On March 1, 2018, two weeks after its release, Black Panther movie was approaching a billion dollars in ticket sales. 10 days in, the movie leapt past the $400 million mark in domestic box office in the USA and over $700 million across the world. That is Stars Wars territory but with an All Black Cast to boot in a Marvel feature. This is the movie equivalent to the US Dream Team, at the 1992 Olympics at Barcelona. Never before had a finer group of talented basketballers come together and when they did, they took the world by storm. Black Panther is having its dream team moment as the showcase for black excellence and representation in cinema.
Black Panther is a beautifully shot film. The fictional country Wakanda is rich in detail. The central story is about belonging and heritage. Ryan Coolger, the 31-year-old African American director looks at Africa with a different set of eyes and response to this film in Kenya has been tremendous. A film is big when people pack theatres weekend after weekend and even during the weekdays to experience the magic of the big screen despite our home entertainment movie culture.
Black Panther is a tale told by Africans about a place far away that they call home. In some respects, an African dream inspired by Marcus Garvey’s rallying call to the African diaspora, “ Look to Africa, where a black king shall be crowned for the day of deliverance is at hand”. Ryan Coolger said in a Rolling Stone interview that Black Panther explored what it meant to be African.
From the inside looking out, Black Panther checked some heavily referenced “Poor Africa” stereotypes typical of the outsider perspective. Kenyan writer Binyavanga Wanaina in his popular essay “How To Write About Africa” offered some satirical advice.
“In your text, treat Africa as if it were one country.
Readers will be put off if you don’t mention the light in Africa. And sunsets, the African sunset is a must. It is always big and red. There is always a big sky.
Black Panther gives a lot of prominence to the word tribe to describe the different people of Wakanda. The term tribe was used as a tool in the colonial policy of divide and rule. The enlightened way to describe native micronations in Africa is by their name, the Igbo, the Xhosa, the Turkana, the Shona. It is unnecessary to qualify African ancestry with the word tribe.
The Hollywood attempt at standardizing an African accent has to be resisted. Regional accents serve as a better representation of diversity. Accents can be assigned regionally as say speaking English with a Xhosa inflection. Then of course, every authentic African themed movie must end with a sunset scene and the Black Panther did not disappoint.
Away from the nitpicking, it is easy to forget that Black Panther is a film written for 10-year-olds and an adaptation of a comic character introduced in 1966, the same year that the Black Panther Party for Self Defense was founded in America. The politics of the movie was bound to stir debate on racial dignity and self-determination. This is a picture frothing on the brim in its commitment to celebrate African heritage. A counter superhero story brewed in an African pot. Black Panther has provoked an identity discussion about what it means to be African and it happening between Africans in the continent and in the diaspora. I have gotten swept up by the pages of analysis and reviews, drawn into debates about the representations of race in American cinema and the complexity of a black African identity.
I started going to the cinema in the 80s back when Nairobi had a vibrant movie theatre scenes. The cinema halls Kenya, 20th Century, Nairobi, Odeon, Cameo, Casino were within a 100m radius of each other in downtown Nairobi. They were two drive-in cinemas, Fox Drive on Thika Road and Bellevue Drive-in off Mombasa road. The 80s were rough years. Structural Adjustment Programmes and austerity set off an exodus to the West and with the rise of an authoritarian regime in Kenya, we looked to cinema for that much-needed escape from the frustration of the daily life pounding our parents. There was hardly ever any black representation on the big screen and when black people were shown they were typically in subordinate roles to the white lead. The big movie depictions of Africa were afflicted by Tarzan’s jungle fever. Africa and her people were backdrop props to foreign stories. The big African themed movies of my 80s were “Out of Africa, Gorillas in The Mist, Sheena, Queen of the jungle ( A blonde haired white woman riding a zebra through the savanna). Africa was a vast space where majestic game roamed free, peppered with noble savages and subservient labourers in pressed white khaki uniforms pledging loyalty to the benevolence of their white masters.
The first movie I encountered that challenged this stereotype was “ Coming To America” and it stood apart in the 80s for its leading men Eddie Murphy, Arsenio Hall and James Earl Jones. Coming To America is a romantic comedy about an African prince from the fabulously wealthy kingdom of Zamunda flying across the Atlantic in search of love. The prosperity of the fictional Zamunda kingdom was contrasted with the squalor that characterised the black underclass in Queens, New York. It parodied the African American ignorance of the African experience and introduced the radical idea then of sophisticated Africans appalled by the backwardness of American culture. There was an underlining satirical element to Coming To America. Africa in the Afro American consciousness was a place of poverty and primitive existence but within it existed oases of affluence, prosperity hiding in the open. In the kingdom of Zamunda and Wakanda, a glorious Africa thrived yet its story remained unknown in the Western worlds.
