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Reflections

Children of a Revolution That Never Was

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Children of a Revolution That Never Was
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Ask any child of the 80s what, “Polisi wa kae kama raia” means or why August is called the “ Black month” and the question evokes a chain of memories buried deep in our psyches. The children of the 80s try to forget but we remember.

I started my remembering again after I took my 26-year-old nephew on a trip down my memory road. Didi is the firstborn of my eldest brother John. He is a true blood millennial, born in 1991, after the fall of the Berlin Wall, the Falklands War, the failed assassination of Ronald Reagan and the assassination of Indira Gandhi.

He was born after the release of ANC’s Nelson Mandela, the end of apartheid, the victory of Museveni’s NRM in Uganda and Sam Njuoma SWAPO in an independent Namibia.

After Said Barre was overthrown in Somalia, the SPLA civil war in Sudan, Jonas Savimbi’s CIA backed war against the Marxist government in Angola, the rise and fall of Samuel Doe in Liberia,

After the assassination of Walter Rodney, Captain Thomas Sankara and the plane crash that killed Samora Machel in South Africa.

After the murder of Dr. Robert Ouko, the mysterious death of Bishop Alexander Muge, and the hanging of Senior Private Hezekiah Ochuka.

After the Wagalla massacre, the devastating Ethiopian famine that killed half a million people, the Tiananmen Square massacre in Beijing and the unaccounted extermination of young lives to the AIDS virus.

After the July Saba Saba riots, the repealing of the Section 2A of the constitution that made Kenya a multiparty state that promised a future of dignity, liberty and prosperity in a democratic society.

We stood on Menelik Road facing the house where my innocence was lost. Menelik II was the emperor of Ethiopia who repelled an Italian invasion in the great battle of Adowa, a fact I learned years later in a history lesson in high school. There was a high drab wall surrounding the maisonette compound. We could only see the upper part of the house, the rain gutter that peeled and cracked paint under the mouldy black tiled roof. There was a kiosk and vegetable stand right outside what used to be the main access gate now completely sealed. The road was dotted with potholes and marked by high walls. The neighbourhood had changed like the rest of Nairobi. Closed, neglected and cold.

Nairobi of my childhood was a green city in the sun. In the 80s, one had to go to the military barracks or the prisons to find high walls. I conjured up a picture of Menelik Road in the 80s. Red and purple blooms of Bounganvillea hedges, bamboo fences, gated homes with manicured cypress fences, see-through gates, mbwa kali signs where white foreigners lived, mature Jacaranda trees and children taking turns riding a single BMX bicycle. At the closed end of Menelik Road was Kilimani Primary school run by a Goan man known as Mr. Fonseca, fondly known as Fonyi.

The first time I saw President Moi in the flesh was at this school. The President had stopped outside the school gates on the road named after Kenya’s first African lawyer Argwings Kodhek who died in a suspect road accident in 1969. The entire school assembled by the roadside to greet the President who had built a reputation for making surprise public stops to interact with adoring ‘ordinary wananchi’. I do not remember what Moi said but he distributed boxes of tiny biscuits afterwards, leaving us elated and in awe of Presidential power.

Menelik Road fed into Ngong Road from where the KBS buses run on time and the traffic congregated at Adams Arcade shopping centre. Adams Arcade had a timeless design that has endured the onslaught of Nairobi’s mall culture and a history dating back to the 40s. The open verandahs with large walkways, a post office, butcher shop, a bakery, basement bar are still contemporary. The iconic artistic cement slide we darted up and down as kids remains stuck in stone. The star attraction of the arcade was the Metropole cinema. I only ever watched a film there twice as the movies were adult rated but we still showed up at Adams every opportunity to drool over the movie posters and envy lucky movie goers. Adams Arcade is named after its enterprising founder Abdul Habib Adam who acquired the piece of land as payment on debt owed by the colonial government and then went ahead to design East Africa’s first shopping complex even though he was not a trained architect. On the lower level now occupied by Java coffee house was Tumbo’s bar.

Metropole cinema closed down alongside a host of cinema halls in Nairobi some years after the ’82 coup and little did we know that our privileged middle-class bubble was about to burst. My pre-teen worldview was manufactured by a father who kept up the fiction to save his children from the trauma of real world events happening around us. It was an alternative universe, much like Italian director and actor Roberto Benigni’s critically acclaimed film “La vita e bella” (Life is Beautiful). In the film, Benigni plays the role of a Jewish Italian bookshop owner, Guido who embarks on the imaginative game of positivity to shield his young preteen son from the horrors of the Nazi concentration camp while under captivity. Like Guido, I had a father who coped under duress of disruptive post ’82 years by choosing silence or humour because they were the most powerful ways a father could cry during hard times.

