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Fifty Years Later, The Caged Bird Still Sings

12 min read.

The ultimate point of westernising our curriculum was not for us to forget our cultures. It was for power to keep exploiting us by killing our ability to imagine a different reality.

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Fifty Years Later, The Caged Bird Still Sings
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A few years ago, I attended a public lecture by Micere Mugo at the University of Nairobi. The event was electrifying, and three memories have stayed with me.

First was to hear Prof. Mugo’s journey as an African woman in an anti-African world. Recounting her journey was not a story about herself, but a story about all of us. From the toxic space that was (and still is) Kenya, to Zimbabwe where she initially landed, and finally the United States, Prof Mugo was profoundly African and connected with brothers and sisters wherever she landed. She would later speak at a lecture at Riara University words which I tweeted and which may therefore not be verbatim: “If you have chosen the path of struggle, you must have the courage to build a new home wherever your path leads. Don’t romanticise home; you must have the courage to make new homes and new roots.”

The second memory was a brilliant orature-performance by Mshai Mwangola in her introduction of Micere Mugo. The performance included the rehashing of a heated conversation on African studies that had been launched in 1995 by Phillip Curtin, the eminent African history scholar in the United States. Curtin expressed concern that African history scholarship was being reduced to a “ghetto” because American universities were reserving African history positions for African faculty rather than considering competence. Prof. Mugo’s response then was captivating, and Mshai’s performance seared it in my memory so deeply that a few years later, I was inspired by Prof Mugo’s courage to take a similar stand.

The third memory was a sadder one. In the afterglow of electrifying performances by scholars and students, a University of Nairobi student asked Prof. Mugo during the question and answer session: “How can you help us the youth [it’s always “the youth”] get the opportunities you got?”

Clearly, the student didn’t hear Prof. Mugo recount being arrested, fleeing the country with two young daughters and having her Kenyan citizenship nullified. In an act of amazing mental acrobatics, the student’s mind cut out Prof. Mugo’s journey and fixated the whole time on the optics. All that the student saw was an elder (that’s what the term “youth” is for — to disconnect young people from the stories of their elders) who was based in the US (where we all aspire to go) and who was now launching a book. Kenyan youth need to be successful like that (never mind the tears) and this student wanted to know, not how to do what Prof. Mugo had done, but how Prof. Mugo could help her achieve the same feat of working in the US and standing at a podium in Kenya.

That disconnect, between the stories of the elders and the fixation of the youth with optics, is something with which we teachers of literature constantly struggle. Students these days are spectacularly unable to enjoy stories and to explore their imagination. The school system teaches children to turn off their hearts and minds when they listen to stories. Kenyans have told me on social media that when they encountered our folk tales in class, the primary thing they were asked was to identify “the moral of the story”.

My own difficult experience teaching literature bears this out. Students’ response to every African story is that “the white man stole our culture, we are ashamed of our identity and need to return to our cultures”. But even as they limit colonialism to an exclusively cultural enterprise, they are not able to connect with stories of the past to which they say we should return to.

For instance, when I teach one of my favorite Kenyan plays, Omtatah’s rendition of the Luo legend Lwanda Magere, the students cannot see a story from the past. They see politics, not humanity or esthetics. Some see the story as ethnic and exclusively Luo, so they cannot discuss the legend as an artistic and human expression. Other students who’ve heard something about feminism say that the legend demonstrates how African women are relegated to the role of “housewives”. Who can blame the students for thinking that way when the theater performance Brazen missed the tragic aspect of the legend and sensualised the Lang’o princess? Another student said that Lwanda Magere was an ogre and read the story as a motivational speech with teachings which “help one to live to its optimal success”.

And just before Kenyan adults distance themselves from these responses and blame the 8.4.4 system, they need to see that the youth are just responding with the language we have taught them. Remember the excitement about the movie Black Panther which electrified the world? For Kenyans, the primary concern was the authenticity of the accents and the depiction of Africa. Some went so far as to say – no chills – that they are glad not to have the same identity crises as African Americans. At least we Kenyans know who we are, they said, something that I highly doubt when I look at how profoundly Eurocentric the Kenyan government is.

Educated Kenyans are spectacularly unable to suspend reality and enjoy a story for what it is, because esthetics and imagination have been alienated from the arts in Kenya. Even our drama festivals are about competition and “talent”, not a celebration of the richness of our cultures. These days, the festival even requires plays to be written to the chosen political theme of the year, and now students are not writing plays because the schools are hiring professional playwrights to improve the schools’ chances of winning.

