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Who’s Laughing Now? Satire as a Form of Social Protest

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Those of you who are my age or older might remember when the musician Eric Wainaina came onto the scene in the late nineties with his song “Nchi ya kitu kidogo.” For those of you who might not know the song, it was an attack against corruption in the civil service and a lament about the lack of public social services for ordinary wananchi. The song was a play on Kenyan code words for theft of public resources, namely “chai” (tea) and “kitu kidogo” (something small). In the song, the singer tells a woman, “Ukitaka chai ewe mama, nunua Ketepa (If you want tea, buy Ketepa [a famous local tea brand]), and tells someone else, “Ukitaka chai ewe ndungu, nenda Limuru” (If you want tea, go to Limuru [one of the tea-growing areas in Kenya]). The singer also boldly says to a policeman, “Ukitaka soda ewe inskpekta, burudika na Fanta” (If you want soda, refresh yourself with Fanta).

The song was fun to sing, because of its benga beat, and the fact that its theme was close to Kenyans’ hearts. The rhyming in Kiswahili (mama/Ketepa, ndungu/Limuru, inspekta/Fanta), made the song even more enjoyable. Not surprisingly, while the song was a popular hit among the people, it was not popular among politicians. In 2001, the BBC reported that Eric was almost prevented from performing the song at an event attended by the then vice president George Saitoti, but the public prevailed.

Later, I read an interview in which Eric recounted a true story about the impact of his song. There was a bus with high school students that was stopped on the road by the police, and the students began to sing “Ukitaka soda ewe inspekta, burudika na Fanta.” The police officers were infuriated, and promptly arrested the students who spent the night at the local police station.

Great satire often arises during times of great repression or moral decadence. The satirist is said to be disturbed by the contradictions between ideals and morality, on the one hand, and the reality of political and moral decadence, on the other.

The second funny element of Eric Wainana’s song that I’d like to mention is the comedy group Redykyulass, which performed some pieces in Eric’s album “Sawa Sawa” in which the song “Nchi ya kitu kidogo” appeared. I will never forgot what an impression Redykyulass made on us when it burst onto the scene in the nineties, with comedian Walter “Nyambane” Mongare doing his classical performance of President Daniel arap Moi, with lines like “na hiyo, ni maendeleo” (and this, is development).

Nyambane’s imitation of Moi has remained as fresh as ever. He is so good at parodying Moi that even less than a year ago, the Churchill and Jeff Koinange TV shows in Kenya and even government officials in charge of entertainment for the national celebrations, pulled him out of his posh Nairobi County communication director’s job to perform parodies of Moi, who has been out of power for almost fifteen years.

For me, these opportunities for Nyambane to still perform his Moi routine are interesting, not least because there is now a generation of Kenyans that does not remember, or has not experienced, the significance of Moi in Kenya’s public consciousness. And yet, Nyambane’s parody still has appeal.

Moi has been succeeded by two presidents. During their tenure, we have gone through major pleasant and unpleasant landmarks. We have had post-election violence and a government with a prime minister. We have had a new constitution that has given us counties and devolution, with a president who is still trying to run a tight hold on governors the way his mentor, Moi, held a tight grip on MPs and politicians. Many of the children who were born in the last decade of Moi’s rule are now over twenty. Laughing at a Nyambane routine today is like Americans laughing at Bill Clinton when there’s Donald Trump today, and George W. Bush and Obama in-between.

…while the catharsis of satire can soothe the pain of the audience, it often runs the danger of just providing catharsis without spurring the politicians or society to change their ways.

So why does Nyambane’s Moi routine still have a soft spot in our hearts? Why do we have no memorable equivalent today for Uhuru Kenyatta, for example? The answer to this question is tied to the nature of politics and satire. Before I get to that, I’d just like to go over a few basics about satire.

Basics of satire

Satire is a very delicate genre. What may make people laugh today may not make them laugh tomorrow if the social living conditions have changed. In fact, scholarship avoids discussing satire because the genre is very difficult to pin down.

Satire tells a story as an analogy, and through that analogy, the audience is supposed to understand that the satirist is referring to a particular element in real life. For instance, when all the NASA politicians portrayed on the XYZ show decide in which rooms of the house they will sleep, the analogy becomes a reflection of the intricate agreements that the principals negotiated to come up with a flag bearer. Because of its component of analogy, satire often doesn’t appeal to people outside the community who may not be familiar with the analogy.

Great satire often arises during times of great repression or moral decadence. The satirist is said to be disturbed by the contradictions between ideals and morality, on the one hand, and the reality of political and moral decadence, on the other. The satirist who uses humour to ridicule and criticise society or those in power is holding up a mirror to society to provoke it to change the situation. This means that the satirist must experience a level of indignation and moral impatience with the subject he or she chooses to satirise. We see this especially in Patrick Gathara’s and Godfrey Mwampembwa (better known as Gado)’s cartoons.

By laughing at parodies of Moi, we were able to distance ourselves from the man who had imposed himself on our lives.

Because satire attacks indirectly, the humour provoked by satire provides a way out for both the audience and the artist. When the audience laughs, it experiences relief, otherwise known as catharsis, which gives it a break from the pain of the absurdity of the oppression it deals with in real life. For the artists, satire provides a convenient cover in case they are attacked by the real-life targets of their ridicule. The artist can say to the target: “It was not about you; it was just a story.”

But the escape route that satire provides is a double edged sword; while the catharsis of satire can soothe the pain of the audience, it often runs the danger of just providing catharsis without spurring the politicians or society to change their ways. In other words, people can take refuge in satire to avoid demanding social change. When they laugh, they feel better, but they go straight back into the lion’s den for another bashing before they seek the next shot of relief through satire.

Although satire often does not provoke social change, politicians still fear it. For example, in the case of Ezekiel Mutua’s evident pain about being satirised in his fight to install a censorship bill, we have seen that the political class is definitely uncomfortable about satire. And people in power do have a reason to fear satire, because satire warns people of social rot or impending danger, keeps the people vigilant about those in power, and makes people ask questions. Satire also provides a sense of moral superiority, because those who laugh at satire feel morally superior to the leaders who oppress them.

We need to understand these elements of satire to grasp why the satire about the Moi era (or error) is still quite funny for us older folk.

Why satirising Moi was funny

Moi was our president for 24 years, so he left an indelible mark on an entire generation. More importantly, Moi was omnipresent in Kenyans’ lives. He was on the news every day; every news bulletin began with “Mtukufu, rais Daniel arap Moi, leo ….” (Today President Daniel arap Moi…”). Moi’s inescapable presence in our lives also meant that we had time to master his accent, his famous phrases and his mannerisms. So when Nyambane performed, there was an element of familiarity with the subject, and most of all, a shared communal experience. Nyambane’s routine provided us with an opportunity to reminisce collectively about a difficult period in Kenya’s history. But our laughter was also full sadness for the people who suffered under Moi’s regime.