I lost my innocence of a predictable and certain world in 1982 on the first day of August. I was 8 years old. My elder brother returned from a party on the 31st July and had turned on his portable transistor radio to catch the 6 am news. That Sunday morning, the hesitant voice of radio veteran Leonard Mambo Mbotela on VOK’s national service announced that the government of Daniel Arap Moi had been overthrown. On the national broadcaster, an unfamiliar voice pronounced afterwards,

“You are hereby informed that everybody is requested to stay at home. They should be no movement in town. The government has been taken over by the military. There should be no movement of persons and vehicles. The police should now assume their roles as civilians until further notice,”

For the next three days, there was a protracted firefight between the Kenya Airforce soldiers cheered on by University of Nairobi students against the elite General Service Unity and the Kenya army led by General Mahmoud Muhammed. The city of Nairobi shut down, looters broke into shops and the head of state was nowhere to be seen or heard until days later when he appeared on TV looking thoroughly shaken. The poorly organized coup was crushed in 3 days but for the next three weeks, we stayed marooned indoors listening to the radio playing martial music under a dawn to dusk curfew. At the end of the month of August ’82, 100 soldiers and about 200 civilians had died and President Moi was primed to crush any threat to his hold on power.

The men who led the military revolution that never was were in their 20s drawn from low ranking Air force personnel and the public universities. There were sons of the working poor who died for their revolutionary ideals. The leader of the coup was 29-year old Senior Private Hezekiah Ochuka of the Kenya People’s Redemption Council.

Nairobi went through drastic changes after the failed coup attempt and a new kind of silence fell over our house. My parents never discussed politics in our presence. I was never certain what my father, who worked for the Ministry of Health, thought of the president. Media was government controlled and the news for public consumption feted the benevolence of our great leader, Baba Moi. Oblivious of the ongoings, we had no idea how quickly the country was slipping into repression. We watched as the adults stood aside and cheered like frogs placed in a pot of cool water complacently adjusting to the rising temperature until they boiled to death.

Night watchmen started to appear in the Kilimani neighbourhood – typical men from the pastoralist communities, the brave warriors to stand guard at night because house break-ins had reportedly increased. The bamboo fences disappeared replaced by cement block walls. Burglar proofing on windows became a standard house feature. The wooden gates replaced by solid metal ones with small access doors that one had to hunch over to get through. We started to notice ‘chokoras’ roaming through the neighbourhoods scavenging through growing roadside garbage piles that had gone uncollected for months.

The political and economic changes of the 80s and the 90s were disruptive to the lives of hundreds of thousands of government workers and their families who suddenly slipped overnight from the middle classes, no longer able to afford the privilege of security. In just a few years, there was massive flight of former civil servants from Kilimani and Woodley for Eastlands and villages across the country. I became part of the generation defined by what cartoonist Gaddo characterized as the Nyayo error.

The education system changed from 7-4-2-3 to 8-4-4. We became Moi’s guinea pigs, trained in the ethics of loyalty and patriotism. Moi’s hold on the country affairs was iron-fisted and totalitarian. As children, we totally succumbed to the Kool-Aid of the Nyayoism, programmed by the elaborate state propaganda machine, the original Cambridge Analytica. Living under the grip of Moi’s media hegemony had us parroting Nyayoism propaganda slogans.

The free school milk deprogrammed critical thought. Moi benevolence was God inspired and we knew this because TV cameras followed him to church every Sunday. Competing mass choirs emerged in droves singing in chorus in praise of the Great Leader. We memorized the ‘Nyimbo Za Kitamaduni” raising our voices in complete reverence as we sung the words to Mwalimu Thomas Wesonga choral hit song, “Tawala Kenya, Tawala, Rais Moi”, wagging a single finger in the air and unconsciously endorsing the one-party state of affairs indoctrinated with the Nyayo philosophy of Peace, Love and Unity. During the morning assembly, we recited the loyalty pledge with pride.

I pledge my loyalty to the president and the nation of Kenya. My readiness and duty to defend the flag of our republic. My devotion to the words of our national anthem. My life and strength in the task of our nation’s building. In the living spirit embodied in our national motto – Harambee! And perpetuated in the Nyayo philosophy of peace, love and unity.

Moi was the wise leader, the visionary, a man of God and the sole reason Kenya was an island of peace in a sea of conflict. There was civil war in Uganda, Somalia, Sudan, Ethiopia, Congo, Rwanda and Burundi. Any version of events or literature contrary to the official narrative earned one a subversive and dissident tag and the consequences that came with the label. As we sang and danced to patriotic songs in praise of the great leader and the beautiful life he accorded his subjects, our parents bore the brunt of the dismantling social pillars of society.