But that is not as annoying as the clichéd lament about talent that is repeated in almost every sphere of Kenyan life. The lament goes something like this: “Our drama festivals show how much talent we have, but that talent goes to waste because nobody gives the youth the chance to use it”. I detest that line because what Kenyans call “talent” is a concept which refuses to see the arts as work, skill and knowledge, and instead seeks comfort in the quasi-Senghorian idea of arts being in our DNA as Africans because our skin is black. The concept of “talent” demeans African work, knowledge and skill, and demeans Africans as thinking beings. But as the public narrative goes, knowledge in Kenya is “useless theory”. We Kenyans don’t waste time on thinking, imagining and creating; we benchmark solutions which work.

In any case, talent is not wasted after school. What happens is that Kenyan artists who outgrow the narrow drama festival box will meet another headmaster called Ezekiel Mutua who will crush their work in the name of morality, and he will get support from a significant proportion of the Kenyan church. Ironically, Mutua will praise drama festivals as producing people who “make money and find a life”, establish industries comparable to manufacturing, and promote the programmes of government ministries. In other words, humanity is not at the heart of the arts.

And that logic seeps into the universities and education policy. It is now a Kenyan truism that arts education is a waste of the country’s resources and that arts programmes should be shut down. And the impact of this onslaught may not be immediately visible to people in public universities, because it is reserved for private universities where the arts are largely absent.

A more insidious development is being ushered in by private universities, which the current the Education Cabinet Secretary George Magoha said he is committed to supporting. Universities increasingly train students in the applied arts without training them in the arts. So universities train economists or peace and conflict experts with no knowledge of history, sociology or anthropology. They train journalists who are not skilled writers, and flood the arts spaces with public relations graduates.  They have film students who confidently discuss film festivals, camera angles and lenses but cannot say much about the stories which the films tell. They train graphic artists who never paint or sculpt. A few years back, celebrated writer Yvonne Owuor wondered at this absurdity: “I hear that high schools are sending students to university engineering, design and architecture faculties, who cannot draw, who cannot even describe a painting. How? Really, how? Is it ignorance or is there a secret plan to bankrupt the Kenyan imagination?”

The problem is not so much that we have no students in arts programmes, but that we are producing a generation of graduates with no esthetic or emotional sensibilities, and as Owuor says, with no imagination. We have left these areas to be weaponised by corporations and the imperialist state. So Cambridge Analytica was able to have a field day in Kenya during the 2017 elections by manipulating our emotions, and now Health Cabinet Secretary Mutahi Kagwe is taking us through the pandemic with imperial orders about how we must express our grief for Dr Stephen Mogusu’s death. When the state has the gall to tell us how to mourn the victims of its own corruption, there’s a problem.

In the political arena, politicians sponsor music for campaigns and for turning ethnic groups against each other. Performances of traditional arts are most celebrated at political rallies or at contrived “elders’ councils” which anoint politicians for office. Oaths, spears and arrows are at their most useful not for teaching our children the history of African military warfare, but for gerrymandering, the American term for what we in Kenya call “election violence”, a tool for fixing election results. Wazungu are pleased when we’re fighting over ballots with oaths and spears, because it shows they still have something to teach us savages about liberal democracy. And now the BBI proposes to further control not just the arts, but also memory, by writing an “official history of Kenya” dating 1000 years, appointing an Official Historian and putting the National Archives under the Office of the President.

When the arts are not suffering from government suffocation, they are being corporatised. Safaricom, the country’s largest corporate, was the sponsor of its own arts forums while Kwani? and Story Moja festivals limped and eventually fell silent.

In the end, the only space left for the arts to publicly thrive uninhibited is the university. But as the Department of Literature’s installment of the University of Nairobi’s 50th anniversary celebration shows, even that is fraught with the same contradictions.

*

After the official welcome remarks from the Head of Department and the Dean of the Faculty of Arts, Prof. Indangasi conducted a reprise of his questioning the hallowed status of Ngugi wa Thiong’o in African literature. Indangasi had most recently done this with an analysis of the Spanish separatist politics underlying the award of the Catalonia International Literary Prize, which Ngugi accepted with a speech in Kikuyu. During this commemoration, Prof. Indangasi presented archival records to cast doubts on Ngugi’s claims to credit for renaming the Department of English to the Department of Literature. The argument he has always made is that Kenyan literary studies have shut off the universal, denied students the pleasure of studying non-African literature and have put political ideology above academic pursuits. The iconic status of Ngugi wa Thiong’o, he suggests, remains an obstacle to addressing these issues.

Prof Indangasi’s presentation was followed by more mellowed considerations of Ngugi’s legacy from Prof. Evan Mwangi, who is based at Northwestern University in the US. Prof. Mwangi acknowledged the blind spots of Ngugi’s work, but ended with a call to envision literary studies within the inclusivity politics of the American academy, where expansion of literary studies is measured by how many more identity groups are included.