Kenyan artists need to be wary about comedy that purports to fulfil the functions of satire. In fact, the expanded freedoms we earned from the struggles of the nineties have resulted in less sophisticated forms of satire. But does this limited form of satire mean that there is no repression, no exploitation, and no one to mock and ridicule?

As I’ve already indicated, the media contributed to Moi’s notoriety. It was not simply that Moi dominated the news bulletin on VoK (Voice of Kenya, which later became Kenya Broadcasting Corporation or KBC), but also that for most of the time that he was president, we had only one media channel. Unlike my generation, children today have not experienced a time when there was only one broadcast channel that went on air from 4pm to 11 pm during the week, and from 2pm to midnight over the weekends, with a brief shutdown in the afternoon. Moi was in our faces and ears all the time. We not only heard about him, we also sang songs about him like “Tawala Kenya tawala” (“Rule Kenya rule”). By laughing at parodies of Moi, we were able to distance ourselves from the man who had imposed himself on our lives.

Most important of all, making fun of Moi gave us a break from the repression of his regime, which was tangible. When Nyambane performed in the nineties, our laughter was more nervous than it is today. We knew that for having an opinion other than what Moi allowed, people could be assassinated, detained, tortured in the Nyayo House chambers or sent into exile.

One of the victims of that regime included columnist Wahome Mutahi, also known as Whispers, who was picked up from the Nation newspaper’s offices and detained for “whispering too loudly”. Laughing at Moi was a cardinal sin with life and death repercussions. So when we laughed at Redykyulass, or when we sang “Nchi ya kitu kidogo,” we were releasing decades of repression. It was relief, or catharsis, for us. And even now when I watch Redykyulass, I still feel that catharsis. Because the memory of that oppression remains very fresh for me.

Changing times

The Redykyulass model of humour, which even Daniel “Churchill” Ndambuki admits is the model adopted by Kenya’s comedy performances today, arose in specific times that have now radically changed. We now have the Internet and access to literally limitless media. We have a new constitution and more freedoms. We can criticise the president in public, and even to his face, and still go home and eat and drink with our families the same evening. And most of all, we don’t have a president for longer than ten years, so thankfully, we will never be as familiar with another Kenyan president as we were with Moi.

And yet Kenyan satire, for the most part, hasn’t changed. We are still mimicking politicians and the quirkiness of Kenyan society. Thankfully, comedians are now working on using less ethnic stereotypes than they did ten years ago, but there is still too much reliance on ethnic particularities for humour. And today, politicians are no longer as present on the live comedy stage. Even when they do appear, the comedy is based on mere imitation of the political personalities, but without an analogy of real, complex and disturbing socio-political issues.

I must admit that my knowledge of Kenyan comedy is scanty, but I have not seen, for example, good satire on marginalisation or gender discrimination in Kenya. I’m thinking of, for example, a skit on “mansplaining” that was done by Jimmy Kimmel and then presidential candidate Hillary Clinton that mocked the condescending attitudes towards women. Kimmel’s enactment of sexism impressively captured the impossible standards that women are subjected to. But that kind of performance requires an intricate understanding of the issues that women face.

“Incredulously, while we cartoonists struggled to bash politicians in the Kanu era, we’ve found criticising today’s political leaders tricky because they always rush to court. It’s a bit like they are the ones who are supposed to be the sole beneficiaries of today’s freedoms. They have discovered that they can sue.”

In the Kenyan context, for example, we do not have enough comic performances that capture intricate social issues that require commentary, partly because dominant public discourses in Kenya reduce artistic skill to raw talent. An exception is the XYZ show, which performed a brilliant skit satirising the racial politics of conservation by presenting a Maasai who settles in the UK to save British wildlife.

Without similar insights into the intricacy of social issues, the comedy that is now dominant in Kenyan entertainment will inevitably equate stupidity with ethnic peculiarities. And the comedy will rarely be satire, because the goal of the performance is simply to entertain and make people laugh, rather than to point out our moral weaknesses or political mistakes.

In other words, Kenyan artists need to be wary about comedy that purports to fulfil the functions of satire. In fact, the expanded freedoms we earned from the struggles of the nineties have resulted in less sophisticated forms of satire. But does this limited form of satire mean that there is no repression, no exploitation, and no one to mock and ridicule?

This question has actually become more prominent in the United States, especially with the election of Donald Trump. The comedy programmes mocking Trump have increased, and now America is experiencing the threat of comedy overthrowing authentic political discussion and engagement. And yet, comedy is part of what got Trump into power in the first place A few years ago, John Oliver thought that the idea of Trump running for president was so ridiculous that he offered to campaign for Trump. The media gave Trump free airtime because he was funny and entertaining. By the time the media and comedians realised what they’d done, Trump was on his way to becoming president.

And in the shock and despair, the American media has raised the amount of comedy on the airwaves. Even respectable channels like CNN have resorted to drama – bantering between the left and the right – as a form of political commentary. The problem is that comedy and melodrama do not engage citizens in authentic political discussions about their country.

For this reason, observers have started to ask whether mimicking and mocking Trump serves the social good any more. A few months ago, Emma Burnell wrote a piece in the British newspaper, The Independent, titled “Traditional political satire is dead – the people, not politicians, should be the butt of our jokes now.” She argued that political satire no longer challenges the establishment. Like in the case of Kenya, mocking politicians no longer has the shock effect it used to. Politicians are now more attentive to the people because they can be fired by the vote. Burnell argues that maybe it’s the people, not their leaders, who need to be mocked.

From Trump to Uhuru to Sonko, politicians tell us that they are the victims of oppression by the media, the international community or the government, and because we used to be the victims of the same, we believe we’re in the same boat as these politicians. But in reality, they’re screwing our hospitals and schools as they seek treatment abroad and send their kids to private schools.

I disagree with Burnell because I believe that satire should be reserved for those in power. Nevertheless, I concede her point that we the people are complicit in the current decay in our countries. But in Kenya, wananchi are complicit in this decay as victims, not as perpetrators. More than that, the fact remains that oppression has not disappeared; it has simply morphed. We have a president who is privatising our health care and education, who is destroying institutions by underfunding them and making professionalism almost impossible, and who is sustaining criminal impunity by subverting judicial processes and by allowing thieves of public funds to run for public office. The national debt has shot through the roof over a project whose value to Kenya is not evident. Surely satire should have something to say about these serious issues.

However, satirising these issues is not so easy because the oppression has become more subtle, even though it is more viscous. Oppression is now embedded in law and policy, while, ironically, politicians speak freedom using the metaphors of the poor. Take, for instance, politician Mike Sonko, who talks as if he is more oppressed than the regular Kenyan, and who takes his fight for the people to the streets through personalised rescue missions, rather than to through the corridors of legislature where he was elected to represent the people’s interests.

