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MOVING BOUNDARIES: Building bridges in a Kardashian world

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MOVING BOUNDARIES: Building bridges in a Kardashian world

We live in a world where our certainties, including lines in the sand, the imagination of our boundaries, are crumbling. We are in a season where one of the most significant struggles is that of giving a name to the realities of our now. You know the landscape through which our metaphorical boundaries intend to creep: the rise and re-entrenchment of global tribalism—euphemised as alt-right (isn’t that the new non-word being bandied about?), nationalism, Brexit, regionalism, partisanship, supremacy, tribalism, and its evil sister, the extensive, thorough, strategic demonisation of “the other”. Naturally, history repeatedly tells us how this will end – a human frenzy that accelerates into an unstoppable, diabolic rage that will result in some horrendous mass bloodletting that will lead survivors to another round of shame, guilt, regret, outrage and the promise (again) of “oh no, never again”.

Here is a world where an unrepentant sound-bitey demagogue has taken the seat of authority in the world’s most powerful nation, his pointing finger just a breath away from an Armageddon nuclear holocaust button. He got there through a democratic process, a free and fair election fairy tale. In this we can read how the boundaries of “civilisational” paradigms now reveal themselves. This, friends, is supposed to be the apex of democracy, the great adventure our nations are walking towards.

Watching The Donald gloat and heckle his way across the United States to the roaring approval of enraptured masses beggars one’s previous notions about America. The more things change, the more they stay the same. Adolf Hitler would have been impressed. For an African person from Africa, the scenes unfolding are uncomfortably familiar. As much as I enjoy (yes, I admit, it is petty) the discomfort of a few American acquaintances struggling to embrace the consequences of choosing that orange-hued leader of their free world, I am forced to contend with a Trump-led earth. (Mind you, there are also Teresa May and Marie le Pen on the sidelines.)

What the American election process points to is the reality of our limits. It indicates how dogmatic insincerity couched under political correctness and glossy branding will collapse under the pressure of the actual choices of the human heart. The fact that a tribal supremacist wins precisely because he is a tribal supremacist implies that there are far more hidden worlds within the imagined, idealised America, and indeed within our world and within the African continent. The questions that traverse the heart find answers one way or another, whether we want to hear the truth or not, even if, in the USA’s case, the truthful answer is Mr. Donald Trump.

Watching The Donald gloat and heckle his way across the United States to the roaring approval of enraptured masses beggars one’s previous notions about America. The more things change, the more they stay the same. Adolf Hitler would have been impressed.

Let us gesture to some of the questions that may be lurking within these present boundaries of the human heart. None of these questions are ever likely to be answered because to do so would demand that the myths and brands by which we insist on defining our worlds would have to be dismantled. Few are ready to do this. Here are some of those questions:

Would there have been an immigration surge and an ISIS if the United States had not moved boundaries, defied international protocol, manufactured lies to invade and destroy Iraq and Afghanistan and then continued blithely with the annihilation of Libya? Why is there such a massive build-up of war tools right now in so many corners of the world, including Eastern Europe? Is the world preparing for a gigantic-scale war? Why is Russia being turned into a global pariah using the same format that was created to justify the wars in Vietnam, Iraq, Afghanistan and Syria (which failed)? To what purpose? Who benefits the most from the wars in the world? Since all weapons carry serial numbers and if the United Nations is truly desirous of ending wars, why has the UN not been able to sanction the sources of these borderless weapons? Is it because the countries that manufacture these weapons are the UN’s main funders?

Instead of confronting such questions, what we as a human race prefer to do is to bury these questions with our hysterical laughter at the antics of the gruesome Kardashians, who have been turned into a signal icon for human regeneration, aspiration and forgetfulness. We prefer Pollyanna-ish and Orwellian newspeak, with Tinker Bell descriptions, such as “collateral damage”, to disguise and deny the reality of our fears, discontent, terror and confusion. Meanwhile, the earth is reeling. If it is not from angry persons plotting doomsday scenarios, then it is a climate woundedness that sees a never-before-experienced scenario of the melting of the North and South Poles. The seas are rising.

As a response to such existential global uncertainty, the UN, in its wisdom, appointed Wonder Woman – the pneumatic-bosomed illusory white female caricature with a wasp’s waist who wears the American flag as underwear – as the honorary Goodwill Ambassador for something called the Empowerment of Women and Girls. It was a solemn ceremony. When this happened, the world should have realised that our world was truly and royally…buggered (if I may use this most satisfyingly descriptive Anglo-Saxon expression).

Instead of confronting such questions, what we as a human race prefer to do is to bury these questions with our hysterical laughter at the antics of the gruesome Kardashians, who have been turned into a signal icon for human regeneration, aspiration and forgetfulness.

We are living in the eye of the storm of that popularised curse/blessing wrongly attributed to China: May you live in interesting times. The closest Cantonese expression refers to a clown in and of current time. Clowns. Rather apt. Still, the forces of nature, space, time and whatever else seem to have unleashed a whirlwind that is driving the world as flotsam and jetsam. We feel it, we see it, we read the signs, but do not dare to construct a lexicon for this.

In a season of such terrifying flux, borders are a moot point. Frontiers will have to be re-imagined and probably called something else. The human person will also have to reconsider who or what it is. Pope Francis has dared to call this time as that of a piecemeal World War III. We freak out. Yet the possibility that an apocalypse has erupted beneath our living room couches while we keep up with the Kardashians is real.

Boundaries are already in movement; the future is in a state of uncertainty. You have already witnessed (the edited versions of) millions of humans escaping historical homes out of existential distress; they walk deserts, they cross boundaries, crash through frontiers, tear down electric wire fences and sail across wild seas in rubber dinghies seeking safety, hope and a home. The last mass movement of this kind – human journeys into harbours that throw up gates against them – was during World War II. But they keep moving. To what? Where? Transcending boundaries? You have seen the pictures of some of our Africans who have sought to leave for the imagined nirvana of elsewhere now turning the Mediterranean Sea into a cemetery. Meanwhile the African Union, among other African institutions, sustain their impeccable record for profound silences about matters that truly matter to their citizens.

There are other boundary movements that slip off the radar. I am not sure why this is the case, considering that these are bigger than any other migrations taking place in the world right now. I refer to the massive Chinese influx into Africa—official figures are one million, unofficial figures double that – persons now spread throughout the African continent. Mandarin is now a factor of African social and linguistic realities. The blend of cultures and the fruits of such a union through Sino-African children is more apparent now. I ask you then, is the next African decade a Chinese one? If you want to explore African boundaries, look to China. (I am being facetious.)

Great resource finds on our continent, coupled with an awareness of a lack of these resources in other parts of the world, have also increased the populations of persons of Caucasian descent living in Africa. The numbers are always disputed and minimised (the International Organisation for Migration has no figures for current European migration into Africa) because this sort of human movement does not subscribe to a favoured mythology. The figures for these are also in excess of a million, with Angola and Mozambique (in the time of the European economic crisis) receiving together over 700,000 young European economic migrants who settled there to start new lives. Migrant crisis, anyone?

Back to this season of wordlessness.

We feel, see, and hide from what we are most uneasy about. We prefer to draw a line across what does not conform to our delusion or brand of the world. We are silent before the unceasing bloodletting. We skip past the news of the slaughters in Uganda, Congo, Central African Republic, Myanmar, Yemen, Syria, Iraq, and entire communities living within the Amazon. We ignore the water wars in the US and the soul-destruction in detention camps worldwide, including that generated by Australia’s own Faustian pact with Nauru, and more significantly, in the Auschwitz-like American concentration camp in Guantanamo Bay – that grotesque giant stain on the human conscience that many of us who proclaim, study and articulate human rights choose to ignore.

How is this even possible?

What is the reality of lines drawn out in a world where the best resources available are dedicated to renewing, reinventing and valorising tools of human violence and destruction to which we have acceded power, and now, with reference to drone warfare, handed over a moral impetus to? A boundary-less machine can be directed to choose whether a human being anywhere in the world lives or dies. Is this the pinnacle of civilisation?

We feel, see, and hide from what we are most uneasy about. We prefer to draw a line across what does not conform to our delusion or brand of the world. We are silent before the unceasing bloodletting.

For a long time, the greatest threat to civilisation was imagined as an invasion from a powerful galactic force: aliens. Yet all this time the alien was us – a strange race that both cannibalises and worships itself. The only ones capable of and willing to and particularly invested in destroying the earth in a cataclysm is us…. And we are willing to do so for the most spurious of reasons: to prove the primacy of our pitiful ideologies so that we can be emperors of a swamp.

Exceptional? Ha!

The world’s latest atavistic impulse is one that is imbued by a virulent Islamophobia. It is unbelievable and unconscionable that the same world that not too long ago learned that an abhorrent depiction and dehumanisation of a peoples could lead to the slaughter of the human soul, the bestial behaviour of human beings and the destruction of the core of human decency can now regurgitate that evil to visit it anew upon others.

If 45 per cent of our African population is linked to Islamic mores, how can we allow this repugnant paradigm to take root unquestioned by our individual and collective sensibilities? Africans, with your endless silences as still as yoghurt, do you even comprehend what this means for your cultures and identities? What happens to being and belonging when by virtue of your facing Mecca in prayer you become defined as a “terrorist-in-waiting” by a culture and paradigm that prefers and perpetuates a most idiotic and ignorant lens to explain away an actual human and existential crisis, the primary purpose of which is the sustenance of a lucrative war and suffering ecosystem?

You and I have experienced the progressive and strategic framing of this horrible lie until it has acquired the semblance of truth—a post-truth that becomes a post-reality reality. And in this matter, not once have I heard an African reframing an African reactiveness. Not once. Africans, your boundaries of existence are receding and you are blind, deaf, dumb and stupid to it. Your governments have even designated your own soldiers to blow up a portion of your own population and to hold them in suspicion because they proclaim “Allahu Akbar”.