Prof. Peter Amuka followed with a historical contextualisation of the targets of Prof. Indangasi’s criticism, especially Owuor Anyumba and Ngugi. He credited these two men for Africanising the curriculum by breaking the disciplinary boundary limits beyond the snobbish classics and encouraging the study of the literature of the people. An interesting but troubling anecdote he gave was of being a student in the US in the 70s, and being told by an American political science professor that the Literature department of the University of Nairobi had now been “tamed” and relieved of its firebrands.

As is expected of we women academics who do not separate our biographies from academic and national discussions, the women speakers reflected on their personal journeys as threads of national and academic histories. Prof. Wangui wa Goro spoke of how her growth as a translator of literature intersected with the department’s scholars and literary activities. Prof. Ciarunji Chesaina began her presentation with a song for Micere Mugo, in the spirit of Prof. Mugo’s poetry, to pay homage to Prof. Mugo for her legacy in the study of oral literature.

Before Micere Mugo gave her keynote speech, Kithaka wa Mberia went through the contributions of self-publishing to the Kenyan literary space.

Micere Mugo’s celebration of the department, in her classic and moving orature style, gave the audience the backdrop of what her generation was confronting in the 1960s and 1970s. The education system was still controlled by British civil servants even after independence, and the urgency was to Africanise the system. Micere Mugo was the first African chief examiner for ‘A’ level literature and was part of the team that pushed for an African literature curriculum in schools. In her day, she said, it was a compliment to be told that one behaved like a mzungu or looked like a mzungu. She also called for affirming the integrity of African knowledge and African systems of knowing.

*

What is the link between the reflections of our elders and the current situation facing the arts that I have described?

Initially, I felt that there was no link and that these elders were stuck in the past. But upon further reflection, I remembered that one of the lessons I have learned from oral literature is that there is value in the elders repeating the past over and over again, because each time, new lessons are learned.

That is when I saw what my discomfort was about. It was about the failure of our generation of scholars to take the baton from the elders and continue the race. Because various political and historical events which some of us are still trying to understand, our generation is stuck in the battles between the so-called “universal” scholarship and academic culture on one hand, and Africanising the curriculum on the other. The political class reduced the Africanisation of the curriculum o a spectacle, and then used that spectacle to crush our children’s imagination.

In fact, when you think of it, the side that is hostile to what Prof. Indangasi calls “literary activism” is the side that dominates arts and education. He may be a lone voice on this position within the Literature Department, but that “universal” view has now colonised Kenya’s education system. Only a few years ago, I was the sole African on a panel with a “global” face, in my own country, fighting like Micere Mugo for Kenyan scholarship to be part of the post-graduate curriculum. In addition, Prof. Indangasi’s lament that Owuor Anyumba and Ngugi wa Thiong’o are not academically qualified is now the rungu with which the Commission of University Education beats us through demands that all university educators must have PhDs. In the area of music, for example, the Commission alienates Kenyan musicians who are more skilled in the craft than many music academics. Several times, I’ve personally raised this question with CUE officials and have received no answer: where are we going to find a seasoned performer of the nyatiti, for example, with a PhD? Our fixation on papers denies students the opportunity to learn from Kenya’s rich cultural heritage.

This is what our generation has not told our elders like Micere Mugo: the colonialist is still in our education system. These days, the colonialist is not a British civil servant sitting in Jogoo house. Rather, it is a British nursery school teacher working at the British Council and sponsoring the return of the ‘A’ level system, otherwise dubbed as CBC. PR has given colonialism a new vocabulary to re-assert its power over our education system. Colonialism now calls itself “quality” and “benchmarking” as it asserts the policies of corporations and Western governments in our education system.

The elders Africanised education, but my generation did not take over that struggle and Africanise power. When the colonial logic of power remained intact, it was only a matter of time before power appropriated the tools of Africanisation to perpetuate itself. Thus, when Binyavanga was starting Kwani?, it is us academics who called the artists “literary gangsters”. We even turned African culture into a tool of condemnation by saying that those artists were not tied to their cultural roots. As writers struggled to find publishers, we berated them for the quality of their publications. Now politicians have solidly captured African culture and made it synonymous with enmity, tribal hatred and sexism.

And after the Africanisation of the ‘A’ Level curriculum, we have since discovered a truth which was smothered by the brutality of Moi: the ‘A’ level system was designed to exclude and limit the number of Africans attending university. Moreover, that exclusion disproportionately affected people from communities outside Central Province and Nyanza. But that exclusion has now returned with CBC which has increased the number of examination hoops which students have to go through (but which have been baptised “assessments“), and has restored the number of years in high school to six.

