Connect with us

Reflections

Our Dreams Are Valid

Published

on

Our Dreams Are Valid

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.

See all comments about this article

Oyunga Pala is a Kenyan Newspaper columnist.

Continue Reading

Reflections

Naming the Sins of our Fathers

Published

on

Naming the Sins of our Fathers
Photo: Shutterstock

On June 8, 2015, I stood in a labour ward waiting for our bundle of joy. When she arrived, shortly after 10.30 a.m., I was beside myself with joy, totally overwhelmed.

Those of a religious disposition know the kind of emotions one goes through when God answers prayers. For the longest time, I prayed to God for a daughter to name after my late mother. The first glance at her, revealed a double stroke of luck; she was not only a girl, but she took after my mother.

I stood in the corridors overjoyed, painfully aware that in under two months I would leave the young one to go for my graduate studies in the United States. I was torn. I wanted to spend every waking moments with the girl for two reasons: Biologically she is my daughter and culturally, she is my mother too. Secondly, I never had a father, and to me, this was a divine chance to try and be the best father she would ever want. Sure, against my will, going for grad school proved to be most stressful experience, I was so depressed in New York Streets that I barely coped with the class room pressure. Upon graduation, I boarded the next plane home and spent the next 10 months bonding with my little girl. It was the most fulfilling thing in the world.

Kids are so sweet. Makes me wonder why men run away from them.

***

I have never seen my father. I do not know if he knows that I exist. I do not know if he is still around or he died a long time ago. Whether he is still in active employment or long retired. I do not know if I have other stepbrothers and sisters, and God-forbid, if our paths have ever crossed, without recognising our common bond.

As a reckless teenager, I once angered and offended one of my guardian aunts. Minutes later she fished some photo of the purported father for a reason I have never known. He was tall, wearing those greenish-blueish suits. I do not remember the face, for I was angry and teary, but I remember a benign smile that revealed nothing.

I have managed to numb any feelings towards the old man. I decided to live with the fact that I will never know my paternal heritage. Whether they had murderers in the family, a history of suicide, or any genetical disorder that shows up every third generation, that I somehow escaped, but may recur in my children or grand-children is something time will tell.

If not for that photo, I will never have bothered with the thought of my father. But that photograph planted an element of doubt, and every other day I dream of some demon possessing me to pay for a want-ad in a newspaper or embarking on search for him.

Indeed, those wakeful nights, when my insomnia gets in the way, which is far too often, I do think about him.

Why did he leave? I want to assume that I tick all the boxes. I am everything an African father would have been proud of: My report form was always impressive, I made it to the best university in Kenya and a top Ivy League university in America. I married in good time and there is a granddaughter to parade. Stuff that most parents cherish. Why did he leave?

In those idle moments, like when stuck in Mombasa Road traffic with a dead phone, I imagine tracking him down to a village, maybe he is in a drinking den, maybe he found Jesus and is now a church elder…Or he died long time ago, and in that eventuality, I will have closure. Chances of making that resolve are closer to nil and zero.

***

My father was a baby boomer. Kenyan baby boomers, have been a spectacular failure. Certainly, there are decent and noble men from that generation, but if they were a class, they would be D-grade. And this is not because my father took off.

Despite the gift of formal education, exposure, travel, and interactions with the outside world beyond their ethnic enclosures, the men from this generation have been underwhelming. Nobody summed up who they are better than Laureen Wesonga, a Chevening Scholar,

I call them(the) independence generation, they are petty, they are greedy, they are insecure. Woe unto you if you are younger, smarter (and female), am like who traumatized this lot? And it doesn’t help that they are running the country at the moment. That’s why our country is an orgy of pettiness, incompetence, general mediocrity. That’s why there is a hostility to intellectual investment and output.”

My father’s generation has contributed virtually nothing meaningful to the country, whether politically, intellectually or economically, other than pillage, obnoxious if primitively grabbing and accumulation of wealth. Young people now have arrested development because the elders ate the food even made for babies.

