This is an open letter to all of us Kenyans who do not behave like Jonah who tried to evade his divine calling to preach God’s message in Nineveh.
I know that I speak for many when I say that in Kenya, the arts sector is abusive. To enter it is not for the faint-hearted, and few of us come out of it intact. Many of us, myself included, have experienced depression or panic attacks. A number of us have been shot in the neck or are victims of rape. And each time the violence happens, the public winks and says we should have seen it coming. They say that we brought it on ourselves by talking, dressing or thinking differently.
When we work as artists, our work is demeaned. It is treated as “talent” and therefore not requiring any pay. We are cheated out of our earnings by not being paid at all, or by accountants lying to us that the cheques are not yet signed so that they can buy more time to play with our hard-earned money. When we are asked “What do you do for a living?” and we say that we are writers or painters or photographers or musicians, we are told, “That’s fine, but what do you do from 8 to 5?” When we say that we are studying the arts, we are asked, “So where do you hope to get a job with that?” One of my students studying music was once advised to have a back-up plan.
The only time we get recognized in Kenya is when we succeed abroad or get recognized abroad. Even here, because the politicians have grabbed the cinema halls, the playgrounds and the social halls, we cannot find anywhere where people can gather to watch or listen to a performance. Instead, we find ourselves running to the halls built by foreign embassies in the Central Business District, far from the neighbourhoods where we live.
Why is being an artist so abusive?
I will tell you why. In Kenya, the state, businesses, the church, the media and the education system (the hegemony) are united in making our lives as artists a living hell.
The hegemony hates us because the arts is where human beings suspend institutional rules. In the arts, we privilege listening to God and the universe over listening to human power. When we dance, for instance, we switch off our consciousness about who is looking at us. We concentrate our minds on following the beat and on being in sync with other dancers. This means that, for that moment, we are focused on the arts – we suspend what the church thinks, what the government thinks, what the school thinks or what the media thinks.
In Myth, Literature and the African World, Wole Soyinka says ritual (or what I will call here the arts) is the space in which human beings collectively come to terms with their place in the world. Through the arts, we accept life as it is, both the good and the bad, and at the same time – not like an accounting balance sheet. We accept pain and love, life and death, as inevitable. We also accept that despite being human, the world operates on rules that even we humans cannot change. In the arts, Soyinka argues, we are even allowed to collectively call the gods to account, as Mother Nature and the gods also hold humanity to account.
The hegemony hates us because the arts is where human beings suspend institutional rules.
So the arts is the space where we bend the rules and break the barriers. It is where we reset the cosmic balance and provide justice to the vulnerable and clip the powers of the mighty. In the arts, we love people for who they are despite what the world tells us, and we reflect the image of God through becoming creators ourselves.
All these things I have described defy the human institutions of the hegemony. That is why the hegemony fights back at the arts.
The autocratic foundations of Kenya
In order to understand why Kenya is this way, it is important to understand that Kenya was constructed on a very narrow agenda – to control the resources (including us) for the profit of the few who did not even live here.
How do absentee plantation owners control a proud people with their own histories, identities and livelihoods? By creating a fiction or stories about how we are such degraded human beings who can only be helped to survive by the very same people who get rich from exploiting us. The arts inevitably became the enemy of our exploiters because the arts are where we can suspend these rules and connect to ourselves and to each other as human beings.
If you understand how power was handed over at independence, through careful selection of the Kenyan colonial sympathizers who joined the colonial civil service, then you’ll understand why that system has remained intact to this day.
The colonial rules which we never got rid of are still constructed on a narrow path to “success”, namely going to Western schools, getting employment, joining politics and becoming rich and displaying that wealth with cars, houses, children in foreign schools and other symbols of Western consumerist wealth.
For this system to continue, it also needs the stories that the colonizers told our ancestors. In church, we’re told that God loves the exploiters and that God is disappointed that we are not like them. In school, we are told to learn so that we become the next generation of exploiters, and that the only purpose of learning is to join the market. In the media, we are told that those who are successful are those who make the most money, not those who do the best for society. Meanwhile, the government sees its only role as setting laws and policy to rule us and sending us the police to punish us.
In the arts, we love people for who they are despite what the world tells us, and we reflect the image of God through becoming creators ourselves.
As you probably know, the system supported by these stories is brutal. In school, children are on their feet from 5 a.m. to 10 p.m. In the workplace, the more we work, the more we are insulted and the less we are paid. In the media, we are told that we are irrelevant to development. At church, we are told that God is disappointed in us. The government calls us immoral and the politicians patronizingly call us “talented youth”.