The consequences of such extremes of human foolishness manifest in weird new cultural practices. Allow me to be regale you with the tale of a rather senior World Bank official who upon arriving in Johannesburg – her first visit to Africa – showed up surrounded by six, giant, heavily- armed and helmeted security guards who looked like pumped-up black beetles on steroids. The guards had been hired to protect her from the violence of her vivid imagination. I would have done anything to enter into her senses as her plane door opened to a view of the South African city. She proceeded to painstakingly sustain her delusions even as she trip-tropped, trip-tropped all over Sandton Mall like billy goat gruff, needing to justify the expenses of a psychosis created by a cultural commitment to wallow in profound benightedness. What is the language for these new modes of human strangeness?

This, our amputation from both reality and humanity, are the consequences of an investment in an unsustainable idea of the world and its humanity. It is a gross alienation from what should bond, bind and build. You speak of boundaries and bridges, tell me, what types of structures have you called forth to overcome a refusal to experience, even in difference, the humanity of another? What kind of boundaries are you proposing to transcend the now embedded human fear of other humans? We are pleased to invest in propaganda infrastructure to peddle disinformation. We define phrases like “collateral damage” to sanitise and conceal the reality of millions of wilful, innocent murders and the destruction of hospitals and homes for which there are no Nuremberg trials.

Donald Trump appointed the head of the Pentagon a man, who if the principles of Nuremberg were to be applied, should be hanging at the end of noose, until dead. But this man is to oversee the largest war arsenal in the history of humanity under the leadership of an erratic being. Behold your world.

This, our amputation from both reality and humanity, are the consequences of an investment in an unsustainable idea of the world and its humanity. It is a gross alienation from what should bond, bind and build.

With this in mind, what does it mean for you and me to be a human being now? Even with enhanced consciousness of the cosmos and the universe, why are some more still more human than others? Nothing speaks so much to this than the visa application process to which most Africans are subjected. Name of grandmother? Bank account details? Are these people insane?

Even with new revelations shared with us by those seekers, in say, the world of quantum physics or cosmology, why is the prevalent operating mythology still epitomised by the vacuous Kardashians? Why do we prefer that? Even with what we have heard about the awesome wonders of human possibility, why is the inclination that of a willingness to be hypnotised into forgetting reality, to persist in the visiting of such gross wounds on an already suffering world today?

It is no secret that “human rights” are enforced by one set of people and directed at select others. Interpretations vary, of course. They do not stand a chance when confronted by the phrase “extraordinary renditions”. In October 2016, a woman-crushing, human-beheading, Yemen- invading Saudi Arabia was voted into the UN Human Rights Council to replace the newly designated pariah of the Occident, Russia. All I will say about that is that it is only a matter of time before the collective human soul gets weary of its own hypocrisy and calls a time out. Wither your boundaries now? To you who live in these extraordinarily conflictual times, what language have you created to match its demands? What does “boundary” actually mean for a time such as this?

Language is a road map and a blueprint, a provider of impetus, a prophetic vessel. Yet we seem to be either too paralysed or far too implicated to be able to generate an intimately truthful lexicon that might transfigure this present, or at least allow us all to cross out of our present limits. Without language how do we intend to enter the depths of our present reality in order to even understand it?

The Kardashians are a colourful and hypnotic screen that shield us from reality. They are not alone. The latest poster child for our condition is poor Boris Johnson, the British Foreign Secretary. In October 2016, he declared that “Africa (the country) could do with some British values” so that the country Africa might join the league of humanity as structured by the vacuum of his imagination. I emphasise this, for in the delusional man’s version of the story of English incursions into other lives and cultures, there are no shadow, no demons, no hollows, no genocides, really no messy bits. His eternal soundtrack is Elgar’s Pomp and Circumstances No 1 in D minor.

He no doubt keeps up with the Kardashians.

Against this backdrop, now let me touch on aspects of my literary life. I am a citizen of an imagined space called Kenya, whose frontiers were created by an English cartographer when Kenya, the colony, was a British project. What changed in 1963, the day those who became “Kenyans” call independence day? I stated in a different forum how my experiences of the nation only assert to me that the infrastructure and edifices of the colonial state established after the genocidal invasion designed in 1884-5 in Berlin (purists get irritated when I persist in referring to this as the First World War) are still intact. The colour of the skins of the taskmasters may have changed but everything else progresses as it has for over a hundred and fifty years. For example, there is no day that trains stop taking Congo’s mineral resources towards the sea to the waiting ships of many foreign nations; not once have these trains stopped moving, even in the throes of serious bloodletting. Remarkable, isn’t it?

The people who receive the money are in former colonial capitals, while we waste time and energy asserting… what? Independence? From what?

I live in an Africa experiencing a second-wave invasion – a massive resource grab enabled by our amoral leaders who are mortgaging bounteous landscapes and signing up to massive unpayable loans with strangers. It is likely that within fifty years the great underclass on the continent will be, again, Africans themselves, newly bankrupted vassals of a new set of foreign masters deliberately invited in under our bemused gaze. It is said that history repeats itself especially when lessons first offered remain unacknowledged, unlearned and unresolved. The problem is not with the stranger. It is with us.

Anyway, given this, what moves storytellers of Africa? I don’t know about the others, but I shall tell you something of my own compulsion to search dimly lit places of the world and my continent; to live and then walk through the valleys of peoples’ shadows in order to try to make sense of the time in which I find myself; our framing, our place, our future in the face of so much.

I live in an Africa experiencing a second-wave invasion – a massive resource grab enabled by our amoral leaders who are mortgaging bounteous landscapes and signing up to massive unpayable loans with strangers. It is likely that within fifty years the great underclass on the continent will be, again, Africans themselves, newly bankrupted vassals of a new set of foreign masters deliberately invited in under our bemused gaze.

I love the gift of being human and sharing life. I love humanity. I love ideas that challenge, invite, inspire and grow life. I also wonder about, worry and want to fix life’s fragile and broken places, because something of this time inhabits me and sheds pieces of its ghosts upon my own story. I have a very Catholic urge to name demons, and stare at faces of the enemies without and within before seeking, as part of a collective, to exorcise these. I love the earth. It is a privilege to be here. I love the continent of my heritage. I love my country. The bigger arc of my literary life is a love story that craves a “happily ever after”.

So I roam the disciplines, a bit like a pickpocket. I eavesdrop into the thinking from everywhere; silos bore me. I work with words like a mechanic tinkering with leaky places in a marvellous machine. I am a bit of a pathologist, diagnosing a corpse for its cause of death, imagining that I might prevent a similar fate for myself and for what I love. I have wondered why post-colonial Africa became stunned and inarticulate about its world and stopped writing itself into the world with pens of fire. I try to witness those silences. I want the silences to give up ghosts and names so that I can write them as stories and offer them to light, and then with them find the treasure of peace.

My works also interrogate the notion of the nation. I do not believe it exists. In this post-truth world does that even matter, given the reality of the march of super companies and the fetishisation of money? More seriously, I also often wonder if a nation like Kenya and its people suffer a grievous moral injury in their core and memory. Do societies experience collective post- traumatic stress that is not yet framed in a socio-political lexicon? Some of the frameworks of Holocaust studies profoundly resonate with me as they explain much of Africans’ secret angst, all the things of shame, guilt and grief that remain unspoken.

I have wondered why post-colonial Africa became stunned and inarticulate about its world and stopped writing itself into the world with pens of fire.

My book Dust set me on that path when, after Kenya’s descent into hell in 2007-8, I needed to kick open painted-over tombs where we had nurtured our demons. It led me to wonder if ancestral trauma caused by a violence inflicted on the humanity of another lives out its irresolution by haunting succeeding generations. For most African nations, a horrible war was consolidated in 1885 in Berlin, and imposed itself upon them. It has never really stopped, despite the theatre of changing flags.

How do you move when all your energies are expended in circling, hiding and avoiding a grievous and existence-questioning wound? Do we imagine that the resonance of horror embedded in memory simply fades away? What do you imagine was and is the state of the soul of a man of old Africa experiencing the crushing deceptions and the betrayal of his hospitality by strangers? Who watches his known world disappear and experiences the total powerlessness and betrayal-by-silence of once favoured deities? I see no archiving about this by our people. This absence, I imagine, damages all parties. We have held no memorials for the destroyed. We use our boundaries to shield us from the past and its unrequited ghosts – people who are our brothers, mothers, fathers, ancestors, accusers. There is no “long ago” in the consequences of human deeds.

As a world and as a continent we have never grieved our excesses or our losses of self, families, community, worldview, gods, goods, stories, time, spaces, lands, archetypes and imagination in word, deed and thought. I posit that these live out their lack of resolution to the present. Is it from these too that we seek to escape through our boundaries? What does the now mean to a continent that was massively defeated in an undeclared brutal and genocidal war; a place where defeated men and women could do nothing when their wives, husbands, parents, lovers, sons, and daughters were seized, raped, sodomised, brutalised, mutilated and hunted in their presence?

Linked to this was the economics woven into intricate trade networks. Global monsoon networks reached into the continent’s own heart before reaching into China and Azerbaijan where an African diaspora has long existed. There was the trans-Saharan trade, the southern circuit that moved gold, ivory, gemstones to the coast. The space that is Africa has largely been made up of a people and culture in and of movement as a path to wealth, adventure, humanity and encounter.

What is the impact and implications of such losses of economic wherewithal that offered so many African cultures an access to the world on their own terms? These cultures were violently taken over way by assorted European trading companies that are the parents of the conglomerates we are familiar with today, who own, manage and control the resources of a continent that keep the world afloat. We do not talk often about this; if the conversations occur, I have not been a party to them. The responsibility for this lack of questioning rests squarely at our assorted African doors.