In the 80s, VCRs, video cassette recorders were all the rage and we started getting access to what was then the blaxploitation genre, with it stereotypical crime and violence themes. Spike’s Lee ( Do The Right Thing) and John Singleton’s ( Boyz N The Hood) became my most influential movies in this space and they helped raise awareness of systemic racism in America.
One time, I went to a video hall that screened martial arts and combat movies and settled to watch the legendary Bruce Lee in Enter The Dragon. I remember the crowd cheered when Jim Kelly with his Afro came into the scene as if to say, finally our own black kung fu master. They were hardly any black people in major roles and had no access to African cinema.
From then, I started consciously seeking out Afro conscious characters in the 90s who had multi-dimensional lead roles, among them Wesley Snipes (New Jack City), Denzel Washington (Malcolm X), Will Smith (Men In Black), Samuel Jackson ( A Time To Kill), Laurence Fishburne ( Just Cause), Whoopi Goldberg ( Sarafina) and Angela Basset (Waiting to Exhale).
The excellence of these pioneer cast of black leading men and women were crucial counter-narratives to the childhood images I was exposed to on the big screen of an African race defined by tragedy and backwardness. In the first decade of my life, Nelson Mandela was in jail. Apartheid was alive in South Africa. Steve Biko was brutally murdered in police custody. Samora Machel was assassinated. Thomas Sankara met the same fate within a year. There was civil war and coups in one half of Africa, brutal dictators in the other including Kenya and a devastating drought in Ethiopia. In America is where we sought black excellence. Collin Powell was making history as the first African American Joint Head of Staff, Jesse Jackson was running for President and the Oprah Winfrey show was nationally syndicated. These were our little black spots of brilliance in a world of global excellence that was lily white.
Compare these depictions to the past decade(post-2007), for the African child growing up in the continent. The president of the United States was a black man. The most beautiful woman in the world at least according to the People’s magazine in the world is black. The most recognizable liberation icon, is a black South African. Among America’s top TV hosts is a black South African. The top sports stars, from athletics, through to tennis and formula one are black. A biracial woman born of a black mother is about to marry an English royal. The biggest movie of the time, has an entirely Black cast with multidimensional and strong female characters and is dedicated to a theme of blackness. The dreams of one generation have become the reality of another.
Movies have served as crucibles for the dreams of black excellence. Black Panther is a movie that celebrates dreams and speaks to the power of re-imagining of black heritage in all its shades. At the centre of this black renaissance in American cinema is a cast of strong, dark-skinned African sisters. Which brings me to the influence of Lupita Nyong’o who plays a Wakandan spy and the king’s love interest named Nakia. The strongest appeal for someone born in the 70s of the Black Panther was its African representation. It is this same pride that I felt when Kenyan actors started to be cast in big-budget Hollywood features. Edi Gathegi (Twilight), Benjamin Otieno (Tears of The Sun) and Charles Gitonga Maina (Air Up There).
In 2013, Lupita Nyong’o strut into the global limelight when she won an Oscar for the supporting role, at the 86th Oscars for her performance in 12 Years A Slave. She delivered full bodied tributes to her mentors and crowned it off with the quotable line,
“No matter where you are from, your dreams are valid”.
Indeed, she was living the dream of any actress who cut her teeth in Kenya. In 2009, I met Lupita at the Story Moja literary festival at Impala Club in Nairobi. She was an unknown in the local art scene, save for local prominence of a family name as the daughter of a well-known politician, Professor Anyang Nyong’o’. Lupita was presenting a small documentary, titled “In My Genes” about living with Albinism in Kenya. It was certainly not the biggest thing happening at the festival. She was one among many young Africans hustling hard in an industry that did not give too many breaks. She had previously worked as a production crew member for Fernando Meirelles‘s The Constant Gardener and Mira Nair‘s The Namesake. Lupita was superb as Ayira in the television series Shuga and there was little doubt that she was an exceptional talent with her stand out role in the series. It seemed then, a tall order that a girl of her dark complexion would crack the black ceiling of American cinema. Perhaps, her look was only good for a representation role as the latest exotic African beauty on a fashion runway.
Then came along, Steve MC Queen’s historical drama 12 years A Slave and we say the rest is history. In one moment, Lupita became the first African, Kenyan and Mexican (Afro Mexicans exist) to win an Academy Award. Back home, we argued with movie-loving friends whether Lupita would inherit the curse of black success. The Kenyan public relishes in cutting tall poppies down to size, something that celebrated TV host Jeff Koinange once described as the PHD syndrome, Pull Him or Her Down. When success descends after hard labour, especially the nature that involves international accolades, one is advised to keep their head bowed. You might be big in Hollywood but back in Nairobi, one must not forget their humble beginnings.