Many Kenyans who go through this brutal system make peace with it. But we artists don’t. And often, that’s not even a decision that we make. It’s just that the fire of God and the universe that burns inside of us is so strong, that we start to ask questions like, “What if God is not as brutal and punitive as we are told? What if we had another definition of success? What if I love the person whom the politician is telling me to hate? What if I dance instead of being miserable? What if I wear orange instead of brown? What if I sing instead of being quiet? What if I admit that I am sad? What if. . . .”
And that scares the people in power, because their power depends on us thinking we have no alternatives. And so, at the pulpits, on the airwaves, in the classroom, at the workplace and in government offices, people are taught to hate us for being different and for refusing to conform. We grow up being told that there is no future in a career in the arts and that we are responsible for immorality and underdevelopment. We are lied to that 80 per cent of students in university are in arts programmes, when the number is below 20 per cent.
So I want to encourage you not to give up. You are on the right track. The road may be difficult now, the system may be abusive, but we are suffering because we reveal the truth about the powerlessness of the system. If we try to suppress the creativity God put in our hearts, God will send a fish to swallow us and spit us out with the command that we must be artists. So we have no choice but to see this through.
We must see our calling through because society depends on it. The arts are the soul of a people. Without the arts, we will feel powerless to change anything, or too much in despair to hope. The arts are the quintessential space for democracy and freedom, because in the arts, we come together collectively but at the same time express our individuality. It is this magic that we know as freedom.
Think of a painting with different colours, or a choir with different voices. Although each colour or each voice is unique on its own and remains unique in the painting or in the singing, the combination of colours produces a sight that is pleasing to the eye and the combination of voices produces a sound that is pleasing to the ear.
That is what democracy is supposed to be. Democracy is supposed to be this magical space where we come together with our unique individual contributions and make something beautiful to the glory of God and in praise of our ancestors. Democracy is modelled on the arts, and that is why we must do our art.
I know that this encouragement does not mean much when courage does not pay the bills or put a roof over our heads. But in my further letters to you, I will explain what we can do to resist the abuse. We have a lot of work to do in terms of education, media, economy and faith. I will talk about how each sector abuses us, but also how we also are sometimes complicit in the abuse.
Joy will come in the morning.
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Philosophy for the People
For philosophy to be relevant in Africa, it must democratize and address contemporary social problems.
In late September 2022, a consortium of universities hosted by the Universite’ Catholique d’Afrique Centrale in Yaounde, Cameroon held an “Ethicslab” to deliberate on the theme, “Justice, Democracy and Diversity.” The meeting brought together doctoral candidates in philosophy from Cameroon, Canada, Nigeria, Chad, and the Democratic Republic of Congo to be mentored by experts. Some of those experts included Dany Rondeau (Canada), Geert Demuijnck (France, based in the Netherlands), and Bernard Gagnon (Canada).
The driving force behind the event was Thierry Ngosso, a young Cameroonian philosopher based at the University of St Gallen, Switzerland. Ngosso’s dream has been to deliver important philosophical lessons in a readily digestible way to younger African scholars while at the same time aiming for social transformation.
The study of philosophy in the continent is marked by all-too-familiar colonial linguistic and political divisions: the anglophone sector fastened to the thought of figures such as John Rawls and analytic philosophy, while francophone countries usually follow the dictates of continental philosophy. Ngosso thinks it is time to collapse these age-old colonial divisions. Also, philosophy seems removed from pressing issues, such as poverty. It can certainly be successfully re-energized by interrogating topics such as ethics and health, ethics and education, ethics and business, politics, the environment, and so on to broaden and deepen linkages between the discipline and urgent contemporary issues.
Nonetheless, philosophy has always been valued in Cameroon’s education system. As early as high school, students are introduced to the discipline. At postgraduate levels, there are various social media forums where students debate philosophical concerns of mutual interest. These debates are usually vibrant and engrossing.
Since its inception in 2019, the Ethicslab has been inviting two or three keynote speakers from disciplines such as sociology, political science and history to brainstorm about the intellectual concerns it seeks to tackle. The Ethicslab is concerned with issues of normativity and social change. Such an approach obviously grants philosophy an urgency, purpose and social transformational energy.