What my generation did not see is that capital capitulated to Africanisation and gave us the logic of inclusivity – which Prof. Mwangi called for more of – and which, in the American academy, goes under the banner of postcolonial theory. In this logic, culture is reified to the exclusion of everything else, especially material conditions.

A few years ago, I witnessed an expression of this dynamic at the Samosa Festival conference held at the University of Nairobi. Some presenters said that the Mau Mau took up arms to fight for the right to practice their culture. It appeared that for them, the fight was not about land or against oppression. At the conference, we who said that not everything is about ethnicity, were derided as entitled Kenyans who had never been outside Nairobi, yet the point of the festival was to discuss the alienation of people like Asians, Nubians, Somalis, the Shona and the Makonde, from Kenyan citizenship.

Which brings me back to the dilemmas of younger Kenyans and how our generation is mis-teaching them. Coloniality of power has now clothed itself in “African identity” to entrench itself in the education system, so that students who interact with African arts are spectacularly unable to imagine or to connect with humanity, and instead parrot whatever government or NGO slogan comes to their mind. Moreover, the media has occupied the space that should be occupied by culture, performance and academic research, so that, as Mwenda Kithinji recently said, the junk which the media consistently feeds us has made us academics impotent in flagging the return of racist policies to our education system.

And that was the ultimate point of westernising our curriculum in the first place. It was not for us to forget our cultures, as my students innocently but mistakenly repeat. It was for power to keep exploiting us by killing our ability to imagine a different reality.

And that discussion is happening not within the academy, but outside it. Most of the Kenyans addressing these issues are not allowed to teach in Kenyan universities. To adapt Mordecai Ogada’s observation, the people who sing the songs which Micere Mugo sang are still being exiled from the education system and from spaces where the songs can be heard by the next generation.

But the songs are still being sung. We have not been tamed by neoliberal regulations about qualifications and morality. We have not been tamed by what Ogada called an internal brain drain, where our skills and ideas are wasted on dead bureaucracy. We are still singing those songs. We are singing them outside the academy in online spaces and through self-publishing. Our young people are singing them as they battle with the hammer of censorship and the snobbery of the academy. To adopt the words of Maya Angelou, and of Paul Lawrence Dunbar before her, we may be caged by neoliberalism, deadened minds and soulless people. But the caged bird sings, not because it has a solution, but because it always has a song.

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Wandia Njoya is a scholar, social and political commentator and blogger based in Nairobi, Kenya.

Politics

Kenya Chooses Its Next Chief Justice

The search for Kenya’s next Chief Justice that commenced Monday will seek to replace Justice David Maraga, who retired early this year, has captured the attention of the nation.

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Kenya Chooses Its Next Chief Justice
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Since Monday, the 12th of April 2021, interviews to replace retired Chief Justice David Maraga for the post of the most important jurist in Kenya and the president of the Supreme Court have been underway.

The Judiciary is one of the three State organs established under Chapter 10, Article 159 of the Constitution of Kenya. It establishes the Judiciary as an independent custodian of justice in Kenya. Its primary role is to exercise judicial authority given to it, by the people of Kenya.

The institution is mandated to deliver justice in line with the Constitution and other laws. It is expected to resolve disputes in a just manner with a view to protecting the rights and liberties of all, thereby facilitating the attainment of the ideal rule of law.

The man or woman who will take up this mantle will lead the Judiciary at a time when its independence and leadership will be paramount for the nation. He/she will be selected by the Judicial Service Commission in a competitive process.

KWAMCHETSI MAKOKHA profiles the ten candidates shortlisted by the JSC.

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Politics

IMF and SAPs 2.0: The Four Horsemen of the Apocalypse are Riding into Town

Stabilisation, liberalisation, deregulation, and privatisation: what do these four pillars of structural adjustment augur for Kenya’s beleaguered public health sector?

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The International Monetary Fund’s announcement on the 2nd of April 2020 that it had approved a US$ 2.3 billion loan for Kenya prompted David Ndii to spell it out to young #KOT (Kenyans on Twitter) that “the loan Kenya has taken is called a structural adjustment loan (SAPs). It comes with austerity (tax raises, spending cuts, downsizing) to keep Kenya creditworthy so that we can continue borrowing and servicing debt”, adding that the “IMF is not here for fun. Ask older people.” With this last quip, Ndii was referring to the economic hardship visited on Kenyans under the structural adjustment programmes of the 80s and 90s.

Well, I’m old enough to remember; except that I was not in the country. I had left home, left the country, leaving behind parents who were still working, still putting my siblings through school. Parents with permanent and pensionable jobs, who were still paying the mortgage on their modest “maisonette” in a middle class Nairobi neighbourhood.

