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Always Behind: Kenya’s Languishing Creative Industry

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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
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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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Alex is a journalist and social media expert based in Nairobi, Kenya

Politics

Moving to the Metropole: Migration as Revolution

In an act that should be seen as revolutionary, Africans are moving to the centre to benefit from the resources that continue to be extracted from their continent.

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Moving to the Metropole: Migration as Revolution
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When African students and other black persons escaping Ukraine at the start of the Ukraine-Russia conflict were being ejected from exiting transport (trains and busses) and denied entry into neighbouring Poland, many Africans were enraged with the shameless display of racism. One of these Africans was a middle-aged man from Congo—must have been a graduate student—only recently settled in Germany. Seated inside a café at the Berlin central train station with five of his German and British friends, he exploded: “One wonders how they built all these things? From where did you get all this money? Look where we are, this Hauptbahnof [main train station] must have consumed a fortune. The vehicles you make? No way!” His monologue lasted a while as his friends listened either in agreement or disbelief: “This is our money,” he went on.  “This is why you never stop these civil wars on the continent only to treat us like sub-humans. But we will not stop coming, whatever the cost!” he declared. His voice sounded austere, choked with emotion. None of his friends volunteered an immediate response. Then one said, this Ukraine situation is embarrassing.

While the angry tirade was sparked by the treatment of Africans trying to escape a war zone, clearly, this man had thought about all this stuff for some time. He must have been educated or observant enough to make the connections between the extraction back home in the DRC, the endless violent wars, the resources in Europe (as coming from his home), and the racist treatment of his kindred who otherwise deserve some respect for sustaining the beautiful lifestyles and infrastructures of the western world. Had he listened to Mallence Bart-Williams’ viral TEDx Talk? The story of this Congolese man, whom I will call Tshibumba Matulu (after the painter Tshibumba Matulu that Dutch anthropologist, Johannes Fabian writes about in Remembering the Present) is the story of “the metropole and the periphery” that dependency theorists Samir Amin, Immanuel Wallerstein and Andre Gunder Frank developed in the 1970s and 1980s. The last line of his vitriol is interesting enough in the sense that now, Africans are seeking to see the world as one whole and thus determined to move to the centre—follow up on and seek to enjoy their resources—at whatever cost. Indeed, despite the innumerable roadblocks (immigration laws, expensive and convoluted visa processes, slave traders in the Maghreb, drowning in the Mediterranean, rank racism, and Islamophobia in the western world), Africans are moving to the centre, to the metropole, en masse. They are determined to follow up on their resources.

This is the story of both the open and disguised violence of neoliberalism, where Africa is heavily mined on the cheap, exploited through unequal exchange, climate/conservation colonialism, with the proceeds coming from African human and natural resources being stolen through inexplicable claims of value addition. This point of view has been recently, succinctly and loudly expressed by Italian Prime Minister Giorgia Meloni in her fight with French President Emmanuel Macron over immigration policies in Europe. Known for her anti-immigrant policies, Meloni’s (selfish) position is that if the French stopped stealing resources from 14 African countries through the clearly colonial and extortionist CFA, Africans would not be forced to make the dangerous journeys to Europe (where, by implication, they come to follow up on their resources, which are violently extracted leaving behind absolute poverty and suffering). In that viral clip doing the rounds across the globe, Meloni concludes that the solution to stop Africans from moving from their country to Europe is to leave them alone and have them receive the full benefit of their God-given resources:

So, the solution is not to take Africans and bring them to Europe, the solution is to free Africa from certain Europeans [especially France] who exploit it and allow these people to live off what they have.

While this message seemed directed at the French, the spread of (both violent and structural) capitalism across the African continent is real and threatening. With the collapse of the African economies about 30 years ago (via structural adjustment programmes), where foreign-owned companies returned under the neoliberal order and took over Africa’s major resources or the pillars upon which these economies stood—mineral resources (gold, oil, coffee, diamonds), banking, telecommunications, selling of agricultural products which used to be a function of cooperatives and direct government help—the continent has been left in a clear condition of morbidity. The bold choice, which I argue should be seen as revolutionary, is to move to the centre and demand the benefits of the resources that have been endlessly stolen from the continent, violently and through disguised extractivist structures.

