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.
Your Dreams Are Not Valid Here
I came back to Kenya immediately after my studies, armed with a master’s degree from one of the world’s most prestigious universities – and two years later, I am worse off than I have ever been in my short adult life. I used to earn more as a student than I do as a grown-up adult, with a family and a daughter about to join school. By SILAS NYANCHWANI
This time of year, October/ November, is the season when the United States runs their Electronic Diversity Visa Lottery, commonly known as the green card.
Globally, 20 million people fill it, with the hope of becoming part of the tight short list of the 50,000 people who eventually receive the American Permanent Resident Card, and a ticket to pursue the fabled American Dream (sometimes a nightmare).
In my early 20s, I used to nurse dreams of living in America. Most of my friends who never qualified for university used various means, dubious and straight, to enter America. And soon they were building mansions and buying plots around Nairobi as I chased my bachelor’s degree. I remember one friend in particular who had been jobless in Nairobi and when the opportunity came, he left in such a huff, leaving with his small worldly possessions; a bag with three or four clothes, old shoes and nothing else. He has never stepped back 14 years down the line.
I joined University in the mid-2000s, when the Kibaki economy was booming. Sectors like higher education had expanded massively, opening doors to hundreds of thousands to access university education and creating employment and business opportunities such as never witnessed before. Local banks, hitherto operating as cooperative societies or community chamas, had become serious players in the industry. M-PESA had just been launched and Nairobi was being noticed in Africa and indeed in the world finance markets. Real estate was booming. The media was flourishing, both mainstream platforms and lifestyle magazines were making stupendous profits. There was money to be made if you had the right skills.
For my first ever newspaper column (aged 21, no less), I was given a cheque of KSh7,500, inspiring me to pursue journalism. In my four years in campus, I supplemented the Higher Education Loans Board (HELB) money with the wages from writing for local newspapers.
There was an air of optimism everywhere.
Then came the 2007 elections, followed by the post-election violence, coinciding with the 2008 global financial crisis, from which the world has never really recovered. In Kenya, we had barely started picking up the pieces from the post-election violence when a youthful duo came into office, who promised heaven and but have delivered hell, to the point where our economy is now in the doldrums.
But I remember that through college and the ensuing years, we were proud of our country. The roads became better, Internet connectivity improved immensely, mobile technology grew, and Nairobi could afford anyone the best things in the world, barring traffic and pollution. Those of us in university hoped after graduation, we would get the six-figure salaries that our predecessors (classes of 2004-2008) were getting.
At the time, few of my friends had any ambition of leaving Kenya, save for those who were headed to graduate school. There were many reasons to stay. Many among those who traveled for further studies, or for whatever reason, did come back. And my Kenyan-American friends, advised me, “If you make at least KSh80,000 as net income, then you don’t need to come and struggle in America.”
It was a piece of advice we heeded, and after college, we were all looking for jobs that will guarantee KSh100,000. That was during the post-college euphoria, and by this time my obsession with “flying out” had diminished significantly. I started to believe I could ‘make it’ here in Kenya.
As a single young man, I enjoyed good income from my newspaper columns, and ultimately I got a permanent job with a local media organisation and decent pay nearly two and half years after graduation. People around me had more mixed fortunes. My spouse got a job after waiting for nearly three years after graduation. Most of my college friends waited longer, some in between jobs, more underemployed, others dropped through the cracks. The devolved government did rescue a few with jobs in the counties, but in my estimation only about half of the graduates in my year have been in steady employment or business.
Two years into my employment, the company I was working for laid off 300 workers, nearly a quarter of the workforce, in a purge that spared no one, from the young, to the middle-aged to the older folks. It was devastating. I only escaped the axe because I won a scholarship to graduate school that saw me spend a year in New York.
When I left for America, my entire clan accompanied me to the airport, knowing that the path to prosperity had just been opened. Their palpable excitement was understandable.
“Don’t ever come back, fetch your family and stay there,” they insisted. There were many more people who asked me to stay in America than those who advised me to come back – unlike just a few years before.