The Ethicslab is an intellectual experiment to identify the future stars of theoretical thought on the continent. During the 2022 edition of the event, quite a few promising upcoming scholars further etched their names; Benjamin Olujohungbe (Nigeria), Charles Dine (Cameroon/Canada), Hammadou Yaya (Cameroon), Opeyemi Gbadegesin (Nigeria), Elisanne Pellerin (Canada), Tatiana Nganti (Cameroon), Henri Gbadi Finimonga (DRC), Kakmeni Schaller (Cameroon), Eric Vernuy Suyru (Cameroon) and Ndedi Emma Maximine Ndjandjo (Cameroon). All these individuals are not only being trained in the rigors of theoretical reflection but also in the ethics of mutuality and reciprocity. Although they come from varied national, linguistic, and institutional backgrounds, the objective is to establish commonalities based on universally accepted cultural and human values.
Ultimately, Ngosso is interested in effecting meaningful social change in African communities through the study and use of philosophy. He plans to find funding for about ten doctoral students and thirty postdoctoral scholars in the discipline within the next five years. He also intends to shift the nodes of perception regarding the African continent from an ostensibly external locus to largely endogenous sources. To realize these grand aims, Ngosso has had to battle with numerous bureaucratic obstacles. The quest to change societies from within also entails transforming the traditional character and functions of academic institutions and establishments. This is no small task. What Ngosso has been able to do is wrest a degree of flexibility in how he operates within and amongst institutions. He is currently employed by the University of Maroua, Cameroon, holds an ongoing research fellowship at the University of St. Gallen, where he is based, and is a research associate of Universite’ Catholique d’Afrique Centrale. Within an African context, and perhaps any other setting in the world, such institutional flexibility and mobility are rare. But this is precisely the sort of liberty Ngosso requires in accomplishing his stated mission of social change.
Perhaps as part of ongoing efforts to demystify the study of philosophy, Ngosso arranged a trip to Kribi for all the participants of the 2022 Ethicslab. Kribi, a coastal town, is a perfect spot to unwind. Its coast is replete with tourist attractions such as the magisterial Lobe Falls, a pristine array of waterfalls nestled within Kribi beach. The Atlantic ocean is always enticingly open for a swim after intense brainstorming or away from the diurnal pressures of everyday life. There are also amazing seaside resorts and restaurants and the most delightful varieties of seafood to savor.
In 2024, Ngosso plans a grand event to mark the fifth anniversary of the Ethicslab. In this, he will have accomplished the entrenchment of modern philosophy in Africa, concomitant globalization of its multicultural potentials and tentacles, and finally, a re-configuration of the discipline for the myriad demands and expectations of the 21st century.
War of the Worlds: Africa’s Next Great War
The international community’s limited attention span is laser-focused on jihadism in the Sahel and the imploding Horn of Africa. But interstate war is potentially brewing in the eastern DRC.
It’s happening again. A Rwandan-backed rebel force threatens the Congolese provincial capital of Goma while foreign intervention is cobbled together to bail out the struggling Congolese army. Unlike the last two or three times this happened, the conflict faces the prospect of horrific escalation into interstate war. Rwandan and Kenyan troops are racing headfirst into a confrontation. As Kenya airlifts troops into the east under the flag of the East Africa Community (EAC), the Rwandan soldiers embedded within the M23 rebellion show no signs of backing down. These two African states, each claiming to have the most professional force in the region, will soon trade blows.
Nearly thirty years of complex, multilayered, and tragic war in the Great Lakes have led to this latest escalation. The eastern DRC never recovered from the deadly inferno that was “Africa’s great war,” a bitter conflict that drew in nine countries and killed as many as five million. While peace was declared in 2003, the embers of war continued to burn in the eastern DRC, where the war had injected violence into local politics. Local violence continues to blend with national- and regional-level politics. Rwanda, which has complex and often competitive relationships with Uganda and Burundi, has a history of repeatedly creating and supporting rebellions in Congo. While this current M23 rebellion has many Congolese members with genuine grievances, the force is historically constructed and supported by the Rwandan state. While it is unclear what exactly motivated this offensive, some point to Rwandan concerns over the growing influence of rival Uganda in the DRC. The relationship between Uganda and Rwanda is not straightforward, and there are reports that Ugandan elements have supported M23. The regional tensions at play here are unclear, as the Ugandan and Congolese states are not unitary actors. According to leaked UN reports, Rwanda is directly assisting this latest iteration of M23 with infantry, artillery, and logistics. It has easily beat back the Congolese regulars and their militia allies and downed UN and Congolese military aircraft.