“The forces of neo-liberalism are on the march, dismantling the historically guaranteed social provisions provided by the welfare state, defining profit-making and market freedoms as the essence of democracy, while diminishing civil liberties” (Henri Giroux, 2004).

The government under pressure from the IMF adopted the Structural Adjustment Programmes (SAPs) designed to create rapid and sustainable economic growth but instead, they ushered in unprecedented loss of jobs and income equalities uprooting thousands of families and their dependants from the security of government social services. The state surrendered the economy to market forces, prioritising paying off foreign debt over social services. The social systems collapsed overnight as funding was choked, passing public institutions and services into private hands in the name of efficiency. Cost sharing became mandatory and the inequality grew overnight. The public education standards plummeted. The intellectuals were hounded, undermined, exiled, detained, subdued and turned into puppets.

Peter Oloo Aringo, the then Minister for Education captured the sentiment of the times when he publicly announced in biblical and Shakespearean rhetoric during a Nairobi university graduation ceremony that Moi was the Prince of Peace.

Unemployment increased as formal employment opportunities shrunk and the jua kali sector mushroomed. Public bus system broke down descending into a matatu culture of urgency and trickery. Potholes started to become familiar, a thing and public facilities sunk into a permanent decrepit state. Freedom of movement and association was curtailed as police officers turned rogue. Beards became profiled as marks of dissidence or Marxist in leaning, as dangerous as a young man in Kenya’s ghettos spotting dreadlocks during in the later day Mungiki crackdown. The politics became a contest of loyalty to the big man and a new cast of uneducated but loyal court jesters filled the ranks of important state positions. After ’82, Moi ran a tight ship silencing protest effectively, with the perpetual dread of the shadowy Special Branch hanging over the population.

The white man is very clever. He came quietly with his religion. We were amused at his foolishness and allowed him to stay. Now he has won our brothers, and our clan can no longer act like one. He has put a knife on the things that held us together and we have fallen apart.

Chinua Achebe, – Things Fall Apart

Fear and loathing of one’s helplessness is what defined the brand of enforced ‘silence’ of the Moi years. I had little idea that I had inherited my parents’ traumas growing up in an autocratic patronage system. Even during my boldest moments of protest as a university student in the fight for second liberation in the late 1990s, I knew my boundaries. I knew when to reserve comment, speak in code, choose my word carefully and keep my political opinions to myself in public. Stronger, braver and important men had disappeared. I had no illusion what the state was capable of.

The only other thing that rivaled the dread of Moi state repression machinery was a mysterious virus that hunted young lives like Tekayo the cannibal character in Grace Ogot’s “ Land Without Thunder”. On January 15 1985, the Standard newspaper carried a headline “Killer sex disease in Kenya”. HIV AIDS virus compounded by a broken public health system devastated my generation and it became the single biggest contributor of orphaned children. The safe sex and abstinence campaigns coincided with the rise of evangelical churches capitalizing on the despondency that defined the times. By 1988, AIDS had taken on a religious dimension as the curse of our generation. Reinhardt Bonnke, a German preacher arrived to great pomp and razzmatazz to save the souls of Africans and packed stadiums preaching the gospel of healing and miracles. Tens of thousands gathered at his mega-crusade including senior government officials, swept away by the frenzy of spiritual warfare against the demonic forces unleashed on the “Dark” continent.

In traditional Anglican, Catholic and Presbyterian churches, a band of bold men spoke softly and firmly, using their pulpits to preach the gospel of redemption from an oppressive status quo. There was Bishop David Gitari, Alexander Muge, Henry Okullu and Reverend Timothy Njoya. Two years later in 1990 Bishop Muge was dead and Timothy Njoya had been severely beaten in public by state agents outside the parliament buildings.

36 years since the coup of ’82, Kenya remains deeply entrenched in the politics of pilferage and division. The wealth and poverty gap is immoral. The country that the late JM Karuiki once decried as one of “10 millionaires and 10 million beggars” is firmly entrenched. The former Chief Justice Willy Mutunga bluntly called Kenya a bandit economy run by mafia-style cartels. Grand theft has become the enduring characteristic of the historical state and the common denominator co-joining successive generations.

On January 20th, 1961, at the Capitol in Washington DC, newly elected President John F. Kennedy inauguration speech ended with a line that would shape a generation in America,

“Ask not what your country can do for you- ask what you can do for your country”.

The leadership of all progressive nations have demanded the same unwavering patriotism of their citizens and bled the rhetoric of national service to death. However the contrary question is never tabled,

“Ask what your country has done to you?”

