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Always Behind: Kenya’s Languishing Creative Industry

15 min read. 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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Alex is a journalist and social media expert based in Nairobi, Kenya

Politics

Xenophobia in South Africa: A Consequence of the Unfinished Business of Decolonisation in Africa

8 min read. The recent Afrophobic attacks in South Africa are symptoms of a deeper problem that has its roots in the Berlin Conference of 1884-1885.

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Xenophobia in South Africa: A Consequence of the Unfinished Business of Decolonisation in Africa
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South Africa has consistently experienced cyclical xenophobic flaring that has dented its image in Africa and in the world. The country continues to receive a high number of both documented and undocumented migrants as it has become a top destination in South-to- South migration. Beyond its geographical proximity to other African states, the current migration patterns have to be understood as a consequence of history and as such the xenophobic flaring has to be read as an unfinished business of decolonisation in Africa.

History created two processes that shaped Africa’s politics and economies, even up to today, creating a complex conundrum for our policy makers. Firstly, the Berlin conference created artificial borders and nations that remain problematic today. These borders were not fashioned to address the political and economic interests of Africans but the imperial powers of Europe. Institutions and infrastructure were created to service the imperial interests, and this remains the status quo despite more than four decades of independence in Africa. Secondly, Cecil John Rhodes’ dream of “Cape to Cairo” became the basis upon which the modern economy was built in Africa. This created what the late Malawian political economist, Guy Mhone, called an enclave economy of prosperity amidst poverty, and resultantly created what Mahmood Mamdani termed the bifurcated state, with citizens and subjects.

A closer look at the African state’s formation history provides insights on the continuities of colonial institutions and continuous marginalisation of Africans as the state was never fashioned to address their political and economic interests from the beginning.

Drawing on classical African political economists, this article argues that, unknowingly, the South African government and in particular, the African National Congress (ANC) leadership, a former liberation movement, have fallen into the trap of the logic of the underlying colonial epistemologies informing migration debates in Africa. The Afrophobic attacks in South Africa fly in the face of Africa’s founding fathers, such as Nkrumah, Nyerere, Machel, Kaunda and Mandela, and of the African Union’s dream of a borderless African economy and society.

In his essay “In Defence of History”, Professor Hobsbawm challenges us to read history in its totality:

However, the new perspectives on history should also return us to that essential, if never quite realisable, objective of those who study the past: “total history”. Not a “history of everything”, but history as an indivisible web in which all human activities are interconnected.

It is when we read history in its totality that we are able to make connections about the relations between the past, present and future. Looked at closely, the current xeno/Afro-phobia insurrections engulfing South Africa have to be read within the totality of history. Therefore, this piece argues that the xeno/Afro-phobia flarings that have been gripping South Africa ever since 2008, and which have cast South Africa it in bad light within the African continent, are contrary to the ethos of Pan-Africanism and are largely a product of the history of the scramble and partition of Africa at the Berlin Conference of 1884-1885.

Whose borders? Remembering the Ghosts of Berlin

By the beginning of the 1870s, European nations were in search of natural resources to grow their industries and at the same expand markets for their products. This prompted strong conflict amongst European superpowers and in late 1884, Otto von Bismarck, the then German Chancellor, called for a meeting in Berlin of various representatives of European nations. The objective was to agree on “common policy for colonisation and trade in Africa and the drawing of colonial state boundaries in the official partition of Africa”.

The xenophobic/Afrophobic attacks in South Africa fly in the face of Africa’s founding fathers, such as Nkrumah, Nyerere, Machel, Kaunda and Mandela, and of the African Union’s dream of a borderless African economy and society.

At the end of the Berlin Conference, the “European powers had neatly divided Africa up amongst themselves, drawing the boundaries of Africa much as we know them today”. It was at this conference that European superpowers set in motion a process that set boundaries that have continued to shape present-day Africa. Remember that there was no King Shaka, Lobengula, Munhumutapa, Queen Nzinga, Emperor Haile Selassie, Litunga of Barotseland among many other rulers of Africa at this conference. There was Otto von Bismarck, King Leopold II and their fellow European rulers who sat down and determined borders governing Africa today.