***

Being a Congolese from Goma, Tshibumba Matulu must have witnessed the scramble for Congolese resources by the rich and mighty of the western world very up-close and personal—Dan Gertler International (DGI), Glencore Plc. and Alain Goetz, all of whom have a strong foothold in the country’s mining sector. These multinational companies own almost all the mining sites in the DRC, and have been implicated in the unending violence in the country, which is connected to the ways in which resources are mined. Take South Sudan as the other example where Glencore has a strong foothold in South Sudanese oil. In early November 2022, Glencore Plc. executives were found guilty of bribing the South Sudanese leadership—starting just four weeks after the country’s independence—as “they sought to profit from political turmoil . . . they inserted themselves into government-to-government deals that had been negotiated at preferential rates”.  The Africa Progress Panel estimated that in a period of two years (2010-2012), DRC lost US$1.3 billion in asset sales to DGI. A 2021 study showed that DRC risked losing US$3.71 billion to controversial Israeli businessman Dan Gertler. This is a lot of money—which ends up in Israel where Gertler is one of the richest men and has been controversially implicated in a thousand scandals in Congo. To understand the fact that modern extraction follows a colonial model, one has to appreciate the fact that colonialism’s extraction was and is always outsourced to corporations. King Leopold operated in his individual capacity as a businessman, using his loot to build estates, infrastructures and palaces in Belgium (and not on the African continent). That an independent businessman, Dan Gertler, would promise guns to a government and actually deliver on his promise exposes the ways in which governments in the west outsource businessmen to colonise Africa on their behalf.

These multinational companies own almost all the mining sites in the DRC, and have been implicated in the unending violence in the country.

Dependency theory so succinctly exposed the roots and execution of underdevelopment in Black Africa, which is, in brief, resources being extracted on the cheap from the periphery (Africa), to be moved and generate more value in the metropole. If these resources ever come back to the continent (Latin America or Africa), they return more expensively. In this periphery-metropole dichotomy, endless capitalist exploitation (which mostly thrives on violence) not only depletes resources and opportunities at the periphery, but also makes life unliveable and unbearable. It then enacts tougher controls to keep the peoples of the periphery at the periphery so that they do not move to the metropole and overwhelm its amenities. This is why African journeys to the metropole are not only dangerous, but are also defined by more drama that tends to generate an incredible amount of grim news broadcasts. Dependency theory does not explicitly follow up on the revolutionary journeys where the exploited—like Tshibumba Matulu—painstakingly seek the benefits of their resources in the metropole. This is perhaps because it pursued another route out of this colonial conundrum, which was to de-link the metropole from the periphery.

Capitalism’s violence, revolutionary journeys

Transiting through airports in Dubai or Doha, one will encounter East African languages, especially Kiswahili and Luganda. Manning a counter in twos or threes, staff tend to speak to each other in their languages. While duty stations may not be allocated depending on the mutual native linguistic intelligibility between workers, since all speak English, somehow, workers from the same Great Lakes linguistic community find themselves together. That the numbers of labour migrants moving to the Middle East have soared over the past years is not just testament to the availability of job opportunities in the Middle East, but also to the dire conditions in which they live in their countries—conditions made difficult by the capitalist neoliberal reforms of the 1980s, and in some cases by conflict (especially in Northern Uganda, Karamoja, Turkana areas, South Sudan and Somalia). Middle Eastern salaries are not the greatest attraction as they range between US$600 and US$900 depending on seniority (far much less for domestic work). But that the same amounts cannot be earned back home speaks more to the dire conditions at home.

Data from the Uganda Ministry of Gender, Labour and Social Development published in the Daily Monitor, indicates that for the last six years (2016-2022), an average of 24,086 Ugandans left the country annually in search of employment, especially in the Middle East. What makes conditions so hostile in the Great Lakes Region?  Besides Somalia and Central African Republic—where there is outright violence—why is the scale of movement of young people in particular so high in the Great Lakes region? It is the ravages of both internal capitalism (by the petty bourgeoisies) and foreign capital moving from South Africa northwards, but also coming from Europe and North America—and China exploiting the neoliberal environment. This is evident in cases of land grabbing, forced evictions, refugee crises caused by resource wars, especially in DRC and South Sudan, and the terrible business environment in the region.

