spoke fearlessly for the disenfranchised masses, a gadfly who constantly taunted and angered the political and economic elites, and finally, a social rebel who championed the causes of countercultural renegades. He blithely broke all the rules, politically, culturally and musically. And within this restless cauldron of rebellion and experimentation, classical Afrobeat was born, with Kuti as its instantly recognisable face. However, there were other musicians, such as Orlando Julius and Remi Kababa, who also favoured the genre.
Within Kuti’s large and revolving band, many musicians are credited with having played pivotal roles in forging Afrobeat’s sonic identity. In this regard, mention must be made of drummer Tony Allen’s contributions in laying down the percussive basis of the Afrobeat sound. Although Kuti was the visionary mastermind who assembled all the elements together, he was generous enough to acknowledge Allen’s vital inputs. Incidentally, Allen died in Paris during the COVID-19 pandemic at the age of 79.
Another crucial figure in the Afrobeat story is baritone saxophonist Lekan Animashaun who succeeded Allen as band leader when the latter left in 1979 not long after the sacking and razing of Kalakuta Republic, Kuti’s countercultural commune, in 1977. The following year, Olufunmilayo Ransome-Kuti, Kuti’s mother and foremost feminist, who had been flung from an upstairs window during the raid on Kalakuta, died aged 78 as a result of her injuries.
Kuti himself was never the same after this ordeal. He gradually became understandably paranoid, distrustful of even his own well-meaning close friends and associates and increasingly reclusive. His oppression at the hands of the military authorities continued and a change in his sonic template became noticeable. For one, the joie de vivre evident in his earlier compositions rapidly gave way to a sombre, meditative tone which aligned with the spiritual turn of mind that came to inform his general outlook.
Kuti died in 1997 during the reign of Nigeria’s most heinous dictator, General Sani Abacha, who himself met his demise the following year. But even before his death, Kuti had been long past his prime, weakened by numerous beatings inflicted by an unforgiving military and HIV/Aids. Sadly, he died a bitter and broken man although ultimately, he had the last laugh. Afrobeat, the genre he pioneered and disseminated against all odds eventually became an attractive idiom, finding proponents all over the world. As this came to pass, his cultural stock increased in value exponentially.
Nollywood, the rough, innovative and adaptable movie industry hatched in the midst of a pulverising economic meltdown and severe sociocultural upheavals soon grew to international prominence on the strength of its DIY ethic. After Kuti’s passing, it was yet another cultural phenomenon that, in spite of all odds, attested to the region’s cultural vibrancy and resourcefulness. It can be argued that the confidence acquired by Nollywood somehow translated to other distinct yet related cultural pursuits such as music. In other words, the same DIY spirit that had birthed Nollywood eventually produced Afrobeats.
Afrobeats, as distinct from Afrobeat, is less political, arguably less musically accomplished or sophisticated and evidently less aesthetically ambitious. Today’s Afrobeats musicians work in a vastly different technological era in which they don’t need to learn to play and master what are considered to be traditional musical instruments. All they need is an adept beatmaker.
However, Kuti’s Afrobeat is an almost impossible proposition in the current economic environment because he often needed what would appear to be orchestras within orchestras to produce his intricate, lavishly textured sound and hence realise his singularly unique musical vision. Technically, this is very difficult to accomplish presently as the sheer logistics required to achieve this kind of feat are simply mind-boggling.
Kuti also believed strongly in the spiritual dimensions of African music; music was, in other words, an avenue to access ancestral life-worlds and establish historical continuity devoid of the frivolities of the present. In addition, there is also a striving to affirm and express the ineffable. Again, this refers to the spiritual component of classical Afrobeat.
Wizkid, Davido and Burna Boy are regarded as the current superstars of the Afrobeats scene. And in several ways, they are all very different. Wizkid, one of the first breakout Afrobeats stars, has a distinctively mellow voice and is very skilled at ad libs and groove-laden free-styles. Lyrically and politically, there is very little content to his music except that he is often able to deliver feel-good tunes that fill the dance floors. In fairness to him, he does not pretend to be a political messiah or to possess a vision of how society ought to be reformed. He has also become part of the global entertainment industry which readily accepts and promotes stars that lend themselves to easy and unproblematic branding.
The same can be said of Davido, Wizkid’s compatriot and frequent rival, who hit the limelight about the same time as the latter. Davido’s voice isn’t as charming but he makes up for it with an equally astute understanding of the groove and indigenous African rhythms. Other advantages that serve him well are his relentless energy and cannily precise understanding of his strengths and limitations as a musician.
Burna Boy, his multiple successes notwithstanding, is a slightly more demanding figure. Of the three major Afrobeats stars, he draws more directly from Kuti’s immense artistic legacy. He has sampled so many of Kuti’s compositions that detractors began to question his originality. Incidentally, Burna’s grandfather, Benson Idonije, legendary jazz aficionado and broadcaster, had been Kuti’s manager in the 60s. So Burna comes from an artistic and ideological pedigree that can be traced right back to Kuti. His most recent musical offering entitled Twice as Tall comes barely a year after the Grammy-nominated and BET award-winning album, African Giant.