Are we willing to talk of the past human rights abuses, the forgotten events of historical injustice, the systemic traumas that we continue to stuff in the storehouse of national amnesia? How can a country that is unable to face and deal with its past move forward?

The millennials I meet ask this question in collective wonderment. How did it go so tragically wrong for a generation that ate the bitter fruits of the Nyayo philosophy? Why did the foot soldiers of the second liberation turn into eager oppressors and ethnic bigots driven by an unprecedented level of greed? If we are to make any sense of our presence and our future we have to go look back to where we lost our way in a Sankofa-esque way. The literal translation of the term Sankofa is,

“ It is not taboo to fetch what is at risk of being left behind”.

When I name my defining Kenyan traumas, I start with ’82, the year that I first experienced the existential angst of Kenya’s middle class. I think about the good intentions of my late father, part of the silent generation born between 1924 and 1942. He was defined by the Second World War and the Mau Mau state of emergency. By 1982, he did what any loving father would have done; shield one’s children from the harsh reality and until they were old enough and equipped to deal with it. My own father died in 1989, the year that Berlin Wall came down and it was the same year that I realised that life was not beautiful, aware of my mis-education in a postcolonial reality, I began my own personal journey of consciousness and awareness.

In 2002 after the inauguration of Mwai Kibaki, I made the number of those Kenyans described as the most optimistic population in the world. Moi was gone. My generation was unbwogable. We had survived the repressive years 80s and 90s and gotten rid of our collective problem. The impossible dream achieved and a bright future beckoned.

By 2005, Mwai Kibaki had been in power for three years and already the optimism of the year 2002 had worn thin. The politics of ethnic hegemony that had taken temporary leave returned with fury. It came to a head in disputed 2007 election and I watched my generation fall into line and retreat to the safety of ethnic bastions. Indeed, there are no atheists in the foxholes. The illusion of national unity faded and the same fears that stalked my father to silence had returned.

We had become our parents, silenced, cynical of everything political, distrustful of those who did share our story and uncertain about what the future held for our children. It might be 2018, yet 36 years later Moi’s protégés continue playing by the same rule book of economic mismanagement, rampant corruption, political assassinations, electoral theft and violent suppression of dissent. The uncertainty that defined the 80s is still here but the unbwogable generation that came of age in 2002, is invested in personal cultivated bubbles of security, no longer willing to rattle the status quo.

We have morphed into our parents with children living in bubbles and disinclined to sabotage our beautiful lives.

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Oyunga Pala is a Kenyan newspaper columnist.

Reflections

In Search of Grandmother’s Osuga Seeds

8 min read. OYUNGA PALA mourns the loss of indigenous crops and farming methods that were buried by capitalist modes of production that focus mainly on high yields and profit.

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They tried to bury us, they didn’t know we were seeds.

This poignant quote is attributed to the Greek poet Dinos Christianopoulos. It formed part of a defiant response to the Greek literary community who criticised Christianopoulos’ poetry as provincial. The poem is part of a collection translated into English by Prof. Nicholas Kostis (1995). The original text read…

What didn’t you do to bury me
But you forgot that I was a seed.

True to text and like a seed, those lines have sprouted many versions of that phrase as mainstream metaphors for resilience and hope in the face of injustice, where individuals or groups of people go up against systems that are designed to bury them.

My own paraphrasing of those famous Christianopoulos’ lines would read:

They tried to bury us, we survived but we lost our way and forgot we are seeds.

The importance of seeds, and indigenous seed cultures, in particular, is a lost consciousness among the contemporary generation of African farmers. The introduction of hybrid seeds in post-colonial Africa progressively altered farming cultures and food systems. Commercial and certified seeds accompanied by a retinue of inputs, fertilisers, pesticides and the promise of high yields but only good for one season, have entrapped rural small-scale farmers in exploitative systems of the dominant agro-industry. Indigenous plant genetic varieties have lost significant ground to hybrid varieties, and consequently, the disappearance of indigenous food cultures and seed knowledge.

Discovering my roots

My own awareness of this crisis evolved over decades. I was brought up in a middle-class family, sojourned in Nairobi, chasing the Kenyan dream. My parents had one foot firmly planted in the ancestral village home, back in Gem, Siaya county.

As second-generation labour migrants to Nairobi, my parents arrived in post-independence Nairobi to secure residence, courtesy of the civil service, in the formerly “white” sections of the city. In these new upper-middle-class spaces, backyards were for recreation and not farming. Nonetheless, my parents never lost touch with their roots, perhaps informed by their acute awareness of the politics of belonging in Nairobi. The capital city was a marketplace where capital was accumulated and transfered from the centre back to the deprived margins. To augment the living costs of large households in the city and establish a security blanket in the event of political dislocation, they maintained a steady link with rural homes.