Dependency theory does not explicitly follow up on the revolutionary journeys where the exploited painstakingly seek the benefits of their resources in the metropole.

Theoretically and practically, without the violence of the state and other related state actors, it is difficult for capitalism to reproduce itself.  States do not only set the conditions under which extraction occurs (such as banking regimes, neoliberal regimes), but they are also ready to commit violence on the exploited. In Uganda, cases of land grabbing by local capitalists have made land ownership and agriculture difficult. In other cases, collusion between the state and foreign capitalists to evict peasants off their lands is causing first, rural urban-migration, and then journeys abroad. Among the most memorable cases is that of the 2001 evictions in Mubende where the German coffee company Neumann Gruppe used outright violence (with the help of the state), including shooting, burning houses and animals, and maiming people to create way for a coffee plantation. Over 2,000 families remain destitute and are yet to find justice. Faced with mass unemployment, extortionist banking regimes with high interest rates that have stymied creativity and made business difficult across East Africa, many young people struggle to start thriving businesses.

Violent evictions have also taken place in Kenya and Tanzania to create way for capitalist expansion or capitalist ostentation (Franz Fanon warned that political elites would turn the continent into an entertainment centre for foreign capitalists). This is the story in Samburu where evictions have taken place to create way for American charities. It is the story of the green colonialism that led to the Ogiek and Maasai evictions from the Mau Forest in the name of conservation. Guillaume Blanc’s recently published book, The Invention of Green Colonialism, demonstrates how the rhetoric of conservation (by colonially founded organisations including UNESCO, WWF, IUCN) perpetuates a colonial model of conservation that privileges animals and plants over humans. While capitalists in Europe and North America—consuming endlessly—have destroyed nature, they have maintained a mythical, fictionalised Eden in Africa, insisting that peasants, who have developed ways of coexisting with nature, who eat very little meat, have neither cars, nor computers nor smartphones, are a danger to the environment. They are evicted from huge swathes of land that are then reserved for white people to hunt and gaze at wild animals.

Away from the forests and the plains, the poor are also being “cleansed” from the capital cities. The 2021 Mukuru Kwa Njega eviction in Nairobi that left 40,000 people homeless is etched in the memories of Kenyans. In what Mwaura Mwangi aptly termed “Demolition Colonialism”, thousands of poor Nairobians have had their houses demolished so that the rich can enjoy easy transit. This is not anti-development position, but rather a reading that seeks to recognise the rights of the poor, and make visible the history of slums in major cities across Africa.

Theoretically and practically, without the violence of the state and other related state actors, it is difficult for capitalism to reproduce itself.

Then come the wars in the DRC, Somalia, CAR, and South Sudan—a product of business dealings by multinationals including Glencore and CNOOC, among others— that have led to an increase in refugees numbers, now reaching 2.3 million people according to UNHCR. In his book Saviours and Survivors, Mahmood Mamdani implicates CNOOC and ExxonMobil in protecting oil wells using different rebel groups in the Sudan-South Sudan conflict. The end product of these clandestine oil dealings are the over 1.5 million refugees hosted in Uganda, making it the country with the largest number of refugees in the world. The influx of people escaping resource-related conflicts has overwhelmed resources in the Great Lakes region.  And while many of the refugees will stay in the region, many others are making the journey to the Middle East, to Europe and to North America.

With all this aggressive capitalist expansion manifesting in different forms, the African in the Great Lakes (and other places on the continent) is left with no choice but to make the journey to Europe and to North America. I want to read these journeys not just as migration, but as revolution. They might seem puny, unorganised and migrating out of desperate need, but Africans are moving to the centre to benefit from the resources that continue to be extracted from their continent. This is how the extractors perceive these journeys—not as migration, but as revolution—which explains why there are so many roadblocks along the way.

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The Campaign that Remembered Nothing and Forgot Nothing

Once a master of coalition building, Raila Odinga killed his own party and brand, handed over his backyard to William Ruto, threw in his lot with Uhuru Kenyatta, ended up being branded a “state project”, and lost.