Most of them still hold positions of power and influence in various institutions, which they run like their personal fiefdoms, giving young people no chance whatsoever to prosper. It is this generation that imposes a fine Sh 5,000 to graduate job seekers who are yet to start their Higher Education Loans Board payments. It is the generation that requires young job seekers to spend KSh 5,000 in useless paper work as a perquisite when seeking government employment. The generation that is likely to deny a woman a job or a promotion because she said NO to their advances, and just as quick to unethically promote an undeserving one who cooperated. And this is the same attitude they approach fatherhood. Some were reckless drunks. Some married two or three wives when they could not sustain the one.

Amoral. Unethical. Disgusting.

In the circa 1980s, men could scatter their wild oats and disappear. Today, you will not run away from Child Support, however far or fast you run. Courts, tabloids, bloggers and social media will hold you accountable. Absentee fathers live in mortal fear of the law catching up with them.

Some of us were unlucky to have grown up without our fathers, even though we turned up fine. Or did we?

What was worse, was having a father who was absent emotionally. As a bare minimum, children expected of their fathers: the provision of the basic life needs like school fees, being present and the occasional pat on the shoulder. Visiting us in school, buying a gift was more than enough. All we needed.

The generation of our fathers came in three shades: The loving, generous and kind (a few and far between). Secondly, were the patriarchal tyrants who respected neither their wives nor their children (their daughters eloped at the earliest opportunity, if only to be safe and sons ran away from to the nearby town for menial jobs) And thirdly, were the colourless and incompetent, who left their wives to do all the parenting (quite a pathetic lot, mostly married a second wife, or kept a mistress abandoning their first family).

There is nothing to say about cool and responsible fathers.

But the latter two, let’s unpack them.

I have talked to a good number of friends on how the relationship with their fathers is shaping or has shaped their attitude to life and especially towards parenting.

It is surprising how dissatisfied most people are towards their fathers (I have two rare cases where people are dissatisfied with their mothers, but that is for another day). I know a few who have had to physically confront their fathers for continuously being abusive, disrespectful and violent towards their mothers. They drew the line, curses notwithstanding, and held their old men by the collars and gave them a piece of their mind.

There are fathers who did bad things because of ignorance. But more annoyingly were those who knew better but still run away, or those who stayed, but were abusive and the only memories we can conjure of them are the dark days they put us through. Most of my peers never quite forgave their fathers or are very ambivalent towards them.

Women who grew up with abusive fathers are very skeptical of men and can be unduly cautious. Men, either chose to be the exact opposite of their fathers, or the trauma of the abuse leads them into alcoholism, violent behaviour and seeking cheap sex to fill the void left by the father’s folly.

But to decide to chart a different path from your father’s requires a higher cognitive ability to forgive the old man and to learn from his wrongs.

My peers, those with a basic university degree and those who aspire to a quiet middle-class life are doing things differently: Most are opposed to violence against women. Most love their children and lately, the sex of the child is not an issue, unlike in the past where giving birth to a daughter was deemed a sign of weakness in some cultures, like where I come from.

Certainly, my generation has been gifted with hindsight, unlike our fathers who grew up under the worst possible circumstances. Women of our generation are enlightened, know better and hardly want to settle for less. We are almost equal and many actually bring the bacon home.

Most women I have spoken to who grew up with abusive fathers always sympathise with what their mothers had to go through. And want to lead different lives: they are assertive, ambitious, keen to have their money and property, just in case a man goes beast mode on them. They expect us men to provide in the traditional sense, but they are not entirely dependent on men. They have backups in chamas, in churches as well as private and secret investments. Their ability to pull resources quickly, means they acquire a head start over their male counterparts.

Women learnt from the tribulations of their mothers and took charge of their lives. Many men never received guidance or the security of inheritance from our fathers and we stumble and falter a lot. We have hardly any role models to look up. Religious leaders lost their moral voice. Politicians have nothing to teach us, but to steal, grab and be stupid, generally.

******

Our fathers were born somewhere between the Second World War and during the struggle for independence from the British colonialist. They were too young to be victims of the British brutality but growing up with absentee parents took its toll on them. They went to school in the independent Kenya. School was designed to prime them up to work in factories and the corporate sector, a drastic change from the agrarian way of life, that they grew up under.

They grew up knowing that the place of women was in the kitchen. They grew up knowing that children were merely a source of labour.