Lupita’s body of work in the last 5 years since she won the Academy Awards is impressive. She has had a very good run in Hollywood so far and progressively risen in stature. For the pioneers in the arts like her, she cannot afford to lose focus because the pressure of excellence is not negotiable. It is important to the dreams of millions that she succeeds in line of work.
It is part of the deal with black excellence in the arts and twice as hard for women. Big dreams come bearing huge responsibilities and you can only get used to it. Be prepared to be celebrated and then eviscerated the moment you slip from grace.
Still, the significance of Black Panther is in its representation. Ryan Coolger talks of his own personal dream of representing black people in screens around the world. President of Marvel Studios Kevin Feige said this about Coolger in an Entertainment Weekly interview, “He’s making this movie for his 8-year-old self,”.
The entire Black Panther cast breathes new life into the connections between Africans and African Americans, the coming together of a black Diaspora scattered by forces of imperialism to dream up a counterculture reality, as Wakandans. The African diaspora ensemble includes Lupita from Kenya, Danai Giriria from Zimbabwe, Daniel Kaluuya from Uganda, Florence Kasumba who is German-Ugandan, Winston Duke from Trinidad and Tobago, John Kani and his son Atandwa Kani from South Africa, Letitia Wright born in Guyana and Isaac de Bankolé from Cote d’Ivoire.
Daniel Kaluuya, who plays W’Kabi in the film (and who was born in England to Ugandan parents) talks about coming home to Uganda and getting transformed by the subtle reality of seeing blackness in new light, from the president down to the cleaner. This seemingly simple act of representation has been consistent in inspiring prominent African American personalities for decades. Legendary standup comedian Richard Pryor talked about how a trip to Africa changed his perspective in 1979.
“I went to Kenya, and while I was there something inside of me said, “Look around you, Richard. What do you see? I saw people. African people. I saw people from other countries, too, and they were all kinds of colors, but I didn’t see any “niggers.”
Barack Obama talks about a sense of belonging on his first trip to Kenya in 1987, in his memoirs “Dreams of My Father” upon an encounter with a total stranger at the Jomo Kenyatta International airport who recognized his surname.
“For the first time in my life, I felt the comfort, the firmness of identity that a name might provide, how it could carry an entire history in other people’s memories, so that they might nod and say knowingly, “Oh, you are so and so’s son.” No one here in Kenya would ask how to spell my name, or mangle it with an unfamiliar tongue. My name belonged and so I belonged, drawn into a web of relationships, alliances, and grudges that I did not yet understand.”
But perhaps no one said it more poignantly than Malcolm X after an extensive trip to Africa in 1964,
“I, for one, would like to impress, especially upon those who call themselves leaders, the importance of realizing the direct connection between the struggle of the Afro-American in this country and the struggle of our people all over the world. As long as we think—as one of my good brothers mentioned out of the side of his mouth here a couple of Sundays ago—that we should get Mississippi straightened out before we worry about the Congo, you’ll never get Mississippi straightened out.”
The central question of what it means to be African for Africans dislocated from their roots is what the characters of Black Panther grapple with. The plot line draws out the connection between the struggle for identity, representation and dignity for black people all over the world. It is a movie that challenges its viewers to imagine and rediscover the cultural heritage of black ancestry. It insists on the participation of black people in their own ideas for the future.
What is Wakanda, other than the dreams of Zion while in Babylon, dreams of Canaan while caught in captivity in Egypt or Heaven bound while enduring earthly suffering? Africa is a continent that has consistently stood aside and watched, Bob Marley prophesized, as its dream weavers were killed. The shared story in the birth of modern African nations, is one of stillborn dreams. Africa is in need of dreamers and in Black Panther’s Wakanda, a generation of young Africans is inspired to imagine and color a future on their own terms. That dream of a Pan African utopia must remain valid.
Depression Is an Illness of the Soul, and My Faith Failed Me
When we grow up in a religious nation, a huge part of our identity rests on religion/faith/God, whatever you wish to call it. When this is shaken, the centre cannot hold, and we crumble.
In 2014, a friend confessed that he had been battling depression and had been on anti-depressants for a number of years. This friend is one of the most brilliant minds I have ever met, he seems to have it all together, and is admired by many. This confession took me by surprise because I never could have imagined that someone like him would be struggling with depression. I voiced my doubts to him; I told him he seemed okay, he didn’t look like it, was he sure? My naivety on the subject was clear. But that confession did for me was life changing, and took me on my own journey to face my own demons.