In an interview with Kimani wa Wanjiru a few years ago, the cartoonist Paul Kelemba, popularly known as Maddo, captured the irony of the powerful claiming the position of the oppressed and explaind its direct implication for satirists. Despite the increased liberties, said Kelemba, satirising is actually more difficult today for Kenyan artists than it was during Moi’s days. “Incredulously, while we cartoonists struggled to bash politicians in the Kanu era, we’ve found criticising today’s political leaders tricky because they always rush to court. It’s a bit like they are the ones who are supposed to be the sole beneficiaries of today’s freedoms. They have discovered that they can sue.”

Maddo highlights an interesting phenomenon of this neoliberal era: the politicians have now become the oppressed fighting for freedom. They join us on the streets, they come to hospitals to pay for the treatment of our wounds caused by the government, they intervene in distress, and they complain that the government is oppressing them. From Trump to Uhuru to Sonko, politicians tell us that they are the victims of oppression by the media, the international community or the government, and because we used to be the victims of the same, we believe we’re in the same boat as these politicians. But in reality, they’re screwing our hospitals and schools as they seek treatment abroad and send their kids to private schools.

Another example is that of the current reforms in education, which are so problematic. Until recently, the education cabinet secretary Fred Matiang’i could do no wrong because of his yet-to-be-explained purge of cheating in national examinations. It is, therefore, very difficult for Kenyans to complain about the education reforms, and it does not help that every time he speaks, he seems to be enforcing efficiency in the education system. However, listening to him, it’s very difficult to notice that actually, the cabinet secretary does not say much that is substantial. For instance, at the launch of the piloting of the new school curriculum, he used all the necessary buzz words about supporting schools and holding consultations on the reforms, but in fact, he never got to actually spell out what the reforms were. It is very difficult to point out these gaps without having to deal with accusations of being so “negative” and of refusing to support a hardworking minister. But in the midst of my struggles to explain why the reforms must be opposed, Gado, in a single cartoon, explained everything I had been trying to say.

It is clear that oppression has not reduced; it is simply wrapped in a new garment. This reality suggests that we must change the way we satirise. We can no longer rely on just mimicking politicians. So in these changing times, how can we satirise? How do we make fun of policy, or expose political wolves in sheepskin? How do we: 1) warn the people; 2) keep the people always vigilant against those in power; 3) make people ask questions; and 4) give people a sense of encouragement? These are the questions that satirists today have a difficult job answering, especially because they can no longer answer these questions in the same way that Nyambane did.

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

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The Unapologetic Blackness of the Me Too Movement

9 min read. As we tell the story of Me Too, says TRACEY NICHOLLS, let us not forget the centrality of black women’s struggles for control over their own bodies in the evolution of contemporary activism against rape culture.

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The Unapologetic Blackness of the Me Too Movement
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Let me tell you a story.

I thought Rosa Parks was an old woman who refused to give up her seat on the bus because she was too tired to stand after working all day.

Me too.

I thought Anita Hill, the woman who accused Supreme Court Justice Clarence Thomas of sexually harassing her when he was her boss, was quite possibly just plain lying.

Me too.

I thought the present-day feminist revolution that is changing conversations around the world was started on Twitter by a white Hollywood actress.

Me too.

Let me tell you a story about the truth behind all those fictions. It’s a story about how the world changed for all American women (and many women in other countries) because of the strength, courage, and integrity of three black women: Rosa Parks, Anita Hill, and Tarana Burke.

On October 15, 2017, Hollywood actress Alyssa Milano tweeted an invitation to her Twitter followers to respond to a suggestion from a friend of hers: “If all the women who have been sexually harassed or assaulted wrote ‘Me Too’ as a status, we might give people a sense of the magnitude of the problem.”

That tweet sparked a response which has indeed become a kind of online census of victimhood. This is the crucial thing to recognise about the moment when #MeToo met social media: that it inaugurated a census. It gave people who had experienced sexual predation a way to stand up publicly and be counted.

Sexual assault and harassment complaints are habitually dismissed when they are made against privileged men, and especially when they are made against powerful men. And the victims who make these complaints are disparaged as attention-seeking, opportunistic, and vengeful.

The accusation of opportunism, in particular, suggests that the accusers believe that going public about having been degraded sexually somehow confers a glorious social privilege upon them (a fiction belied by everything we know about the under-reporting of sexual violence in societies around the world). And the disparagement presents consequences to the perpetrators (if the complainant is believed). Loss of prestige or reputation are viewed as worse than the consequences of the assault or harassment itself, which include the trauma and post-traumatic stress that have for years been recognised as consequences of violence generally, and are now finally being acknowledged as consequences of sexual violence.

Sexual assault and harassment complaints are habitually dismissed when they are made against privileged men, and especially when they are made against powerful men. And the victims who make these complaints are disparaged as attention-seeking, opportunistic, and vengeful.

What #MeToo exposed was not a cabal of vengeful feminists but an ubiquitousness and normalisation of sexual predation, often by powerful and influential men, who are, therefore, socially recognised as more credible than their victims. This choice of victims is not an accident; predators target those they believe will be considered unimportant precisely so that they will be able to discredit any complaints that might be made.

The credibility of complaints is attacked on the grounds of the complainant’s race, social status, national origin, and most especially—when the perpetrator is male and the victim is female—on the basis of gender. Even today, as the United Nations identifies gender equality as one of its significant Sustainability Development Goals, in most countries, women’s voices are not accorded as much credibility as men’s voices in law courts, in police stations, and in public discourse.

Individuals who choose to behave in predatory ways are sheltered from the consequences of their behaviour by widespread beliefs that women lie about being victimised. In fact, because of social shaming around women’s sexuality, women are more likely to stay silent about things that did happen rather than to manufacture things that did not happen.

Predatory individuals are sheltered by the suspicion that allegations of this kind are likely to be false. In fact, the rate of false reporting of, for instance, rape allegations is about the same as the rate of false reporting for other felonies. In addition, predatory individuals are sheltered by demands for “objective proof” that are not demanded in other types of criminal accusations. In fact, a victim’s accusation of fraud, theft, or other forms of violence is sufficient to trigger an investigation, and multiple accusations are sufficient to establish a pattern of behaviour on the part of the perpetrator that is considered circumstantial evidence of their wrongdoing.

Victims of sexual predation know these differences; fear of not being believed is the primary factor explaining why only about 35 per cent of sexual assault cases in the United States are ever reported (which is actually relatively high when compared to a country like Japan, where the reporting rate is estimated to be under 5 per cent). The #MeToo social media census was a space in which victims could self-identify without being invalidated.

But before there was Alyssa Milano’s call to stand up and be counted, there was more than a decade of grassroots activism and solidarity with sexually abused African-American girls that was being carried out by Tarana Burke, the civil rights activist and community organiser who coined the term. There was “Me Too” long before there was #MeToo. There was a black woman, this black woman, doing anti-sexual assault work and victim support long before there was any widespread public discussion by white liberal feminists of the problems of sexual entitlement and predation by wealthy and powerful men. This trail-blazing by black women is also not an accident.

The civil rights movement and the struggle for women’s rights

There is a long history in the United States of advocacy for women and struggles for women’s rights to control our own bodies. That history is grounded in the community organising that black women have done for and with each other, and it has gone largely unrecognised until quite recently.