Burna has consistently attempted to infuse socially conscious lyrics in his music, an obvious connection to Kuti’s aesthetic. Interestingly, his mother, Bose Ogulu, is a producer of his latest album along with US luminaries P Diddy and Timberland. His sister works on his label as artistic director. Ensuring that his family participates in his artistic journey also chimes with Kuti’s understanding of the communal nature of music. However, being transformed into an unproblematic global star entails a more discreet packaging of his overt political agenda. If Burna gets too strident about his political message, sponsors and brands may balk at promoting him.
At the same time, there is clearly an inclination to present himself as a credible artist and not just a dance floor-filling flavour-of-the-month singer. It would be interesting to see how the contradictions between being a true artist and being merely an entertainer in the current music business climate play out. It is a bit early to predict how Burna intends to confront this dilemma as he tries to portray himself as an artist cut from the Kuti cloth while also having an eye on gorgeous video vixens who could make his visuals more interesting. His growing political awakening has to contend with the very real limitations within the music industry and the realities of becoming a veritable global icon.
Meanwhile, performers from all over the world continue to hop onto the Afrobeats wagon, from Beyonce, Drake, Chris Brown, H.E.R., Stormzy, Summer Walker, Wale, Jorja Smith, Sam Smith, Pop Smoke, Teyana Taylor to Afro B and many other globally acclaimed stars. And the morphology of Afrobeats has begun to reflect this astonishing diversity in terms of sound, presentation and potential.
Unlike Nollywood, Afrobeat(s) generally have had greater success as African cultural exports. In his heyday, Kuti almost immediately won over influential fans like the famed jazz pianist Randy Weston, Miles Davis, Stevie Wonder, Paul McCartney, Ginger Baker, Gilberto Gil, Roy Ayers, Hugh Masekela and many other major industry players. There are Afrobeat combos playing in the Kuti mode in Europe, Asia, North and South America. Arguably, there are also more Kuti tribute bands playing abroad than on the African continent. Even before his death, in countries like Colombia, there were numerous cover versions of his songs that Kuti himself probably knew nothing about.
Fela!, the broadway musical composed by Bill T. Jones and sponsored by Jay Z and Will Smith in 2008, went on to have a successful international run taking in Europe and Africa. Since then another Fela-inspired musical extravaganza produced in Nigeria has gone on tour internationally. There are frequent festivals in France, Britain, the United States, Latin America, South Africa and Nigeria celebrating Kuti’s life and work.
Kuti’s discography is somewhat confusing for a number of reasons. He was extraordinarily prolific during his almost four-decade long career beginning from the early 60s. He privately established a plethora of record labels and also released many albums through mainstream companies such as EMI and Decca. Some estimates claim he released one hundred and thirty-three albums during his lifetime excluding almost two dozen masterpieces he simply refused to put on wax due to his eventual disillusionment with the music business and societal politics.
As for Afrobeats, in May 2020, US mainstream music outlet, Billboard Magazine, ran a special feature on the global rise of the genre profiling Davido, Tiwa Savage and Mr Eazi. Both Davido and Savage have performed on the US TV Jimmy Fallon show. Mr Eazi entertained US fans alongside Burna Boy in 2019 at the impactful Coachella Festival. His 2020 hit single, Oh My Gawd features Major Lazer and Nicki Minaj. Afrobeats has firmly taken root in France, the Netherlands, Germany, Spain and Italy supported by a large African diaspora population and enthusiastic European audiences. It is certainly not a mere passing fad but an increasingly durable fixture on the cultural calendar. Only this year, the UK launched its official Afrobeats music chart. And there are now festivals exclusively devoted to Afrobeats.
Nonetheless, Afrobeats musicians and music audiences around the world are immensely indebted to Kuti for the enormous sacrifices he made to lay the solid foundations for a multi-faceted sonic future, the possibilities of which are yet to be exhaustively explored. Kuti was hardly able to reap the benefits of his astonishing work during his scandal-prone life. Indeed, he was an uncommonly courageous and uncompromising artist who often spurned the advances of international entertainment cartels just as he offended local political elites. And so in order to pursue his work, he had to build his own platforms and networks from scratch which entailed finding his own performance spaces, establishing his own record labels and developing independent channels for the appreciation and distribution of his music.
Kuti fought many battles on multiple fronts and, of course, due to his unyielding stance, he incurred great financial and reputational losses. For instance, he once famously turned down Motown’s attempt to buy his diverse back catalogue. But those very losses and sacrifices are what made it possible for Afrobeats to be born. Kuti almost single-handedly charted an aesthetic terrain that is full of yet to be explored musical riches.
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Forgotten Histories: Eugenics, Racism and Colonial Mental Doctors in Kenya
How racialized intellectual outputs placed in just the right circumstances can do the most damage.
In 1951, a prominent British medical journal on mental disease published the now-notorious account from Dr J.C. (John Colin) Carothers on “frontal lobe function and the African.” While such racist pseudo-sciences were ubiquitous throughout the colonial period, this article contained the rather shocking analogy comparing the brains of “normal” Africans to that of leucotomized (lobotomized) Europeans. Although the original article is lost somewhat to obscurity, its hypothesis has been a mainstay in much of the historiography surrounding the racist science behind what can be called a “colonial psychiatry.”
Since Megan Vaughan’s seminal article on “Idioms of Madness in a Nyasaland asylum” (1983), a robust sub-genre in medical history scholarship has followed suit to explore the concepts, confinements, and rhetorical abuses of colonial institutions across their occupied territories. Kenya, as is often the case, looms large. This is due, in part, to the work of Carothers throughout the 1940s from Nairobi’s Mathari Mental Hospital, which followed on from an ugly eugenicist turn amongst white settler physicians in the 1930s.