I wonder why in most cases, after fifty years of supposed independence, it is easier and cheaper for me travel to Paris and live there for two months than it is for me to travel to Ouagadougou from Nairobi. Why? We are a people who seem to have not only lost agency over our resources, but have also lost the endless scope of their actual and imagined existence in the basic of ways. For example, most Africans today have no idea that coffee is not all about Starbucks or Colombia and that the coffee culture – its identification and its use and consumption as a beverage, medicine and ritual substance – was originally, intrinsically and creatively African (Ethiopian, to be precise). Again, when I define the African milieu as encompassing all our seas and discuss African maritime imaginaries, many gawk at me as if I am speaking to them in hieroglyphics.

What bothers me the most as an artist is our wilful African unknowing, our wilful constraints – boundaries – to imagining, thinking, hearing and seeing. Are we then to move from ignorance to ignorance, a floating people disconnected from our own humus and unable to speak of it, not only to the world, but more painfully, to ourselves? A people whose story is limited, constrained framed and only retold by others, a story so small that ours becomes an existential battle of making our lives miniscule enough to enter into the categories created in order to not again suffer a brutal fate worse than death. Hovering above our psychic heads is the real fear of a return to the diabolic violence that can be unleashed at the whims of one culture that for the most part—apart from the Germans – has declined to examine its conscience and review its consciousness of life and humanity in the face of its impulse to atrocities and the denial of these.

I do worry about a post-independence Africa that lost its voice so much so that it is inarticulate before the realities of Libya, Somalia, Syria, Afghanistan, Iraq, Russia, Colombia Ukraine, Brexit or Trump. Only bystanders, or victims of fate, have nothing to say about their destiny. Only the long-dead have a right to such silence. How do we proceed to traverse into the present and future through the unknown territories of our being where there are neither bridge builders nor bridges?

What bothers me the most as an artist is our wilful African unknowing, our wilful constraints – boundaries – to imagining, thinking, hearing and seeing. Are we then to move from ignorance to ignorance, a floating people disconnected from our own humus and unable to speak of it, not only to the world, but more painfully, to ourselves?

There is a phrase we popularised in Kenya during election 2013: “Accept and Move On.” Moving on. It was assumed that the diabolic violence of the post-election violence of 2007-2008 could be commanded into silence. But the violence and its ghosts keep interfering with our present and feeding from it; we have known no psychological peace. We are caught in a death-roll of a putrefying form of corruption; we are consuming ourselves and are subject to a disgusting inner corrosion that emanates from a refusal to give a name to our horrors. You who speak of movement and boundaries, do you ever imagine that one of the keys to the future is buried in our many darknesses that require courage and humility to excavate in order to extract roots embedded in the past? Given that movement points to two directions, do we dare step into deep truth-telling in order to repopulate the present with what will set the future free?

Now, on a more optimistic note. The African continent plays host to the youngest of the world’s populations. It is called the youth bulge, or the demographic dividend. This lot looks at the world through other eyes. They host each other in their rooms. They travel fearlessly. They set up online literary platforms like Jalada.com—look it up – that think beyond boundaries and have, for example, translated a story by Ngugi wa Thiong’o into over a hundred languages, including Urdu. They code. They regenerate vocabularies. They milk sacred cows. They live, for the most part, an expansive imagination that has no lexicon attached to it yet.

The influx of new souls and cultures into a continent that thrives on variety is a great portent in more ways than it is challenging. Unlike the popularised consensus – not necessarily articulated by Africans themselves – I can also read the influx of the Chinese people into Africa through hopeful lenses. Cultural renewal through the intermingling and exchange of people has always been a force of transformation in the world. These combined forces – the youth and migrants – present an atypical movement impetus on the continent that perhaps promises a transformative idea of place that just may be able to bear the weight of this agitated world and guide it, maybe, into a more wholesome future.

This essay is adapted from a keynote address by the author at the 39th AFSSAP conference in Perth, Australia, on the theme “Africa: Moving the Boundaries” in December 2016.

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Yvonne Adhiambo Owuor is a Kenyan writer and the author of the much-acclaimed novel Dust.

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NO LONGER AT EASE: Uthamaki, Uhuru and a Dream Deferred

In moments when an ethnic community finds itself in a crisis, its spontaneous response is to blame everyone but itself: introspection becomes anathema – it searches for scapegoats and scarecrows to explain away its internal contradictions and confusion. By DAUTI KAHURA

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NO LONGER AT EASE: Uthamaki, Uhuru and a Dream Deferred

I returned to Kirimukuyu village, in Tumu Tumu sub-location, which is seven kilometres from Karatina town in Mathira constituency, Nyeri County, exactly twelve months after I had first travelled there to see an old lady by the name of Felistus Waguthi.

In the twelve months that had passed, Waguthi, who will be 76 years old this year, had lost her only brother, and in the last three months, she had been marooned in her house after breaking her leg. “I tripped on a slippery slope one morning as I went to the shamba, fracturing my leg bone and twisting my ankle,” she said to me, her left leg heavily bandaged and in a cast lifted up to rest on the bed. She was also hard of hearing, but “everything else considered, I have been okay, you’ve found me alive.”

When I met Waguthi in January 2018, President Uhuru Kenyatta and former Prime Minister Raila Odinga, political rivals in the controversial 2017 general elections, had not “greeted” each other. The “handshake” between them that took place on 9 March, 2018, gave birth to the Building Bridges Initiative (BBI), which is supposed to unite the country and ease political tensions.

Waguthi is not so convinced that BBI will work. “The fate of the country as currently constituted does not augur well for the future,” surmised the old lady, pointing out that the only thing the “greeting” had succeeded in doing was to forestall the mounting tension that cast a cloud of political uncertainty soon after the controversial 8 August presidential elections of and the repeat elections on 26 October.

“The political trajectory the country is taking is perilous and doubly uncertain because not only have things gone from bad to worse economically, but politically, the country’s leadership is groping around as President Uhuru and his cohorts seem clueless and rudderless as they steer the ship in the yet unsettled stormy waters, apparently from day to day.”

I had gone back to see Waguthi to help me reflect on the leadership of the Jubilee Party, a leadership that after retaking presidential powers in 2017 had left its base – the Kikuyu voter – seemingly confused and discombobulated. At 76 and having lived in a rural area for the better part of her adult life, Waguthi’s contemporary political analysis and sensibilities were sophisticated and on point.

“Uhuru has mortgaged the country to the Chinese…the debt now is in trillions, isn’t it?” mused the old lady, waving her fingers at me. “How much money is that? Those are mindboggling figures, yet all that money has been stolen by his friends and relatives. His government has been the most corrupt to date since I came of age and got to know what politics was all about. It is riddled with thieves and robbers and all he does is curse, threaten and talk big. I’ve never seen a president with no backbone like Uhuru. The current Kenyan leadership is in a crisis and this greeting between Uhuru and Raila, whose agenda is neither known nor understood by Kenyans, is just a gimmick to confuse the people even further,” analysed the old lady. “This is Uhuru’s last term, it is incumbent he vacates power and lets the constitution guide the next elections. Any attempt to tamper with the constitution so that he and Raila can create new centres of powers can only plunge this country into turmoil,” said Waguthi.

“Uhuru has mortgaged the country to the Chinese…the debt now is in trillions, isn’t it?” mused the old lady, waving her fingers at me. “How much money is that? Those are mindboggling figures, yet all that money has been stolen by his friends and relatives. His government has been the most corrupt to date since I came of age and got to know what politics was all about. It is riddled with thieves and robbers and all he does is curse, threaten and talk big…”

Waguthi told me that Uthamaki – the notion that only Kikuyus are entitled to political leadership in the country – had become a mirage, a dream deferred, a paradise lost that had left a bitter taste in the mouths of the Kikuyu people. “President Uhuru seems still hell bent in his political schemes to misuse the Kikuyus in abusing state power…That’s why there is this talk of changing the constitution…this will be disastrous, and if this is a harbinger of things to come, woe unto Kenyans. Don’t these African leaders ever learn?” Africa, she said, had been plagued with bad leadership, with leaders never wanting to leave office, which had led to many deaths and wanton destruction. Kenya, she added, was on its way to joining the league of failed state nations.

The old lady said that the move to change the 2010 constitution so that President Uhuru and Raila can presumably upstage Deputy President William Ruto in his bid to succeed Uhuru was devious and would jeopardise the security of Kikuyus in the greater Rift Valley diaspora and elsewhere in Kenya. “There has never been a time when the security of the Kikuyu people in the country has been as precarious and threatened as now…there is seemingly a truce in the country today, no doubt, brought about by the ten-month-old greeting, but one stupid move by the Uhuru leadership could see the Kikuyu peoples’ lives wrought in mortal danger.

“If it were not for the young Kalenjin man [Ruto], Uhuru would not be president, and our people would probably not live comfortably in the Rift Valley. That is a disturbing fact and, however much a section of the Kikuyu people and their political leaders will now pretend that this is not so, they owe it to Ruto,” said Waguthi matter-of-factly. “Many Kikuyus are now remembering to say many things about Ruto…that’s very interesting and those things could as well be true…but be knowing this, if you choose to welcome an ogre into your house, don’t complain afterwards that it is overfeeding and has taken over the whole house.”

“Uhuru was never a man worth being a president,” observed Waguthi. “The presidency was forced on him and six years later, he has made a total mess of it. He has never been in control, much less concerned with the destiny and plight of the people. Now that he has realised that he will be leaving the powerful position, fear and despondency have gripped his presidency – he’s been creating commotions and distractions to appear like he’s on top of things.”

Dusk was setting in and the lady who had been taking care of her was on her way back from Tumu Tumu trading centre where she had gone to recharge Waguthi’s mobile phone. Waguthi summed up her prognosis: “The president led a life of privilege. He has never done anything for himself. He is laid back. Everything has always been done for him, and even in politics that has been the case. That’s how a prince behaves…it isn’t his fault, because that’s how he was socialised. The fault has been the people who entrusted their political fortunes to a man, not because he was fit for the job, but because he came from a big political family, and therefore presumed that political power was his right.” The old lady said Uhuru pales in comparison to Ruto, who is tough, hardworking and does not come off as having been pampered in his early life.