What I knew about depression was that people who suffered from it were sad all the time. That’s it. However, since that conversation, my understanding has changed dramatically, especially suicidal depression. Looking back at my life in the months prior to that conversation, and as I read and educated myself on mental health, I concluded that if there is a spectrum on depression, then I am somewhere on it – despite my quick reassurances to my friend that day. I have days when I am overwhelmed with life, I question my existence and can’t find a good enough reason for it. It leaves me with a profound emptiness, which I do not know what to do with but sit with it, cover myself with and stew in it.
They say depression is a mental illness, but I think it is more than that. It is an illness of the soul. The soul as defined by Wikipedia is the “incorporeal essence of a living being. It is the mental ability of a living being: reason, character, feeling, consciousness, memory, perception, thinking, etc.” ‘Incorporeal’ means without a physical body, presence or form. Therefore, it makes sense to me that it is a sort of malfunction of the soul.
I have heard numerous psychologists rightfully say that some symptoms of depression include not enjoying the activities one used to, social isolation, and difficulty getting out of bed. On that last point, it is not the usual oh-my-god-its-Monday-I-can’t-get-up, rather it is that you literally and inexplicably cannot get out of bed. The thing about sleep in this case, like many of life’s vices including alcohol and drugs, is that for a moment you forget everything and do not exist. Getting out of bed means facing yourself in this mess, and it is too much.
On some days, the mess falls to the background, and there you are – smiling, getting work done, having a social life, being productive. However, the mess still clings to you, it never leaves, hence the yo-yo effect of: today I’m fine, next week I’m back in the thick of it. Sometimes this cycle is weeks or months long. And no, talking to someone does not seem to help. You don’t even want to talk to anyone, even a good friend. I lost a great friendship during one of these periods because I couldn’t bring myself to pick up phone calls as I felt I couldn’t do it.
As a nation that is religious, or spiritual if you will, depression can be closely linked with God. Let me explain. Like most Kenyans, I have grown up going to church. I grew up Catholic and even served at the altar. Every Sunday, my mother would wake us up, scolding us when we were not moving fast enough to make it for the 9am service. The struggle to get up and get ready to go to church, with all the rushing and scolding, always felt like a punishment.
If you are Catholic, then you know how ceremonial the mass is. Because everything is structured so tightly and unfolds in the same way every time, after attending for years you can be present in the body but be totally checked out mentally during mass. So because I knew the flow, I had gotten used to zoning out after the second reading when it was time for the priest to deliver the sermon. Around me were people dozing off, so I thought zoning out was better than blatantly sleeping in church. Besides, what if my mom’s friends from Jumuia saw me and told her?!
In any case, we sang, “Jesus Loves Me” long before we could comprehend what that love looks like. We were taught to pray and love God more as an obligation than because we meant it. We were taught to profess our love to God – more than actually understand it. Why should we love Him? Because he made us, His son died on the cross for our sins, because we hope to go to Heaven when life on earth ends. Doesn’t the Bible teach us to instruct our children in the way of the Lord and they will never depart from it? So, we grew up believing all of this before we had time to question any of it. We are told that as children of God, we are special and are here for a purpose.
It reached a point when I could no longer carry on with all of this simply out of obligation. In 2015, I started questioning this whole notion of a God-given purpose after going through a year of overwhelming hopelessness. I wanted to know for myself who God was, if He exists, if he loved me, what He wants from me and so on. I was really going out of my mind at this point because I was having an identity crisis. Relying on the idea of God loving me because the Bible says so wasn’t enough. I needed to know for myself, and I didn’t. The reason this is important is because when we grow up in a religious nation, a huge part of our identity rests on religion/faith/God, whatever you wish to call it. When this is shaken, the centre cannot hold, and we crumble.
I didn’t know just how huge a part of my identity God was until I was shaken and felt I had lost myself. The death in my life came from a loss of faith. It was time to get out of the childish way of obligatory faith, and really believe as a choice. But the truth is, I couldn’t find my footing. Feeling worthless, I began seeking out answers to my existence. I’m sure to those around me, I looked fine and had accomplished a lot, but inside I was stuck. My whole life felt like a lie the moment I wondered what my purpose in life was. Answers on the mystery of God, on how we should not question His ways were no longer good enough. It is like when someone dies, and people quickly say that His will is being done. Such answers didn’t cut it for me any more. I wondered, was I an agnostic, a nihilist? Are all depression sufferers just pessimists? It was the beginning of an identity breakdown that has brought me to my knees and left me there. I don’t know who I am, and the personality and character attributes ascribed to me by others feel foreign.
What I know is that on some days, it is like I am trapped in limbo, neither alive nor dead. I wonder why I am wrapped in this mess, never moving forward or backwards. It is like you are sitting on the edge of a cliff and you can’t jump off nor retreat to safety. This is what depression looks like to and for me. The anti-depressants you might be prescribed ensure you keep retreating to safety while suicidal ideation ensures you take that leap.