The importance of seeds, and indigenous seed cultures, in particular, is a lost consciousness among the contemporary generation of African farmers.

My father took us to the village every school holiday without fail. We learned to farm, mainly cash crops (maize and beans) as the staple. It was a labour-intensive crop when planted at scale without the aid of mechanisation.

My father was a civil servant securing measure of comfort after retirement and the loss of government perks. He invested in mono-cropping modern systems focused on high yield and scale for profit. It was during these excursions that I began to understand the clear gendered distinction between how men and women farmed. Men approached farming from a capitalistic frame modeled on the colonial imagery of “I had a farm in Africa” – that famous line by Karen Blixen in the book and movie Out Of Africa – while the women engaged in peasant farming, often associated with allotments around the home dominated by indigenous vegetables.

My grandmother’s permaculture garden

While seasonal farming of maize was a group family activity, my grandmother maintained a garden located outside her kitchen throughout the duration of her life. The kitchen garden was distinguished by plant diversity and the presence of diverse categories of food. Fruit, tubers, bulbs, rhizomes, an assortment of vegetables, fruiting creepers, medicinal herbs, spices and some grain.

Every plant in her garden had a function. To the unaccustomed eye, it appeared to be an unkempt and overgrown allotment, in stark contrast to the neat rows of maize that occupied our family’s three-acre farm. My grandmother practised an alternative style of farming that involved no pesticides, save for firewood ash, minimal tillage, composting and the allotment remained productive throughout the year. My grandmother’s generation employed permaculture principles that Bill Mollison, the Australian educator and co-founder of permaculture, brought to popular consciousness. Her philosophy of food production is captured in Mollison’s articulation of permanent agriculture.

“The greatest change we need to make is from consumption to production, even if on a small scale, in our own gardens. If only 10% of us do this, there is enough for everyone. Hence the futility of revolutionaries who have no gardens, who depend on the very system they attack, and who produce words and bullets, not food and shelter.”

In hindsight, these gardens, a common background feature in most homesteads, served as the main source of the family’s daily nutritional needs. They acted as alternative food sources in the likely event of crop failure due to vagaries of the weather, the sporadic pest and wildlife damage and fluctuating market prices. Additionally, these granny kitchen gardens held something even more precious: a seed bank and a botanical lab where constant experimentation was taking place and heirlooms were preserved. The gardens epitomised food sovereignty in complete revolutionary terms.

My grandparents, who came of age in the nascent days of the British colony, suffered the disruption of an oppressive colonial order. The introduction of a cash economy and wage labour led to new methods of food production, initially as forced labour, and later as a necessity for economic security. While the men farmed to earn money, the women created alternative gardening spaces, delicately negotiating autonomy. A core part of the success of these allotments was seeds.

The loss of heritage seeds

We lost nearly all of the heritage seeds that my grandmother retained in her little garden. The tall pawpaws and red bananas that I thought grew wild as a child are non-existent. The chillies are gone, as are the medicinal herbs and the diverse indigenous vegetables. The traditional yellow-coloured maize known as nyamula of my grandmother’s time are rare sightings. All that I have left is lemongrass that I only went in search of after reading a feature article on its economic viability as a poor man’s cash crop.

In my ancestral village, the keepers of the seed are a generation of grandmothers whose significance is lost in the new agriculture order. The pockets of agribusiness prosperity in the village are exemplified by lush green maize fields propped by agri-tech groups like One Acre Fund that Christine Mungai writes about. Most of the village farms have been reclaimed by bush. Those outside the support network of agricultural companies or who lacked capital to fund farming activity sought alternatives after years of diminishing returns on depleted plots. The culinary habits, a quest for sophistication as an outcome of the colonial project, elaborated by Joe Kobuthi in an article on the hierarchies of food, are now fixated on processed staple substitutes of chapati, bread, mandazi and rice.

In hindsight, these gardens, a common background feature in most homesteads, served as the main source of the family’s daily nutritional needs. They acted as alternative food sources in the likely event of crop failure due to vagaries of the weather, the sporadic pest and wilidlife damage and flactuating market prices.

In a generation, I have witnessed the disappearance and loss of this oral knowledge on indigneous seed in not only food crops, but in trees as well. The predominant attraction to commercially viable eucalyptus, pines and cypress varieties has created tree farms in small holdings following the same ethic of plantation agriculture. Fast growth, high yield and maximum profit.