In 2010, historian Danielle L. McGuire wrote a book about how the civil rights movement of the 1950s and 1960s that is now most closely associated in the popular imagination with Reverend Martin Luther King Jr. owes its existence to the tireless work of black women in the southern states against racialised sexual violence. McGuire’s book, At the Dark End of the Street, documents the campaigns and community organising of black women working in churches and with the venerable National Association for the Advancement of Colored People (NAACP) to demand equal justice under the law for black women who had been raped and sexually terrorised.

There is a long history in the United States of advocacy for women and struggles for women’s rights to control our own bodies. That history is grounded in the community organising that black women have done for and with each other…

One such campaign, directed by the NAACP, was organised to demand the arrest and trial of the seven white men who were responsible for the 1944 gang rape of an Alabama woman named Recy Taylor. The newly-hired NAACP branch secretary who organised the campaign was Rosa Parks. Eleven years later, the advocacy alliance she helped to form, the Committee for Equal Justice for Mrs. Recy Taylor, would become the Montgomery Improvement Association, the support organisation for the 1955 Montgomery bus boycott that launched the civil rights movement.

Contrary to the mythology that constructs this society-changing coalition as Dr. King’s heroic challenge of white supremacy, it was a movement built by black women like Rosa Parks. She was no tired old woman the day she refused to give up her seat on the Montgomery bus; she was a trained and accomplished activist. And although Recy Taylor never did get justice for the sexual violence she endured, the principle Rosa Parks was fighting for—that sexual violence against black women should be treated as seriously under the law as sexual violence against white women—was finally upheld as a legal precedent in 1959 when the four white rapists of Betty Jean Owens in Tallahassee, Florida were convicted and sentenced for their crime against her.

Almost 50 years after black women mobilised communities across the South to petition for Recy Taylor’s right to face her attackers in court, a black woman named Anita Hill testified in front of an all-white, all-male panel of US Senators in the nation’s capital, Washington DC. The men were there to confirm conservative black judge Clarence Thomas to the Supreme Court seat that had been vacated by the retirement of civil rights icon Thurgood Marshall. The woman, a law professor, was there to inform them that when she had worked for Thomas a decade previously at the US Department of Education and the Equal Employment Opportunity Commission, he had engaged in sustained sexual harassment of her that called into question the good character which, due to his inexperience on the bench, had been cited as the primary evidence of his overall fitness to serve on the highest court in the country’s legal system.

The year was 1991. The term “sexual harassment” had been coined by the feminist movement back in the 1960s but it was not a widely understood phenomenon in 1991 and there was, at the time, little appreciation for how pervasive it was in workplaces. As law professor and critical race theorist Kimberlé Crenshaw notes in a 2018 New York Times op-ed, it was Hill’s testimony of Thomas’s persistent pressure on her to date him, his discussion of explicit pornography he liked to watch, and comments about his own sexual prowess—all taking place in the offices in which she served as his assistant—that produced America’s “great awakening around sexual harassment”.

However, as Crenshaw also notes, the lessons Anita Hill’s testimony might have taught the country were inadequately learned: Thomas was confirmed to the Supreme Court where he serves to this day, alongside fellow alleged sexual predator Brett Kavanaugh. Hill, in her own 2019 New York Times op-ed, suggests the intriguing possibility that what we now know as the #MeToo movement could have started as far back as 1991, if only that Senate Judiciary Committee panel had listened seriously to her testimony (and that of the corroborating witnesses they never bothered to call).

In the wake of Anita Hill and in the tradition of Rosa Parks came the response of Tarana Burke to a 1997 conversation with a 13-year-old black girl who confided that she had been sexually abused. As “Me Too” broke into the American popular consciousness in October 2017, Burke recalled to a New York Times reporter that this confession had left her speechless and troubled. Having worked with and advocated for marginalised young women since she was a teenager, she belatedly realised that the most appropriate response she could have given the girl was quite simply “Me too”.

Almost a decade after that moment, in 2006, she created a movement to marshal resources for other young victims of sexual harassment and assault—resources she wished had been available to her and to the 13-year-old girl who had called her to this particular strand of her life-long activism—and began promoting the phrase “me too” as a way of raising awareness of the pervasiveness of sexual violence, and as a way of supporting survivors of that violence.

However, as Crenshaw also notes, the lessons Anita Hill’s testimony might have taught the country were inadequately learned: Thomas was confirmed to the Supreme Court where he serves to this day, alongside fellow alleged sexual predator Brett Kavanaugh.

The black roots of “Me Too” are, I think, crucial to understanding what it is trying to achieve, and how. I spoke at the outset of “Me Too” as a census, and I believe that is a useful way to understand how it has functioned in its #MeToo Twitter incarnation. But a robust understanding of “Me Too” as a solidarity gesture has to acknowledge its contextual association with the call-and-response traditions of black music and black vernacular English. Me too is a call and a response: me too … you too?… yes, me too.

Emerging voices

The campaigns for justice and respect to which Rosa Parks, Anita Hill, and Tarana Burke have all contributed their efforts to make a world in which black women are honoured members of their communities have changed things. There is more bodily autonomy for all women in the United States today (challenged and under threat, to be sure, but present). There is more awareness of what it means to have to navigate a “hostile workplace”, and there is more support for the women and men, girls and boys, who have been harmed by sexual violence.

Even as these women are being acknowledged for their courage and dedication, however, and even as black feminist scholarship strives to make sure the contributions to American life of other black women—Fannie Lou Hamer, Ella Baker, Ida B. Wells, Anna Julia Cooper, to name only a few—are not forgotten, it is important to remember that the tradition of black activism in the US is a communal one.

In the New York Times interview about her role in the Me Too movement, Tarana Burke dismisses the initial controversy about Alyssa Milano hijacking her movement and erasing her contribution by tweeting a “Me Too” invitation that did not credit Burke, saying that it is selfish to frame a movement around one person. Movements should be about amplifying the voices of the community, the survivors, she concluded. (And it should be noted that Milano, who had initially been unaware of the origin of the phrase, swiftly corrected her oversight and has subsequently been vocal in promoting Burke’s Me Too campaign.)

Similar sentiments about the plurality of sources for activist movements and the value of horizontal (non-hierarchical) organising structures are expressed by Alicia Garza in connection with the Black Lives Matter (BLM) movement in a 2016 New Yorker article. The article is a fascinating analysis of how Black Lives Matter emerged as a voice for racial justice from a self-consciously intersectional point of view. It reminds readers that we all engage the world through multiple identities (race, gender, age, sexual orientation), and makes space for Garza’s argument that effective activism to make American society less hostile towards black lives needs to foreground not just a commitment to “unapologetic blackness” but also to an “unapologetically queer” focus. (She notes, for instance, that of the 53 recorded murders of transgender people between 2013 and 2015, 39 were African-American.)