This is the epistemological base upon which current “othering” within citizenship and migration policies are hinged. This colonial legacy has its roots in the Berlin Conference of 1884-1885, where major European powers partitioned Africa amongst themselves and formalised it with the current borders that have largely remained intact and the basis of the modern state in post-colonial Africa. Therefore, policies on identity, citizenship and migration in Africa have been largely informed by modern nation-state forms of territoriality drawn from remnants of colonial policies. These have tended to favour the elites and modernised (privileged, intelligentsia, government officials and business) at the expense of the underclass in Africa, who form the majority.

Most of the institutions and policies characterising the post-colonial African state are bequeathed by legacies of colonialism, hence the need for African states to listen to the wisdom of Samir Amin and “delink from the past” or bridge Thabo Mbeki’s “two nations” thesis and create a decolonised Africa where Africans will be no strangers.

Africa’s citizenship and migration policies remain unreformed and informed by colonial epistemology and logics. The partitioning of Africa into various territories for European powers at the Berlin Conference means most of the present-day nation-states and boundaries in Africa are a product of the resultant imperialist agreement. The boundaries were an outside imposition and split many communities with linguistic, cultural and economic ties together. The nation-state in Africa became subjugated by colonial powers (exogenous forces) rather than natural processes of endogenous force contestations and nation-state formation, as was the case with Europe.

Stoking the flames

African communities are burning from Afrophobia/xenophobia, and at times this is sparked by Africa’s elites who make reckless statements based on the logics of the Berlin Conference. Africa’s poor or the underclass are the most affected, as these xeno-insurrections manifest physically and violently amongst poor communities. Among elite communities, it manifests mostly in subtle psychological forms.

South African leaders continue to be oblivious to the crisis at hand and fail to understand that the solution to the economic crisis and depravity facing the South African citizenry can’t easily be addressed by kicking out foreigners. In 2014, prominent Zulu King Goodwill Zwelthini had this to say and the whole country was caught up in flames:

Most government leaders do not want to speak out on this matter because they are scared of losing votes. As the king of the Zulu nation, I cannot tolerate a situation where we are being led by leaders with no views whatsoever…We are requesting those who come from outside to please go back to their countries…The fact that there were countries that played a role in the country’s struggle for liberation should not be used as an excuse to create a situation where foreigners are allowed to inconvenience locals.

After a public outrage he claimed to have been misquoted and the South African Human Rights Council became complicit when it absolved him.

Towards the South African 2019 elections, President Cyril Ramaphosa also jumped onto the blame-the-foreigner bandwagon by stoking xenophobic flames when he said that “everybody just comes into our country…” Not to be outdone, Johannesburg Mayor, Herman Mashaba, has been on the blaze, blaming foreigners for the rise in crime and overcrowded service delivery.

On the other hand, Minister Bheki Cele continues to be in denial as he adamantly characterises the current attack on foreigners as acts of criminality and not xenophobia. Almost across the political divide there is consensus that foreigners are a problem in South Africa. However, the exception has been the Economic Freedom Fighters (EFF) that has been steadfastly condemning the black-on-black attacks and has characterised them as self-hate.

Whither the Pan-African dream?

In his founding speech for Ghana’s independence, Kwame Nkrumah said, “We again rededicate ourselves in the struggle to emancipate other countries in Africa; for our independence is meaningless unless it is linked up with the total liberation of the African continent.”

This speech by President Nkrumah set the basis upon which Ghana and some of the other independent African states sought to ensure the liberation of colonised African states. They never considered themselves free until other Africans were freed from colonialism and apartheid. Tanzanian President Julius Nyerere had this to say:

I reject the glorification of the nation-state [that] we inherited from colonialism, and the artificial nations we are trying to forge from that inheritance. We are all Africans trying very hard to be Ghanaians or Tanzanians. Fortunately for Africa, we have not been completely successful. The outside world hardly recognises our Ghanaian-ness or Tanzanian-ness. What the outside world recognises about us is our African-ness.