The body of work by such physicians appearing frequently within the pages of the East African Medical Journal and the later, more substantial, publications by Carothers in the early 1950s, solidified what came to be known as the East African School of psychiatry with Carothers as exemplar.
Carothers is known for three influential publications; the aforementioned article on frontal lobe function, a widely read World Health Organization monograph, The African Mind in Health and Disease (1953), and a British government commissioned treatise on the Mau Mau rebellion, “The Psychology of Mau Mau” (1954).
Despite his prominence in some quarters, and the expectation that his years of service at the helm of Mathari qualified him as an expert witness on African mentalities, Carothers’ work did not receive a quiet acceptance among his contemporaries. Experts from psychiatry and anthropology weighed in with responses to the WHO monograph with scathing reviews appearing in equally prominent journals. Lest Carothers’ stance on race appear unclear, critics made direct references to his racial and biological determinism—fair play, considering Carothers himself cited his frontal lobe theory in his later works.
Frantz Fanon, critiquing the agony of the colonial situation, referred directly to the sinister nature of the work emanating from Kenya and from Carothers specifically. Although Fanon had many targets, Carothers’ infamy was cited in a summing up of his chapter on “Colonial War and Mental Disorders” in The Wretched of the Earth with commentary on the damage done by the widespread acceptance, even in university teaching, of the “uniform conception of the African.”
“In order to make his point clearer” Fanon wrote, “Dr Carothers establishes a lively comparison. He puts forward the idea that the normal African is a ‘lobotomized European.’” Unlike Fanon, J.C. Carothers was not actually trained as a psychiatrist (he completed a diploma course in psychology while on leave in the UK). He utilized the patient population of Mathari Hospital and a general armchair anthropological tendency that infected many colonial administrators, to publish his findings about the nature of the “normal and abnormal” African. Although he lacked genuine academic credentials, he did enough to beat out experts like Melville Herskovitz (a prominent figure in the founding of modern African Studies in the US) to win the WHO commission. Despite this intellectual coup, the book was seen as a racially charged blemish on the organisation and was controversial the moment it was released.
Melville Herskovitz’ review warned that the potential damage caused by the publication was palpable. “For where, as in Africa, stakes are high and tempers are short, anything this side of the best scientific knowledge will accelerate existing tensions and make their resolution the more difficult.” The impact of the book might have remained fairly academic; it was, after all, an extended institutional report with a poorly constructed literature review. But it gave Carothers an air of authority as an expert on African psychology amidst a period of turmoil and increasingly violent demands for independence.
By the time the state of emergency was declared in Kenya in 1952, Carothers had already returned to the UK. When the British government called on him to provide his opinion on the psychological impulse behind the Mau Mau rebellion, he was able to oblige from the comfort of home by plagiarizing substantial aspects of The African Mind with added polemics about the “forest psychology” of the Mau Mau. He made a brief government sponsored visit in 1954 to observe the detention camps, and his visit to Manda Island was documented in a scant entry in Gakaara Wa Wanjau’s Mau Mau Author in Detention. The result was a widely read government pamphlet, “The Psychology of Mau Mau,” which not only explained the reasons why Kenyans had resorted to violence, but also laid out a medicalized rationale for what to do about it.
Under the radar, in the mid-1950s, another psychiatrist had a mandate to visit the camps. However, so dominant is the Carothers narrative of East African psychiatry, these two doctors are generally not compared as such. Edward Lambert Margetts was a little-known psychiatrist from Canada who had the distinction of having overseen Mathari Hospital during the Mau Mau war. In stark contrast to Carothers, Margetts made some surprising observations about the trauma of detention camps—although it must be said that he was no sympathizer to the Mau Mau cause.
Despite a penchant for collecting, documenting, and writing, he eschewed any opportunity to write about the Mau Mau war directly, but he too was invited to visit detention camps and to examine detainees brought to Mathari. Camp superintendents had little interest in big picture theories about the African mind, but they were keen to expose specific prisoners who were suspected of feigning mental illness as a means of escaping hard labor.
While some of Margetts’ notes are uncharacteristically cagey, he observed key patterns amongst a small number of detainees held in camps as well as Kenyans living amidst Mau Mau chaos. Most fascinating are medical notes with a term coined by Margetts “Mau Mau perplexity fear syndrome” in which he documented the anguished testimonies or panicked delusions of Kenyans who lived under a constant terror of violence.
For detainees, Margetts made a remarkable observation that while some prisoners might well be “malingering,” others exhibited signs of dissociation caused by extreme trauma related to their confinement. Ganser Syndrome (after Sigbert Ganser, 1898) was also known as “prison psychosis” and included an array of unusual symptoms such as hysterical blindness or the compulsion to give nonsensical answers to easily understood questions. Margetts queried whether some detainees could be considered under this diagnosis—an indication that some of the trauma in Kenya might be attributable to British administration of the war and not the innate savagery of the African personality.
Frantz Fanon also referred directly to Carothers’ “Psychology of Mau Mau,” and to the government’s concurrence that the “revolt [was] the expression of an unconscious frustration complex whose reoccurrence could be scientifically avoided by spectacular psychological adaptations.” If Fanon was aware of Margetts at all, he would likely have conflated his views with those of his predecessor within the East African School. Fanon noted that Carothers’ work dovetailed with the types of claims made by the North African School. and the credence given to such ideas made the corruption, and “tragedy” of colonial medicine all the more evident.