Author Jelani Cobb contrasts the history of black organising in the 1960s, with its emphasis on top-down leadership, with the more diffuse structures of BLM: the three black women often credited with creating it—Alicia Garza, Patrisse Cullors, and Opal Tometi—are carefully distinguished as architects of BLM’s online organisation, while credit for the movement that arose out of protests over Mike Brown’s 2014 murder in Ferguson, Missouri, is given to DeRay Mckesson, Brittany Packnett, and Johnetta Elzie. But, as Garza notes, BLM is not about consolidating power in an identifiable leadership hierarchy; it works like traditional labour organising did, and like Ella Baker (the civil rights activist who served in leadership in both the Southern Christian Leadership Conference and the Student Nonviolent Coordinating Committee) did, it reaches out to the people “at the bottom”, tapping the creativity and energy of the whole community.

The story we need to be hearing and telling, then, in this age of “Me Too” is not just about black women’s leadership, but about the tradition of leadership deeply embedded in black women’s community activism. The power is in the people, and the people need to be heard. Call and response.

The civil rights movement is (mis)remembered as a movement of black men for racial equality; Black Lives Matter is perceived in the media as a redress movement organised exclusively or predominantly around black men murdered by a systemically racist policing structure. In both cases, men’s names are foregrounded in activist histories that have been built up out of women’s labour and include women’s experiences. (Sandra Bland, say her name.)

As we tell the story of Me Too, let’s not forget or overlook the centrality of black women’s struggles for control over their own bodies in the evolution of contemporary activism against rape culture.

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Rant of a Coconut: What Chigumadzi Doesn’t Get about Nigerians

10 min read. In this essay, SANYA OSHA debunks myths about Nigeria that are being perpetuated by African academics who fail to appreciate the impact slavery and colonialism had on West Africa, and the role Africans have played in exposing the contradictions of the postcolonial ethos.

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Rant of a Coconut: What Chigumadzi Doesn’t Get about Nigerians
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Panashe Chigumadzi’s long, digressive article, “Black Skins White Masks Revisited: Why I am No Longer Talking to Nigerians about Race”, on the necessity of Nigerians to engage with the question of race is purposely provocative. It also serves to mislead and misinform. For someone who obviously considers herself eminently qualified to speak in defense of “a radical anti-racist politics”, it would be appropriate to dwell a bit on what precisely are her credentials.

Admittedly, she has confessed to being schooled in white establishments virtually from kindergarten until her current base at Harvard University. In the essay where she makes this confession (“Of Coconuts, Consciousness and Cecil John Rhodes: Disillusionment and Disavowals of the Rainbow Nation”) she also admits to being a “coconut” (black on the outside, white on the inside, the perennial Fanonian quandary), what conscious African-Americans would call a “coon”, or in earlier times, an “Uncle Tom”. And so on the basis of this “impressive” set of accomplishments, she feels, still under the age of thirty, qualified to challenge a nation of almost 200 million souls to engage with the problem of race in globally explicit ways.

Her other accomplishments include her role at the height of the #FeesMustFall campaign when she was invited to Rhodes University, South Africa, to launch her novel, Sweet Medicine, in 2016. There had been a schism within the black students’ movement between purveyors of radical black thought and “integrationists” of the coconut stripe. White liberals were in full support of the integrationists who had been indoctrinated to misread and misapply the radical teachings of theorists such as Frantz Fanon and Steve Biko. Chigumadzi had appeared on the platform of the integrationists, obviously at her “coconutic” best.

It really does take some nerve to castigate an entire nation with such incredible blitheness and glibness. It is even more difficult to assimilate when one reviews her “lofty” credentials. Her “coon” education obviously did not prepare her to appreciate the canonical import of works such as Chinua Achebe’s majestic Things Fall Apart whose setting is in faraway Nigeria, and not nearby within the southern tip of Africa, as she points out in her characteristically digressive essay, “Rights of Conquest, Rights of Desire”, which casually glosses over perhaps the most powerful as well as the most insightful exploration of the colonial encounter in all of literature. Instead she smuggles unwanted black bodies in the midst of racist white angst as if that in itself constitutes a gesture of racial reconciliation. And just like a true coconut, she had to find a place for the swart gevaar (the black threat) by means of the most remarkable kind of Conradian literary inversion.

It really does take some nerve to castigate an entire nation with such incredible blitheness and glibness.

Wole Soyinka, the icon of African literary creativity and redoubtable social activism, is briskly dismissed in the following manner; “Soyinka […] had been so unimpressed and impatient with the Negritude movement spearheaded by the Francophone writers of African descent”. To bolster her point, she cites the now tired and lame quip, “A tiger does not proclaim its tigritude.”

After the usual interminable digressions, she makes a case for “redeeming Nigerian Tigritude” by concluding that Nigerians lack the qualities of empathy and humility to truly become the giants of Africa. You really must possess considerable reserves of patience to isolate her central arguments, namely, Soyinka’s, and by extension, all Nigerians’, appalling unfamiliarity with global race dynamics. Ultimately, this debilitating unawareness precludes Nigerians from being suitable to be at the forefront of African political struggles.

Curiously, she lists the impressive achievements of Nigeria in combating apartheid in South Africa through the national levies it imposed on school children, the numerous diplomatic initiatives it launched or participated in, the net donation of 61 billion dollars to the anti-apartheid struggle, and yet she cannot seem to think this is a most empathetic contribution.

Again, strangely, she fails to reflect on the scourge of Afrophobia plaguing South Africa, in which the business enterprises and bodies of foreign nationals – particularly, Somalis, Ethiopians, Pakistanis, Zimbabaweans and Nigerians – are razed almost weekly in exuberant public bouts of xenophobic rage. Of course, it is almost impossible to forge any kind of alliance or solidarity amid such constant orgies of rage, violence and destruction aimed at hapless foreigners. Rather than expect more empathy from Nigerians, it would be more logical to expect more gratitude from the proponents and culprits of Afrophobia.

Let us examine the myth that Nigerians have not been able to formulate the kind of emancipatory race politics Chigumadzi approves. Here, Soyinka immediately comes to mind. When he was eighteen years of age at the then University College Ibadan, Soyinka formed the first campus confraternity along with the likes of renowned Cambridge trained physicist, Muyiwa Awe and others, such as the broadcaster, Ralph Okpara. Their confraternity was established to serve as a bulwark against undue colonial indoctrination on their white-dominated campus. So rather than uncritically accepting the acquiescence and complicities of the coconut, there was already an awareness to question and resist racial oppression and injustice even before he had attained full maturity.

Curiously, she lists the impressive achievements of Nigeria in combating apartheid in South Africa through the national levies it imposed on school children, the numerous diplomatic initiatives it launched or participated in, the net donation of 61 billion dollars to the anti-apartheid struggle, and yet she cannot seem to think this is a most empathetic contribution.

Eventually, Soyinka attended Leeds University to complete his undergraduate course but whilst abroad, he was thinking of returning home once his studies were over. For further personal studies, he sought to recuperate orders of knowledge that had been demonised, suppressed and erased by the agents and machinations of colonialism. It was not long before he adopted Ogun, the Yoruba deity of war, iron and justice, as his special guardian spirit contrary to the Western education he had received and the Christian background of the home in which his parents had raised him.