When I think about people I know or I know about who have died by suicide, including Millie Kithinji, Stephen Mumbo, Robin Williams, Anthony Bourdain, Kate Spade, Avicii, several students in Kenyan universities… I am certain of one thing. Prior to their deaths, they were on this cliff, like so many of us are. Questioning their existence, even those who seemed to have it all – money, fame, love, power. Even with all this, they must have asked: who am I? They must have felt guilty and ashamed at the same time.
I know it sounds selfish especially to those of us struggling financially. You wonder, this person “had it all” and still ended their life. And so, people call them sinners and criminals for ending their lives, and we reach for the refrain we have always been told since childhood – that life is precious and a gift from God, even when we don’t feel it and when our cruel society shows us our lives don’t matter, especially if you are not rich and not politically connected.
Take Millie Kithinji, who died by suicide this March. This wasn’t a spur of the moment decision for her – for a long time, since around 2017, she had been begging God for strength and grace to carry on through the trials she was facing, going by her Facebook posts. She was unemployed with a young daughter, the father of her child had abandoned her, and she was struggling to make ends meet.
The spiral was slow but steady. We don’t know what else was shaking her identity, to the point where she wondered what she was doing alive instead of dead. Who knows how many times she came close to ending her life, but perhaps the thought of her daughter kept her going, until this last time. Ultimately, ending the pain took the upper hand to holding on for the sake of love.
Another recent case was Stephen Mumbo, who was a star employee at audit firm Price Waterhouse Coopers (PwC). He was intelligent, a family man and a committed employee, he was put together and had everything going for him. The death of his mother shook him, and perhaps other things we don’t know. Piecing his last moments alive reveals a trail of work-related stress and a man who was broken long before he fell to his death.
Those like Millie and Stephen were on the cliff, hurting, feeling the burden of their mess and how all the love from their families did not count in that moment before they jumped off the cliff. “They will be better off without me,” they must have thought.
When you are on the cliff, you sit there until jumping is the only viable option to end the pain. It is the only option because you have retreated to safety many times (perhaps from friends who checked up on you, or the thought of loved ones) yet here you are back at the cliff, and the pain is too much. Yes, suicide is a choice. It is the only choice in that moment, and if you have ever come close to jumping, then you understand. Granted, I still don’t have answers, I can only describe what my depression looks like in hopes that someone out there might see themselves through this. You don’t have to know my name, gender, age, or educational status to resonate with me. Because the truth is that a lot of things will bring you and your mess to the edge of the cliff. Mine is my identity crisis. What you can bear might be too much for another person. What has brought me here is a mess perhaps easily cleaned up by somebody else. What will bring you here is a mess that I could easily discard. What is your mess? Are you sitting on the edge of the cliff too?
If you or someone you know is experiencing depression or suicidal thoughts, or if you want to know more, reach out to Befrienders Kenya on +254 722 178 177, or the Meshack Samson Foundation, at +254 715 713 212. You can also find these organisations on Facebook.
Land, Dance and Finding a Way Through This Painful Life Together
Trusting one’s body, and one’s experience of the world is not celebrated or even tolerated in the formal education forced on Africa through missionary and colonial education. School and religion alienated me and us from ourselves, and from the Earth.
For British colonisers, the lands that now form Kenya were a space that needed to be traversed on the way to the ‘Pearl of Africa’, Uganda.
The Pearl of Africa was a place where kingdoms, a form of governance recognisable to colonisers from a kingdom country, existed. It was the place where the long-sought source of the Nile was found, and with it the assurance of outwitting challengers to the control of Sudan and Egypt. In Uganda, on top of the cotton varieties they found, the British saw potential for commercial cotton production. A place rolling with greenery, lots of rain, lakes and rivers, teeming with flora and fauna. Winston Churchill visiting in 1807 recommended that Britain should “concentrate on Uganda” whose people, climate, scenery and vegetation were “different to anything else in Africa”, and his statement reaffirmed the title of Pearl that had been given to Uganda earlier by other colonial scouts, Speke and Stanley.
However, to get to the Pearl there was the problem of a strip of coastal lands controlled by the Sultan of Zanzibar (and having had numerous other controllers in centuries prior), and the vast lands and peoples in between the coast and the prized kingdoms. No such fancy names as Pearl were reserved for what was to become Kenya and Kenyans. We were in the way. When the Uganda Railway (note the name), proved expensive, the lands and people that now form Kenya were dispossessed of their inherent value and of themselves, made objects, and turned to profit-making to enable this venture.
This was unseeing violence. Disembedding violence. Dispossessing violence. Appropriative violence. Thingifying violence. It must do something to you to know that you are only a throughway to a thing, body or place more desired. Your value only tied to enabling arrival elsewhere.