It is against this background that countries like Zimbabwe, Namibia and South Africa benefitted from the solidarity of their African brothers as they waged wars of liberation. Umkhonto weSizwe, the African National Congress’ armed wing, fought alongside the Zimbabwe People’s Revolutionary Army to dislodge white supremacist in Southern Rhodesia. And Nigeria set up the Southern Africa Relief Fund that raised $10 million that benefitted South Africans fighting against the apartheid regime. The African National Congress was housed in neighbouring African countries, the so-called frontline states of Zambia, Zimbabwe, Mozambique, Lesotho and Tanzania. In some cases, these countries had to endure bombings and raids by the apartheid regime.

African communities are burning from Afrophobia/xenophobia, and at times this is sparked by Africa’s elites who make reckless statements based on the logics of the Berlin Conference.

The attacks on foreign nationals who are mostly African and black by black South Africans and the denial by South African government officials that the attacks are not xenophobic but criminal are attempts to duck a glaring problem that needs urgent attention. It is this denialism from authorities that casts aspersions on the Pan-African dream of a One Africa.

Glimmers of hope

All hope is not lost, as there are still voices of reason in South Africa that understand that the problem is a complex and economic one. The EFF has also managed to show deep understanding that the problem of depravity and underdevelopment of Black South Africans is not caused by fellow Africans but by the skewed economic system. Its leader, Julius Malema, tweeted amidst the flaring of the September 2019 xenophobia storm:

Our anger is directed at wrong people. Like all of us, our African brothers and sisters are selling their cheap labour for survival. The owners of our wealth is white monopoly capital; they are refusing to share it with us and the ruling party #ANC protects them. #OneAfricaIsPossible.

Yet, if policy authorities and South Africa’s elites would dare to revisit the Pan-African dream as articulated by the EFF Commander-in-Chief Julius Malema, they may be able to exorcise the Ghosts of Berlin.

Signs of integration are appearing, albeit slowly. East African countries have opened their borders to each other and allow free movement of people without the need for a visa. Kenyan President Uhuru Kenyatta has even gone further to allow people from Tanzania and Uganda to work and live in Kenya without the need for a visa. In addition, Rwanda and Tanzania have abolished work permit fees for any national of the East African Community. Slowly, the Ghosts of Berlin are disappearing, but more work still needs to be done to hasten the process. The launch of the African Union passport and African Continental Free Trade Area (AfCFTA) offers further hope of dismantling the borders of the Berlin Conference. South African authorities need to look seriously into East Africa and see how they can re-imagine their economy.

Towards the South African 2019 elections, President Cyril Ramaphosa also jumped onto the blame-the-foreigner bandwagon by stoking xenophobic flames when he said that “everybody just comes into our country…”

The continuous flow of African migrants into South Africa is no accident but a matter of an economic history question. Blaming the foreigner, who is an easy target, becomes a simple solution to a complex problem, and in this case Amilcar Cabral’s advice “Claim no easy victories” is instructive. There is the need re-imagine a new development paradigm in South Africa and Southern Africa in general to address questions of structural inequalities and underdevelopment, if the tide of migration to Egoli (City of Gold) – read South Africa- is to be tamed. The butchering of Africans without addressing the enclavity of the African economy will remain palliative and temporary. The current modes of development at the Southern African level favour the growth of South African corporates and thus perpetuate the discourse of enclavity, consequently reinforcing colonial and apartheid labour migration patterns.

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Politics

Gambling Against the Kenyan State

7 min read. After spending several months with gamblers in Kenya, Mario Schmidt finds that many see their activity as a legitimate and transparent attempt to make ends meet in an economy that does not offer them any other stable employment or income.

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Gambling Against the Kenyan State
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In the period from June to August this year Kenyan gamblers were hit by a wave of shocking news. Only a couple of weeks after Henry Rotich, Kenya’s National Cabinet Secretary, proposed a 10% excise duty on any amount staked in betting in order ‘to curtail the negative effects arising from betting activities’, the Kenyan government decided to shut down several betting companies’ virtual mobile money wallet systems because of alleged tax evasion. As a consequence, gamblers could no longer deposit or withdraw any money. This double attack on the blossoming betting industry has a background both in Kenya as well as elsewhere. Centered around the capitalist conundrum to realign the moral value of hard work and the systemic necessity to make profit, states tend to combine moral attacks on gambling (see the case of Uganda) with attempts to raise revenues. The vice of gambling turns into a virtue as soon that it raises revenue for the state.