Although they were contemporaries, these three psychiatrists had little in common, although two of them challenged the “Mau Mau as mental disease” paradigm from the distinct vantage points of clinical curiosity and revolutionary political thought. There are still many avenues to pursue within a scholarship concerned with psychiatry’s entanglement with colonial politics and violence, but perhaps J.C. Carothers output has had a shelf life beyond what it should have done. Edward Margetts’ tenure at Mathari is not unproblematic, but nonetheless leaves a very different intellectual footprint. From his clinical notes and writing, we may apply a bit more nuance and tension to the otherwise flat depiction of Carothers’ overt racism.
The “East African school” represents a paradox between a scientific community that for the most part knew better in the 1950s, and the undeniable influence of racialized intellectual outputs placed in just the right circumstances to do the most damage.
BBI: Fighting Back Against Our Need to Uproot Uthamaki (White) Masculinity
BBI would have shut down any options for Kenyans to imagine a Kenya whose imagination is not dominated by the Kenyattas, or that is not centred around the figure of the Kikuyu or white settler male.
It is now fairly well accepted in the public discourse outside Kikuyuland that the alcoholism and suicide rates among Kikuyu men are related to the soul pact which the Kikuyu community has signed since 1969 to keep the Kenyattas in power. It is a phenomenon that creates a lot of bitterness in the rest of the country, especially within the communities that have most recently suffered large-scale state violence, such as that witnessed in Kibra and Kisumu in 2017 during the protests against the disputed election of Uhuru Kenyatta.
The extremely slow realisation that the Kikuyu are becoming isolated from the rest of Kenya has started to produce a literature in which the Kikuyu are portrayed as having acknowledged the mistake they made in supporting Uhuru in 2017.
This narrative, however, still contains the supremacist blind spot which Kenyans complain about. The realisation of the mistake comes not from a deep regret about the loss of non-Kikuyu life, including the fact that some Kikuyu supporters of Jubilee cheered on the police massacres that largely targeted the Luo community. Rather, the regret comes from a bad business environment, implying that if business was doing well, all things remaining constant, there would be no problem with what happened in 2017. In other words, money is more valuable than non-Kikuyu life.
As one can imagine, this hubris makes many Kenyans livid. But unfortunately, it is not enough to say that the empathy the Kikuyu are seeking is still selfish and narrow-minded. Although it is. Rather, we must analyse how this hubris became entrenched among the Kikuyu, because the mechanisms which have made the Kikuyu collectively oblivious of the national sentiment are actually contained in the BBI which was recently deemed unconstitutional by the High Court.
Embedded in BBI was the disease that has led to the collective zombification and self-decimation of Kikuyu men, and which would have spread to the rest of Kenya. Ultimately, BBI was less about institutional change and more about a change in the collective Kenyan soul. BBI did not call for change in the status quo; rather, it sought a change in our attitude towards the status quo, an attitude that has already taken Kikuyu masculinity captive.
The culture of Uthamakistan
The unstated religion in Kikuyuland is that being a Kikuyu man is the best thing since sliced bread. This religion is reaffirmed at various gatherings (weddings, funerals, church services) where men are encouraged to affirm a manhood that is modelled on the local rich man who owns land and drives around in an SUV, and ultimately on Uhuru Kenyatta himself. This model of masculinity is a Kenyanification of the colonial white settler. In fact, had it not been for technology and independence, the alpha Kikuyu male would have a horse instead of a Prado, and would have called himself Sir Charles or Prince Andrew. I’ve been told that such men do exist in the exclusive clubs formerly frequented exclusively by colonial settlers, but the only one I’ve seen is former Attorney General Charles Njonjo.
The message in Kikuyu country is that there is no other alternative to manhood. In some ceremonies I have attended, even in church, this reification of what one would call Uthamaki masculinity is presented as a cultural obligation. Kikuyu men are told that other Kenyan ethnic groups are proud of their identity, but Kikuyus are ashamed of theirs, and so joining groups like the kiama kia ma is an obligation to not just the ethnic group, but to a pan-African identity as a whole. This narrative is not only widespread, but it is also comprehensive, because it covers property, education, culture, faith, gender and anti-colonialism, making it difficult for an ordinary man without a sufficient grasp of history and political education to resist it.
Inevitably, this model of manhood excludes the majority of Kikuyu men who are without economic means and social status. So what are the options for such Kikuyu men who do not own property?
Alcohol and suicide. Alcohol to silence the voices in his head asking him to be what he cannot be, and because he can’t burn down the media houses, Jogoo House and the churches to shut those voices up. After all, the Uthamakistan message is that those institutions are “his” and if he can’t enter them, Muigai is doing so on his behalf. So he can’t fight the institutions that are “his”.
The other option is suicide in order to get out of the system altogether.
And this was the suffocation that Binyavanga Wainaina was fighting against. He was saying that the narrative of the straight pipeline which says “go to school, get a job or start a business” was “crap”. To illustrate, Binyavanga gave the example of someone with two masters’ degrees paying a 300,000 shillings bribe to get a job as a private in the Kenya Defence Forces. Throughout his life, Binyavanga called for a variety of stories and innovations to counter this single story that is strangling Kikuyu men, and ultimately all Kenyans.