While in America, even with the telltale signs of a diseased and decaying economy, my acquaintances in US were all of the idea that I should play the system (basically marry my way into citizenship), or use whatever trick to stay there. But I was determined to come back, armed with youthful chutzpah and the idealism that my master’s degree from one of the world’s most premium universities will guarantee me a better life.
I came back immediately after my studies – and two years later, I am worse off than I have ever been in my short adult life.
There are no jobs in the media, and or in my Plan B, academia – that has been ruined too.
The other day, for the first time since 2010, I went to a cybercafé. I hadn’t gone to browse – who does that anymore? I had gone to take the quality photo necessary filing in the DV-lottery, and I sat down and applied for the green card. And in the last few months, along with other friends, I have been visiting placement agencies that advise skilled adults on how to settle in countries like Canada or Australia.
When was the last time you passed near Nyayo House? You have probably seen the impossible crowds. One can safely assume that those looking for passports want out of the country for various reasons.
I happen to have worked with a few agencies that send Kenyans abroad, from low-skilled workers (to Dubai, Doha and other places in the Middle East), to high skilled labour (to Western countries mostly). So many of my folks, given the limited farming opportunities in the village, have moved to the Middle East and America, where most of them work on low-end, but better paying jobs that anything the country can offer.
It is not just the manual labourers who want out of the country. Increasingly, people with university education are moving out of the country, reminiscent of the exodus witnessed in the 1980s and 1990s during the repressive regime of Moi, compounded by the Structural Adjustment Programs that saw the economy shrink so badly in the 1990s.
It is a quiet exodus.
One of the best things that come with age is the shattering of youthful idealism. You learn sooner than later that not all dreams are valid. You discover the ideal house you visualized, your dream car, and the neighbourhood you wanted to live in can be decidedly elusive. And as you grow older, you constantly adjust your expectations, adopting a cold-hearted selfishness, and pragmatism, for yourself and for your family.
I know at least six other friends who left the US and the UK, and at least four of them have had it so tough, the last I checked, they are at advanced stages of going back abroad to pursue a Ph.D. or looking for work as skilled immigrants. Never before I have ever been inundated with links for job applications and advice on how to emigrate to some of the better countries in the West; UK, Netherlands, Belgium, USA, Canada, New Zealand, Australia and the Scandinavian countries.
Yet the timing couldn’t be worse. In the West, the rise of right-wing governments spurred by collapsing or stagnating economies has inspired a wave of xenophobia targeting foreigners, and dark-skinned immigrants are especially not welcome.
But even so, we want to leave. Because the economic prospects for men and women of my generation look dim. According to a Pew Research Center study in March this year, 54 per cent of Kenyans wanted to relocate. They cited corruption, the high cost of living, poor living standards, and search for better housing, healthcare and education opportunities. Life has become unbearable.
And SAPs 2.0 are about to hit harder, as thousands of employees are set to lose jobs when the government sells 26 parastatals. With inflation, and the slow death of affordable public health care and education, the timing could not be worse.
I used to earn more as a student than I do as a grown-up adult, with a family and a daughter about to join school. Public schooling is in ruins, higher education in an irrecoverable mess, so much that middle-class and upper-class parents have totally lost all the hope in public schools and send their children to expensive private schools, the better if they run a different “international system”. But private education is so expensive that kindergarten annual tuition fees in some of the average schools is more than what a university student pays for their tuition. And many millennial parents are not going to afford it.
For healthcare, half of the WhatsApp groups we are in are for fundraising for sick or deceased folks since families cannot afford to pay for their relatives’ healthcare in decent hospitals.
We know the Kenyans in the diaspora are often homesick. Given a chance, many would return. Indeed, their remittances tell a story of unshakeable faith in their motherland – in 2017, Kenyans remitted over $1.9 billion from the diaspora – but the government hardly accords them any significance.
“Indian Prime Minister Narendra Modi spares time when he goes abroad to meet Indians living in that country. President Uhuru Kenyatta rarely does it. But this helps build a connection between migrants and the motherland,” says Mukurima Muriuki, a Kenyan conflict resolution expert based in California, USA.
The same can be said of countries like Lebanon that keeps a database of professionals abroad. Or Ireland that taps into the potential of its expansive diaspora network. Israel too.