It is also gambling’s allegedly nasty character which made the term a prime metaphor for the excesses of finance capitalism as well as for the pitiful status of the economies of neoliberal Africa characterized by rampant inequalities. Social scientists, politicians as well as journalists portray financial capitalism as a place where, in the words of George Paul Meiu, ‘gambling-like speculation and entrepreneurialism replace labour’ and the ‘magical allure of making money from nothing’, as Jean and John Comaroff have written, has seized the imagination of a vast majority of the population. Faced with a dazzling amount of wealth showcased by religious, economic and political leaders alike, young and unemployed men increasingly put their hopes on gambling. Trying to imitate what they perceive as a magical shortcut to unimaginable wealth, so the story goes, they become foolish puppets of a global capitalist system that they often know little about and have to face the dire consequences of their foolish behaviour.

After spending several months with gamblers both in rural as well as urban Kenya, I can only conclude that this story fails to portray reality in its complexity (see Schmidt 2019). While it is undeniable that some gamblers attempt to imitate the acquisition of a form of wealth that they perceive as resulting from a quick-to-riches scheme, a considerable number of Kenyan gamblers do not. In contrast, they portray and enact gambling as a legitimate and transparent attempt to make ends meet in an economy that does not offer them any other stable employment or income.

Narratives about betting leading to poverty, suicide and alcoholism neglect the fact that the majority of young Kenyan gamblers had already been poor, stressed and under extreme economic pressure before they started gambling, or, as a friend of mine phrased it succinctly: ‘If I don’t bet, I go to bed without food every second night, if betting does not go well, I might sleep without food two days in a row. Where’s the difference?’ Gambler’s betting activities therefore cannot be analyzed as a result of a miserable economic situation alone. Such a perspective clearly mutes the actors’ own view of their practices. They see betting as a form of work they can engage in without being connected to the national political or economic middle class or elite, i.e. without trying to enter into opaque relationships characterized by inequality. In other words, I interpret gambling as directed against what gamblers perceive as a nepotistic and kleptocratic state capitalism, i.e. an economy in which wealth is not based upon merit but upon social relations and where profit and losses are distributed in a non-transparent way through corruption, inheritance and theft.

Before I substantiate this assumption, let me briefly offer some background information on the boom of sports betting in Kenya which can only be understood if one takes into account the rise of mobile money. The mobile money transfer service Mpesa was introduced in 2007 and has since changed the lives of millions of Kenyans. Accessible with any mobile phone, customers can use it to store and withdraw money from Mpesa agents all over the country, send money to friends and family members as well as pay for goods and services. A whole industry of lending and saving apps and sports betting companies has evolved around this new financial infrastructure. It allows Kenyans to bet on sports events wherever they are located as long as they possess a mobile phone to transfer money to a betting company’s virtual wallet.

Gamblers can either bet on single games or combine bets on different games to increase the potential winning (a so-called ‘multi-bet’). Many, and especially young, male Kenyans, bet regularly. According to a survey I conducted last November around a rural Western Kenyan market centre 55% of the men and 20% of the women have bet in the past or are currently betting with peaks in the age group between 18 and 35. This resonates with a survey done by Geopoll estimating that over 70% of the Kenyan youth place or have placed bets on sport events.

Both journalistic and academic work that understand these activities as irresponsible and addictive had previously primed my perception. Hence, I was surprised by how gamblers frame their betting activities as based upon knowledge and by how they enacted gambling as a domestic, reproductive activity that demands careful planning. They consider betting as a meticulously executed form of work whose attraction partly results from its detachment from and even opposition to Kenyan politics (for example, almost all gamblers avoid betting on Kenyan football games as they believe they are rigged and implicated in local politics). Put differently, the gamblers I interacted with understand their betting activities as directed against a kleptocratic capitalist state whose true nature has been, according to my interlocutors, once more revealed by the proposal to tax gambling in Kenya.