Waguthi had given me some political food for thought, surprising and unpalatable as it may have been, coming especially from an old lady. But her analysis had been echoed by a much- travelled man, who was as educated and professional as they come. Three weeks before going to meet Waguthi, I had spent some time with a former World Bank financial consultant in Ngegu on the outskirts of Kiambu town in Kiambu County.

A teetotaler and staunch Protestant Christian, the soft-spoken 68-year-old Gikandi strikes you as a man of really few words – until he is provoked to give his prevailing political views. “The handshake had calmed down the palpable tension that had been building up in the country soon after the two elections…the county is much less tense now, but that was not a license for Uhuru and Raila to introduce a hideous agenda through the formation of the Building the Bridges Initiative,” posited Gikandi. “Let us be clear about one thing: were it not for William Ruto, Uhuru would not be president of Kenya. Have you forgotten how the two campaigned together in folded white shirts? We’ll not be drawn into distractions. The prevailing talk about political debts or the lack thereof, state corruption, revived past sins are all unhelpful and unnecessary.”

“I have lived long enough to know who has been stealing money from state coffers,” said Gikandi. “Kikuyus have stolen more money from successive governments than anybody cares to know or investigate. That I can tell you for a fact: Money was stolen in Kenyatta (I), during Daniel arap Moi’s tenure, during Mwai Kibaki’s rule and now, more than ever before, in Kenyatta (II).”

Jomo Kenyatta, father to Uhuru, was the founding president who ruled as an imperial president for 15 years, from 1963 to 1978. His Vice President, Moi, took over from 1978 till 2003, when his second term ended and his “project” Uhuru Kenyatta, the Kanu flagbearer who he had primed and propped up to take over from him, was defeated by Kibaki on a National Rainbow Coalition (Narc) party ticket.

“What we want post-2022 is security and stability for all,” said the former World Bank auditor. “President Uhuru must be very careful how he fashions his politics now as we head to 2022. It would be extremely devious of him to not think of the security of our people in the Rift Valley. I do not want to belabour that fact, but you and I know that a political misstep or mishap could easily trigger mayhem in that part of the country. We do not want a repeat of 2008. Some Kikuyus are now remembering Ruto’s past sins. They should have remembered them in 2012, not now.”

“I believe Ruto will get things done,” said Gikandi, “because he is focused, hardworking and he is always on top of things. All the President’s men, past and present, have stolen. I am not persuaded that it is the DP and his men that have allegedly siphoned all the money from the state. We cannot have double standards if we want to curb corruption and, by the way, why has President Uhuru chosen to ‘fight’ corruption now?”

“What we want post-2022 is security and stability for all,” said the former World Bank auditor. “President Uhuru must be very careful how he fashions his politics now as we head to 2022. It would be extremely devious of him to not think of the security of our people in the Rift Valley. I do not want to belabour that fact, but you and I know that a political misstep or mishap could easily trigger mayhem in that part of the country. We do not want a repeat of 2008…”

The financial risk management consultant, who is also a revered church elder of a big Anglican church in Mt Kenya South diocese, said that if BBI lives up to its demand of holding a referendum so that the constitution is changed, he will robustly oppose it. “Uhuru should just honour the constitution and peacefully leave office. More importantly, he should honour the promise to his deputy. We can still remember it very well, made in the lead-up to 2013 general election.”

While in Nyeri County, I also spoke to millennials. Their political views were equally surprising. I met Mureithi from Skuta, a trading town six kilometres from Nyeri town. Mureithi, who is in his mid-30s, runs an electronics shop at Thunguma centre, which is separated from Skuta by two kilometres.

“We do not want to hear anything about President Uhuru,” said an embittered Mureithi. “He has wasted us, he fought so hard to reclaim the presidency only to plunge us further into deep poverty and political uncertainty. I am struggling to stay afloat. In the past one year, Uthamaki rulership has turned into ultimatums and angry outbursts from the president when confronted with issues of Central Kenya development issues. We, the young people of Nyeri County, have made up our minds. We have nothing to do with Uhuru, his projects, or his political schemes.”

In retrospect, Mureithi told me, President Uhuru’s six years at the helm was for self-aggrandisement and enriching his friends and relatives. “Tell me what one thing the Kikuyu youth anywhere can be proud of after his unswerving support for Uthamaki? Nothing. Instead, we have been served with disappointment, disillusionment and dispossession. And these 3Ds have given way to a great sense of betrayal. I made a mistake in voting for him twice last year. I will never do that mistake again,” said Mureithi.

Nigute. This Kikuyu word has in the last year become the political catchword for the disaffected Kikuyus whose views of Uthamaki presidential rule in the run-up to the first presidential elections was clouded by a vista of imagined economic Shangri-La and paradise revisited. Literally, the word means to throw away. Figuratively, it means to be wasted, to be misused, to be of no value after use, to be dumped.

“I threw my vote away,” said Mureithi, “So is the feeling of many Kikuyus. They are stuck in a rut, angry, bamboozled and embittered. They were deceived…the truth is, they have always been cheated, but this particular deceit could not have come at a worse time: Uhuru’s government has plundered the economy and destroyed Kikuyu businesses. The people have no money and they have no one and nowhere to turn to.”

Mureithi told me that BBI will come a cropper, spearheaded as it is by political dynastic powers that believe it is they who must always rule Kenya and nobody else. “It is headed for defeat because we shall fight it. We know what they are up to. Here in Nyeri, the youth have decreed that they will not support the referendum that is being pushed by Building the Bridges Initiative. We shall vigorously oppose it. We are tired of Uthamaki and its appendages.”

“There are some Central Kenya leaders who have been moving around the region telling us it is Ruto who is the source of all corruption and theft in government and that corruption must be fought by all means,” said Mureithi. “Those leaders include our own MP here for Nyeri town constituency, Ngunjiri Wambugu. We’ve already warned Ngunjiri that, like Uhuru, it was a mistake to have voted for him. We should not have abandoned Esther Murugi, [the former MP].” Ngunjiri is looking at his only one term in parliament, Mureithi promised me.

“The greatest theft in government has been orchestrated by President Uhuru’s close friends, who have stashed away billions of shillings,” observed Mureithi. “How is it that now it is Ruto who has stolen all the money and that it is he who is the source of all our economic and political problems? By allegedly trying to antagonise the deputy president, President Uhuru and BBI are stoking future political violence and insecurity for Kikuyus resident outside Central Kenya. I have relatives in Rift Valley. I know how nervous the Kikuyus of that region are with all this careless talk about rethinking Ruto’s Kikuyu support in 2022.”

“Corrupt or not corrupt, I will be supporting William Ruto,” said Mureithi. “What has our own Uhuru done for us? Born in riches, Uhuru has been overindulged throughout his life. That’s why he couldn’t care less whether the Kikuyus eat grass or sleep hungry, as long as he can get them to die for his dangerous political ventures. President Uhuru has been saying this is his legacy term for Kenya. We know what that means: ‘This is my legacy for the Kenyatta Family, not Kenya, the country.’”

I wound up my Nyeri County visit by engaging Lilian Wambui from Gikondi village in Mukurwe-ini. Barely a year ago, Wambui would have killed for President Uhuru Kenyatta. “I was so indoctrinated by the Uthamaki logic and the person of Uhuru Muigai Kenyatta that I’d brazenly taunt my Luo friends to go fishing in Lake Victoria and catch thamaki (fish) because we the Kikuyus had Uthamaki.”

Wambui is a businesswoman: she once rented a quarry in Njiru that borders Mwiki to the north and Ruai to the southeast in Nairobi County, where her employees were all Luo men who broke and carved stones that would be picked in truckloads at the site. Wambui has also engaged in the mitumba business, where she specialised in camera (as-good-as-new) children’s designer clothes. Lately, she has been dealing in wholesale fruits and vegetables. In three and half years, all the three businesses have collapsed. In December last year, she escaped to her rural home to run away from the hustle and bustle of Nairobi and to rethink her future.

“Corrupt or not corrupt, I will be supporting William Ruto,” said Mureithi. “What has our own Uhuru done for us? Born in riches, Uhuru has been overindulged throughout his life. That’s why he couldn’t care less whether the Kikuyus eat grass or sleep hungry, as long as he can get them to die for his dangerous political ventures. President Uhuru has been saying this is his legacy term for Kenya. We know what he means: ‘This is my legacy for the Kenyatta Family, not Kenya, the country.’”

“President Uhuru is a total failure: all the money from the government has been stolen while he stood by and watched. Now he is fighting Ruto, pretending to combat corruption. He should give us a break. I never believed he would waste us [Kikuyus] after all the support we lent him. I think we Kikuyus have been bewitched. It is not possible for one family to bestrode an entire community so easily and take advantage of their political foolishness for so long,” she commented.

Wambui told me that she vividly remembers President Uhuru specifically campaigning among the Kikuyus in downtown Nairobi in 2017. “On 9 February, 2017, taking time off from his State House duties, the president joined the Jubilee Party’s Nairobi governorship aspirants to galvanise the people into registering as voters. The then contestants were Peter Kenneth and the ‘Gang of Four’ – Mike Sonko, Denis Waweru, Margaret Wanjiru and Johnstone Sakaja.”

The businesswoman recalled that everyone, including the president, congregated at Wakulima Market on Haile Selassie Avenue, famously known as Marigiti. “It is not for want of a better place to mobilise the Nairobi voter that the Jubilee Party cabal chose the marketplace. Because when the president spoke, it become rather obvious why Marigiti was a good starting point. “Wooooi andu aitu muiga nyinuke….wooooi mutikandekererie…..mutikareke nyinuke,” (Oh my people, are you sending me home….please don’t abandon me…don’t let me go home) urged the President.