The indigenous fruits of Kenya are lost to memory and the fruits I now consider traditional, such as mango, guava, and avocado, have roots in Asia and South America. These fruit tree species dismissed for their poor market potential ultimately could not keep up with the evolving culinary habits. The nutritional value of indigenous fruits, such as tamarind, baobab, plums and berries, which grew in the wild, is well documented but restricted to the corridors of botanical research institutes.

Re-imagining food production

The industrialised food systems, with all their detrimental consequences, play havoc not just on our physical selves, characterised by the explosion of diseases of affluence but also on physical land through environmental devastation of water and air pollution and the depletion of biodiversity.

My foray into commercial farming was motivated by profit in an uncertain economy; it was an alternative source of income. I approached it armed with soil tests, fertiliser, certified seed, pesticides and the service of a freelancing agronomist. I decided to try my hand in scaling indigenous vegetables with a boom in demand for local veggies on supermarket shelves. I sourced my seed, the Giant African Black Nightshade (locally known as osuga) from a reputable company. My strategy was monocropping with a rigorous pesticide regimen. Despite my marginal success, it took two pest attacks on a half-acre plot to seriously consider alternative seed. The Catch-22 of hybrid seeds is the heavy reliance on agrochemicals for guaranteed yield. A Route To Food, an alliance against food insecurity in Kenya, conducted research that showed:

At least 32% of pesticide active ingredients that are currently registered and being sold in products in Kenya, have been withdrawn from the European market, due to their serious potential impact on human and environmental health.

This is what set me off in search of my grandmother’s osuga seeds.

Sowing seeds of hope

The seed stock was not available in my village and in the surrounding villages. Whenever I posed the question, I received a cursory response of “koth nyaluo tinde olal”. Indigenous seeds are no longer available these days. My persistence led me to the vibrant Luanda town market in Vihiga County. To my relief, I found a constituency of women selling regional varieties of indigenous vegetable seed, measured by the bottle top from as far as Ukambani. The seed retailed for a fraction of the cost of the certified seed I sourced from the local agrovet. When I asked the women about the stocks, they replied without hesitation, “Mbegu iko”. We have seed. They had formed communities where they collected, selected, exchanged, and preserved seed.

Seed developers have commercialised indigenous leafy vegetables with the emergence of several seed companies selling indigenous vegetable seed. The huge appeal has followed health concerns of meat and processed food-based diets and a return to healthy revitalising traditional plant-based diets.

In a generation, I have witnessed the disappearance and loss of this oral knowledge on indigneous seed in not only food crops, but in trees as well.

I remain aware that these market women in Luanda are an exception rather than the rule. This deliberate stewardship of resilient self-propagating seed is a response to the commercialisation of indigenous vegetable seeds, and in the face of capitalised seed control, they become the face of the resistance movement.

Their actions embody generations of knowledge and a tradition of survival in the midst of a sophisticated assault on the diversity of food crops. The number of peasant farmers on small-scale holdings that once produced the bulk of Africa’s food supply are dwindling. The place of seeds and their preservation is a conversation that happens in the margins amongst groups of community women creating alternative seed economies.

Seed movements

North America has witnessed a revival of native seed exchange banks as indigenous communities re-imagine management systems to store and protect native heirloom seeds that sustained Native American plant-based foods. Seed Keepers Networks are emerging to revitalise native plant species and the inherent rich cultural knowledge that accompanied traditional food pathways. Alongside that are foodie movements returning to tradition of reclaiming and re-imagining pre-colonial African diets that were largely vegan.

Similar initiatives with global visions, such as the International Institute for Environment and Development (IIED)’s Smallholder innovation for resilience (SIFOR) project, examine traditional knowledge-based innovation systems to strengthen food security in the face of climate change. Many of these initiatives abide by a funding model that involves foreign experts jetting in with capital to solve local problems that were exacerbated by neo-liberal economic policies. Where the women are acknowledged, they merely serve as mascots for narratives of rural poverty that appeal to saviour mentality complexes.

It is over two decades since my grandmother’s passing and I have only now come to terms with the significance of her garden and the loss we experienced. It is loss of knowledge, memory, culture and food sovereignty that is replicated among communities in the global South enduring the trauma of colonial dislocation.

The future of seed commons is going to be grassroots-based and sustained by networks of conscious actors organising to dismantle the power of the agroindustrial complex. The confluence of challenges arising from modern food pathways has triggered a case for re-imagination, not only of what we eat, but how we produce what we eat. What we need is culture recovery that revitalises the relationship with land and the foods we produce and consume.

And at the heart of this is replanting our grandmothers’ seeds that we ignorantly forgot to bury in fertile ground.

Written and published with the support of the Route to Food Initiative (RTFI) (www.routetofood.org). Views expressed in the article are not necessarily those of the RTFI.