Two of my ethnographic observations can illustrate and substantiate this claim, the first being a result of paying close attention to the ways gamblers speak and the second one a result of observing how they act.

Spending my days with gamblers, I realised that they use words that are borrowed from the sphere of cooking and general well-being when they talk about betting in their mother tongue Dholuo. Chiemo (‘to eat’), keto mach (‘to light the fire’), mach mangima (‘the fire has breath’, i.e. ‘is alive’) and mach omuoch (‘the fire has fought back’) are translations of ‘winning’ (chiemo), ‘placing a multi-bet’ (keto mach), ‘the multi-bet is still valid’ (mach mangima) or ‘the multi-bet has been lost’ (mach omuoch). This interpenetration of two spheres that are kept apart or considered to be mutually exclusive in many descriptions of gambling practices sparked my interest and I began to wonder what these linguistic overlaps mean for a wider understanding of the relation between gambling and the ways in which young, mostly male Kenyans try to make ends meet in their daily lives.

While accompanying a friend of mine on his daily trips to the betting shops of Nairobi’s Central Business District, I realized that the equation between gambling and reproductive work, however, does not remain merely metaphorical.

Daniel Okech, a 25-year-old Master of Business Administration worked on a tight schedule. When he did not have to attend a university class during the mornings which he considered not very promising anyway, he worked through websites that offered detailed statistical data on the current and past performances of football teams and players. These ranged from the English Premier League to the football league of Finland (e.g. the website FootyStats). He engaged in such meticulous scrutiny because he considered the smallest changes in a squad’s line-up or in the odds as potentially offering money-making opportunities to exploit. Following up on future and current games, performances and odds was part of Daniel’s daily work routine which was organized around the schedules of European football leagues and competitions. The rhythm of the European football schedule organized Daniel’s daily, weekly and monthly rhythms as he needed to make sure to have money on the weekends and during the season in order to place further bets.

Even though betting is based upon knowledge, habitual adaptations and skills, it rarely leads to a stable income. With regard to the effects it has, betting appears to be almost as bad as any other job and Daniel does not miscalculate the statistical probabilities of football bets. He knows that multi-bets of fifteen or more rarely go through and that winning such a bet remains extraordinarily improbable. What allows gamblers like Daniel to link betting with ‘work’ and the ‘reproductive sphere’ is not the results it brings forward. Rather, I argue that the equation between the ‘reproductive sphere’ and betting is anchored in the specific structure between cause and effect the latter entails.

What differentiates gambling from other jobs is the gap between the quality of one’s expertise and performance and the expected result. For young men in Nairobi, one could argue, betting on football games is what planting maize is for older women in arid areas of Western Kenya in the era of global climate change: an activity perfected by years of practice and backed up by knowledge, but still highly dependent on external and uncontrollable factors. Just like women know that it will eventually rain, Daniel told me that ‘Ramos [Sergio Ramos, defender from Real Madrid] will get a red card when Real Madrid plays against a good team.’

For young men who see their future devoid of any regular and stable employment betting is not a ‘shortcut’ to a better life, as often criticized by middle-class Kenyans or politicians. It is rather one of the few ways in which they can control the conditions of their type of work and daily work routine while at the same time accepting and to a certain extent even taming the uncontrollability and volatility of the world surrounding them.

Gamblers do not frame their betting activities in analogy with the quick-to-riches schemes they understand to lie behind the suspicious wealth of economic, political and religious leaders. While religious, economic and political ‘big men’ owe their wealth to opaque and unknown causes, gambling practices are based upon a rigid analysis of transparent data and information. By establishing links between their own life and knowledge on the one hand and football games played outside the influence of Kenyan politicians and businessmen on the other, gamblers gain agency in explicit opposition to the Kenyan state and to nepotistic relations they believe to exist between other Kenyans.