Soyinka’s inquiry into his beloved ancient Yoruba cosmogony led him to forge lifelong links with other Yoruba-affiliated descendants of the African diaspora based in Brazil, Cuba, Trinidad and Tobago, other places in the Caribbean and of course, the United States. Undoubtedly, when he visited those countries, he never failed to promote the tigritude of his Yoruba ancestry and cosmogony. Such was the case when he met Henry Louis Gates Jr., the founder and director of the African and African American Studies Center at Harvard where Chigumadzi is currently a PhD student.

At Cambridge, Gates, in various instances, admits that Soyinka had led him on a continuing journey to discover the truths about Africa that had been occluded by racist prevarication and indoctrination. Indeed since then, they have continued to enjoy close and productive collaborations in developing and strengthening the discipline of Africana studies. Gates would also go on to popularise the figure of Esu, the Yoruba deity of the crossroads, wit and intelligence, in his landmark work, The Signifying Monkey (1988). In this work, Gates explores the various appropriations and survivals of Esu within the context of African American culture and literature.

Soyinka’s transcontinental exertions did not end here. He has undertaken missions at his own personal expense to attempt to retrieve invaluable artworks looted from Africa by European colonialists. He was immensely active during FESTAC 1977, the global black festival that brought together artists and intellectuals of all persuasions to Lagos to celebrate and promote black cultures the world over. Indeed his efforts and initiatives at seeking and cementing Africana ethics and poetics of solidarity are too numerous to mention and cannot be over-emphasised. In a context when the notion of black excellence is increasingly becoming trite and perhaps meaningless, he remains a lodestar upon which we can begin a proper conversation.

Fela Anikulapo-Kuti is another exemplary figure who contributed enormously to black pride, agency and resurgence in incomparable ways. Incidentally, Anikulapo-Kuti and Soyinka are cousins and so it isn’t a surprise that they share and practise similar kinds of global black solidarity. Anikulapo-Kuti’s radicalism made him adversaries amongst the elite political classes in his native Nigeria and Ghana after he was hounded out of his country on account of his vociferous activism and oppositional poetics.

Due to his uncompromising radicalism, doors closed on Anikulapo-Kuti everywhere; the foreign-owned record companies at home and abroad shunned him, and the international music industry cartels made it difficult for him to have significant breakthroughs. Radio stations wouldn’t feature his compositions because he would not sing three-minute hits as opposed to the half-hour long tunes of great complexity and ingenuity he favoured.

When established record labels refused to release and market his music, he set up his own channels and platforms. His compositions, in the global era of disco, vacuous entertainment and feel-good funk seemed out of time by virtue of his trenchant ideological vision, his strident critiques of racism, imperialism, colonialism, neocolonialism and international finance capitalism that impoverished and immiserated more or less all of Africa and much of what was then called the Third World.

During his lifetime, all the wealth Anikulapo-Kuti made was showered on the ill, needy and homeless, and when he passed away in 1997, he had almost nothing to his name, except perhaps, the ever-green radiance and energy of his astonishing compositions.

His work was not confined to the west coast of Africa and its multiple diasporas. When Hugh Masekela visited Lagos in the early 1970s seeking fresh sources of inspiration, Anikulapo-Kuti hooked him up with the inimitable Ghanaian back-up combo that propelled him to greater musical horizons. Miriam Makeba, Stevie Wonder, Kiki Gyan, Lester Bowie, Gilberto Gil, Sandra Izidore, Roy Ayers and Randy Weston, at various times, sought his unparalleled musical artistry and guidance in advancing their own projects. And just like his cousin Soyinka, Anikulapo-Kuti vigorously re-established connections that existed in Africa before the advent of colonialism.

After having studied European classical music and compositional techniques in London during the 1950s, he returned to Nigeria to study the indigenous methods of his ancestral forebears, paying particular attention to the spiritual aspects and trance forms.

Anikulapo-Kuti had every opportunity to be a certified coconut. His mother, Olufunmilayo, is widely regarded as Nigeria’s first modern feminist who visited the socialist countries of Eastern Europe and China on questions of mutual interest. She was also a friend and collaborator of the great exemplar of Pan-Africanist epistemology and praxis, Kwame Nkrumah, when he was the President of Ghana.

Anikulapo-Kuti could have led a comfortably sequestrated existence filled with the cheap glories of being a coconut but he chose to align himself with the lowly lot of economic and political outcasts, cultural renegades and oppositional figures of all stripes who naturally irritated the custodians of worldly power. But like a true Pan-Africanist fighter, he elected to remain a thorn in the flesh of decadent and corpulent power until his inevitably tragic end. He excoriated figures, such as P.W. Botha, the Prime Minister of apartheid South Africa, Margaret Thatcher of Great Britain, Ronald Reagan of the United States, and not least of all, Muhammadu Buhari of Nigeria.

Perhaps employing the Pan-Africanist visions of Soyinka and Anikulapo-Kuti, it would be most appropriate to complexify the very notion of “the Nigerian”. Many Nigerians in their reflective moments know that it is an unfortunate and almost unbearable fabrication of the self-serving colonial enterprise. It is, in other words, a geographical entity of tragicomic proportions that was meant to frustrate and undermine its hapless inhabitants.

True, the inhabitants of Nigeria had always interacted in the precolonial days, but the modalities of interaction had been independent of arbitrary colonial interference. On the other hand, the new modalities of co-existence and co-operation had been funneled through the misshapen and counter-productive channels of colonialism. Those channels were not intended for sociopolitical success of postcolonial Nigerians, as they weren’t for most of the colonised world.

Anikulapo-Kuti could have led a comfortably sequestrated existence filled with the cheap glories of being a coconut but he chose to align himself with the lowly lot of economic and political outcasts, cultural renegades and oppositional figures of all stripes who naturally irritated the custodians of worldly power.

And so the geographical entities of postcoloniality always pose questions regarding their ultimate viability as largely baseless colonial constructs. However, Chigumadzi is unable to see the incongruity and innate discomfort in saying as a Zimbabwean-born South African (or whatever identity she chooses to adopt), I am able to castigate Nigerians for their perceived lack of empathy and ethics of solidarity. Colonial African geographical constructs were basically not designed for that purpose.

Soyinka has variously denounced this untenable situation with harsh words for the Organisation of African Unity (OAU, the precursor to the present African Union [AU]), which uncritically sanctioned this gross and violent colonial misadventure that should be considered as yet another deleterious scheme to violate and undermine African communities. This is why Nigerians and Ghanaians, for instance, can needlessly squabble over seemingly meaningless and counterproductive trivia without seeing that they had once enjoyed more humane and beneficial relations in abundance before the unwholesome truncation of colonialism. Chigumadzi’s rant is merely an extension of this ahistorical postcolonial mindset, or is it myopia, namely, the inability to interrogate, negate and (re)negotiate colonial African geographical constructs as eternal givens.