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Reflections

Our Grandmother’s Miniskirt: A People’s History Through Photographs and Stories

8 min read. It was the women of that time that intrigued me most and I was watching their lives with the impatient envy of a child. I wanted to grow up and wear those cat-eye glasses and cute kitten heels, burn my hair straight, drink Babycham and laugh like they did, with a hand full of bangles held out at just the right angle.

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Over the past few weeks, I’ve been inviting people to share photos of their mothers, grandmothers and aunties looking stylish in the fashion of the 1960s, 1970s and 1980s. The idea, which we are calling “Our Grandmother’s Miniskirt”, is simple enough, crowdsource photographs from Kenyan homes of women dressed in the style of that era; the photographs will be accompanied by reflections, essays, short stories or poems. The aim is to capture a history of ordinary people and to share this history through physical exhibitions, an online archived exhibition, and a coffee table book. I see the project as a celebration of Kenyan women and gives a snap shot of the emergence of the modern Kenyan woman.

By the time we staged the first mini-exhibition with a selection of 27 photographs submitted by people from around the country, I had come to understand that projects are not easy in that they all require planning and careful execution, even if they excite people. Getting people to send their scanned photographs from precious family albums has been challenging. The project goes into the intimate spaces of families and asks them to override their tendency towards privacy and share their lives with strangers. Of course this was always going to be a trial. It was not surprising that although the daughters or granddaughters were enthusiastic to participate in the project, their mothers and grandmothers — the subjects of the photos — sometimes refused to allow them to share these images. But I’m glad the images are trickling in.

Implementing the project over the last few months has helped me see its possibilities and expanded its scope in so many ways. Most important I am now looking for photographs before the 1960s and of Kenyan women wearing a variety of dress and hairstyles. The secret to the power of the project has furthermore revealed itself in the act of crowdsourcing. This approach has allowed people to connect and own the project, much more than if the photos were purchased from a media source.

My Childhood: 1960s and 1970s

The photographs have unleashed a collage of memories for me. I was a child in the 1960s and the 1970s watching Nairobi slowly emerge from its colonial yoke and my parents seemed to be at the centre of it all. They were amongst that group of Africans who were literally stepping into the shoes left by our colonial powers. My late father’s (William Ndala Wamalwa) career developed quickly and after only two or three years in government service, he stopped driving himself and moved to the senior government ranks.

But it was the women of that time that intrigued me most and I was watching their lives with the impatient envy of a child. I wanted to grow up and wear those cat-eye glasses and cute kitten heels, burn my hair straight, drink Babycham and laugh like they did, with a hand full of bangles held out at just the right angle. But most of all I wanted to wear those glamorous clothes that I saw women wear to parties and dinners – there seemed to be a party or dinner every other weekend! Miniskirts, bell-bottom trouser suits, halter tops, maxi dresses, stilettoes, kitten heels. I wanted to dance to the very dangerous James Brown, the elegant Supremes, the cool Fadhili William, the revolutionary Miriam Makeba, and the handsome Harry Belafonte. I thought all these musicians were my parents’ friends. Imagine my shock when I grew up enough to understand that these were distant celebrities.

Burning Hair

For African women, hair means everything. Women spend large sums of money on our hair and even more woman-hours on styling it. Braiding can take eight hours. Typically a myriad of products are used on African hair, from oils, pomades, sprays, gels, dyes, treatments, conditioners and shampoos. How seriously do African women take their hair? Well in the days when we still had plastic bag around, Kenyan women could be seen risking their reputations by wearing plastic bags on their heads in broad daylight, to stop their hair from getting wet during an unexpected downpour.

But when it comes to hair, there was a simpler time. In the early 1960s, hair straightening was not yet fashionable and chemical relaxers had not yet arrived in the country. Kenyan women still wore their natural hair and fashioned it using African hairstyle traditions that involved elaborate cornrows, braids and plaiting. Saturday was the day when hair was dressed, typically with the help of skilled friends or relatives. Hair salons were still a faraway concept and the hair industry was a rudimentary affair and not the billion shilling industry of today.

In our home, many Saturdays found Aunty Truphena dressing my mother’s hair. Aunty Truphena was not my mother’s sister. But she and my mother were closer than sisters. They came from one of the smallest of the eighteen Luyhia sub-tribes, the Abanyala ba Ndombi, who are located in Navakholo division, north of Kakamega forest, in western Kenya. At that time, not many people seemed to have made it out of my Bunyala and it was rare to meet a Mnyala in Nairobi.