This model of manhood excludes the majority of Kikuyu men who are without economic means and social status.
What Binyavanga was calling for was a fundamental reconsideration of what it meant to be human, and for an imagination of what a human Kenya would look like. The status quo responded viciously. Kwani?, the platform for his cultural action, was welcomed with hostility by the academy that called writers associated with him “literary gangsters”. In the end, Binyavanga spent his last days struggling to pick himself up as the legacy he had struggled to build began to decline.
Granted, Binyavanga had not reckoned with the ethnic dimension of what he was fighting against, and often wavered between supporting and opposing the government. But he was onto something, and the seed which he had planted needed the soil, water and sunlight of Kenya’s diversity and creativity to germinate.
And this is not to suggest that Binyavanga was the only one who had this seed. He probably got as far as he did because he was a Kikuyu man. In other areas of Kenya, such seeds never see the light. Culture and arts in Kenya have buckled under the weight of a claustrophobic public life that is hostile to any public gathering of Kenyans outside political rallies or the inevitable weddings, initiations and funerals. And BBI had proposed penetrating even those ceremonies by providing the syllabi to be used at initiations and the material to be used in marriage counselling.
And so the purpose of BBI was two-fold: to not only prevent different imaginations of what Kenya can be, of a Kenya that is not centred around the figure of the Kikuyu or white settler male who offers no innovation or social service, but to also suck in the rest of Kenya into this narrow, racist archetype of manhood. BBI sought to infiltrate faith, initiation ceremonies, schools, marriage, history and education to ensure that the seed of the propertied ruling class is planted in every mind in every corner of Kenya.
The Kenyatta head start
The tragedy of the handshake was that the supporters of the initiative thought that the handshake was an equal partnership, when it was not. The Kenyattas already dominate the cultural space and imagination of Kenya, and so the proposals in the BBI simply gave them a greater advantage than all the other Kenyan communities, ethnic or not. The Kenyatta name already brands the nation’s major conference centre, the national referral hospital, two universities, the largest international airport, a major street in the capital city and the largest public beach at the coast. The name of Uhuru Kenyatta’s mother, Mama Ngina, is now carried on the rebuilt waterfront which her son inaugurated on Mashujaa Day in 2019, a day which was renamed precisely for the opposite purpose, that of divorcing Kenya’s historical memory from its personification in the Kenyattas.
The Kenyattas even have the grave of their patriarch in the central business district, next to where the elected representatives make policy for the rest of Kenya. During the Uhuru presidency, laying a wreath at that grave is a protocol for foreign dignitaries visiting Kenya. Uhuru’s government also used a statue of the president’s father on Kenya’s new bank notes, circumventing the law that stipulates that a human portrait shall not be used. The cynical argument was that the image was of a statue of Jomo Kenyatta, rather than of Jomo Kenyatta himself.
The tragedy of the handshake was that the supporters of the initiative thought that the handshake was an equal partnership, when it was not.
The basic message is that Kenya’s national identity is synonymous with the Kenyattas, and is not to be shared with any heroes or historical milestones from the rest of Kenya. Other heroes can be commemorated in the 46 counties but not in Nairobi, which the BBI assigned a special status because of the foreign (read Euro-American) expatriates who live there. If Kenyans wanted to remember Mekatilili, for example, it would have to be done in Malindi and not in Nairobi.
Uhuru Kenyatta’s government has also sealed any loophole that might be present in the education sector by reducing education to vocational training for children, and by crushing the incentive to the study the arts and humanities by paying lecturers in this field less than lecturers in STEM. And if BBI were to pass, history and ethics would be dominated by the Kenyatta family, since the BBI proposed the position of an Official Historian in the Office of the President.
Basically, what BBI was doing was to shut down any options for Kenyans to imagine a Kenya whose imagination is not dominated by the Kenyattas. And since that model of manhood embodied by Uhuru was not accessible to the overwhelming majority of Kenyan men, BBI would have meant that alcoholism and suicide would have become the means of escape from this suffocation.
Since Uhuru Kenyatta became president in 2013, the Kenyan state has been engaged in placing the Kenyatta family on the pedestal of manhood and humanity, and has been waging war against any model of manhood which does not exude the aesthetics of a propertied Kikuyu landowner. The fear of Luo men, including of Raila, is not about initiation. It is a fear of a different manhood whose identity is not attached to state power used for massive and primitive accumulation, a manhood that is different from the colonial settler manhood on which Kenya was founded.
We must all tell our stories
The state’s determination to protect this Kikuyu (white) alpha male is relentless.
That is why the so-called fight for the boy child that was started in Kikuyuland by Nderitu Njoka of Maendeleo ya Wanaume was started as a war against women, rather than as a war against the white supremacist Kenyan masculinity. The so-called oppression of men does not deal with the fact that the majority of victims of extra-judicial killings are young men, right from the slums all the way to universities.
The same model of masculinity accounts for why any man whose political thinking is different from that of the state is vilified in Kenya as being uncircumcised, womanly, gay or insane. That is if they are not expelled on a plane, beaten or shot in the streets by the police. That would answer Gathara’s pondering “why some Kenyans seem to imagine that being called either a woman or a homosexual is an insult.”