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The Original sin

A seasoned Nairobi politician, Timothy Wanyonyi had cut a niche for himself in the Nairobi governor’s race that was filled with a dozen candidates who had up to that point not quite captured the imagination of Nairobians. Some candidates were facing questions over their academic qualifications while others were without a well-defined public profile. In that field Wanyonyi, an experienced Nairobi politician, stood out. On 19th April, the Westlands MP’s campaign team was canvasing for him in Kawangware. They had sent pictures and videos to news teams seeking coverage. But that evening their candidate would receive a phone call to attend a meeting at State House Nairobi that would put an end to his campaign. Before Tim made his way to State House, insiders around President Uhuru Kenyatta told reporters that Wanyonyi was out of the Nairobi governor’s race.

Wanyonyi’s rallying call “Si Mimi, ni Sisi”—a spin on US Senator Bernie Sanders’ “Not me. Us” 2020 presidential campaign slogan—distinguished him as a candidate who understood the anxieties of Nairobians. “They were looking for someone who would see the city as a home first, before seeing it as a business centre,” one of his political consultants told me. But the Azimio coalition to which Wanyonyi’s ODM party belonged was very broad, with several centres of power that didn’t take into account—or maybe didn’t care about— Nairobi’s political landscape. Wanyonyi’s candidacy was hastily sacrificed at the altar of the coalition’s politics. Former President Uhuru Kenyatta, the coalition’s chairman, had prevailed on Raila Odinga, its presidential candidate, to essentially leave Nairobi to Kenyatta’s Jubilee Party in exchange for ODM picking the presidential candidate.

That was the only consideration on the table.

However, it was a miscalculation by the coalition. Azimio failed to appreciate the complex matrix that is a presidential election in Kenya. While the top ticket affects the races downstream, it can be argued that the reverse is also true. It is ironic that Raila Odinga, a power broker and a master of coalition building who was running for presidency for the fifth time, was choosing to ignore these principles. His own ascension in politics had been based on building a machine—ODM—that he used carefully during every election cycle. Yet in this election he was killing his own party and brand. The Azimio La Umoja coalition party was built as a party of parties that would be the vehicle Raila would use to contest the presidency. However, the constituent parties were free to sponsor parliamentary candidates. It sounded like a good idea on paper but it created friction as the parties found themselves in competition everywhere. To keep Azimio from fracturing both itself and its votes, the idea of “zoning”—having weaker candidates step down for stronger ones, essentially carving out exclusive zones for parties—gained traction, and would itself lead to major fall-outs, even after it was adopted as official Azimio policy in June.

However, beyond the zoning controversy, Wanyonyi’s candidacy served as a marker for a key block of Odinga voters—the Luhya—assuring them of their place within the Azimio coalition. Luhya voters have been Odinga’s insurance policy during his last three presidential runs. With Nyanza and the four western Kenya counties of Kakamega, Bungoma, Vihiga and Busia in his back pocket, he would be free to pick up other regions. Odinga claimed 71 per cent of the Luhya bloc in 2017 but this time, western voters were feeling jittery about the new political arrangements.

There is also another consideration. The Luhya voting bloc in Nairobi is also significant, and Odinga had carried the capital in his previous three presidential runs. The Nairobi electoral map is largely organized around five big groups: the Kikuyu, Luo, Luhya, Kamba, and Kisii. For the ODM party, having a combination of a Luo-Luhya voting bloc in Nairobi has enabled Odinga to take the city and to be a force to reckon with.

However, it appeared that all these factors were of no importance in 2022. So, Tim Wanyonyi was forced out of the race. He protested. Or attempted to. Western Kenya voters were furious, but who cared?

Miscalculation

The morning after the State House meeting, a group calling themselves Luhya professionals had strong words for both Odinga and Azimio.