If this radical questioning remains always ignored and is not approached with a healthy dose of scepticism, preposterous political scenarios and vast genocidal scenes of utter disarray come to mind that are likely to abound only because we have accepted to be the slavish “coconuts” of unsustainable postcolonial geographical dispensations.

The uncritical subscription to a colonialist project of identification in the wake of the devastation of colonialism that differentiates Zimbabweans, South Africans, Kenyans, Ghanaians or Nigerians as bearers of immutable forms of identity and subsequently pits them constantly against each other, undoubtedly bodes ill for any conception of mutuality, or indeed, solidarity.

But even if we were to subscribe to the colonial geographical markers of identity as Chigumadzi does, Nigerians have been in the forefront of practising Egyptian theorist Samir Amin’s concept of “delinking”. Employing this concept, Amin argues for the decoupling of peripheralised African economies from the invariably inequitable global monetary system that enforces a centre/periphery dichotomy that reduces Africans to suppliers of primary products while the West plays the dominant role of manufacturers as well as incubators of technological innovation and advancement.

Rather than mentioning counter-paradigmatic Nigerian social scientists, such as Ola Oni, Sam Aluko, Adebayo Adedeji, Claude Ake, Bade Onimode, Omafume Onoge , Adebayo Olukoshi and a plethora of others who have offered the most devastating critiques of the Bretton-Woods institutional order that all but crippled the growth of African educational establishments beginning in the 1970s through the toxic mantra of profits-before-people, deregulation and privatisation, Chigumadzi instead chooses to linger on the forgettable work of Chika Onyeani, a reactionary self-nullifying anti-black character, and a darling of the white liberal press in South Africa, who simply does not register in the ever-vibrant discourse of Nigerian socio-economic theory.

If Chigumadzi is really concerned about pursuing a politics of global black emancipation – as she might perhaps imagine herself to be – she ought to be critiquing the bastions of white supremacy that have provided her the leeway from which to cast aspersions on Nigerians. Attacking Nigerians is indeed diversionary as she ought to embark on a quest for reparations for the descendants of the transatlantic slave trade, as the late Nigerian politician, business and philanthropist Moshood K.O. Abiola had with uncommon vigour, commitment and immense sacrifice before his death in 1998.

If Chigumadzi is really concerned about pursuing a politics of global black emancipation – as she might perhaps imagine herself to be – she ought to be critiquing the bastions of white supremacy that have provided her the leeway from which to cast aspersions on Nigerians.

For Chigumadzi to claim Nigerians are unaware of the problem of race is tantamount to ascribing to them an ignorance of a slave trade that wreaked extreme devastation on their territories, and across the entire West African region along with the lands of Angola and the Congo. Ancestral blood from those various territories, in spite of all protestations to the contrary, was largely responsible for creating the wealth of Europe and the Americas as we know them today. An appropriate global politics of black emancipation and inclusivity would need to calibrate these historical realities rather than being cocooned within the safe enclaves of racist power and privilege and then finding easy discursive targets amongst millions of toiling black folk.

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Recovering the Oromo Story in Ethiopia’s Fractured Past

8 min read. Successive Ethiopian governments have tried to erase the history and culture of the Oromo people, but a recent conference held in Addis Ababa finally gave this marginalised community an opportunity to be heard.

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Recovering the Oromo Story in Ethiopia’s Fractured Past
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The “Ayyaantuu”, are a body of persons within Ethiopia’s Oromo people, whose life’s work is calculating time using a complex system of numerology and astronomy to predict everything from weather patterns for the use of agricultural planning, to moments of societal upheaval.

It is being slowly discovered that they maintained, in their antiquity, a series of astral observatories all along the length of the eastern Rift Valley, through which they had mapped the visible universe, named stars and planets, and developed a calendar system that recycles itself every three hundred and sixty-five years.

Their other tools were a forked sighting staff, still carried by Oromo herdsman today, and the string of a series of lakes along the length of the valley floor that curiously, lie in the pattern of a star system above them.

Perhaps the last of these observatories has been finally acknowledged as such at Namoratunga in northern Kenya, with most of the star-aligned stone pillars still intact.

They had observed a comet, and calculated that it was set to return every seventy-five years.

In 1682, the astronomer Edmond Halley (1656-1742) using Newtonian laws of motion to compute its overall trajectory of the same comet even after it has departed, came to the same conclusion. The comet is now named after him, except in Oromo, where it is called “Gaalessa”.

Gems like this were part of a veritable avalanche of hitherto lesser-documented information that came flooding out during the thirty-third conference of the Oromo Studies Association (OSA) and after. The gathering, held between 26thand 27th July, was historic in many ways. It was the first time the OSA had ever been able to hold a conference on Ethiopian soil.

Out of over 100 papers submitted, there were some fifty-six presentations covering topics ranging from ecological management, history, constitutionalism, culture and economics.

OSA was founded by a group of exiled activists in 1986 in response to a crackdown that had driven those campaigning for greater recognition of the Oromo people and their culture murdered, tortured, jailed or driven out of the country.

There is a long and short background to this.

As a people, The Oromo number over thirty-five million in all directions from Addis Ababa, which also was Oromo territory before the founding of the modern Ethiopian state. They consist of a solid whole third of the country’s overall population.

Ethiopia has travelled its own uncolonized journey in the quest to build a modern, unified African country. Nevertheless, this quest has run into many of the same problems experienced by the rest of sub-Saharan Africa, namely what to do with those sections of the population that still defined themselves as other things, other nations even, predating the idea of the new state?

The Oromo number over 35 million in all directions from Addis Ababa, which also was Oromo territory before the founding of the modern Ethiopian state. They consist of a solid whole third of the country’s total population.

In post-European Africa, the story was quite straightforward. Those Africans argued that Africa must re-embrace its indigenous customs and institutions, and set aside the legacies derived from the long European colonial occupation.

The Ethiopian story allowed for the side-stepping of that question, for a while at least. The official argument has always been that the Ethiopian state is an independently-founded African institution, and that therefore those arguments do not apply.

The periods of Emperor Haile Selassie (1930-1974) and Colonel Mengistu Hailemariam (1974-1991) saw a fealty to the concept ideal firmly established by Selassie’s predecessor Emperor Menelik (1889-1911): that all of Ethiopia was to be assimilated into one Amharic-speaking Orthodox Christian culture.

The politics of the wars of resistance to Mengistu’s brutal Dergue rule, led to the ascension of a government obliged to make specific statutory recognition of the country’s ethnic landscape, despite the numerous schemes by the new strongman the late Meles Zenawi (1991-2012) to undermine this game-changing arrangement.

The April 2018 resignation of Meles’ successor Prime Minister Desalegn was a direct result of mass protests triggered by the government attempt to expand the boundaries of the already disputed city further into Oromo federal territory.

A reality now exists: a people mobilised in a political context where their previously hidden identities are now constitutionally recognised.