In those pre-Internet, pre-WhatsApp days, much use was made of the post office and I have kept the piles of aerogramme letters that used to bring me news of home. In those letters my parents said nothing of the deteriorating economic situation, unwilling to burden me with worries about which I could do nothing, keeping body and soul together being just about all I could manage in that foreign land where I had gone to further my education.

My brother Tony’s letters should have warned me that all was not well back home but he wrote so hilariously about the status conferred on those men who could afford second-hand underwear from America, complete with stars and stripes, that the sub-text went right over my head. I came back home for the first time after five years — having left college and found a first job — to find parents that had visibly aged beyond their years and a home that was palpably less well-off financially than when I had left. I’m a Kicomi girl and something in me rebelled against second-hand clothes, second-hand things. It seemed that in my absence Kenya had regressed to the time before independence, the years of hope and optimism wiped away by the neoliberal designs of the Bretton Woods twins. I remember wanting to flee; I wanted to go back to not knowing, to finding my family exactly as I had left it — seemingly thriving, happy, hopeful.

Now, after eight years of irresponsible government borrowing, it appears that I am to experience the effects of a Structural Adjustment Programme first-hand, and I wonder how things could possibly be worse than they already are.

When speaking to Nancy* a couple of weeks back about the COVID-19 situation at the Nyahururu County Referral Hospital in Laikipia County, she brought up the issue of pregnant women having to share beds in the maternity ward yet — quite apart from the fact that this arrangement is unacceptable whichever way you look at it — patients admitted to the ward are not routinely tested for COVID-19.

Nancy told me that candidates for emergency caesarean sections or surgery for ectopic and intra-abdominal pregnancies must wait their turn at the door to the operating theatre. Construction of a new maternity wing, complete with its own operating theatre, has ground to a halt because, rumour has it, the contractor has not been paid. The 120-bed facility should have been completed in mid-2020 to ease congestion at the Nyahururu hospital whose catchment area for referrals includes large swathes of both Nyandarua and Laikipia counties because of its geographical location.

According to Nancy, vital medicine used to prevent excessive bleeding in newly delivered mothers has not been available at her hospital since January; patients have to buy the medication themselves. This issue was also raised on Twitter by Dr Mercy Korir who, referring to the Nanyuki Teaching and Referral Hospital — the only other major hospital in Laikipia County — said that lack of emergency medication in the maternity ward was putting the lives of mothers at risk. Judging by the responses to that tweet, this dire situation is not peculiar to the Nanyuki hospital; how much worse is it going to get under the imminent SAP?

Kenya was among the first countries to sign on for a SAP in 1980 when commodity prices went through the floor and the 1973 oil crisis hit, bringing to a painful halt a post-independence decade of sustained growth and prosperity. The country was to remain under one form of structural adjustment or another from then on until 1996.

Damaris Parsitau, who has written about the impact of Structural Adjustment Programmes on women’s health in Kenya, already reported in her 2008 study that, “at Nakuru District Hospital in Kenya, for example, expectant mothers are required to buy gloves, surgical blades, disinfectants and syringes in preparation for childbirth”. It would appear that not much has changed since then.

The constitution of the World Health Organisation states that “the enjoyment of the highest attainable standard of health is one of the fundamental rights of every human being without distinction of race, religion, political belief, economic or social condition” and that “governments have a responsibility for the health of their peoples which can be fulfilled only by the provision of adequate health and social measures.”

The WHO should have added gender as a discrimination criteria. Parsitau notes that “compared to men, women in Kenya have less access to medical care, are more likely to be malnourished, poor, and illiterate, and even work longer and harder. The situation exacerbates women’s reproductive role, which increases their vulnerability to morbidity and mortality.”

With economic decline in the 80s, and the implementation of structural adjustment measures that resulted in cutbacks in funding and the introduction of cost sharing in a sector where from independence the government had borne the cost of providing free healthcare, the effects were inevitably felt most by the poor, the majority of who — in Kenya as in the rest of the world — are women.

A more recent review of studies carried out on the effect of SAPs on child and maternal health published in 2017 finds that “in their current form, structural adjustment programmes are incongruous with achieving SDGs [Sustainable Development Goals] 3.1 and 3.2, which stipulate reductions in neonatal, under-5, and maternal mortality rates. It is telling that even the IMF’s Independent Evaluation Office, in assessing the performance of structural adjustment loans, noted that ‘outcomes such as maternal and infant mortality rates have generally not improved.’”