“We refuse to be used as a ladder for other political expediencies whenever there is an election,” Philip Kisia, who was the chairman of this loose “professional group” said during a press conference that paraded the faces of political players from the Luhya community. The community had “irreducible minimum” and would not allow itself to “to be used again this time.” Other speakers at that press conference—including ODM Secretary General Edwin Sifuna—laid claim to what they called the place of the Luhya community in Nairobi. The political relationship between Luhyas and Luos has not been without tensions; in the aftermath of the opposition’s unravelling in the 90s, Michael Kijana Wamalwa and Raila Odinga fought for supremacy within the Ford Kenya party. Wamalwa believed the throne left by Jaramogi Oginga Odinga was his for the taking. However, Odinga’s son, Raila, mounted a challenge for the control of the party, eventually leaving Ford Kenya to build his own party, the National Development Party (NDP). The Luhya-Luo relationship was broken. Luhya sentiment was that, having been faithful to Odinga’s father, it was time for Wamalwa to lead the opposition.

These old political wounds have flared up during every election cycle, and Raila Odinga has worked for decades to reassure the voting bloc and bury the hatchet. This time, however, he was different. He didn’t seem to care about those fragile egos. After the press conference, a strategist in Odinga’s camp wondered aloud, “Who will they [Luhyas] vote for?”

The next 21 days were to be pivotal for Kenya’s presidential election. Azimio moved on and introduced Polycarp Igathe as their candidate for Nairobi. A former deputy governor in Nairobi who had quit just months after taking office, Igathe is well known for his C-suite jobs and intimate links to the Kenyan political elite. His selection, though, played perfectly into the rival Kenya Kwanza coalition’s “hustlers vs dynasties” narrative which sought to frame the 2022 elections as a contest between the political families that have dominated Kenya’s politics and economy since independence. The sons of a former vice president and president respectively, Odinga and Uhuru were branded as dynasties while the then deputy president claimed for himself the title of “hustler”.

These old political wounds have flared up during every election cycle, and Raila Odinga has worked for decades to reassure the voting bloc and bury the hatchet.

But, William Ruto’s side also saw something else in that moment—an opportunity to get a chunk of the important Luhya vote. Ruto first entered into a coalition with Musalia Mudavadi, selling their alliance as a “partnership of equals”, and then followed that up with the offer of a Luhya gubernatorial candidate to Nairobians in the name of Senator Johnson Koskei Sakaja.

Meanwhile, Wanyonyi’s half-brother, the current Speaker of the National Assembly, Moses Wetangula, was a principle in Ruto’s camp. Up to this point, Wetangula had struggled to find a coherent message to sell Ruto’s candidacy to the Luhya nation. But, with his brother being shafted by Azimio, Wetangula saw a political opening; he quickly called a press conference and complained bitterly about the “unfair Odinga” whom he said the Luhya community would not support for “denying their son a ticket to run for the seat of the governor of Nairobi”. His press conference went almost unnoticed and it is not even clear if Azimio took notice of the political significance of Wetangula’s protestations.

Azimio had offered their opponents an inroad into western Kenya politics and Ruto wasted little time trying turn a key Odinga voting bloc. With Sakaja confirmed as the Kenya Kwanza candidate for the Nairobi governor’s race, Wetangula and Kenya Kwanza made Western Kenya a centrepiece of their path to presidency. Tim Wanyonyi was presented as a martyr. The Ford Kenya leader took to all the radio stations, taking calls or sending emissaries, to declare Odinga’s betrayal. In the days and weeks that followed, William Ruto would make a dozen more visits to Luhyaland than his rival, assuring the voters that there would be a central place reserved for them in his administration. In contrast, on a visit to western Kenya, Raila Odinga expressed anger that an opinion poll had shown him trailing Ruto in Bungoma. “He is at nearly 60 per cent and I am at 40 per cent. Shame on you people! Shame on you people! Shame on you!” he told the crowd. He would eventually lose Bungoma and Trans Nzoia to William Ruto.

To be sure, Odinga won western Kenya with 55 per cent of the vote, but William Ruto had 45 per cent, enough to light his path to the presidency. He would repeat the same feat in Nairobi and coast regions, traditionally Odinga strongholds where he would have expected to bag upwards of 60 per cent of the vote. Azimio modelling had put these regions in Raila’s column but Kenya Kwanza took advantage of the mistake-prone Odinga. And wherever Odinga blundered, Ruto mopped up. As Speaker, Wetangula is today the third most powerful man in in the country. Yet just four years ago, he was an Odinga ally who had been stripped off his duties as a minority leader in the Senate by Odinga’s ODM party. At the time he warned that the divorce “would be messy, it would be noisy, it would be unhelpful, it would not be easy, it would have casualties”. It was the first of many political blunders that Odinga would make.