The first violence remade land into an inert source of potential capital to be realised through exploitation by a colonial State, and now by a post-independent and still colonial State. Life was rethought dead, chopped up and offered at a cheap price to profit settlers, who were producing value, to enable the journey to the Pearl. It was violence peoples’ bodies, being-ways, knowledge-ways, economies, cultures, and psychologies, on their embodied and unembodied earth relations, and on the interrelationships amongst them.
The dispossession and appropriation that birthed the Kenyan State in the late 1800s, did not end with flag independence in 1963, but was reinforced, frozen, made ‘State-ic’.
Peter Ekeh helps me understand how. In a theory of two publics which I think of as the two Africas, the psychological disruption of Africans who participated in the colonial system caused an unsettlement. To regain equilibrium, these unsettled Africans attempted settlement by being better at being the coloniser than the colonisers were. They regained a kind of psychological balance by being better at performing violence than those who first performed violence on our spirits, human, Earth and ancestral.
This goes on even today. Newspaper headlines regularly detail the numerous ways in which lands and bodies turned into things are appropriated and made disposable for the benefit of the few in State. It happens so frequently and so efficiently that we are numb, frozen, as we watch and hear play-by-play accounts of who can violate us more, like commentary in a football match.
Slowing down enough to feel the pain
Violence hurts. Violence injures. One common response to violence is to brace oneself and keep moving. After all no use in crying over spilt milk, right? And there is so much more that needs doing, who has the time to feel? Not feeling is a powerful protection against potential future vulnerability and violence, and there are times we need this survival. But this does not, cannot, go on forever.
In my psychology study and practice I have come to learn that trauma which doesn’t get processed gets stuck and continues to replay until we acknowledge it and move it through our bodies and psyches. Slowing down enough to feel and witness the pain of the historic and present day violences on our spirits is far from indulgence. Rather it is what enables me, and us, to be resilient and to retain my humanity, pushing back against the actions and forces that would have me be an object with no inherent value. Here is an example:
It is August 2018. I am at a protest and memorial for the 34 humans slain during the Marikana Strike in 2012. This protest is happening outside the South African High Commission in London. Speeches are made, we sing and hold signs. A tall thin man, briefcase in hand, walks past us briskly. After he goes some distance, he turns and shouts, “You already got your independence, fuck off!” I laughed at his receding back.
What I didn’t say was “ouch.” Later that evening I am in a group workshop on racism and colonialism. We are doing some role play, and one man is taking the role of a coloniser. He says this, acknowledging a truth he didn’t even realise, “We took what we wanted, and we left what we didn’t want.”
A dam breaks and I weep. Slowed down, I can breathe my pain – the same one I couldn’t when the brisk walker shouted. In that moment I have the space to create a relationship to my own hurt and pain at the violence we and I have been through and continue to go through. Through the tears a song comes – the same one I had led at the protest: Senzeni na. What have we done? A comrade sings with me.
Even while it is not always easy or comfortable, I have learnt that I need to go through my pain to pick up my power, lest I harden, and also become a perpetrator of appropriative violence, seeking to outdo the one who was first violent towards me.
Seeing with new eyes
When a people are mired in the unseeing dynamics of dispossessing violence, we begin to believe that there is nothing to see in ourselves, our places, our histories after all. So I have to remind myself of all that was unseen, in order to reclaim our value.
British colonisers unsaw us and all who we are. I mean us in the full sense of community: human spirits, embodied and unembodied earth spirits (plants, animals, ancestors, and more). They unsaw the remarkable irrigation systems of the Cheranganis, the wonder of setting life to the rhythm of bee migrations, the beauty of decentralised cohesiveness in various governance systems, the science of making rains, the studied play of producing life from an equally dancing set of ecologies as pastoralists do, the connective rituals with which we ensured cycles of life, incorporating the past, present and future, and so much more.
It doesn’t help that for the majority, our upbringing doesn’t tell us of these lives and lifeways either. I recall my high school geography class for instance, which focused on how we can do more unseeing in the style of those that first unsaw us. “Tropical indigenous forests are uneconomical because they grow in mixed stand [i.e. haphazardly, going by that worldview]. Planted coniferous forest is more efficient as it enables mechanised harvest.” This is true, if your goal is to take without reciprocity. And there is no need for reciprocity where the other is a thing without value. The goal of the coloniser was to take, and to enable arrival and capture of the Pearl without putting back.
I set different goals – reciprocity, rebuilding and reconnecting relationships.
We are not the dregs of humanity. We are not what is not wanted. I am not what is not wanted. I see my self, our selves. I want to always sink deep into the knowledge that I have value. We have value.