After the independence of Kenya, the world was gripped in a meaningless Cold War that consumed another 30 years of neo colonialism with different actors. The Cold War period gave birth mediocre and cognitively challenged dictators, propped up to oversee several countries. They suppressed freedoms, especially academic freedom. Anyone who subscribed to a contra ideology to that of the paymasters’ paid the ultimate price. In late 70s and early 1980s, a collective of university intellectuals were forced into exile. They included reputable scholars like Ngugi wa Thiong’o (ironically settling in the Capitalist West, when he was accused of being a socialist), Micere-Mugo, Korwa Adar, James Ogude, Nixon Kariithi, Job Kibii among others. They left a huge intellectual gap that was filled with cowardly conformists.

So, our fathers grew up suppressed and repressed. By the time they were coming of age, President Moi had taken over and an attempted coup had turned him into him a dictator who ushered in a totalitarian chapter. The impact of living in a one-party regime turned our fathers into cowardly, insular and extremely selfish individuals with self-enrichment as the only goal. They have a zero sense of accountability and responsibility whatsoever. They are guided by base instincts, hardly proactive but very reactive to any perceived threat to their dominance. They want to grab all the land, even riparian zones. They have mismanaged public institutions raiding coffers and channeling the loot to private facilities they own, to profit from the provision of essential services such as education, health and security. They lack is a sense of the future, which defies logic.

Why do they steal so much?

Why the common excuse of “ni watoto tunatafutia.”( I steal for my children)?

I am not mad at the generation. For they are blind and severely handicapped due to the circumstances they grew up under. But I still habour some resentment. They fouled and soiled their children who inherited the bad habit of greed and cast aside the brilliant ideas capable of transforming Kenya.

Their time at the top of the food chain has been nothing but disastrous and the ramifications will affect us, at least for the next three decades. Think of the foreign debt, the unprecedented level of corruption that make the Moi and the Kibaki regime seem incompetent in their corruption. Look at what they are doing to higher education (lecturers have been on strike for 10 months in the last one year). The health sector is in shambles. The main referral public hospital Kenyatta is always in the news for all wrong reasons. Hospitals in the rural parts of Kenya no longer stock basic medical supplies like anti-venom. The agriculture sector has no remedy in sight for the armyworm invasion ravaging maize fields around the country. Farmers no longer receive subsidized fertilizers yet well-connected individuals can always import maize from Mexico overnight. Need I mention the pain and agony of sugar cane farmers.

***

I see young people embracing their responsibilities differently. Men from the 1980s, aided by the power of social media to reunite friends are forming high school WhatsApp groups and visiting their former schools, organizing to donate books, build facilities and give back in whatever way they can.

We understand the importance of philanthropy and the value of altruism. We recognize there is something bigger than ourselves, or our families. The need to leave the world, a better place. We are planting trees where the baby boomers cut them down for development or settlement.

We question things. We do not blindly support regimes. When we think our political leader has erred we tell him off, such as we did with Raila Odinga recently. His latest handshake moment has met a lot of hostility. When Moses Kuria’s loose mouth utters something vile, we clap back.

Where the baby boomers and Gen Xers choose silence, we raise our voice, even as police brutality has become increasingly sanctioned. I remain hopeful that our generations and young people will get it right as the baby boomers and Gen Xers age and leave us alone.

Good riddance.

Continue Reading

Reflections

maWinnie: Lessons in Feminist Approaches to Storymaking

Published

on

maWinnie: Lessons in Feminist Approaches to Storymaking
Photo: Felix Dlangamandla

It was a gathering of women. Mothers, sisters, daughters and wives of black male ex political prisoners. They had been gathered at Cowley House, Cape Town by the Robben Island Museum to share and document memories and stories of their Journeys to Robben Island Maximum Security Prison.

Cowley House, became a remarkable haven for those, whom under very difficult and often brutal circumstance were granted permission to travel and be in Cape Town for the sole purpose of visiting loved ones on the island. An arduous journey. It required bureaucratic application processes; permissions from various authorities including Prison Services, permission from Homelands authorities to travel, permission to be in Cape Town or the Western Cape, accumulating the funds to take a bus or train of some means of transport to the Cape…and finding accommodation in which to stay overnight. Many of the women had themselves served under house arrest and detention, been brutalised by the apartheid state in its attempt to break the spirits of those who chose the path of resistance and or, whose family members had done so.