In response to the escalation, the regional EAC has announced the deployment of a military force at the invitation of the DRC, its newest member. Kenya seems to have been the power player behind this intervention and has begun deploying its forces into the fight. The international community has slowly lost interest in the region, writing off the turbulence in the Great Lakes as an endemic low-intensity conflict, ignoring the possibility of an explosion. Some in Kenya, the regional economic powerhouse, dream of an East African unified market where a pacified region ensures that Kenyan goods are supplied to Congolese consumers. Rwanda believes that it can only be secure if it has influence in Eastern Congo, where various rebel forces opposing the Rwandan regime have sheltered. When that influence wanes, Rwanda backs a rebellion to ensure that its influence continues.
Whether you believe that Rwandan meddling and Kenyan-backed EAC intervention are valid responses to the insecurity on their western flanks, the current escalatory track is dangerous. No one is backing down until blood is spilled. Both sides seem to underestimate the other’s will and ability.
The new kid on the block, Congolese President Felix Tshisekedi, demands a military solution and proclaims negotiations a failure. He is inviting foreign armies across the region into the country to bring him the peace he needs to salvage his falling popularity. All the while, the badly needed security sector reform remains stalled by the great Congolese patronage machine. Under the EAC regional force’s flag, Ugandan and Burundian forces are now in the DRC to pursue their own enemies on Congolese soil, raising the possibility of inciting countermobilization. The eastern Congolese conflict ecosystem often reacts to foreign bodies with a violent immune response that would further inflame the conflict.
The limited attention span that the international community reserves for Africa is laser-focused on jihadism in the Sahel and the imploding Horn of Africa. Former US National Security Council Africa lead Cameron Hudson pronounced on Twitter and to The Telegraph that the war in Tigray was “the new great war for Africa.” Unfortunately, the ashes of the last great war are being stoked yet again. Few players in the international game seem to realize the stakes.
The US did send its top diplomat, Secretary of State Antony Blinken, to talk to both the Congolese and Rwandans. Blinken’s public statements were ripe with both-sidesisms and seemed to accept Rwandan behavior as a response to Congolese support to the genocidal Rwandan FDLR rebel group—a problematic assumption. The Congolese political elite, when being generous, complain that the US position is muddled and confused. This reasonable view is much less popular than theories that accuse the Americans of actively backing Rwandan president Kagame’s plots. Unfortunately, these conspiracy theories are grounded in real historical US blindness to—and occasional support for—destructive Rwandan interventionism in the late 1990s.
The apathetic international response to the crisis stands in marked contrast to the global response to the previous M23 rebellion nearly ten years ago, when the US publicly pressured Rwanda to withdraw support for the group. In 2013, a combination of the Southern African Development Community’s intervention under the UN flag, the rise of a capable Congolese army colonel, and US pressure led to successful negotiations with Rwanda and the defeat of M23. This time, attempts by the EAC to bring a diplomatic solution have failed thus far, and it seems that military pressure is the only effective tool the community can bring to bear.
This conflict is not doomed to descend into a larger interstate war, but the region as a whole will have to grapple with the consequences if it does. The international community must bring more diplomatic levers to bear, and the EAC must question the sweeping mandate of their current intervention. Regardless, the war is on an escalatory path, and the Congolese of North Kivu will suffer first as foreign forces battle over their home yet again.
Evan Nachtrieb graduated with an honors bachelor’s degree in political studies from Pitzer College last May, where he wrote his thesis on protest and insurgency trends south of the Sahara. He is currently in California.
Twitter: Let It Burn!
Whether or not Twitter survives should be irrelevant to those committed to building a democratic public sphere.
Elon Musk finally bought Twitter. Although everyone expected the move to quickly prove foolhardy, the speed of the implosion has been impressive. The latest gaffe is a failed attempt to monetize verification by requiring paid subscriptions for them, which has led to all manner of comical impersonations (one macabre highlight was a “verified” George W. Bush account tweeting “I miss killing Iraqis. “Tony Blair” responded with “Same tbh”). Some are watching with shock and horror and wondering if Twitter can be saved. But, when sulfur and fire rains, it is best not to look back.
Africa Is a Country managing editor, Boima Tucker, put it best some years ago: “Contrary to the utopian dreams of the early internet, the idea of a more democratic communications space has given way to a system of capitalist exploitation.” The thing to reckon with is the extent to which we have exaggerated the emancipatory potential of networked communication and social media, partly owing to our own psychic overinvestments in it. Which is not to deny that it has never shown democratic and egalitarian potential, but that’s never been what Twitter is for. There can be no right platform in the wrong world.