Similarly, the growth in industrialization as well as the information and technology rapid growth of the Asian tigers has been credited to returning immigrants, and the sustained ties ensure that both the host country and the motherland benefits.
In Kenya’s case, it feels like contempt towards those in the diaspora is always on constant display. Like the recent launch of direct flights to America that hardly involved members of the diaspora who ordinarily would make the bulk of the users of the flight.
But because we mostly send low-skilled workers who end up in menial jobs, there is little exchange of skills that can transform the country. More individuals end up in middling jobs, with no way to really contribute back home, beyond building an ancestral home (essentially, dead capital) and buying more meaningless pieces of land for lack of alternatives.
High skilled individuals often gain citizenship to the host country, and their brains end up benefitting the host country more than the mother country. Think of the late Professor Calestous Juma, a celebrated international authority in the application of science and technology for sustainable development worldwide, who was at Harvard University at the time of his death last year. If he stayed in Kenya, he probably would never have risen through the ranks – and would never have ascended to the status that Harvard afforded him. One can think of the top Kenyan academics, thinkers and writers who spend their lives in the Western institutions because their country has spurned them.
This country loses so much in terms of skills and ideas. And worse because we are not creative enough to utilize the diaspora beyond just remittances. We could use more transfer of skills and ideas.
Still, I am starting to think that when your country does not love you, you have no obligation to love it back.
You Only Leave When Home Is the Mouth of a Shark
Back then harambees were festive occasions. The soon-to-be voyager stood coyly at the front, maybe draped in shiny tinsel, perhaps holding out a kiondo into which their donations were danced forward and dropped into. But then it became harder to be generous as the economy sank lower and lower. By WANJERI GAKURU
For some reason, we only ever seemed to climb up to the waving bay at the airport at night. Crowding around the large windows, a gaggle of bundled up pre-teens up way past their bedtime. We’d stare at the rows of shiny metal birds; miracles of science, about to leap into the inky blue skies. We imagined our kinfolk nestled within one of those bellies. The grownups were scattered around us chatting among themselves; recalling a similar journey, as prayerful escort or terrified traveller.
The parents were a picture of sadness and pride. Soon, they’d choose a plane for us to wave at. Pressed together with strangers we’d mark its confident ascension, high and bright and pulled by an invisible chariot of fire until it became a tiny speck. It didn’t matter that it likely wasn’t the right aircraft we cheerfully sent off. Going down the dark stairwell afterwards, we were all countrymen saluting folks who would likely not return.
We didn’t know it then, but it had all begun years before. In 1980, Kenya took its first Structural Adjustment loan from the World Bank. After nearly two solid decades of independence and relative economic stability, Kenya replaced the import-substitution policies it had pursued since independence with an open, liberalized trading regime. It was intended to “stabilize” the economy, which was under the pressure of debt repayments.
Did it work? The short answer is: no.
We took a second loan in 1982, same year as the attempted coup. The latter had an especially profound effect on how we were governed from then on, intensifying paranoia and tribalism in governance. But even ambitious economic plan, which looked good on paper, was designed to hurt the most vulnerable. SAPs required poor countries to reduce spending on things like health, education and infrastructure, while debt repayment and privatisation were made the priority. In effect, the IMF and World Bank demanded that poor nations lower the standard of living of their people.
Around that same time, Kenyans also suffered through the 1992 elections—where the government borrowed heavily from local banks and caused inflation—and the 1993 Goldenberg scandal, in which 10% of the country’s GDP was squirreled away. To where? We didn’t know. But we knew it was bad.
No wonder my late father worked it out so that my eldest sister got on a plane to Germany to work as an au pair for a year. It was 1999 and at least one of us in the family would enter the new millennium with hope. To raise money for her departure, we circulated pledge cards, secured the family’s most generous friend as guest of honour and held a harambee. These fundraisers were a common practice among the middle class for travels abroad. We still hold them today but largely for funerals and medical reasons. (One day we need to unpack why churches somehow manage to remain bankrolled through whatever hardships. The same goes for wedding committees).