Unforced errors

Looking back, Odinga’s 2022 run for the presidency had all the hallmarks of a campaign that didn’t know what it didn’t know; it was filled with assumptions, and sometimes made the wrong judgment calls. By handing over his backyard to Ruto and choosing to ally with President Uhuru Kenyatta, Raila ended up being branded a “state project”.

In 2005, Odinga had used the momentum generated by his successful campaign in a referendum against Mwai Kibaki’s attempt to foist on the country a bastardized version of the constitution negotiated in Bomas to launch early campaigns for his 2007 presidential run. However, this time, as the courts hamstrung his attempt to launch the BBI referendum, Ruto was already off to the races, having begun his presidential campaign three years early.

“He is at nearly 60 per cent and I am at 40 per cent. Shame on you people! Shame on you people! Shame on you!”

With the rejection of constitutional changes, which were found to be deeply unpopular among many Kenyans, Odinga was finally in a strange place, a politician now out of touch, defending an unpopular government, a stranger to his own political base. The failure of BBI as a political tool was really the consequence of Odinga’s and Kenyatta’s inability to understand the ever-changing Kenyan political landscape. Numerous times they just seemed to not know how to deal with the dynamism of William Ruto. He would shape-shift, change the national conversation, and nothing they threw at him seemed to stick, including, corruption allegations. For a politician who created the branding of opponents as his tool, Odinga had finally been branded and it stuck.

Bow out

In the final day of the campaigns, both camps chose Nairobi to make their final submissions. Azimio chose Kasarani stadium. It was, as expected, full of colour, with a Tanzanian celebrity musician, Diamond Platnumz, brought in to boot. Supporters were treated to rushed speeches by politicians who had somewhere else to be. Azimio concluded its final submission early and the speeches by Odinga and his running mate, Martha Karua, weren’t exactly a rallying call. It was as if they were happy to be put out of their pain as they quickly stepped off the stage and left the stadium. In contrast, Ruto’s final submission was filled with speeches of fury by politicians angered by “state capture” and the “failing economy”. Speaker after speaker roused the audience with their defiant messages. They ended the meeting an hour before the end of IEBC campaign deadline. A video soon appeared online of William Ruto sprinting across the Wilson airport runway to catch a chopper and make it to one final rally in central Kenya before the IEBC’s 6 p.m. campaign deadline.

Pictures of the deputy president on top of a car at dusk in markets in Kiambu were the last images of his campaign to be shared on social media. Ruto won because he wanted the presidency more than Odinga and was willing to work twice as hard as both Odinga and Kenyatta.

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Lagos From Its Margins: Everyday Experiences in a Migrant Haven

From its beginnings as a fishing village, Lagos has grown into a large metropolis that attracts migrants seeking opportunity or Internally Displaced Persons fleeing violence.

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Lagos, City of Migrants

From its origins as a fishing village in the 1600s, Lagos has urbanised stealthily into a vast metropolis, wielding extensive economic, political and cultural influence on Nigeria and beyond. Migration in search of opportunities has been the major factor responsible for the demographic and spatial growth of the city as Lagos has grown from 60,221 in 1872 to over 23 million people today. The expansion of the city also comes with tensions around indigene-settler dynamics, especially in accessing land, political influence and urban resources. There are also categories of migrants whose status determines if they can lay hold of the “urban advantage” that relocating to a large city offers.

A major impetus to the evolution of modern Lagos is the migration of diverse groups of people from Nigeria’s hinterland and beyond. By the 1800s, waves of migrants (freed slaves) from Brazil and Freetown had made their way to Lagos, while many from Nigeria’s hinterland including the Ekiti, Nupes, Egbas and Ijebus began to settle in ethnic enclaves across the city. In the 1900s, migrant enclaves were based on socio-economic and/or ethnicity status. Hausas (including returnees from the Burma war) settled in Obalende and Agege, while the Ijaw and Itsekiri settled in waterfront communities around Ajegunle and Ijora. International migrant communities include the Togolese, Beninoise and Ghanaian, as well as large communities of Lebanese and Indian migrants. The names and socio-cultural mix in most Lagos communities derive from these historical migrant trajectories.