And unfortunately, the Kenyan church became coopted into this corruption of Kenyan masculinity through embracing the “family values” of the American evangelical right. The church did not recognise that even as evangelicals talk of nuclear families, they have a separate narrative of black male pathology, because white supremacy does not consider black (or African) men capable of belonging to stable families. The narrative of black male pathology is necessary to explain why black people are poor and disenfranchised. The Kikuyu elite justify Uthamakism with a similar rhetoric, arguing that poor Kikuyu men are a social problem created by empowered women or the “girl child”.
Since Uhuru Kenyatta became president in 2013, the Kenyan state has been engaged in placing the Kenyatta family on the pedestal of manhood and humanity.
The way ahead is not to decide which family is a real family. It is to send a strong message to the state that it has no business dictating what is in our bedrooms, our homes, our cultural spaces and in our education. The BBI proposed to extend the tentacles of the Kenyan state into marriages, initiation ceremonies, ethnicity, art and history, so that the Kenyan state would be re-made in the image of the Kikuyu (white) alpha male.
The solution is to tell our stories, and to fight against the state being the only decision-maker about who tells stories and what stories we tell. Even the position of prime minister proposed by the BBI was a means of alienating people from telling their stories, because it sought to prevent citizens from having a direct say in politics.
It is also important that we do not hate disenfranchised and culturally miseducated Kikuyu men so much that we fail to see that it is precisely that model of citizenship and manhood that was being prepared for all Kenyans. We need to resist the efforts of state to dictate our stories. We must fight for a Kenya that has space for all our stories, all our ceremonies, and all our histories.
And we must free our cultures and identities from the shackles of ethnicity. Since colonial rule, Kenyans have made the mistake of restricting culture to ethnicity, forgetting that culture also includes information, education, technology and art.
As Dan Ojwang explains, even Kenyan intellectuals have drowned in this medieval narrative of self-contained and rigid ethnic groups, and ironically in the name of fighting against the colonial project whose cultural model the intellectuals apply. Yet in history, Ojwang argues, there is ample evidence of hybridity even within ethnic groups before colonial rule. By contrast, BBI stuck to the ethnic lines drawn by colonialism, confining culture to ethnicity, and then bringing all other forms of cultural production under the direct control of the state.
We must fight for a Kenya that has space for all our stories, all our ceremonies, and all our histories.
But most of all, we need a new, deep Kenyan story, such as that of freedom, of a brave and proud people who defied oppression to assert our humanity. Mekatilili, Syokimau, Pio Gama Pinto, David Munyakei, Chelagat Mutai, Chris Msando, Onyango Oloo and Kioko Mang’eli are just a few of our heroes whose names should be on our buildings, in our awards and in our history books.
To call for a diversity of human accomplishment must not be reduced to facilitating women and non-Kikuyus to compete for the narrow definition of masculinity embodied in the colonial state and in the Kenyattas.
If that model of manhood is already proving to be deadly for the men from the president’s backyard, and for the women who innocently love them, how much more deadly would it be for the rest of Kenya?
Rest in oblivion, BBI. We rejoice at your demise.
A Moran’s Meal and Other Changing Fortunes
As frequent droughts and famines wreak havoc and the ravages of climate change are felt, nomadic herders have had to rethink their economic livelihoods.
My friend is having a Samburu traditional wedding and I attend in earnest glee; food was not the centre of that wedding. I remember how after waiting an inordinate number of hours for any signs of food preparation, at around 1 p.m. my friend said “there goes your stew” and I saw some way from us a few morans leading a goat towards the acacia thicket by the dry riverbed. A moran pilau was hastily put together. We were served in Jerry cans that had been cut in half. The morans used their knives to cut spoons out of tree bark and we ate like men about to go to war. We then lay under the trees as the morans sat in pairs preening their looks and adjusting their hairpins. Later they danced under the acacias, the morans in their colourful socks jumping endlessly well into the wee hours of the next morning, fuelled by the pilau from lunch. No wonder the morans were trim, without any superfluous flesh on their wiry bodies.
On another occasion, amongst the Gabra whose marriage calendar falls twice a year, with hundreds of traditional weddings being held across the land on the same day, goats were slaughtered in such numbers that for a few days afterwards you could not look at beef or goat meat with any appetite.
In the north, guided by the moon and the seasons, it was ritual that largely dictated the slaughter of goats. During the circumcision ceremonies late last year, thousands of goats were slaughtered within the span of a few days. At an age set transition ceremony amongst the Rendile a few years ago, everyone who was transitioning slaughtered a goat, thousands of them in just a couple of days. A friend ran behind a thicket and brought me back a badly roasted whole goat’s hind leg and a moran’s knife. This was how pastoral nomads partook in goat and beef consumption.
Goats died en masse during Almado and Sorio and then the rest of the year people subsisted on milk, porridge, boiled maize and ilkitegee — ugali with dollops of fat and sugar. The calendar of these ceremonies coincided with important seasonal changes. The slaughter of goats in large numbers played an important role in creating an ecological balance as this eased the pressure on pastureland and water resources.
Goats were slaughtered in such numbers that for a few days afterwards you could not look at beef or goat meat with any appetite.
In this land of uncertainty, complex safety nets had emerged to distribute risk and guard against uncertainty. Meals reflected this spirit of sharing at the micro level; one never ate alone, and food was served in large sinias with six people sitting around a single plate. Aphorisms like “if shared, a flea can make two bites” were often repeated.
Yet, with climate change, the image coming out of northern Kenya is one of starvation. Extreme seasonal changes have increased uncertainty and the frequency of drought-induced famine. This year, the March-April long rains were dismal and already stories of looming hunger are beginning to circulate, with 40,000 people said to be facing starvation in Marsabit.