Therefore, it is unsurprising that, in the context of the betting companies’ alleged tax evasion, many gamblers have not yet repeated the usual complaints and grievances against companies or individuals that are accused of tax evasion or corruption. While some agree that the betting companies should pay taxes, others claim that due to the corrupt nature of the Kenyan state it would be preferable if the betting companies increase their sponsoring of Kenyan football teams. No matter what an individual gambler’s stance on the accusation of tax evasion, however, in the summer of 2019 all gamblers were eagerly waiting for their virtual wallets to be unlocked so they could continue to bet against the state.

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This article has been co-published between The Elephant and Review of African Political Economy (ROAPE)

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Donald Trump: America’s ‘African Dictatorship’ Moment

8 min read. For decades, the grandiosity and excesses of Africa’s strongmen have been the subject of global ridicule and scorn. Now, under Donald Trump, Americans are finally getting a taste of what an African dictatorship looks and feels like.

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For the Love of Money: Kenya’s False Prophets and Their Wicked and Bizarre Deeds
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Am I the only one who felt a growing sense of ugly familiarity while watching the 4th of July proceedings in Washington DC? It took me a few days to fully comprehend the oddity of the spectacle. It was atavistically American: a questionable real estate mogul; fighter jets roaring overhead; fireworks blowing off with abandon as vague tenants of “bravery” were touted. One only needed to add in grandiose Lynard Skynyrd music, a screw-on plastic bottle of Bud Light (for safety) and the tossing of an American flag football to make it the most US-driven spectacle ever put on display.

Apart from an eye-rolling display of questionable Americana, the whole display struck a deeper and more sinister chord. Stop me if you’ve seen this movie before: military equipment being trucked in from all over the country to be displayed as props; invites extended mainly to party loyalists; outlandish claims of nationalistic strength in the face of unknown “threats”; and an ever-ballooning budget taken seemingly from the most needy of social programmes.

Further, the entirety of the charade was put on by a leader of questionable (at best) morals, one who openly blasts the press as anti-democratic and who is known to engage in dubious electoral practices.

Many readers within East Africa may have looked at their TV screens and thought to themselves: “It’s finally America’s turn to see this ridiculousness.” They wouldn’t be wrong. In the United States right now, the term “unprecedented” is bandied about with ferocity amongst the media, with well-established media houses with sterling reputations formed through covering the 20th century’s most brutal occurrences suddenly at a loss that anything so gauche could take shape in the form of an American leader.

When it comes down to it though, doesn’t it all reside at the doorstep of personality type?

From where I sit, it most certainly does. All of these strongmen (and they are all male) – whether they’re in power, in post-political ennui or dead – have done the exact same thing. It is different strokes painted with the same brush. Their canvas, on this occasion, is that of spectacle, of projecting something that is better, stronger (dare I say less impotent?) than themselves. It is a public display of strength, ill-needed by those who don’t secretly know that they’re inwardly weak.

Many readers within East Africa may have looked at their TV screens and thought to themselves: “It’s finally America’s turn to see this ridiculousness.” They wouldn’t be wrong. In the United States right now, the term “unprecedented” is bandied about with ferocity amongst the media…

To start with, those who have systematically oppressed and plundered a country often rub it in to commemorate their “achievements”. For example, there is still a nationally celebrated Moi Day annually in Kenya, despite the former president’s record of extrajudicial measures, devaluing of the Kenyan shilling and rampant institutional corruption. Yoweri Museveni has been “democratically” elected five times, and makes sure to always inspect military guards dressed in full pomp at major Ugandan national days and events. Rwanda’s Paul Kagame had an outright military parade during his latest inauguration in 2017. It is true, such days are often celebrated with a display of token military presence; at the inaugural “Trump Day” this past American Independence Day, an exception to the rule was not found.

A key tenet of such military-driven presidential events, at least within those run by would-be strongmen, is the heavy under-current of politicisation made more stark as the figurehead acts exceptionally stoic and well-behaved for the event. At the rally on the Fourth of July, chants of “lock her up” broke out among the crowd, and reports of minor clashes made the news. Therein, as they say, lies the key difference, the breaking point from a day of democratic celebration of national history into something more sinister. It is when the very essence of patriotism swings to identify with a single individual that the political climate can become potentially even more dangerous than it already is.