The review also says that “adjustment programmes commonly promote decentralisation of health systems [which] may produce a more fractious and unequal implementation of services — including those for child and maternal health — nationally. Furthermore, lack of co-ordination in decentralised systems can hinder efforts to combat major disease outbreaks”. Well, we are in the throes of a devastating global pandemic which has brought this observation into sharp relief. According to the Ministry of Health, as of the 6th of April, 325,592 people had been vaccinated against COVID-19. Of those, 33 per cent were in Nairobi County, which accounts for just 9.2 per cent of the country’s total population of 47,564,296 people.

The Constitution of Kenya 2010 provides the legal framework for a rights-based approach to health and is the basis for the rollout of Universal Health Coverage (UHC) that was announced by President Uhuru Kenyatta on 12 December 2018 — with the customary fanfare — as part of the “Big Four Agenda” to be fulfilled before his departure in 2022.

However, a KEMRI-Wellcome Trust policy brief states that UHC is still some distance to achieving 100 per cent population coverage and recommends that “the Kenyan government should increase public financing of the health sector. Specifically, the level of public funding for healthcare in Kenya should double, if the threshold (5% of GDP) … is to be reached” and that “Kenya should reorient its health financing strategy away from a focus on contributory, voluntary health insurance, and instead recognize that increased tax funding is critical.”

These recommendations, it would seem to me, run counter to the conditionalities habitually imposed by the IMF and it is therefore not clear how the government will deliver UHC nation-wide by next year if this latest SAP is accompanied by budgetary cutbacks in the healthcare sector.

With the coronavirus graft scandal and the disappearance of medical supplies donated by Jack Ma still fresh on their minds, Kenyans are not inclined to believe that the IMF billions will indeed go to “support[ing] the next phase of the authorities’ COVID-19 response and their plan to reduce debt vulnerabilities while safeguarding resources to protect vulnerable groups”, as the IMF has claimed.

#KOT have — with outrage, with humour, vociferously — rejected this latest loan, tweeting the IMF in their hundreds and inundating the organisation’s Facebook page with demands that the IMF rescind its decision. An online petition had garnered more than 200,000 signatures within days of the IMF’s announcement. Whether the IMF will review its decision is moot. The prevailing economic climate is such that we are damned if we do take the loan, and damned if we don’t.

Structural adjustment supposedly “encourages countries to become economically self-sufficient by creating an environment that is friendly to innovation, investment and growth”, but the recidivist nature of the programmes suggests that either the Kenyan government is a recalcitrant pupil or SAPs simply don’t work. I would say it is both.

But the Kenyan government has not just been a recalcitrant pupil; it has also been a consistently profligate one. While SAPs do indeed provide for “safeguarding resources to protect vulnerable groups”, political choices are made that sacrifice the welfare of the ordinary Kenyan at the altar of grandiose infrastructure projects, based on the fiction peddled by international financial institutions that infrastructure-led growth can generate enough income to service debt. And when resources are not being wasted on “legacy” projects, they are embezzled on a scale that literally boggles the mind. We can no longer speak of runaway corruption; a new lexicon is required to describe this phenomenon which pervades every facet of our lives and which has rendered the years of sacrifice our parents endured meaningless and put us in debt bondage for many more generations to come. David Ndii long warned us that this moment was coming. It is here.

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Politics

East Africa: A ‘Hotbed of Terror’

African states are involved in the War on Terror more than we think. They’re surrounded by an eco-system of the war industry.

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In late January, reports circulated on social media about a suspected US drone strike in southern Somalia, in the Al-Shabaab controlled Ma’moodow town in Bakool province. Debate quickly ensued on Twitter about whether the newly installed Biden administration was responsible for this strike, which was reported to have occurred at 10 p.m. local time on January 29th, 2021.

Southern Somalia has been the target of an unprecedented escalation of US drone strikes in the last several years, with approximately 900 to 1,000 people killed between 2016 and 2019. According to the nonprofit group Airwars, which monitors and assesses civilian harm from airpower-dominated international military actions, “it was under the Obama administration that a significant US drone and airstrike campaign began,” coupled with the deployment of Special Operations forces inside the country.

Soon after Donald Trump took office in 2017, he signed a directive designating parts of Somalia “areas of active hostilities.” While the US never formally declared war in Somalia, Trump effectively instituted war-zone targeting rules by expanding the discretionary authority of the military to conduct airstrikes and raids. Thus the debate over the January 29 strike largely hinged on the question of whether President Joe Biden was upholding Trump’s “flexible” approach to drone warfare―one that sanctioned more airstrikes in Somalia in the first seven months of 2020 than were carried out during the administrations of George W. Bush and Barack Obama, combined.