“Two months earlier, campaigning in Ruaka and its environs which are in his home county Kiambu, President Uhuru at one stop addressed the people thus: ‘I have information that some people are saying they will not vote on the 8th of August. I appeal to you, particularly the youth, not to let me down. I know what we are defending. What did President Kenyatta mean by I know what we are defending?’” posed Wambui. “The Kenyatta Family legacy. Period. President Uhuru has let down every Kikuyu voter, other than his tenderpreneur friends and relatives, who came out to vote for him. And the Kikuyu youth, abused during the campaigns and ignored after power had been recaptured, have received the short end of the stick. They are now called thieves. Nigute.”

I spent half of 2017 and the better part of 2018 talking and oftentimes animatedly holding court with Uthamaki ardent followers who, just before the August 8 general elections, had immersed themselves in Uthamaki’s noxious rhetoric of political perpetuity. All of them – from market women to matatu drivers, conductors, freelance touts, hawkers, street vendors, street prowlers, petty traders, seasoned businessmen and women, college students, university dons, professionals and state bureaucrats – were seemingly hypnotised by the Uthamaki political conquest: “Seek ye first the political kingdom and all the rest shall be added unto you,” one born-again lawyer had reminded me, “but we are still humble about it.” (It was Kwame Nkrumah, the first president of independent Ghana, who famously coined the maxim, which would soon become a clarion call for many an African country seeking political independence in the 1960s.)

I spent half of 2017 and the better part of 2018 talking and oftentimes animatedly holding court with Uthamaki ardent followers who, just before the August 8 general elections, had immersed themselves in Uthamaki’s noxious rhetoric of political perpetuity. All of them…were seemingly hypnotised by the Uthamaki political conquest: “Seek ye first the political kingdom and all the rest shall be added unto you,” one born-again lawyer had reminded me…”

Yet, nothing has captured for me the hypnotic, trance-like behaviour of an Uthamaki fundamentalist who revels in sporadic moments of lunacy than the story as told to me by my friend Baba Otis.

On 1 June, 2018, Madaraka Day, Baba Otis was drying obamboo (dissected tilapia fish that is smoked and oftentimes dried for storage and which is eaten over a long period). Known by its variant name, obambla, its tasty soup is very delicious and nutritious, especially for children. In the evening, On that day, Baba Otis heard a knock on his door in the estate plot where he lives with other tenants in Nairobi. It was Mama Shiru. “Sasa Baba Otis, aki watoto wangu hawajakula siku tatu, nisaidia tu na piece moja ya samaki niwatengenezee.” (Hi Otis’s father, I swear my children have not eaten for three days. Please just give me one piece of the smoked fish. I will prepare it for my children.)

The evening visit by Mama Shiru was interesting, given that on 29 October, 2017, a Sunday and three days after the repeat presidential elections in which the Jubilee Party largely competed against itself, Mama Shiru, a mother of two, had broken into a frenzied dance of jubilation and had yelled for all to hear: “Uthamaki ni witu….thamaki ni ciao….mekuigwa uguo”. (The rulership is ours (Kikuyus)….fish is theirs (Luos)…they can go hang.)

Baba Otis was there to witness the hippy dance of a woman who, for all intents and purposes, behaved as if she had been possessed by Lucifer himself. She was sporting a wristband and bandana fashioned along the colours of the Kenyan flag that have come to be associated with chauvinistic Kikuyu men and women. That night, Mama Shiru must have slept like a king in the knowledge that her tribesman had once again settled in the hallowed sanctuary of the mighty State House. Uthamaki ni witu…thamaki ni ciao.

Barely seven months later, when Mama Shiru stood outside Baba Otis’s door, she had discarded her wristband and tossed away her bandanna. The uthamaki ni witu, thamaki ni ciao alliterative singsong had long been expunged from her now pursed lips. The bravado that had accompanied the wearing of the Jubilee Party paraphernalia and totems had gone. Crude reality had by then sunk in…perhaps…perhaps not.

One fact was clear though from Mama Shiru’s predicament – you cannot feed your children on a tribal ideology, much less if your tribesman is the country’s president. “But Kikuyus can also be impervious and shameless,” commented Baba Otis.

In moments when an ethnic community finds itself in a crisis, its spontaneous response is to blame everyone but itself: introspection becomes anathema – it searches for scapegoats and scarecrows to explain away its internal contradictions and confusion. “It is the handshake.” “This problem we are in now is one for all of us.” “It is William Ruto who is engaged in all these state thefts”. “Ni mang’auro marea marigiciiria munene.” (It is the scoundrels that encircle (our) leader.) “Muthamaki ndakararagio na ti wa garari,” (The tribal chieftain should not be criticized or contradicted.)

John Njoroge Michuki is on record after Narc came to power in 2003 for proclaiming that Kenyans (read: Kikuyus) had been agitating for constitutional reforms to remove Daniel T. arap Moi: Moi was the problem – not the almighty powerful presidency that the 1960, 1962 and 1963 Lancaster House constitution conferences had bestowed on Kenyans. But hey, as long as that individual was a Kikuyu, it was business as usual. Many Kikuyus conflate Kikuyu nationalism with Kenyan statehood. And they care less for this contradiction.

The grandstanding of kumira kumira (a clarion call that means to get out in large numbers), thuraku (safari ants) and all that toxic talk about Uthamaki and “ni ithui twathanaga guku,” (it is we (Kikuyus) who call the political shots) has melted away barely a year into the Jubilee Party’s second term.

After my interviews and interactions with Uthamaki believers, I could not help but ponder over what could be a priority in their minds as they struggle to contextualise their economic hardships and situate their political path come 2022.

Post-2022, the Kikuyus are thinking very hard about their security and survival in ways that they have never thought before. The presidency has become a burden to them: Like a millstone around their necks, it is weighing them down. But they made their bed and must lie on it. In a real sense, the president has stopped being a factor in their yet undecided political trajectory.

For the very first time, Kikuyus do not have a bankable political leader. Ten months into BBI, not all Kikuyus are persuaded that it augurs well for their political insurance. So far, they do not know what to make of it. Suspicion abounds.

Painfully, the Kikuyus are learning to internalise their political suffering, trapped as they are like a caged bird, its only freedom being to pitter-patter around the cage. Hence, their desire to extricate themselves from the clutches of political serfdom, and hopefully, from the pain of the (late) realisation that they have been duped and dumped.

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ALWAYS BEHIND: Kenya’s Languishing Creative Industry

Recent case studies have revealed that the creative industry can be a significant earner to an economy. However, as ALEX ROBERTS argues, Kenya’s languishing creative industry can be attributed to lack of support from the Government.

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ALWAYS BEHIND: Kenya’s Languishing Creative Industry

What was South Korea in the late 1970s? Say around 1979, during the first year of Daniel arap Moi’s presidency? It was a military state, run by a soon-to-be-assassinated autocratic leader, General Park Chung-hee, and still eight years away from becoming a presidential republic. It was a state in flux: the killing of Gen Chung-hee left a power vacuum, with political factions vying for superiority amongst the ruins of his toppled dictatorship. By any stretch of the word, South Korea entering the 1980s, and for much of that decade, could be described as a nation in turmoil, politically, economically and developmentally. It was a state at risk of falling back into chaos and becoming a cautionary tale.

Kenya, on the other hand, had new leadership. At the beginning of the 1980s, it was viewed by the international community as a shining example of a post-independence African state that looked set to be an economic powerhouse of the future. At that time, Nigeria was still under a military junta and South Africa was regressing into the bloodiest period of anti-apartheid action.

Yet, by the tail end of the decade, Seoul was hosting the 1988 Olympics, and less than four decades on, in 2016, South Korea had the 11th highest GDP on earth, behind Canada and ahead of Australia. According to the United Nations, in the same year Kenya was ranked 75th, just behind Uzbekistan and ahead of Guatemala.

What happened? A major factor is South Korea’s investment in the creative economy versus the Kenyan government’s approach of letting the entire sector be deprioritised and left to flounder alone.

In the case of South Korea’s film industry, one major shift occurred in 1994. At the time Hollywood films controlled most of the market while locally produced films controlled less than one-fifth. The government took a decision to invest in and emphasise locally-made films. Since then, the South Korean film industry, when coupled with K-Pop, has seen the rise of the “Korean wave”, a globally influential and massively profitable enterprise. It remains the modern model of the need for government support for the local creative industries.

With regards to K-pop (the Korean brand of bubble gum-style pop songs), the Government of South Korea played a direct hand in sustaining the momentum of this global musical force. A Ministry of Culture was formed in 1998, including a specified department exclusively overseeing the development of the nation’s music, with millions of dollars pouring in. Where the difference is further highlighted was the government’s targeting of music as a potential cash cow for the languishing economy. Much of Asia had been sucked into a whirlwind of economic turmoil in the late 90s, and the government needed alternatives for employment, taxable revenue and global influence. The government also ensured protection through effective policies and engaging with music industry members. Fast-forward two decades, and K-Pop is a US$ 5 billion industry.

In the case of South Korea’s film industry, one major shift occurred in 1994. At the time Hollywood films controlled most of the market while locally produced films controlled less than one-fifth. The government took a decision to invest in and emphasise locally-made films. Since then, the South Korean film industry, when coupled with K-Pop, has seen the rise of the “Korean wave”, a globally influential and massively profitable enterprise.

The creative economy has been defined as the ultimate economic resource within a nation. It’s the umbrella under which art, architecture, film, television, music, poetry, sculpture and writing exist. Kenya’s creative sector is a vibrant one, brimming with talent and possibility, especially when looked at through the opportunities it affords to the youth of the country.