Flanked on one side by the Kenyan highlands, which are known for large-scale cash crop plantation agriculture, and by the teff and corn-growing Ethiopian highlands on the other, one wonders why the dominant image emerging out of this large swathe of low shrubland is one of starvation.
Over the years though, efforts have been made to transform this image without however taking into account the complex dynamics at play. The common policy response has always favoured — or has been geared towards — changing pastoral nomadism by introducing crop agriculture. For a country like Kenya, where agriculture contributes a third of the country’s Gross Domestic Product, crop agriculture seems to be the government’s default setting and in this mode, pastoral nomadism has been vilified as both outdated and as unsustainable as a means to a livelihood. Unending efforts have been dedicated to bringing change and NGOs compete with each other in handing out greenhouses and irrigation equipment. Youth groups are trained in modern poultry farming methods and women’s groups are given beehives to start beekeeping. Wreckage from these efforts dots the landscape.
As nomads became increasingly sedentary, new economic pursuits emerged which demanded a massive dietary readjustment. Caloric needs increased and palates developed new tastes. As people settled and moved to salaried and wage labour, food security at the household level improved greatly. Rice, spaghetti, chapati and macaroni served with beans, meat and potatoes were the meals consumed in most towns in northern Kenya throughout the year. Most of these were foods were lacking in fibre, leading to unique health problems. Bowel movement is hampered and many suffer from hemorrhoids in secret; it is a common health complaint in the urban centres that is further exacerbated by miraa consumption.
With food security achieved for the settled populations, more meat was consumed in the urban centres, a big departure from the pastoral dietary habits. “If a meal doesn‘t have meat in it, is it even a meal?” seems to be the unasked question sitting unanswered on each plate. The Marsabit Integrated Smart Survey of 2019 showed that consumption of animal protein-rich foods was so high that health practitioners warned Marsabit residents against eating too much beef.
A history of farming in Marsabit
According to the Marsabit Statistical Abstract published by the Kenya National Bureau of Statistics (KNBS), 16,000km² around Marsabit is arable land. Mr Woche Guyo, a historian from Marsabit, has been keenly following the agricultural patterns in the region and says, “Those who remembered the history of farming in N. Kenya would recall the British were very much interested in N. Kenya food sufficiency. Up to 1914 the British (colonial administrators stationed in northern Kenya) were buying food directly from Abyssinia, as Ethiopia was known then. The death of Emperor Menelik and the SUCCESSION struggle complicated matters for the British.) The permanent solution came in 1920. The Burji AND the Konso provided a permanent solution.”
The British brought Burji farmers from Ethiopia and settled them around Mt. Marsabit to start farming on the lush montane. The Burji came with their cereal-rich meals like fiqe, kurkurfa, qanchebello, qita, thabo, buthena, and they introduced the moringa tree — shalqetha became the flag by which Burji households were identified.
The slaughter of goats in large numbers played an important role in creating an ecological balance as this eased the pressure on pastureland and water resources.
The variety of foods Burji farmers brought to Kenya introduced an important change to the food habits of the pastoral nomads, adding cereals and grain to their staple diet of milk and meat. This was achieved long before relief food became a fixture in the north’s uncertain food calendar. These culinary changes also forced the pastoral nomads in Marsabit and Moyale to diversify into small-scale mixed agriculture. Back in Ethiopia, the Burji are still expert farmers. On a trip to Burjiland a few years back, I was invited to a wedding where I sat with elders and we were served bean stew and anjera made from brown teff, which we washed down with barley beer. In Kenya Burji weddings were affairs where meat and rice had to be served.
By the 1980s, with increasing droughts, Mr Woche was writing articles about farming with titles like Making the Desert a Land of Plenty and Rendile Put Down Farm Roots for the daily newspapers. Through these articles, he traced the history of nomads branching into crop farming in Marsabit. “By the end of the second world war, Marsabit was becoming the granary of the Northern Frontier District,” he wrote in 1982. “Main crops grown are maize, wheat, coffee, pigeon peas, cow peas, njahi, Ethiopian finger millet, teff, sorghum, sweet potatoes and cassava”. Everything can and did grow in Marsabit.
But the frequent droughts and famines were wreaking havoc. More and more destitute nomads were shifting from pastoralism to crop farming. Every drought came with its own feeding centre which eventually grew into a settlement. The main intervention at these feeding centres was to place a hoe in the hands of the newly destitute. The settlement pattern around Mt. Marsabit can be traced to past famines and feeding schemes.
Nomadic herders have also been forced by climate change to rethink their economic livelihoods, and by adopting crop agriculture, many have risked alienation in order to fit into their new way of life. These pioneers have become true agro-pastoralists, adding to their resilience cap the feather of dynamism.
Songa, an agricultural Rendile village, was started in 1979 and was by the 1990s feeding itself and selling surpluses of kales, tomatoes, and juicy mangos in Marsabit town. The Songa exemplar is repeated in Badassa, Drib Gombo and Gabra Scheme areas. Much of the 16,000km² arable land has however been abandoned with most of it now lying fallow or planted with the evergreen miraa trees.
Farming became so successful that storage for cereals in Marsabit was inadequate and tonnes of maize from the region were stored at the Cereals Board in faraway Meru. Bananas from Marsabit won prizes at agricultural shows in Embu for their world-class quality.