Within hours of the spectacle that put him at the centre, Trump made heavy-handed allegations of communism against his political “enemies”; within days he was saying that certain Congresswomen (all of colour) should go back to their countries of origin if they didn’t “love” the US enough. The standard, it seems, is political allegiance.

Within weeks of the Fourth of July event, Donald Trump’s supporters were chanting “send her back” at presidential rallies. These chants, while directed at all four Congresswomen, (Alexandria Ocasio-Cortez of New York, Ilhan Omar of Minnesota, Ayanna Pressley of Massachusetts and Rashida Tlaib of Michigan), were particularly poignant in the context of Ms. Omar, who was born in Somalia before fleeing to the Daadab refugee camp in Kenya, and finally resettling as a refugee in the US, where she eventually found a permanent home in Minneapolis, Minnesota. This, when seen through the lens of escalating nationalism, jingoistic tendencies towards refugees (including the abysmal treatment of migrants on the United States’ southern border with Mexico in a series of “detention facilities”), and thrown as chum to stirring crowds at politically-driven rallies, is a dangerous recipe.

The message being espoused and defended at the present by both the Trump administration and right-wing politicians loyal to it has taken root at the very celebration of American democracy itself. It is, in fact, association by patriotism. It is becoming a deeper-seated sense of national identity and the mere act of seeing such policies associated with the nation’s independence is, to put it mildly, a dangerous precedent. It is a continuation of a trend of both ramping up and normalising such attacks on what is deemed “un-American” by those currently in power. This designation, once considered “beyond the norm” within United States’ politics, has rapidly shifted towards becoming the routine.

While the rally was taking place, Trump harangued the crowd with a 45-minute all-American masturbatory salute to military hardware. He read off assorted names of different combinations of letters and numbers, each signifying a different tool of top-grade, American-made weapon of death and destruction. Fighter jets, tanks, humvees, all were given their due with a salute through the rain-soaked vista of the National Mall of Washington DC. They were each named nearly laboriously, in exquisite reverence for their ability to unleash death on vague “enemies of the state” (typically seen in the guise of unspecified foreigners in Hollywood action blockbusters).

In a more current context, this is still a practice around the region. Military honour guards are inspected in ceremony by the head of state. In fairness, despite the US press’s fervent response, America has an awkward relationship with the fetishisation of the military on every official and unofficial national occasion. Fighter jets zoom over the heads of Americans. Since the 9/11 terror attacks, we have seen the rampant rise of forced acts of patriotism, many of which later turned out to be directly sponsored by the Pentagon to the tune of millions of US dollars (furnished by the US taxpayer).  This continued to deepen the divide among the American public along the lines of military interventionism and military prioritisation. It is an underlying sentiment of “tanks are now alongside White House officials, and who are you to disagree with their patriotism?” The association, as it were, is the issue.

It is a slippery slope when the military is viewed as an extension of the leadership, rather than one that protects the national interest. All too often within strongman-type of leadership structures, the military (and their goals) become an arm of the central governmental figure, with such events as seen on the Fourth of July being a means to “stroke the ego” of the leadership.

An adept dictator always knows where their bread is buttered: the more that one inflates the importance of the military and raises its stature, the more likely the military is going be loyal to you. In a sense, the Fourth of July parade was a natural extension of Trump’s extensive rallies in support of “the troops”, “the cops” and “the brave people guarding our border from the invasion from the South”. Daniel arap Moi is a good example of this behaviour; in the post-1982 coup period, he closed ranks, gave the military more emphasis, and rewarded loyalty.

Within weeks of the Fourth of July event, Donald Trump’s supporters were chanting “send her back” at presidential rallies. These chants…were particularly poignant in the context of Ms. Omar, who was born in Somalia before fleeing to the Daadab refugee camp in Kenya, and finally resettling as a refugee in the US…

In turn, this behaviour can drive the chosen narrative of the state – that the military is way too powerful to be challenged. The story is told, played out on screen, marched in front of the masses, splashed across newspaper front pages. It helps to reinforce an idea, one of division, that of being on an opposing side from the government if you dare disagree.