Re-membering land as living entity
Trusting one’s body, and one’s experience of the world is not celebrated or even tolerated in the formal education forced on Africa through missionary and colonial education. School and religion alienated me and us from ourselves, and from the Earth. I, and we, learnt to trust only in our teachers and in the state-approved textbooks for knowledge.
In trying to reconnect broken relationships I am constantly re-evaluating my relationship with land and with those with whom I share this Earth – plants, animals, soil, etc. I recollect and learn new practices that reaffirm the intrinsic value and self-possession of embodied and unembodied entities that collectively share the Earth.
I do this by talking to plants and trees, approaching them as the living selves they are, and listening to what they say. Thanking my food for making its way to me. Sitting in silence by water and acknowledging how often we treat water badly. Lying on the Earth and taking the time to really feel how the Earth holds me from my heels to the back of my head, inch by inch.
Appropriative violence empties all of spirithood or personhood, making all living things parts of a machine, a means to an end. Acknowledging that I am held and nurtured by the Earth puts a pause on that lie, and helps me to be present to what kind of interaction I want to have with all my Earth relations. This replenishes my stores of care and value that I then come to the rest of life with.
Building collective power
What does one do when they are stuck? Move. The violence that continues to (re)play out today in ever tenacious forms is a collective violence. As I seek ways to name what happened/happens, and to see, feel and move through it, there is work that must be collectively done to repair the harms inflicted on us. Movement and movements do that for me.
Moving my body and doing so with others through dance is a form of collective healing to unstick the stuck places in order to be well, and to be well with others. Dancing with presence has become a practice to shift and move things that I cannot do only with words.
I also work to build movements that can acknowledge and heal this collective violence so that we can start again from a different place. I combine working for justice with healing in my movement building, and understanding healing to also be justice work. I think this is necessary if we are to avoid the race to outdo each other in who is better at performing appropriative violence. It is a way of rewriting our origin story to begin elsewhere. An elsewhere that acknowledges our value – all of us, human, Earth and ancestral spirits.
An ADHD Diagnosis: ‘My Nights Were Characterized by Racing Ideas, and Days Filled with Failed Projects’
My mind had failed me so many times I could no longer trust the ideas it put forth, no matter how brilliant or mundane they were. The tipping point came after a violent altercation with my cousin, which landed her in hospital and me in the refurbished blue container recounting my life story, and eventually, finding a turning point.
The diagnosis came about seven months ago. I was sitting in the counselling room of the hospital, a refurbished 40-ft shipping container painted light blue. I remember being annoyed by the breaks in the painting caused by the vertical ridges on the walls, and sucked on piece after piece of hard candy to calm down.
After a series of routine questions to get my history, an analysis by the psychiatrist, and several written tests, the verdict was delivered to me. Attention Deficit Hyperactivity Disorder. At first I was skeptical about the diagnosis. It was a strange case of déjà vu, one on which I’d sat in the same position across a psychiatrist two years ago and was given a host of diagnoses: I was told I had major depressive disorder, then affective disorder and then bipolar 1 disorder.
So I prodded the doctor, testing to find out if my symptoms covered a wide scope of diseases, or comorbidities, as the medical fraternity called them. To put my heart at ease, he showed me a TED Talk of a lady talking about her struggle with the condition, and the end of the video, I broke down and cried.
I’ll call the beginning of my visible symptoms as the crash. I’d excelled academically in primary and high school. I was a relentless high achiever, adapting the routine of school life which accommodated my bursts of energy and productivity. I graduated from high school with a good grade and joined university. But campus life came with the absence of a strict routine, and the unravelling at the seams of the thread of my life began.
I dropped out of my course after one semester and was kicked out of the halls of residence after failing to pay accommodation fees, due to procrastination. I resorted to clever methods to hide the absences in school from my parents. To cope, I drank and smoked a lot of weed. My nights were characterized by racing ideas, and days filled with failed projects because I couldn’t map them out; the brainstorm process ended up being crowded by other ideas and my mind couldn’t shut down. Then came the shame and low self-esteem. My mind had failed me so many times I could no longer trust the ideas it put forth, no matter how brilliant or mundane they were.
The first psychiatrist I visited was a referral from a general doctor. I’d arrived at the triage suicidal, struggling to breathe, and paranoid that I was being followed and watched. He prescribed some sleeping pills and handed me a sealed envelope addressed to a private psychiatrist clinic at the Doctor’s Plaza at Nairobi Hospital.
I didn’t feel bipolar – I was told bipolar disorder entailed massive mood swings, and this didn’t quite apply to me – but I accepted the diagnosis as it gave me a semblance of peace. At least I had a reason for my behaviour.
For two years, it cost nearly Ksh800 a day to pay for consultation and medication. Physically, the drugs left me feeling comatose on most days, and demoralised because I was still messy and erratic, but with a Ksh288,000 annual price tag to keep me stable. I sunk further into depression, culminating in a failed suicide attempt.