Permanent temporalities

A study on coordinated migrations found that, as a destination city, Lagos grew 18.6 per cent between 2000 and 2012, with about 96 per cent of the migrants coming from within Nigeria. While migration to Lagos has traditionally been in search of economic opportunities, new classes of migrants have emerged over the last few decades. These are itinerant migrants and internally displaced persons.

Itinerant migrants are those from other areas of Nigeria and West Africa who travel to work in Lagos while keeping their families back home. Mobility cycles can be weekly, monthly or seasonal. Such migrants have no address in Lagos as they often sleep at their work premises or in mosques, saving all their earned income for remittance. They include construction artisans from Benin and Togo who come to Lagos only when they have jobs, farmers from Nigeria’s northern states who come to Lagos to work as casual labourers in between farming seasons (see box), as well as junior staff in government and corporate offices whose income is simply too small to cover the high cost of living in Lagos.

While people from Nigeria’s hinterland continue to arrive in the city in droves, the wave of West African in-migration has ebbed significantly. This is mostly because of the economic challenges Nigeria is currently facing that have crashed the Naira-to-CFA exchange rates. As a result, young men from Togo, Ghana and Benin are finding cities like Dakar and Banjul more attractive than Lagos.

Photo. Taibat Lawanson

Photo. Taibat Lawanson

Aliu* aka Mr Bushman, from Sokoto, Age 28

Aliu came to Lagos in 2009 on the back of a cattle truck. His first job was in the market carrying goods for market patrons. He slept in the neighbourhood mosque with other young boys. Over the years, he has done a number of odd jobs including construction work. In 2014, he started to work as a commercial motorcyclist (okada) and later got the opportunity to learn how to repair them. He calls himself an engineer and for the past four years has earned his income exclusively from riding and repairing okada. Even though he can afford to rent a room, he currently lives in a shared shack with seven other migrants.

He makes between N5000 and N8000 weekly and sends most of it to his family through a local transport operator who goes to Sokoto weekly. His wife and three children are in the village, but he would rather send them money than bring them to Lagos. According to him, “The life in Lagos is too hard for women”.

Since he came to Lagos thirteen years ago, Aliu has never spent more than four months away from Sokoto at a time. He stays in Sokoto during the rainy season to farm rice, maize and guinea corn, and has travelled back home to vote every time since he came to Lagos.

 

The second category of migrants are those who have been displaced from their homesteads in Northern Nigeria by conflict, either Boko Haram insurgency or invasions by Fulani herdsmen. The crises have resulted in the violent destruction of many communities, with hundreds of thousands killed and many more forced to flee. With many who initially settled in camps for Internally Displaced Persons (IDP) dissatisfied with camp conditions, the burden of protracted displacement is now spurring a new wave of IDP migration to urban areas. Even though empirical data on the exact number of displaced persons migrating out of camps to cities is difficult to ascertain, it is obvious that this category of migrants are negotiating their access to the city and its resources in circumstances quite different from those of other categories of migrants.

IDPs as the emerging migrant class in Lagos 

According to the United Nations High Commission for Refugees, two of every three internally displaced persons globally are now living in cities. Evidence from Nigeria suggests that many IDPs are migrating to urban areas in search of relative safety and resettlement opportunities, with Lagos estimated to host the highest number of independent IDP migrants in the country. In moving to Lagos, IDPs are shaping the city in a number of ways including appropriating public spaces and accelerating the formation of new settlements.

There are three government-supported IDP camps in the city, with anecdotal evidence pointing to about eighteen informal IDP shack communities across the city’s peri-urban axis. This correlates with studies from other cities that highlight how this category of habitations (as initial shelter solutions for self-settled IDPs) accelerate the formation of new urban informal settlements and spatial agglomerations of poverty and vulnerability.

While people from Nigeria’s hinterland continue to arrive in the city in droves, the wave of West African in-migration has ebbed significantly.