Such opportunities are not exclusive to the Kenyan economy as the world is becoming modernised, and the creative sector is often an accompanying industry to modernity. In fact, the United Nations Educational, Scientific and Cultural Organization (UNESCO) has stated that the economic potential of the global creative sector was worth more than US$ 2.2 trillion in 2015. The creative industry has undeniably massive impact upon a nation’s potential GDP and can offer a built-in solution to lingering questions of “development”. A 2013 report from UNESCO outlines that the cultural sector is a vital aspect of the sustainable development of a nation, as the creative sector is not only one of the fastest growing sectors in the world, but also can be highly transformative in terms of income generation, job creation and a nation’s earnings through export. A 2010 policy statement released by the United Cities and Local Governments (UCLG) further reflects this, stating that culture is the fourth pillar of sustainable development for any nation.

So with all of this potential, why does the creative sector in Kenya languish? Why has Kenya not taken the leap into the void of the sector, that same leap that has produced billions for other nations, including within Africa?

The state of Kenya’s creative industry

An all too common complaint among artists within Kenya is that the creative industry is simply not a “serious” entity to be pursued as a path to a successful and lucrative career. This “lack of seriousness” has resulted in one of the worst policy frameworks for the arts in the developing world. Concerts go unattended, books are not bought (if they can be published at all), grants are not delivered, artistic facilities remain unfinished and draconian regulations are imposed on the content that can be produced. Radio stations play music from abroad and theatres show foreign films. As Nairobi-based singer-songwriter, Tetu Shani says of the current situation, “The day that Kenyan artists start living like politicians is the day you’ll see a shift in public perception and consumption.”

This issue is exemplified by the lack of policy and effective implementation of regulations surrounding the creative industry. When examining the music industry, the crux of the issue comes down to copyright. Most casual fans of Kenyan music are familiar with the story of the band Elani, which had a smash album and multiple hits in 2013 and 2014 after the release of their record Barua ya Dunia. The airplay was steady and the singles very successful. In 2016, Elani criticised the Music Copyright Society of Kenya (MCSK), stating that the organisation had only paid them royalties totaling Sh31,000. MCSK has been embroiled in constant legal and legislative turmoils, and had its capacity to collect, track and distribute royalties to Kenyan artists revoked due to a court order in 2018. MCSK has since been replaced by the Music Publishers Association of Kenya (MPAKE) in the role, yet the headlines and legal issues remain.

The ones who seem to get lost in the shuffle are the artists. The example of Elani is at the core of the problems that face the creative industries in Kenya; while there might be growth of the sector on paper, the artists or creators themselves don’t see the benefits materialising within their wallets. At an even more micro level, take the example of the National Environment Management Authority of Kenya (NEMA) enforcing noise pollution regulations against DJs in Kenya; security forces routinely go into clubs, arrest DJs for exceeding “noise restrictions”, even as they spin on the decks, and haul them off to jail. Such enforcements were not communicated effectively to the members of the music industry.

Again, the issues surrounding the enforcement of regulations continue when examining the burgeoning film industry in Kenya. Some estimates contend that over 90 per cent of films in Kenya are pirated, with the heavy-handed punishments outlined by legislation being rarely enforced.

On top of this, the head of the Kenya Film Classification Board (KFCB), Dr. Ezekiel Mutua, has made free expression through film and television markedly more difficult. Beyond his public criticisms of “gay lions” and cutting the release timeframe of Rafiki, the highest profile Kenyan film since 2011’s Nairobi Half-Life, down to less than a week (just enough time to qualify for the Academy Awards), Dr. Mutua has enacted steep license fees that have reduced the industry’s ability to operate independently, including the hoop-like requirement of filmmakers needing multiple licenses to film in multiple counties. It has become common for Kenya-based films and content to be filmed in South Africa. Indeed, Mutua’s attempts to enforce his dictates on theatre as well as the film industry have led content creators to further eschew any connection with the government.

On top of this, the head of the Kenya Film Classification Board (KFCB), Dr. Ezekiel Mutua, has made free expression through film and television markedly more difficult. Beyond his public criticisms of “gay lions” and cutting the release timeframe of Rafiki, the highest profile Kenyan film since 2011’s Nairobi Half-Life, down to less than a week…Dr. Mutua has enacted steep license fees that have reduced the industry’s ability to operate independently, including the hoop-like requirement of filmmakers needing multiple licenses to film in multiple counties.

Kenya had a booming fashion industry in the 1980s, which contributed 30 per cent to the manufacturing sector. Since the 1980s, the continual influx of mitumba (second-hand clothes) has cut this employment severely. The change was brought about by the government cutting regulations and import tariffs in the late 1980s, cutting down on the cotton and garment sectors. This led to an increase in the jua kali nature of the sector, with members of the garment industry having to find their own work after the majority of the cotton production mills shut down. In turn, this contributed to much of the textile industry being a separate entity from that of the clothing production industry – an issue exacerbated by the lack of a unified industry body to advocate for the fashion sector.

This last point regarding the fashion industry of Kenya is truly a key issue that swirls around the creative sector in Kenya. Much of the industry remains fragmented, splintered and run by independent individuals and micro-organisations operating unofficially outside of government taxation or influence. The lack of a structured unified body is reflected in other creative industries, which lessens the sector’s ability to engage in any sort of meaningful dialogue with the government. These issues of associational divide were echoed by HIVOS in 2016, which stated that “the current state of associations in East Africa is that they are fragmented, disunited and lack a consistent agenda on how to engage the government and different industries to ensure the standards of the industry consistently improve”.

So what does all of this amount to? There is one commonality: the utter lack of possible taxable revenue as a result of obtuse and inadequate policy. According to PricewaterhouseCoopers, the entertainment industries are growing across the board; revenues are up, as is Internet access and the number of viewers within the Kenyan market. However, Kenya is trailing far behind other nations that have capitalised on the bolstering of income from the creative sector.

Kenya vs other major African markets

The stagnant creative sector in Kenyan becomes apparent when examining the state of other African creative sectors. When looking through the lens of the two other leading sub-Saharan African markets (Nigeria and South Africa) the differences and gaps becomes stark.

Both South Africa and Nigeria have music industry infrastructure that focuses on the regulations of the industy. This includes promoting local artists while protecting their ability to garner revenue from their work and punishing those who take advantage. Within Nigeria, artists are promoted, DJs play the latest local tracks and help to encourage grassroots growth of new musical artists.

The most glaring example of a creative economy’s potential is the constant streaming of Nollywood movies on Kenyan televisions. How exactly did the Nigerian film industry become so massive in recent decades, dominating the African market and influencing global media beyond the continent? It is a remarkable story of growth, with Nollywood’s early roots tracing back to the colonial era of the early 20th century.

The independence of Nigeria from British rule in 1960 resulted in further expansion of the film industry. The key moment came in 1972, when the Indigenization Decree was issued by Yakubu Gowon, the Head of the Federal Military Government. The original intent of the decree was to reduce foreign influence and pour wealth back into the hands of Nigerian citizens. The international business community publicly complained, threatened to pull out, and in some cases reduced their investment. The Indigenization Decree led to hundreds of theatres having ownership transferred from foreign hands to Nigerian ownership.

In the years that followed, widespread graft was discovered in multiple industries (much due to foreigners paying for corporate “fronts” while secretly maintaining control). Gowon was deposed while abroad in 1975 and the film industry continued to grow. New theatre owners started to show more and more local productions, with the result being Nollywood experiencing a further expansion across the next decade as Nigerian citizens were suddenly directly involved in not only the control of the theatres, but also in what Nigerian audiences were more likely to buy a ticket to see, buy a VHS of, and later buy a DVD or stream: local content. Out of the ashes of colonialism, a bloody civil war and a military junta rule, Nollywood grew organically, hand over fist, year after year.

By the mid-1980s, Nigeria was producing massively profitable blockbusters and revenues grew to over US$11 billion (Sh1.1 trillion) by 2013. The industry also employs an eye-popping one million people, estimated to be second only to agriculture in terms of number of employees within Nigeria.

In the 21st century, the Government of Nigeria has taken further notice, mostly through the recognition of the massive benefits to the nation that the local film industry provides. Currently the government is working in conjunction with the National Television Authority of Nigeria to expand the industry, offering grants, expanding infrastructure and constructing a production facility. Perhaps most notable was the 2010 signing by former President Goodluck Jonathan of a US$200 millionCreative and Entertainment Industry Intervention Fund” in order to encourage the growth of Nollywood and other creative industries. Put another way, Kenya’s GDP is approximately one-fifth that of Nigeria’s, but there has been no US$40 million fund signed by the government towards the nation’s creative sector.

By the mid-1980s, Nigeria was producing massively profitable blockbusters and revenues grew to over US$11 billion (Sh1.1 trillion) by 2013. The industry also employs an eye-popping one million people, estimated to be second only to agriculture in terms of number of employees within Nigeria.

This is the point where naysayers to the potential of the creative economy will argue that corruption is endemic in Kenya, and therefore, reaching the heights of Nollywood is inherently impossible. This is a fallacy: Transparency International in 2017 ranked Kenya 143 out of 180 in terms of corruption and Nigeria came in at 148. Despite obvious governmental and corruption shortcomings in Nigeria, when it comes to the film industry, one thing has certainly been recognised: that money talks.

South Africa took a different route towards becoming a creative sector powerhouse on an international scale. This is best exemplified when examining the music industry of the country. Once again, the roots of the explosion of South African musical influence can be traced back to a government development programme – the Bantu Radio initiative, which, it must be stated, was put into place in 1960 by the apartheid government in what can best be described as a campaign to further segregate the country. The aim of the programme was to promote tribal music in the hopes that it would reinforce pre-colonial cultural barriers between different communities. It also had the not-so-subtle goal of establishing what black South Africans enjoyed in order to aid the apartheid government in further profiting off of them. The regime believed that the radio stations would play exclusively folk music, but the result was somewhat different. Bantu Radio began broadcasting more than a dozen different genres of music, among them Afro-jazz, kwela and isicathamiya. These genres exploded in popularity, bringing fame, recognition and influence to many South African music industry figures.