Make no mistake, however ridiculous the Fourth of July show was, it was most definitely intended to be a show of strength. How could one feasibly dare to challenge the seat of power when the very entirety of military might is on public display, with guns pointed squarely into the crowd from the very basis of the Lincoln Memorial? This is not unlike the grandiose trains of government vehicles that accompany Museveni as he zips around Kampala or Uhuru Kenyatta as he delays traffic whilst travelling out to play golf on the outskirts of Nairobi. (The number of cars isn’t the point; it’s that they would crush you if you were to stand in their path.) Think what you want of Kagame’s policies and the issues surrounding democratic practices in Rwanda; only a fool would doubt his closeness to the top military brass. What Trump is engaging in now is the classic appearance of alliances – the same outer projection that any opposition’ would be met with those same large caliber guns that faced outward to the crowd. Only the obtuse would see that positioning as merely coincidental.

It isn’t a coincidence that those in the Trump administration’s camp were given prime seats at the base of the Lincoln Memorial. Those “in the know” are given strength by a sort of transitive property of influence. The man on the stage is in charge of those with the guns, and he approves of you enough to let you into the inner sanctum.

It is further not a coincidence that the “vicious, mean, hateful, disgusting democrats” weren’t even invited within shouting distance of the “in club”. They haven’t shown enough Trumpian loyalty to be positioned near the military hardware. Instead members of the Democratic Party were told to “sort themselves” and largely stayed away from the proceedings of the event at the National Mall in Washington DC that rainy evening.

The end consequences of these deepening of divisions could be seen during the event and in the immediate hours afterwards. Squabbles broke out, flag-burning protesters were angrily confronted, reports of arrests were made.

From the White House (or possibly from a late night flight down to a golf course) Trump began to launch public attacks against those who would have stood against his event, his party and his party’s party. The tirade began in public, with attacks that were based on race, classism and politics. The “haters” and “losers” were blamed, and the appearance of strength steadily deepened the already existing party line divisions.

It was in the hours after that that the evidence was most apparent that Trump had used the Fourth of July “Salute to America” as a means for further political grandstanding. The traditional 4th of July political “ceasefire” was sounded with the firing off of verbal and political shots. It was in the insults that the intended circling of the wagons became further crystallised. It was classic Trump and classic strongman – to put on the best of appearances only to sink several notches lower as soon as the cameras officially turned off.

Let’s finish with the gold standard of ridiculous self-congratulatory events – Idi Amin. Am I saying that the crimes of Idi Amin are equal to those of Trump? Obviously not, but am I comparing their gauche public tendencies and sub-par intellects? Absolutely. Amin was famous for his parades during times of extreme national duress. He continued on, medals ablaze with the military’s full might on display. Add to this his self-congratulatory nature, his vindictive political favouritism and his toxic displays of might. (Amin, it has been noted, was jealous of the then Central African Republic president, Jean-Bedel Bakassa, who visited him adorned with medals more extravagant than his own.)

As for Trump, he is not one to shy away from self-aggrandisement and self-promotion. His very own Boeing 737 is famously decked with solid gold interiors. His ego can even be described as all-consuming; it eats whatever stands in its path. It is a self-sustaining entity, a black hole from which there can be no escape. The same could be said about Amin – power went to his head, and quickly. Once it did, enemies were dispatched and invented to be dispatched.

Trump’s paranoia could be viewed as becoming extreme. There is an endless need for loyalty and deference to Trump, especially amongst his most loyal followers; the Fourth of July parade was simply the latest manifestation of it. With such parades, limits and moderation don’t typically follow suit.

There will be more events, bigger showmanship and more association with himself as the idyllic vision of America. He is filling out his strongman shows nicely now, and starting to walk around in them. He now needs feats of false strength in order to back himself up.

The key difference between Trump and Amin, of course, is that the US military is a global monolith, one that can destroy the world with the push of a red button by an orange finger.

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