But back then harambees were festive occasions. The soon-to-be voyager stood coyly at the front, maybe draped in shiny tinsel, perhaps holding out a kiondo into which their donations were danced forward and dropped into. Folks were so generous; they didn’t just support academic trips. Sometimes it was to aid a lucky Green Card lottery winner. Only 50,000 US immigrant visas are available through that national lottery. It seemed that Kenyans snatched up quite a number. I was always either a raffle ticket seller (where the grand prize was something like a large towel) or I sold handkerchiefs at inflated prices. All to send so-and-so majuu.
However, it was harder to be generous as the economy sank lower and lower. The cold eyes from the portrait that bore down at us from the walls of our offices and schools and at the start of news bulletins were unrelenting. That is, until the opposition parties created a rainbow and pressed Moi into retirement in 2002. Nonetheless, my family—now a battered middle class—was still plotting how to send more people out there. Within a year we scrimped and saved and shipped off a cousin to America.
She was the last of us to go this way.
Yoked here by the fallout of economic distress of yesteryears, my family, like many other Kenyan households found studying abroad a luxury. It was still possible but even the brightest amongst us could not summon the harambee spirit. By the mid-2000s folks had to secure full or partial scholarships, and still finesse church, work and society trips to cross the Atlantic Ocean. That is, if they could jump through the many hoops needed to even secure a visa, and the irony of sitting for an English proficiency exam in a former British colony.
When it was my time to enrol in university, Uganda and Tanzania were my best options for an alternative higher learning experience. By then I had just become an orphan and that’s what literally pulled on the purse strings and got me into a journalism class.
Today, my 20-year-old nephew’s best bet at a good education is turning to the Internet. It has become the salvation of the jaded millennial, myself included. Sure, folks can attend local colleges and polytechnics but the World Wide Web is the best university they can attend, it holds all the books they cannot buy and has become the employer, the platform and marketplace they seek.
Maybe flying out isn’t such a big deal when information is pouring out of your phone and laptop. The ability to viably contribute to the web has turned everyday people into celebrities and birthed new occupations. Not forgetting the hundreds of dollars made monthly from vaguely suspect pursuits (online writing) to the definitely illegal (selling of pirated DVDs). Young people are somehow finding a way to make it in these harsh economic times.
If nothing else, the Internet has made the strongest assault against the almighty lawyer-engineer-doctor trifecta, but it can’t save everyone. An impossible wage gap, brutal unemployment and perilous short-term kibarua jobs still persist. To quote poet Warsan Shire, “No one leaves home, unless home is the mouth of a shark.”
For those who still try and make their way out, Middle Eastern nations offer the lowest barrier of entry but at a terrible price. What are advertised as opportunities for domestic workers too often are a mask for modern-day slavery. Many, like Happiness Chweya, Mwanakombo Athman and Melsa Adhiambo Makhokha, return home in coffins. Those who narrowly escape recount tales of physical abuse and sexual depravity.
Yet hundreds still flock the fraudulent job agencies, thousands more have their passports seized and cannot return home. Their desperate pleas secretly recorded circulate on Facebook and Twitter as horrific vox pops.
Equally stuck are the waving bay generation, those who left. No doubt they have it much better – at least financially (?) – than their counterparts across the seas but what does it mean to long for home for 5, 10, 20, 30, 40 years? To be torn between renewing an expired student visa and risking deportation, and sending home payments received under the table, miserly as they are. It means watching your father’s funeral through the small window of a smartphone thousands of kilometres away and sobbing and sobbing because home is still the mouth of a shark.
THE COLONIAL STATE, AUSTERITY AND “MIDDLE CLASS” ANGST: An insiders perspective
This short film by Amina Bint Mohamed, and featuring activist Aimee Ongeso, explores the concerns and challenges of the so-called ‘middle class’, a demographic whose definition is contested and whose security is precarious. Unemployment, a high cost of living, and commercialized social services make it nearly impossible to ‘live one’s best life’. Though the blame is often put on poor financial literacy, Ongeso says the buck stops with the state – and she reflects on the strategies that families like hers are using to survive these hard times, and disappointments they navigate, while recognizing that the problems they face emanate from the exploitative colonial nature of the Kenyan state.
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