The South African Broadcasting Corporation was soon brought in to monitor and regulate the music being produced to ensure that the messages of the music didn’t criticise the apartheid regime or its policies of systemic racism. Further regulatory bodies were established to control the music being played. They did so effectively on the Bantu Radio network, but had also inadvertently “let the cat out of the bag”. There had been a long history of rebellious action through music in South Africa, but now there was an audience of millions who had several genres in mind on what to pursue. Popular artists who were censored on the radio took their messages directly to their audiences. There was an exodus of musicians who left South Africa in order to make music against the apartheid regime without censorship or reprisal. In 1982, the Botswana Festival of Culture and Resistance was held with much of the attendance made up of South African exiled musicians. At the conference, it was decided that the primary weapon of the struggle against apartheid would be culture.

Accidentally, through an attempt to further exploit and divide, the regime had laid the groundwork for both widely popular musical genres with a captive local audience. By 1994, when the last remnants of apartheid were finally thrown aside, the music industry grew massively and continues to be a dominant presence into the 21st century.

Anti-apartheid films, rising from South African independent cinema experiencing a boom in the early-80s – the same period when there was a proliferation of video cassette recorders – allowed the viewing of “subversive” productions. Some of these same anti-apartheid films (banned by the regime), such as 1984’s Place for Weeping, gained international traction and helped to establish South Africa’s film industries as influential outside of the borders of the apartheid regime.

What the creative industry has done for other nations

A UNESCO convention in 2005 stated that there is still a need for governmental frameworks that focus on “emphasizing the need to incorporate culture as a strategic element in national and international development policies, as well as in international development cooperation”. By this standard, the example of South Korea once again stands out. Just how did South Korea springboard its culture into a massive entertainment and creative sector in such a short period of time? The answer is fairly straightforward: the progress of South Korea’s entertainment sectors centres around heavy governmental support, funding and infrastructural management. The government designed and implemented a multi-stage plan towards increasing the profile, impact and economic viability of its entertainment industries.

With the example set, it becomes all the more glaring that the Government of Kenya has turned its back on its own creative industry. The Korean problem of foreign influence is a Kenyan one; foreign acts are flown in and given top billing, foreign media houses dominate the telling of Kenyan stories, and the latest Marvel films always find themselves on movie-house posters. Ask yourself, when is the last time you saw a Kenyan-made film on an IMAX screen playing to a packed audience? The lines are there, but who are there to see?

The state of regulation and progress within the creative sector in Kenya reflects an acute failure of the state to implement the very policies it has outlined. One needs to look no further than the Kenyan Constitution of 2010 and the Vision 2030 Development Goals to find evidence of this.

With the example set, it becomes all the more glaring that the Government of Kenya has turned its back on its own creative industry. The Korean problem of foreign influence is a Kenyan one; foreign acts are flown in and given top billing, foreign media houses dominate the telling of Kenyan stories, and the latest Marvel films always find themselves on movie-house posters.

In Kenya, a nation that jailed poets and playwrights only two decades ago, the promotion of the creative arts is evolving too slowly. While the Constitution included the mandatory promotion of the arts and cultural sectors, it has taken close to a decade to pass legislation regarding these industries. The government itself has acknowledged these disconnects: the National Music Policy of 2015 states that the Government of Kenya has not adequately enacted policy relating to the creative sector, which in turn has promoted a disconnect in communication and stymied the potential for growth within the industry.

Addressing the state of the creative industries in Kenya, UNESCO contends that there is no facilitative policy framework regarding the creative sector. Or, more bluntly: talk is cheap. The Government of Kenya is definitely aware of the potential impact of growing these specialised industries; it just avoids enacting any meaningful regulation surrounding them. Take the film industry for example. While the talk has been big, there has been no sign of the promised public investment.

The creative sector has long been associated been with the employment of youth. The United Nations has released a series of reports contending that a key path towards combating youth unemployment is through the promotion of the creative industries. Unfortunately, it seems that the Government of Kenya is yet to take heed of creative-driven solutions. The country is currently mired with massive youth unemployment, with rates of over 20 per cent, dwarfing the levels of unemployed young people elsewhere in the East African region. It is clear that from an economic standpoint, the policies of industrialisation have long since proven themselves to be insufficient in terms of impacting the youth of Kenya in any sort of meaningful way.

One reason why the government is reluctant to promote the arts is because of its delicate sensibilities: it fears supporting creative minds that may turn out to be critical of it. This is evident across the archaic policies of the KFCB, the exodus of locally produced textiles for fashion, the lack of funding for the National Theatre, the government stake in Safaricom, which is currently facing a backlash for the low rates of compensation given to musicians streamed on its ring-back tunes application, Skiza.

On the basis of the examples given, the lessons to be learned from South Africa can only be to lean harder into criticism of the government. While this seems to be an oft-visited theme throughout the creative sectors in Kenya, the apartheid era of South Africa’s music industry remains a solid reminder: that there’s no point backing off if the government refuses to change.

This rings doubly true in cases such as that of Ezekiel Mutua, who seems hell-bent on smothering the Kenyan film, theatre and television industries to death through self-claimed piety. His crusade against homosexuality and what he describes as “immorality” must be viewed as a neocolonial one; its aim is to kill off grassroots Kenyan enterprising creative expression. The efforts against him should focus on his willful draining of the Kenyan economy’s untold economic and cultural potential.

The best long-term solution in Kenya’s case is a sort of middle-ground between the policies of localised emphasis of the 1970s and the government of South Korea in the 1980s and 1990s. Ideally, the Ministry of Sports, Culture and the Arts would be divided towards being specialized; the government would either put in or find real public and private funding for the arts and then actually implement and regulate the policies, such as the National Music Policy of 2015, which outlines a mandated quota for Kenyan-made content to make up 60 per cent of the music aired by the media within the country. They would enforce the regulations but let artists do their own thing as a private enterprise, as they know the ins and outs of the industry. When grievances arise, representatives from the creative sector would have a meaningful seat at the table to dialogue with the government. Unfortunately, none of these solutions are being sought.

This rings doubly true in cases such as that of Ezekiel Mutua, who seems hell-bent on smothering the Kenyan film, theatre and television industries to death through self-claimed piety. His crusade against homosexuality and what he describes as “immorality” must be viewed as a neocolonial one; its aim is to kill off grassroots Kenyan enterprising creative expression. The efforts against him should focus on his willful draining of the Kenyan economy’s untold economic and cultural potential.

The issue remains that while Kenya’s creative industry is at par with nearly any other in the region, the continent or the developing world in terms of potential, it is being systemically held back from reaching the heights of its peers. Both South Africa and Nigeria’s situations can be viewed as the regimes having stumbled into a goldmine of creative industry potential during brutal regimes, but in both cases there was at least an initial search for the vein (racist though South Africa’s was). In the case of South Korea, there was almost a resolute desperation to never return from whence they came. They were willing to try outside-the-box solutions to get there and to put their money where their mouth was. All three situations in 1979 stood on a precipice, and all three could have easily changed course into further crackdown or lack of interest and being left devoid of a cultural sector. Kenya’s creative sector situation is dire. This constraining of creativity must be viewed in the light that it is impeding Kenya’s progress in the opening decades of the new millennium.

The artistic industries in Kenya are currently at a crossroads. Though ideas, products and creativity coming from the country are only growing in terms of influence and quality, without support, all potential is destined to languish in obscurity. Seventeen years since the transition out of the Moi regime, there has been no golden age of the arts, no explosion of international influence and possibility. The talent is there; the infrastructure of community radio, self-starter production houses and subversive literary talent is pervasive in Kenya. However, the government is simply too afraid or too obtuse to put anything behind these efforts.

What will the economy of Kenya 40 years on into the future look like? As things stand, without the government at least trying something different, South Africa, Nigeria and South Korea will continue to lap Kenya, toasting to their home-grown billions of dollars and expanded economic influence. Will Kenya’s government officials continue to pretend to scratch their heads in search of “new solutions” when the answer is literally painting the picture before them?

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AFRICA’S YOUTH RISING: Inspirational stories from Ghana, South Africa and Uganda

At no point in its history did Africa have a more educated youth population than today. But at no point in its history did so many young people compete for so few formal jobs. Some seek greener pastures in Europe; others build a future at home. ANJA BENGELSTORFF talked to young people in South Africa, Ghana and Uganda who create opportunities for themselves – and to the benefit of others. Their lesson: Think outside the box.

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AFRICA’S YOUTH RISING: Inspirational stories from Ghana, South Africa and Uganda

There is neither a tarmac road nor an electricity wire leading to the village of Boti in Southern Ghana. But Google found the village anyway. The search machine located a waterfall that gives the village its name. Apart from that, the area is a blank spot in the digital world.

We don’t know how Google found Boti, which is four bumpy bus ride-hours away from the capital Accra. The fact that Boti is on Google or Youtube, or any other site on the Internet, must be attributed to Josephine Godwyll, a 29-year-old geomatic engineer. Her organisation, “Young at Heart”, teaches primary school pupils in rural areas of Ghana holistic digital literacy that goes beyond just how to operate a computer. “We guide them to discover how they can use the skills they’ve acquired to solve problems in their community through design thinking,” Josephine says. “It translates to improving households and improving livelihoods.”

Josephine Godwyll’s father, who is computer illiterate, took her to her first computer class when she was seven. Computers have been practical tools for her ever since. “I don’t think people should be left at a disadvantage just because of where they are born. They should be able to choose from a wide spectrum of opportunities, and this, I believe, is made possible through tech.”