At the peak of my treatment, I was on a cocktail of seven different pills in the class of antipsychotics, antidepressants, and anti-anxiety medication. They gave me sleep jerks at night and vivid nightmares — eventually, I developed a dependency on the lulling effects of the anti-anxiety pills to help me sleep. The tipping point came after a violent altercation with my cousin, which landed her in hospital and me in the refurbished blue container recounting my life story, and eventually, finding a turning point.
The psycho-stimulants prescribed by the doctor were a relief. I could finally consistently complete my tasks and rein in errant thoughts, but the new ADHD diagnosis was exhausting. I imagined having to explain myself again to my friends about my condition over and over like I’d done for the past two years, and I was hardly prepared for the emotional or mental labour.
ADHD is a condition of limited self-regulation rather than a deficit of attention. A person with ADHD is able to concentrate for long periods of time in a state known as hyperfocus, that is when they are interested. ADHD exists on a spectrum and some people have it worse than others. We all have moments of ‘zoning out’ and procrastination, but for the ADHD individual, their symptoms fall on the extreme end of the scale and can be crippling.
Dopamine is a neurotransmitter that is responsible for a range of functions in the human body including emotional regulation, and motivation to guide your brain to accomplish specific tasks in order to get the desired reward. To use an analogy a psychologist gave – our brains are engines. Different parts initiate and receive tasks, others execute them and help manage one’s routine. Dopamine is the fuel between these areas, but ADHD brains have a deficit of dopamine. The result is that coordination is missing.
ADHD is a highly comorbid condition, meaning it exists with other mental conditions such as anxiety and depression. The emotional dysregulation and hyperfocus often leads to misdiagnosis as bipolar disorder, borderline personality disorder or other affective disorders – like it happened in my case.
The DSM V – a diagnostic criteria by the American Psychiatric Association used to identify mental illnesses, leaves out a key factor of ADHD diagnosis – emotional dysregulation – from its list of symptoms, further increasing the likelihood of misdiagnosis.
While ADHD in children is extensively studied and treated, very little academic literature covers adult ADHD, and in particular ADHD in women, which is complicated by changing estrogen levels that affect the availability of dopamine in the brain at different points in the menstrual cycle. The link between estrogen and ADHD means that at different times of the month, the symptoms get worse and might require a recalibration of medication and more money to cover the cost of drugs.
By the time an adult is given an ADHD diagnosis, their lives are littered with failure because of trying to conform in a neurotypical world, with shame, guilt, broken relationships, and a calcified negative view of themselves as lazy, inconsistent, rude, violent, stupid…the list goes on and on.
As I discovered, conventional therapy is often expensive and limited to brief sessions with the psychiatrist and counselor once a month. Adults with ADHD need extensive help, an almost round the clock treatment in the form of non-judgemental accountability partners to help them form a routine, map out their life and follow through on decisions. In the case of an adult diagnosis, and given the individual demands of everyone else’s lives, such accommodations seem like ridiculous requests and one continues to live with their dysphoria.
ADHD and its treatment is very misunderstood. There are stereotypes such as “We are all a little ADD”, and there’s scepticism over whether or not it’s a real illness. Misleading media coverage about the alleged performance-enhancing abilities of the drugs used in treatment also hinder objective discourse about the reality of living with ADHD. The victims are the adults who continue to suffer, very often without knowing what their condition really is, at the workplace, in school or in their homes.
My life hasn’t completely changed, but it’s a lot better than it was. I have interacted with other adults who also live with ADHD and formed a small support group of sorts. I got back on track with my studies and graduated. Living with ADHD forced me to be extremely honest with myself about what I can and cannot do, who I can be and who I am not. There can be no illusions about my strengths, weaknesses and ability to commit to tasks, in order to avoid that vicious cycle of depression and anxiety.
As for the medication, it is not a panacea. I needed to be honest with myself about this too. It was easy to use the drugs as a crutch and avoid putting in place mechanisms to regulate my behaviour – and then blame mishaps on ‘being off the meds’.
What do I look forward to? More research. Particularly on ADHD and women and how environmental factors, socialisation and biology exaggerates or diminishes how the symptoms manifest. I keep a journal and note down observations on days where something strikes me as odd, and use that to inform my treatment. It’s the beginning of my own personal research, and I hope it can help someone else someday.
To conclude, ADHD is neither a gift nor a disability. We can have no illusions about that. It can make you prone to certain harmful behaviours and may give you some advantages over neurotypical brains, but the labels of gift or disability may prevent us from being objective about its management. But with a little more knowledge, and a lot more empathy, we can create a society where lives are not littered with failures that could have been avoided.
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