What was Twitter for then? In the New York Review of Books, Ben Tarnoff describes it as a “network of influence.” In a world characterized by the economization of everything, social media is the place to commodify the self, to transform one’s unique traits and personality into a product for public display. The main imperative online is to “stay on brand,” to cultivate an appealing enough persona in the endless “production of new genres of being human.”
The key contradiction of social media use, of course, is that even though these platforms appear to us as complete products that we participate in and consume, we are the ones responsible for ensuring their possibility in the first place. As the media scholar Christian Fuchs notes, “Digital work is the organization of human experiences with the help of the human brain, digital media and speech in such a way that new products are created. These products can be online information, meanings, social relations, artifacts or social systems.” Thus, it is us who create the value of these platforms.
In a better world, these digital communications platforms would be democratically owned and operated. But one also wonders if in a better world they would be as necessary. Perhaps, when we are less socially disaffected, living in societies with social provision, an abundance of recreational public goods and less exploitative, dignifying work, then we would all have less reason to be online. For now, the question is: in a time when this ideal is nowhere close to being within view, how best can we use platforms like Twitter as tools to get us to that world?
The possible answers here are murky. Twitter seems like a critical piece of infrastructure for modern political life. Musk is not alone in thinking of it as a marketplace of ideas, as something like a digital town square. Yet, and especially in Africa, Twitter is not as popular a platform, and even on it, a minority of Twiteratti exert an outsized influence in terms of setting the discursive agenda. But setting aside the question of who is excluded from the digitalized public sphere of which Twitter is a cornerstone, the important question is whether the quality of political debate that takes place is healthy or desirable at all. Granted, it can be fun and cathartic, but at the best of times, amounts to hyper-politics. In Anton Jager’s explanation, this:
can only occur at a discursive level or within the prism of mediatic politics: every major event is scrutinized for its ideological character, this produces controversies which play out among increasingly clearly delineated camps on social media platforms and are then rebounded through each side’s preferred media outlets. Through this process much is politicized, but little is achieved.
We would lack critical self-awareness if we did not admit that Africa Is A Country is a venue whose existence greatly benefits from an online presence—so it goes for every media outlet. Tarnoff points out that “… if Twitter is not all that populous in absolute terms, it does exert considerable power over popular and elite discourses.” To lack an online presence is to reconcile oneself to irrelevance. Although, the news cycle itself is a disorienting vortex of one topic du jour to the next. It makes difficult the kind of long, slow, and sustained discourse-over-time that is the lifeblood of politics, and instead reduces everything into fleeting soundbites.
Nowhere is the modern phenomenon of what Polish sociologist Zygmunt Bauman called “pointillist time” more apparent than on Twitter. For Bauman, pointillist time is the experience of temporality as a series of eternal instants, and the present moment’s connection to the past and future “turns into gaps—with no bridges, and hopefully unbridgeable.” The consequence of this, is that “there is no room for the idea of ‘progress.’” Living through a mode where everything seems to be happening all at once, is both to experience time as what Walter Benjamin called “a “time of possibilities, a random time, open at any moment to the unforeseeable irruption of the new,” but curiously, at the same time, for everything to feel inert, and for nothing to seem genuinely possible.
For a while, notions of historical progress have been passé on the left, associated with Eurocentric theories of modernity. Now, more than ever, the idea is worth reclaiming. The Right today is no longer straightforwardly conservative, but nihilistic and anti-social, thriving on sowing deeper communal mistrust and paranoia. These are pathologies that flourish on Twitter. The alternative to media-fuelled hyper-politics and anti-politics is not real politics per some ideal type. Politics, in the first instance, is not defined by content, but by form. The reason our politics are empty and shallow is not because today’s political subject lacks virtues possessed by the subjects of yore. It’s because today’s political subject is barely one in the first place, lacking rootedness in those institutions that would have ordinarily shaped an individual’s clear sense of values and commitments. The alternative to digitized human association, as noted by many, is mass politics: only when the majority of citizens are meaningfully mobilized through civic and political organizations can we create a vibrant and substantive public sphere.
AIAC editor Sean Jacobs observed in his book, Media In Post-apartheid South Africa: “the larger context for the growing role of media in political processes is the decline of mass political parties and social movements.” Whether Twitter dies or not, and if it does, whether we should mourn it or not, should be beside the point for those committed to building a world of three-dimensional solidarity and justice.
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