IDPs in Lagos move around a lot. Adamu, who currently lives in Owode Mango—a shack community near the Lagos Free Trade zone—and has been a victim of forced eviction four times said, “As they [government or land owners] get ready to demolish this place and render us homeless again, we will move to another area and live there until they catch up with us.”

In the last ten years, there has been an increase in the number of homeless people on the streets of Lagos—either living under bridges, in public parks or incomplete buildings. Many of them are IDPs who are new migrants, and unable to access the support necessary to ease their entry into the city’s established slums or government IDP camps. Marcus, who came from Adamawa State in 2017 and has been living under the Obalende Bridge for five years, said, “I am still managing, living under the bridge. I won’t do this forever, my life will not end like this under a bridge. I hope to one day return to my home and continue my life”.

Blending in or not: Urban integration strategies 

Urban integration can be a real challenge for IDP migrants. Whereas voluntary migrants are often perceived to be legal entrants to the city and so can lay claim to urban resources, the same cannot be said about IDPs. Despite being citizens, and despite Nigeria being a federation, IDPs do not have the same rights as other citizens in many Nigerian cities and constantly face stigmatisation and harassment, which reinforces their penchant for enclaving.

The lack of appropriate documentation and skillsets also denies migrants full entry into the socio-economic system. For example, Rebekah said: “I had my WAEC [Senior Secondary school leaving certificate] results and when Boko Haram burnt our village, our family lost everything including my certificates. But how can I continue my education when I have not been able to get it? I have to do handwork [informal labour] now”. IDP children make up a significant proportion of out-of-school children in Lagos as many are unable to get registered in school simply because of a lack of address.

Most IDPs survive by deploying social capital—especially ethnic and religious ties. IDP ethnic groupings are quite organized; most belong to an ethnic-affiliated group and consider this as particularly beneficial to their resettlement and sense of identity in Lagos. Adamu from Chibok said, “When I come to Lagos in 2017, I come straight to Eleko. My brother [kinsman] help me with house, and he buy food for my family. As I no get work, he teach me okada work wey he dey do.”

The crises have resulted in the violent destruction of many communities, with hundreds of thousands killed and many more forced to flee.

Interestingly, migration to the city can also be good for women as many who were hitherto unemployed due to cultural barriers are now able to work. Mary who fled Benue with her family due to farmer-herder clashes explained, “When we were at home [in Benue], I was assisting my husband with farming, but here in Lagos, I have my own small shop where I sell food. Now I have my own money and my own work.”

Need for targeted interventions for vulnerable Lagosians

“Survival of the fittest” is an everyday maxim in the city of Lagos. For migrants, this is especially true as they are not entitled to any form of structured support from the government. Self-settlement is therefore daunting, especially in light of systemic limiting factors.

Migrants are attracted to big cities based on perceived economic opportunities, and with limited integration, their survival strategies are inevitably changing the spatial configurations of Lagos. While the city government is actively promoting urban renewal, IDP enclaving is creating new slums. Therefore, addressing the contextualised needs of urban migrant groups is a sine qua non for inclusive and sustainable urban development.

“I am still managing, living under the bridge. I won’t do this forever, my life will not end like this under a bridge. I hope to one day return to my home and continue my life”.

There is an established protocol for supporting international refugees. However, the same cannot be said for IDPs who are Nigerian citizens. They do not enjoy structured support outside of camps, and we have seen that camps are not an effective long-term solution to displacement. There is a high rate of IDP mobility to cities like Lagos, which establishes the fact that cities are an integral part of the future of humanitarian crisis. Their current survival strategies are not necessarily harnessing the urban advantage, especially due to lack of official recognition and documentation. It is therefore imperative that humanitarian frameworks take into account the role of cities and also the peculiarities of IDP migrations to them.

Lagos remains a choice destination city and there is therefore need to pay more attention to understanding the patterns, processes and implications of migration into the city. The paucity of migration-related empirical data no doubt inhibits effective planning for economic and social development. Availability of disaggregated migration data will assist the state to develop targeted interventions for the various categories of vulnerable Lagosians.  Furthermore, targeted support for migrant groups must leverage existing social networks, especially the organised ethnic and religious groups that migrants lean on for entry into the city and for urban integration.

*All names used in this article are pseudonyms

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