The fact is that the continent continues to gets younger: In 2015, 226 million Africans were between the ages of 15 and 24. By 2050, this number could more than double. Africans’ average age is 19; that of Europeans is 42.6. Is the continent’s youth bulge a blessing or a curse? As it is, millions of young Africans struggle to make a living, their level of education notwithstanding. Solid empirical data on youth unemployment in African countries are hard to come by and difficult to compare as the criteria used to generate data are not harmonised (different countries define the age bracket for youth differently) or are not transparent. Hence statistics given by different sources vary significantly.

The fact is that the continent continues to gets younger: In 2015, 226 million Africans were between the ages of 15 and 24. By 2050, this number could more than double. Africans’ average age is 19; that of Europeans is 42.6.

Josephine Godwyll, like many young people in Ghana, believes in the opportunities technology presents. “I dream of a Ghana in which digital tools make our lives easier“, she says, surrounded by Boti’s primary school students who push each other for a better look at Josephine’s computer screen. “A digital revolution, this is what I am fighting for.” Statistically, every third person in Ghana has access to the Internet, but in reality, this access is mostly limited to urban areas.

In the past four years, Josephine Godwyll and her 30 volunteers have coached more than 200 children. As a result, one graduate of their programme designed a website for his mother’s hair salon, alongside a flyer advertising its services. “The students touch a computer, and a new world opens its door to them,” Godwyll observed.

She strongly believes that there is one huge challenge young people face today: To connect the skills and knowledge they acquire with their daily lives, and to translate them directly into job opportunities. Oftentimes they don’t learn what they need to secure a livelihood.

William Senyo agrees. “The ones in charge of educating people must bring an open mind to what it takes in this kind of global economic dynamics and then the young people must also be willing to do extra,” the 31-year-old Ghanaian says. In his opinion, the parents raising the young generation are fairly conservative. Thirty years ago, a university degree almost guaranteed a job for life. Today, many parents don’t even understand how their children make an income as they sit at home all day, laptops on their knees. “The state has a contract with these young people,” Senyo says. “But there is a disconnect and it almost feels like a lie: Why did the government make me go through [formal education] just so in the end you tell me you don’t have the resources to put my skill set to use?“

In Ghana, 90 per cent of its 30 million citizens can read and write. About a third of Ghanaians are between the ages of 15 and 35. Ghana’s government defines this age bracket as youth, though it does not provide statistics on employment for this group. While the Ghanaian economy has grown on average by an impressive 8.1 per cent annually between 2007 and 2013, this growth did not translate into increased employment opportunities for an ever-growing labour force, which has impacted the youth in particular who, given their age, have less or no work experience in comparison to other workers. Therefore, they tend to engage in informal or underpaid jobs.

The lanky agribusiness graduate digs a mine of ideas in Accra. Five years ago, he founded Impact Hub, a social experiment that gathers restless, inquisitive young people with alternative ideas. The “innovation cluster“, as Senyo likes to call it, supports starting businesses with a social approach. Currently, the team focuses on health, education, agriculture, sustainable energy and financial inclusion. They invented and produced drain covers: “We take all the plastic waste we generate at the Hub to a recycling plant. They recycle it into 3D thread for us and we print out the 3D drain covers. People don’t see it’s possible until you show them,” he grins.

With his Impact Hub, William Senyo does not focus on job seekers but job creators. “Those with initiative that are the rare ones you have to work with and grow and slowly hope that their work will translate into jobs for the mass of unemployed people. They cannot all be entrepreneurs.”

Senyo has given up on the Government of Ghana to solve the country’s youth unemployment crisis. He believes in the effects of a political consciousness: “Exposed, socially aware individuals are always a win compared to people who just walk around like robots and do the work. An empowered group of young people is a threat to any government if they don’t have opportunities.”

For the time being, his best bets are on African entrepreneurs. “Political leadership has failed us consistently. The entrepreneurs have actually shown more capacity to lift us up than our political leaders. They have created opportunities.” Senyo does not question how these entrepreneurs made their fortunes, whether they pay their workers fairly or what motivates them to support creative young people. Not yet. For now, they are useful.

Senyo has given up on the Government of Ghana to solve the country’s youth unemployment crisis. He believes in the effects of a political consciousness: “Exposed, socially aware individuals are always a win compared to people who just walk around like robots and do the work. An empowered group of young people is a threat to any government if they don’t have opportunities.”

Zest for action and the energy of his generation are what tax expert Mabutho Mthembo from South Africa’s metropolis Johannesburg counts on. His country’s population is almost twice the size of Ghana’s, but with 36 per cent of the total population, the proportion of South Africa’s youth is similar to that of the West African nation.

Alarming though is the fact that 53 per cent of young South Africans are jobless, as the International Labour Organisation (ILO) estimates. This is despite the fact that the literacy rate in South Africa is at 99 per cent, and almost 70 per cent of South Africans attend or have attended a secondary school. “In a society where jobs are rare, it takes young people with courage and a sense of innovation,” the 32-year old Mthembo says.

His statement can be read as criticism of South Africa’s education system: Mthembu grew up with his grandmother in rural Kwazulu Natal where primary school students were taught in Zulu, the local language. “Nothing much happens in the countryside,” he remembers. “Nobody ever told us what opportunities are available in South Africa in regard to education and jobs. Learning English was neglected. So getting to university was a shocker as English was the language of instruction. It was very trying at that time.”

Based on his experience that a lack of information, education and social networks prevent young people from seizing opportunities, Mabutho Mthembo started the Youth Managers Foundation about ten years ago. About 2,000 students between the ages of 14 and 18 from 37 high schools in townships and rural areas of South Africa have since received career guidance, have been mentored by professionals from the industry and were introduced to managerial and leadership functions. “The energy that exists in these young people, it’s massive,” exclaims Mthembo. “We try to channel this energy in the right direction: We need leaders who are responsible, generative and constructive.” He believes that the only way South Africa and Africa can thrive is by developing their own visions for the future.

Mabutho Mthembo’s struggle for education and eventually better job opportunities is typical for many young black South Africans. In fact, had it happened years earlier, he might have been among them when in October 2015, students at the University of Witwatersrand in Johannesburg started what would eventually turn into a country-wide political protest: The university management had announced it would raise tuition fees by 10.5 per cent the following year. Before long, the students’ demonstrations had spread to other institutions of higher learning throughout South Africa, famously known under the hashtag #FeesMustFall.

The raising of fees at one university was just the spark that lit the fire that had been nurtured for years by wider and deeper issues that the Rainbow Nation had been struggling with: the inaccessibility of higher education for poor black South Africans due to high costs; inadequate government funding for public universities; rampant corruption within the government administration that was channelling urgently- needed funds away from the public service; and the inability of the government to provide opportunities for its young black citizens to make a decent living and to have a promising future.

The same year, after increasing protests that followed decade-long calls to do so, the University of Cape Town removed a statue commemorating Cecil Rhodes from its campus: For the protestors, the late politician and colonialist symbolised white supremacy and suppression of the black population. The protests, which quickly spread to other universities under the hashtag #RhodesMustFall, called for action against institutionalised racism, for better chances for black academics to become faculty members, but most importantly, for the decolonisation of the education system in South Africa that still had not addressed policies in which racism and inequality were deeply entrenched. Since then, the South African government has come up with a bursary scheme to fund free higher education for poor and working-class students. And the wider calls by South African students for inclusion, anti-colonialism and equality have resonated with students all over the world.

The raising of fees at one university was just the spark that lit the fire that had been nurtured for years by wider and deeper issues that the Rainbow Nation had been struggling with: the inaccessibility of higher education for poor black South Africans due to high costs; inadequate government funding for public universities; rampant corruption within the government administration; and the inability of the government to provide opportunities for its young black citizens to make a decent living and to have a promising future.

Wartson Atukwatse, a Ugandan, studied Environmental Science at Kyambogo University, but getting a job was never on his agenda. During his studies, he quickly discovered that reading was meant only for passing exams. “But I would read a lot of different books for my own benefit, something that was not even taught in class,” the 26-year-old remembers. “I was reading a lot of historical books, about social and artistic work.” He became an activist, a member of several book clubs and was the chairman of the university environmental association. “At that point I was looking at finishing my education and then a job would come. It’s all about getting the necessary skills and then strategising how you can create your future.”

Necessary skills and knowledge, to Wartson, come with reading widely and engaging oneself with matters that develop society. “A job would come but it would find me when I would be doing my own activities,” he remembers. Today, Wartson runs the library at the Uganda Museum in Kampala that he revived a few years ago, and is a sought-after research assistant for academics from abroad coming to Uganda.

He is passionate about creating a reading culture in Uganda. “If we have a population that is literate, that is exposed, that is empowered to create and innovate, then all the problems we have on the continent can be solved. It pains me that most of our governments don’t see that and don’t invest in the creative industry.”

Maybe the government doesn’t, but singer-turned-social-activist-turned-member-of parliament Bobi Wine certainly uses his skills and popularity he had garnered as an artist to challenge Ugandan president Yoweri Museveni and the system he represents: that of a “Big Man” who concentrates most state power in his hands.

Bobi Wine’s appeal as a young person from a poor Kampala neighbourhood and his calls for “people power” resonate particularly with Uganda’s overwhelmingly youthful population, the fastest growing and among the most youthful populations in the world. About 77 per cent of Ugandans are younger than 30 years and 52 per cent are under the age of 15. The majority of them were not born when President Museveni became the head of state in 1986 and do not feel represented by his government.

He is passionate about creating a reading culture in Uganda. “If we have a population that is literate, that is exposed, that is empowered to create and innovate, then all the problems we have on the continent can be solved. It pains me that most of our governments don’t see that and don’t invest in the creative industry.”

Despite remaining rather elusive about his concrete political plans for Uganda’s future, Bobi Wine is emerging as a long-awaited beacon of hope for those who were looking for a leader representing the majority of the Ugandan population who are looking for solutions to corruption and injustice. As he expresses in his song “Situka“ from 2016: When our leaders have become misleaders and mentors have become tormentors. When freedom of expression becomes the target of oppression, opposition becomes our position.”

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