“My father and his friends were bringing in tractorfuls of maize over several days,” says Woche, “but that was in the good days when the climate was okay.”
In those years Marsabit received rain almost all year round, making it hard to dry maize and forcing those growing it around the town to take it to the lowlands for drying, 30 kilometers away. Stories of food donations being taken from the Marsabit Cereals Board granaries to places like Malawi are told with a touch of nostalgia now. Yet there was no investment in the agricultural sector then. Even now, many decades later, the same problems persist in the crop agriculture sector; hardly any technology is in use and few investments are made.
The settlement pattern around Mt. Marsabit can be traced to past famines and feeding schemes.
NGOs have led the efforts in food production and in Garissa individuals have established irrigation schemes along the Tana river, which has led to an explosion of farming activities. This in turn has led to an influx of farmhands, with hundreds of Luhya labourers from western Kenya working on farms in Garissa. In Marsabit the more experienced and effective farm labourers are from Meru and even the Burji, who used to do all the work on their farms themselves, now hire Merus to work for them.
Cushioning against social shocks
Funerals in the north offer an interesting crucible through which to examine how social safety nets work. At a funeral, a cow is slaughtered and its meat is boiled in large chunks with no spices added lest one develop a taste for the meal and start wishing for regular funerals. After the burial, hundreds of people head to the household of the bereaved and for a brief moment funereal gloom turns into a gloomy feast as people eat, joyless looks on their faces as they roll morsels of white, spiceless rice with their fingers and partake of the boiled beef.
“We have eaten so and so’s rice” often remarked after the death of a friend means “he is finally gone”. The finality of their existence and departure is captured in the partaking of that rice.
Yet the beef and white rice business at funerals is a new affair for the Burji. Even as late as the mid-1990s, when someone died people prepared meals and took some of it in bowls to the household of the bereaved. There was no pressure to bring anything fancy and one brought their usual meals. Rice, qita, fiqe, githeri, kurkurfa and buthena dishes prepared in different households were brought and served to the relatives of the bereaved for a whole week. This practice was referred to as bochocha by the Burji, a tradition they had brought with them from Ethiopia, a safety net that meant that funerals didn’t require substantial resources or put the bereaved in any unnecessary debt.
But as new urban prosperity emerged so too did new funeral rituals. Shumo, boiled maize, was rejected and a cow had to die no matter the status of the departed, leading to high send-off costs and debts to be repaid. Instead of pooling food, now people contributed 50 shillings for any community member who died.
Stories of food donations being taken from the Marsabit Cereals Board granaries to places like Malawi are told with a touch of nostalgia now
There is an ongoing debate about the slaughter of cows at funerals. It started from Wahhabist quarters, sparked by sheikhs from the new mosques who argue that there is a need to keep funeral costs down, that people who are in mourning should not be involved in the logistics of sourcing for cows, rice and firewood, that no fire should be lit in the household of the bereaved, and that no debts should be incurred.
This suggestion to change funeral traditions has the ecologists amongst us arguing for the ecological role played by the killing of cows at funerals, that in this manner a necessary balance between the human population and the cow population is achieved. The mercantilists argue that the livestock trade depends on funerals and marriages; funerals have evolved to play a big part in the demand-side of the livestock trade in the region. Yet others argue for the army of destitutes who keep an ear to the ground for news of funerals where they can eat a decent meal and carry some food back home in paper bags.
Food changes, changing foods
The landscape changes, the tractors in the rapidly vanishing farmlands upend the ox-drawn plough, Meru youths with their pangas working in pairs replace groups of Borana men as cheaper, more experienced labour. The panga and the agility of its user bring a more convenient efficiency as does the demand of an impatient urban dweller to whom a meal of cooked beans packed in a paper bag is sold.
The stoic if philosophical look of the nomad in the grasslands besides his/her goat alters its shape in the town. The role that traditional waist beads played in measuring the nutritional and health status of children has now been left to community health workers or volunteers who go around the villages with MUAC tapes taking arm measurements and prescribing Plumpy’Nut.
In the arable lands of Marsabit, old fruit and moringa trees are cleared and farms subdivided into tiny plots to meet the growing demand for housing. This changing land utility parallels the changing diet in the region.
In the past, some clans did not eat poultry meat and in parts of Marsabit poultry was kept only for trade. But these taboos are lifting and we are seeing an increase in the consumption of traditionally forbidden foods, further contributing to food security. For many years, the region didn’t provide the necessary market for fish from Lake Turkana which ended up in markets as far away as Burundi and Congo. But this too is changing as the communities continue to embrace new foods.
Facing the future
Northern Kenya has seen a significant rise in population in the last 50 years. The demographic changes that have emerged with education, the growth of towns and changing lifestyles have led to a bigger change in crucial survival strategies which are the result of a combination of the NGO-led introduction to crop agriculture, the agriculture-oriented income-generating activities of youth and women groups, and kitchen gardens. Slowly, northern Kenyans are acquiring practical skills in a region that had previously never engaged in crop agriculture. Kina in Isiolo has become an irrigation farming haven.
Opening up the road networks means that vegetables from the Kenyan highlands can now reach hitherto inaccessible areas, with boda bodas and probox vehicles crisscrossing the northern plains with fresh goods every morning, although Ethiopia also offers a cheaper alternative to Kenyan agricultural produce.
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