In the days following the January 29 strike, the US Military’s Africa Command (AFRICOM) denied responsibility, claiming that the last US military action in Somalia occurred on January 19, the last full day of the Trump presidency. Responding to an inquiry from Airwars, AFRICOM’s public affairs team announced:

We are aware of the reporting. US Africa Command was not involved in the Jan. 29 action referenced below. US Africa Command last strike was conducted on Jan. 19. Our policy of acknowledging all airstrikes by either press release or response to query has not changed.

In early March, The New York Times reported that the Biden administration had in fact imposed temporary limits on the Trump-era directives, thereby constraining drone strikes outside of “conventional battlefield zones.” In practice, this means that the US military and the CIA now require White House permission to pursue terror suspects in places like Somalia and Yemen where the US is not “officially” at war. This does not necessarily reflect a permanent change in policy, but rather a stopgap measure while the Biden administration develops “its own policy and procedures for counterterrorism kill-or-capture operations outside war zones.”

If we take AFRICOM at its word about January 29th, this provokes the question of who was behind that particular strike. Following AFRICOM’s denial of responsibility, analysts at Airwars concluded that the strike was likely carried out by forces from the African Union peacekeeping mission in Somali (AMISOM) or by Ethiopian troops, as it occurred soon after Al-Shabaab fighters had ambushed a contingent of Ethiopian troops in the area. If indeed the military of an African state is responsible for the bombing, what does this mean for our analysis of the security assemblages that sustain the US’s war-making apparatus in Africa?

Thanks to the work of scholars, activists, and investigative journalists, we have a growing understanding of what AFRICOM operations look like in practice. Maps of logistics hubs, forward operating sites, cooperative security locations, and contingency locations―from Mali and Niger to Kenya and Djibouti―capture the infrastructures that facilitate militarism and war on a global scale. Yet what the events of January 29th suggest is that AFRICOM is situated within, and often reliant upon, less scrutinized war-making infrastructures that, like those of the United States, claim to operate in the name of security.

A careful examination of the geographies of the US’s so-called war on terror in East Africa points not to one unified structure in the form of AFRICOM, but to multiple, interconnected geopolitical projects. Inspired by the abolitionist thought of Ruth Wilson Gilmore, who cautions activists against focusing exclusively on any one site of violent exception like the prison, I am interested in the relational geographies that sustain the imperial war-making infrastructure in Africa today. Just as the modern prison is “a central but by no means singularly defining institution of carceral geography,” AFRICOM is a fundamental but by no means singularly defining instrument of war-making in Africa today.

Since the US military’s embarrassing exit from Somalia in 1993, the US has shifted from a boots-on-the ground approach to imperial warfare, instead relying on African militaries, private contractors, clandestine ground operations, and drone strikes. To singularly focus on AFRICOM’s drone warfare is therefore to miss the wider matrix of militarized violence that is at work. As Madiha Tahir reminds us, attack drones are only the most visible element of what she refers to as “distributed empire”—differentially distributed opaque networks of technologies and actors that augment the reach of the war on terror to govern more bodies and spaces. This dispersal of power requires careful consideration of the racialized labor that sustains war-making in Somalia, and of the geographical implications of this labor. The vast array of actors involved in the war against Al-Shabaab has generated political and economic entanglements that extend well beyond the territory of Somalia itself.

Ethiopia was the first African military to intervene in Somalia in December 2006, sending thousands of troops across the border, but it did not do so alone. Ethiopia’s effort was backed by US aerial reconnaissance and satellite surveillance, signaling the entanglement of at least two geopolitical projects. While the US was focused on threats from actors with alleged ties to Al-Qaeda, Ethiopia had its own concerns about irredentism and the potential for its then-rival Eritrea to fund Somali militants that would infiltrate and destabilize Ethiopia. As Ethiopian troops drove Somali militant leaders into exile, more violent factions emerged in their place. In short, the 2006 invasion planted the seeds for the growth of what is now known as Al-Shabaab.

The United Nations soon authorized an African Union peacekeeping operation (AMISOM) to “stabilize” Somalia. What began as a small deployment of 1,650 peacekeepers in 2007 gradually transformed into a number that exceeded 22,000 by 2014. The African Union has emerged as a key subcontractor of migrant military labor in Somalia: troops from Burundi, Djibouti, Ethiopia, Kenya, and Uganda deployed to fight Al-Shabaab are paid significantly higher salaries than they receive back home, and their governments obtain generous military aid packages from the US, UK, and increasingly the European Union in the name of “security.”

But because these are African troops rather than American ones, we hear little of lives lost, or of salaries not paid. The rhetoric of “peacekeeping” makes AMISOM seem something other than what it is in practice—a state-sanctioned, transnational apparatus of violent labor that exploits group-differentiated vulnerability to premature death. (This is also how Gilmore defines racism.)