(I recall so vividly tata S, an ex political prisoner and survivor of the Lesotho massacre, with heartbreak laced in each of his words and silences, explaining just how it shattered him to see his wife in the prison visitor space after many years of separation. She had been starving as he, the main breadwinner was no longer able to support the family. And so emaciated and skeletal she had somehow found a way to visit him and reassure him of her support.)

maWinnie agreed to participate at the gathering on one condition. On arrival at Cowley House for the Women’s Reference Group, she drew us aside and requested a quiet private meeting space. She said that, as her story was already very well documented, recorded and shared within the public domain, she wanted the day to be about the other women who were present, not her. She impressed upon us that the women had stories which were layered with hurt and humiliation and that possibly, the greatest hurt was being ignored by history.

And for the duration of that day’s exchange, I observed maWinnie, gently and compassionately deflecting attempts to defer to her. Calmly prodding and reminding each of the women gathered of a particular incident or event which had taken place on their journeys. And most of all, I observed how she kept silent, attentively listening.

There are a number of lessons and affirmations which remain invaluable to me to draw on and reflect in practice as a feminist ‘memory maker’.

Firstly, how disciplined and comfortable silence grants permission for others to speak and share intimate stories of pain and hardship. That even though the Listener or Observer may have book knowledge or an idea of ‘the Story’, it was important to remain silent and have the Speaker albeit slowly, painstakingly tell their own story. This takes great discipline. The ability to be quiet and trust that the process of storytelling will unfold as it should. And on that day, it most certainly did.

Secondly, that ‘standing down’ from power and influence vested in one as an individual, institutionally or historically, for whatever reason, is a necessary step in putting together the intricate narratives of the collective. That merely ‘saying’ that one is there to listen and understand is not enough, it needs to be a conscious practice. And requires the ability to recognise the power vested in one as an authority or knowledgeable one. And I continue to wonder about this as we see standoffs between groups, the creeping in of that nefarious combination of power+judgement into discourse and relationship. And the discomfort of living within contradictions and questions, as opposed to answers found within ideology alone. As the day progressed, and the stories unravelled, it became clear that the individual stories made up significant parts of a whole. That what appeared to be quite ordinary was in fact rather extraordinary. And that what appeared contradictory was complementary.

Thirdly, I was struck by just how much maWinnie was an Archive and clearly consciously so. She was a formidable memory bank of stories, places, people, events and emotions. And that her ‘paying attention’, being wholly ‘present’ requires a certain kind of Listening for and in between words and silences.She was able to gently remind someone of an incident and a reaction to an incident as if it was not a decade or two past. I still wonder whether in the poverty of our her-story making process as a nation, is this absence of the emotive or visceral or rather, an inability to read it when it is present. And that the damage done by the exclusion of women’s stories is more harmful because of history’s form which attempts to erase feeling and emotion.

Fourth, that being kind, gentle and compassionate are parts of maWinnie’s whole. That the formidable, fiery and sassy is not a juxtaposition or contradiction thereof. That living in the landscape of the ‘whole’ story, whether the individual or collective requires an ability to hold opposites in unison, and thus to include the seemingly irreconcilable. She suggests to me, that living life whole requires living within contradictions and finding a space for the unresolved. I cannot imagine what the “not knowing” when her husband, partner, comrade would be released did to her soul. I do know, that when 27th April 1994 came around, many of us walked to the polling stations as if in a daydream. The reality or realness of something which was spoken of in hope fuelling slogans such as ;”Freedom in our Lifetime” too overwhelming to comprehend on any rational level.

And in storytelling and memory making – being able to hold these unresolved questions and contradictions, however tentatively or tenuously – reveals the Truth in ways which awaken Hope and Imagination.The polar opposite to this would be a shutting down or closing off and stagnation which half – truths provide[1].