This is the political inheritance Desalegn’s own successor, Prime Minister Abiy Ahmed is currently grappling with.

From its founding, OSA has functioned as a de facto think tank, policy forum and perhaps virtual parliament for the aspired-for Oromiyya nation-state.

Finally, with this homecoming conference, the enforced diaspora was able to meet and encounter those who had never left home, and many in between.

The Oromo point of view is very straightforward: they say they are the largest colony in the Empire set in motion by Emperor Sahle Selassie in the 1840s, and massively militarily expanded by Emperor Menelik II, and then consolidated through a series of recognition treaties with the European powers. Assimilation, and cultural erasure were the particularly emphasized aspects of this process. The Oromo point to a long-standing need for effective decolonization. At the very least, they argue, this should mean the actual implementation of the full meaning of the 1995 Constitution that for the first-time recognized Ethiopia’s separate nations. At the most, it could mean secession (an option also provided for in the same constitution).

Within Ethiopian political discourse (and even beyond), this stance provokes a whole spectrum of reactions, from the deeply considered, to the nakedly visceral. It has been the primary driver of the culture of political intolerance in Ethiopia.

The Oromo point of view is very straightforward: they say they are the largest colony in the Empire set in motion by Emperor Sahle Selassie in the 1840s, and massively militarily expanded by Emperor Melelik II, and then consolidated through a series of recognition treaties with European powers.

Take the case of Ruda Kura, a Sayyoo clan elder, who lived between 1870 and 1974. He endured monstrous deprivations, including being chained to a tree in a public square for three years, and being publicly flogged due to his refusal to pay taxes to, or otherwise endorse the imposed Menelik state structures.

Much of such history is not widely known, not just in wider Ethiopia, but even among the current younger generations of Oromos themselves. And where it is known, there are often numerous academicized and historicized apologia seeking to explain it away.

This is where OSA’s relevance came in.

The first goal was to set the historical record straight, whatever the potential outcomes. This included the possibility of a consensus being arrived at that, despite the long-standing historical injustices, perhaps Ethiopia should just struggle on as a unitary, monolingual state.

But it is simply not possible to have a productive discussion on a way forward, if “half the story has never been told” as Bob Marley aptly put it.

And it is simply not possible to tell that half of the story if it has never been documented, and those carrying it in the hearts and memories are dismissed as unreliable, inauthentic sources, because they do not speak the language of academia.

This was a mission to re-define knowledge, and have it recognized as such.

It is a story with which many other native populations would be familiar. However, in the Ethiopia/Oromo case there was also a very longstanding, vigilant and meticulous system of censorship and policing within academia to prevent this other knowledge being produced in the first place.

OSA was established to carry out an “engaged scholarship” aimed at telling the full Oromo story, recovering and conserving the embattled indigenous knowledge, and researching the continued effects of what they see as a sustained colonial occupation aimed at erasing them.

The significance of the conference revealed itself only slowly, in many public and private moments. The appointed interim President of the Oromo federal unit he opening, and listened to some of the early presentations after making a short speech. This was followed by the mayor of Addis Ababa attending the opening of the last day, and giving his own speech. Neither had been on the programme, and never had Oromo natives holding office in the capital spoken so freely to an independent Oromo native gathering critical of the Ethiopian state. It was also a homecoming for many members after four-decade separations, such as among the Jalata family, whose member, the activist Professor Asafa Jalata, had been exiled in the United States.

It was triply significant for the American researcher, activist and academic Bonnie Holcomb, author of the 1991 book: The Invention of Ethiopia: The Making of a Dependent Colonial State in Northeast Africa, whose had been arrested and eventually banned from the country altogether back in the 1970s, for documenting the Oromo experience that informed the work.

She was able to finally return through this conference. In her time, she has seen the culture move from being essentially banned and demonised to nominally statutorily recognised, and the organisation she co-founded finally make its way home, to discover and connect with two generations of home-based activism.

A second major OSA goal was to generate reflection on what contemporary thinking on “Development” means for the Oromo people. This is partly because Oromo areas of Ethiopia constitute the breadbasket of the country, and as such, any objections to further development (read “eviction” and environmental destruction) projects were deemed as the thoughts of a backward people. Many native peoples can learn from this.

A new approach is needed to get beyond the crisis that five hundred or more years of dominant Western thought has now imposed upon the planet. The planet has reached a point where it may no longer be able to sustain human, and possibly other forms of especially mammalian life. Western thought’s underlying Abrahamic exhortation to “…multiply…fill the earth and subdue it…” (Genesis: 1:28) is about to kill us all.

Key to this new approach will be resetting humanity’s relationship with the rest of nature. For that to happen, humanity will have to reach deep into those areas of human knowledge hitherto marginalised and downgraded by the great White experiment, for answers. Only those peoples who, despite colonialisms and attempted genocides, still held on to their pre-Abrahamic knowledge systems or have the means of reconstructing them, can help.

The Oromo are a prime example of this.

Through their book: Sacred Knowledge Traditions of the Oromo of the Horn of Africa, essentially researched over a period of three decades, Dr Gemetchu Megerssa and Dr Aneesa Kassam have finally managed to capture the detailed outline of this thought system, aspects of which have been recognized by the United Nations Educational Scientific and Cultural Organisation (UNESCO) as part the intangible human cultural heritage.

Apart from astronomy and numerology, the Oromo offer much to learn regarding autonomous governance, democratic governance and the management of power (political authority is handed to a new age-set through elections every eight years), organic agriculture (the world-renown Boran bull species is a product of the indigenous breeding knowledge of the Booran branch of Oromo) and spiritual care.

This is a classic case of the re-definition of knowledge. The primary source for this great study was a series of initiation sessions that Gemetchu was inducted into as a young man, in search of a deeper understanding of the Oromo system. His key teacher was Bulee Gayoo. He agreed to pass on the teaching upon establishing that in fact, Gemetchu was Ruda Kura’s paternal grandson.

Apart from astronomy and numerology, the Oromo offer much to learn regarding autonomous governance, democratic governance and the management of power (political authority is handed to a new age-set through elections every eight years), organic agriculture (the world-renowned Boran bull species is a product of the indigenous breeding knowledge of the Booran branch of Oromo) and spiritual care.

Among his people, Bulee Gayyoo was an ilmaan korma, a first son born when his own father was forty years old. This meant he was “born within time”, and aligned with the Oromo Gadaa time system, giving him special responsibilities as a custodian of its knowledge.

In Kenya, he presented first as a night watchman, and then a cattle-labourer in Kariobangi market and lived in the slums of Mathare Valley, where the teaching sessions took place. He passed on in 2003. Now he lives on in the form of a deeply researched book. How much of the knowledge held by people such as him, never made this journey? How much is lost to the vanities and stricture of Western-inspired academia?

But there is more: the recovered Oromo story also offers the foundation for a greater study of the black Kushite civilizational system that gave rise to the black civilization of Khemet, better known as Ancient Egypt.

With Oromo, OSA may have found the place where the proper historical reconstruction of the actual African story may begin.

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