Meanwhile, Somali analyst Abukar Arman uses the term “predatory capitalism” to describe the hidden economic deals that accompany the so-called stabilization effort, such as “capacity-building” programs for the Somali security apparatus that serve as a cover for oil and gas companies to obtain exploration and drilling rights. Kenya is an important example of a “partner” state that has now become imbricated in this economy of war. Following the Kenya Defense Forces (KDF) invasion of Somalia in October 2011, the African Union’s readiness to incorporate Kenyan troops into AMISOM was a strategic victory for Kenya, as it provided a veneer of legitimacy for maintaining what has amounted to a decade-long military occupation of southern Somalia.

Through carefully constructed discourses of threat that build on colonial-era mappings of alterity in relation to Somalis, the Kenyan political elite have worked to divert attention away from internal troubles and from the economic interests that have shaped its involvement in Somalia. From collusion with Al-Shabaab in the illicit cross-border trade in sugar and charcoal, to pursuing a strategic foothold in offshore oil fields, Kenya is sufficiently ensnared in the business of war that, as Horace Campbell observes, “it is not in the interest of those involved in this business to have peace.”

What began as purportedly targeted interventions spawned increasingly broader projects that expanded across multiple geographies. In the early stages of AMISOM troop deployment, for example, one-third of Mogadishu’s population abandoned the city due to the violence caused by confrontations between the mission and Al-Shabaab forces, with many seeking refuge in Kenya. While the mission’s initial rules of engagement permitted the use of force only when necessary, it gradually assumed an offensive role, engaging in counterinsurgency and counterterror operations.

Rather than weaken Al-Shabaab, the UN Monitoring Group on Somalia observed that offensive military operations exacerbated insecurity. According to the UN, the dislodgment of Al-Shabaab from major urban centers “has prompted its further spread into the broader Horn of Africa region” and resulted in repeated displacements of people from their homes. Meanwhile, targeted operations against individuals with suspected ties to Al-Shabaab are unfolding not only in Somalia itself, but equally in neighboring countries like Kenya, where US-trained Kenyan police employ military tactics of tracking and targeting potential suspects, contributing to what one Kenyan rights group referred to as an “epidemic” of extrajudicial killings and disappearances.

Finally, the fact that some of AMISOM’s troop-contributing states have conducted their own aerial assaults against Al-Shabaab in Somalia demands further attention. A December 2017 United Nations report, for example, alleged that unauthorized Kenyan airstrikes had contributed to at least 40 civilian deaths in a 22-month period between 2015 and 2017. In May 2020, senior military officials in the Somali National Army accused the Kenyan military of indiscriminately bombing pastoralists in the Gedo region, where the KDF reportedly conducted over 50 airstrikes in a two week period. And in January 2021, one week prior to the January 29 strike that Airwars ascribed to Ethiopia, Uganda employed its own fleet of helicopter gunships to launch a simultaneous ground and air assault in southern Somalia, contributing to the deaths—according to the Ugandan military—of 189 people, allegedly all Al-Shabaab fighters.

While each of the governments in question are formally allies of the US, their actions are not reducible to US directives. War making in Somalia relies on contingent and fluid alliances that evolve over time, as each set of actors evaluates and reevaluates their interests. The ability of Ethiopia, Kenya, and Uganda to maintain their own war-making projects requires the active or tacit collaboration of various actors at the national level, including politicians who sanction the purchase of military hardware, political and business elite who glorify militarized masculinities and femininities, media houses that censor the brutalities of war, logistics companies that facilitate the movement of supplies, and the troops themselves, whose morale and faith in their mission must be sustained.

As the Biden administration seeks to restore the image of the United States abroad, it is possible that AFRICOM will gradually assume a backseat role in counterterror operations in Somalia. Officially, at least, US troops have been withdrawn and repositioned in Kenya and Djibouti, while African troops remain on the ground in Somalia. Relying more heavily on its partners in the region would enable the US to offset the public scrutiny and liability that comes with its own direct involvement.

But if our focus is exclusively on the US, then we succumb to its tactics of invisibility and invincibility, and we fail to reckon with the reality that the East African warscape is a terrain shaped by interconnected modes of power. The necessary struggle to abolish AFRICOM requires that we recognize its entanglement in and reliance upon other war-making assemblages, and that we distribute our activism accordingly. Recounting that resistance itself has long been framed as “terrorism,” we would do well to learn from those across the continent who, in various ways over the years, have pushed back, often at a heavy price.

This post is from a partnership between Africa Is a Country and The Elephant. We will be publishing a series of posts from their site once a week.
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