As I contemplate once again, how the very act of remembering and living the legacies of those, such as maWinnie requires us to gently and with respect, interrogate, investigate and possibly represent, the values and principles they lived by in our very rendering of their memory.

 

 

[1] We see this in countless exhibitions or memorialisation projects where half-truths about World War One and Two largely exclude the participation of people of the South and so the absence of stories; of the Mende, the deepening desire for Freedom from colonial rule, the place of women in science and technologies which aided the war efforts and so on, reiterates prejudice, racism and abject misogyny which at least parts of these war efforts was attempting to stop.

Continue Reading

Reflections

Now I Know That I Knew Nothing About Winnie Mandela

Published

on

Now I Know That I Knew Nothing About Winnie Mandela
Photo: Flickr/GovernmentZA

First of all, let’s dispel the myth that ignorance is bliss. It can be. States of unawareness can be a cushion, feathered down and fuss-free, when one needs a respite from the little annoyances of life. But ignorance is not a day-to-day frivolity that many of us, who have always lived on this continent and know the violent repercussions of one misstep, can afford. Clearly there was not a lot of bliss prancing about during the apartheid years and Black people just conveniently forgot to throw a celebratory parade. To call what happened to the majority population during this regime anything less than what it was – a brutalizing of human spirit – would be a supreme disservice.

So let’s rather call ignorance a journey. A series of stops and way-stations where, the passenger, draws ever nearer to something approaching the truth. Or a truth, whatever the case may be. You may, of course, decide to stay where you are. Never exploring, never wandering or wondering, and thus never knowing. There is a smug comfort in knowing that one day the world will come to you, because that is the pervasive and diffusive nature of all things human. The truth may one day find its way to you. But when you’re Black and female, it’s more likely to kick down your door than knock.

I met Mam’Winnie in stages.

Stations. Stops. Dilutions and exaggerations.

My earliest memory of hearing the name ‘Mandela’ was in the mid-eighties. My parents had a staggered bedroom, with a main bedroom that opened onto a dressing room-foyer where us children were sometimes allowed to play, listen to the radio and just watch our parents be parents in muted fascination. On a Liberian radio station is where I heard the song ‘Free Nelson Mandela’ by The Special A.K.A, which was quite a hit back then.

“Who is this Mandela man? Why is he…unfree?” I didn’t even know what to call the opposite of liberty. The concept was very contrary to an ideal that every African and we Liberians especially enjoyed, or so my young mind believed. The only opposite of freedom and joy I knew of was BellehYalla. BellehYalla was our nation’s worst prison, mythical and monolithic in the way it blocked out the sun in every child’s imagination. People sang songs for criminals who ended up in such places?

My father went on to explain some of what life was like under segregation in South Africa, how Mandela was a freedom fighter in jail for a long time for trying to level the playing field for the Black citizens. I fired a lot of questions. My father was one to joke if the rare mood took him so surely he was joking now, about an African country where people had so little and could do even less. Didn’t they own things, like land? Yes, apparently the country was theirs, but then White people came along and took it. But how could that be? Did White people often go around taking massive things like whole countries away and no one did anything to stop it? My father looked especially wry as he answered yes, it did happen all the time and when I was older and studying history, I would learn all the colourful ways how.

I remember one thing I could not wrap my head around: where was this Mandela’s wife, while he rotted away for a million years? What was she doing in the meantime? My father cleared his throat and adjusted his clothes and muttered something about minding the children and keeping the home and waiting.

My mother, who tended to silently watch these occasional educational exchanges between my father and any one of us five children with a mysterious wry smile of her own, came over when he left the room to busy himself with something else. “She’s helping in her own way,” my mother soothed me, knowing I had the tendency to overimagine and get overwrought. “She’s fighting how she can.”

A few years later my own idyll was shattered, if indeed my country had ever truly been the beacon for Negritude and hope that it believed itself to be. The 1990 civil war had me exiled from home and confused about wars, politics and the courageously destructive statements men make. Several years and one too many new countries later, any political appetite I could have had was snuffed out. Coming to live in South Africa, Cape Town no less, as a postgraduate student perked up my interest somewhat. I got to look at a different sort of beast close up. Stories about apartheid came alive. I had learned in my many junior and secondary schools about Bantu homelands and the regularity with which children grew up without a constant imprint of their father because he was away somewhere. Swallowed by the mines, by the cities, by the struggle. I heard much of Robben Island; you had to, with the White tourists pouring in every summer and interrupting your delicious restaurant dinners with their typhoon of tears of how this lovely man had suffered so much and still he forgave. I did not visit that white rock prison until I had some years under my belt, until the Capetonian sunshine had properly baked the overindulgent Mother City into my skin. I wanted to really feel things when I went to Robben Island.

I did not, not much. It was interesting and educational, but not riveting and wrenching. Bear in mind, I considered myself a pretty jaded young woman by this point. Proximity dulls the knife even more. Robben Island was a major tourist attraction in my city and I had learned too much via osmosis to be well and truly, pearl-clutchingly shocked. I was going for the most part to treat my mother, who was visiting at the time. Most of all, it turned out that Robben Island was no BellehYalla. I expected dungeons and neck chains. But flushing toilets, separate cells, regular meals… My knowledge of the typical African prison had never evolved beyond “no mammal should be here”, and justifiably so. But from the looks of things, all prisons were not created equally. Troupe Nelson had suffered, yes, but they’d had some dignity. As I studied the commemorative plaques on the walls, photos of revolutionaries in action, the sacrifice is not lost on me. Still, I looked around and wondered: where were the wives? Where was The Wife?

Stops. Stations. Titrations of truth.

Sometime during my Cape Town years, in the mid-2000s, a biography of Winnie Mandela was foisted on me. It was ‘Winnie Mandela: A Life’ by Anne Marie du PreezBezdrob, a popular one during that time. I was going to read it without prompting, really I was, but other books of a more fiction-bent, galvanizing nature kept getting in the way. The jaded young woman considered the nature of non-fiction too invasive to be reading material she sought out willingly. Autobiographies and biographies were heavy work of the navel-gazing variety, the payoff often too slim for my liking. I tended to steer clear. But the look on my best friend Inonge’s face brooked no nonsense as she thrust it under my nose, after days of heavy hinting did not work. This was a book we as women, Black women, had to read. I could return to my silly crime and fantasy novels afterwards. Still, I did not immediately relent. Why did I need to know more about Winnie? I knew enough. She had done some important stuff, she was the ex-president’s ex-wife. Wasn’t she bitter now? Wasn’t there a short Google page I could read with just the highlights, some ANC cliff notes? This felt like homework.

So I did some preliminary digging. There was a wealth of intriguing archival memorabilia and articles just a mouse-click away. One online photograph in particular struck me. Winnie in the 1960s, toting a metal pail of water, of something, in the township. So this was where she had been. Gone was the girl in the iconic wedding picture giggling beside her new husband, a girl who, let’s face it, had no goddamn idea what she was getting into. No idea that a nation would start to look up to her in his absence. In her place was this woman forging herself under fire: raising kids alone, facing the daily grind of laundry and assembling meals and assorted etceteras, all whilst in the grip of a police state.

This was what being the satellite parent entailed. The power of notoriety and glory of mystique were never yours, not fully, not when national security perpetually kept your business in the street. You would never be a son of rebellion or sun around which revolutions revolved. The satellite stands vigil and waits. But satellites also absorb information and detonate strategically. The girl was a woman now, her body underneath her cheap polyester jersey softened by children, the stress of her day already shadowing her face. She looked so ordinary it was frightening, because I knew she was frightening. Any woman raising children alone and fielding threats on their behalf knows this reality too well.

She reminded me of my mother. That photo hit me hard.

So I read about the Nomzamo before the Winifred, and put the two together. The book was not without its flaws and omissions of nuance, but it gave flesh and breath and breadth to a woman I had not known, allowed myself to know, was in there. I read more, picked up information from her career over the years and blended colours to make a more complete picture. As I have matured, so have my empathy and understanding. My desire to be acceptable, to apologise like a good girl, to always have my interior world and motives understood are things I crush underfoot as many times as is required to keep my spirit intact.

I knew nothing of Nomzamo-Madikizela. But we journeyed out to meet each other, she and I.

Continue Reading

Trending