Sometimes Aunty Truphena straightened my mother’s hair using a hot comb heated on a charcoal jiko. She divided the wet hai,r drenched it in liquid coconut oil, and burnt it straight with the hot comb. Next she rolled the hair onto pink rollers and pinned it down. I wondered how she had learnt to dress hair like that. Her own hair was forever hidden under the flowered scarf that she always wore.

Nigerians Come to Town

The late 1960s were marked by an influx of Nigerians who came with their loud laughter, outsized personalities and strange food. They were mostly Igbos who had fled to Kenya as refugees from the Biafran War (1967-1970), but there was nothing “refugee pathetic” about them. In fact they came and took over our live,s adding flavour and passion like I had never experienced. I remember the names of one family in particular: Chief Jerome Oputa Udoji[1], his wife Mrs. Uzoamaka Udoji (Aunty Uzo) and their three children Scholastica, Osita Paul and Peter Ebelechukwu. The photograph of my mother below was taken at that time, and it was Aunty Uzo who made me realise just how beautiful my mother was, when she loudly exclaimed that my mother looked like Miss Kenya.

Mrs Rose Nanjala Wamalwa (Sitawa Namwalie’s mother) as an executive secretary at the Ford Foundation in Nairobi, Kenya (early 1970s). Photo Credit: Studio One.

Aunty Uzo was a force of nature. She and the other Nigerian women introduced me to a different way of being African. They were militant in taking on any vestigial racism that still had the temerity to cling on and even fight back, so soon after Kenya’s Independence. Aunty Uzo often regaled us with stories of the many battles she fought when white people dared to assert their colonial-era privilege. For us Kenyans, would so often acquiesce to everyday racism from the British, but not a Nigerian and definitely not Aunty Uzo. She fought with the priests at St. Mary’s school in Lavington where her sons were enrolled and she fought when white people tried to jump queues in banks or supermarkets and she argued with African waiters who tried to ignore her in restaurants. She was strong and assertive, always encouraging Kenyans not to be cowed by white people.

There were days when Aunty Uzo took over our kitchen and taught my mother how to cook Nigerian food, subjecting us to strange new flavours and aromas. Every so often our kitchen was overwhelmed by the strong smell of a dried fish imported direct from Nigeria which was even more pungent than our sivambala catfish dried in the hot sun of western Kenya. I learnt that Nigerians waste very little, cooking all parts of the goat,:the skin, meat, innards and hooves. The one dish that really tested my rather narrow palate as a child was a soup that combined beef, fish and chicken which Nigerians seemed to particularly love. When the war in Nigeria ended, our Nigerian friends left, leaving us changed for ever. But soon their place was taken by Ugandans fleeing the abuses of Idi Amin who began his rule in 1971, but that is a story for another day.

About the Exhibition

These photographs have triggered so many memories for me and it is my hope that they will do the same for all who see them. They document the social history of ordinary people in Kenya. I’ve learned that the past can be another country, sometimes a more interesting country than the narrow ideas that populate the present. I shared the premise of “Our Grandmother’s Miniskirt” with a young man, Basil Ibrahim who taught me the word hagiographic when he wrote the following in an email about the project;

“…a particularly interesting deviation from the hagiographic custom of The Great Men model of history-making…It is a model for bringing the archive to life, using memory, popular culture…in an experiment to provoke us to think about the implications the past has on the future we want.” (17 August 2019)

What he meant was that we tend to make saints of certain “great men” of the past (hagiography means the making of a saint), while ignoring the stories of ordinary people, who lived through those times. I hope that this project will correct that tendency towards hagiography.

When arranged chronologically, the photographs begin with one from1945 of a woman named Gatoro Ndugi M’Chabari, dressed in the traditional dress of the Tharaka ethnic community. The type of dress she wears was worn by married women. The unmarried ladies had their breasts left uncovered. The photograph was submitted by Mr Simon Mitambo, Gatoro’s nephew and shows her in what can only be described as a brief miniskirt. The photo was taken in Meru town in 1945, after entertaining the then colonial governor of Meru. In discussing her traditional dress, Gatoro Ndugi M’Chabari — who is over 90 years old — had the following to say: “Although we looked almost naked in miniskirts, there were no cases of sexual harassment.”


Gatoro Ndugi M’Chabari,
from the Tharaka ethnic community. 1945, Photograph submitted by Mr Simon Mitambo.

In another story entitled, “The Village Woman and Son, Bound for England” John Sibi-Okumu pays tribute to his mother Maria Ajiambo, wa Agostino Munika nende Sarah Mbaye (the names of her parents.) She was also addressed as Naliali, her clan name from the Samia of Western Kenya. John estimates that she was born in 1936.

Maria Ajiambo wa Agostino Munika nende Sarah Mbaye, mother of John Sibi-Okumu. The photograph was taken in 1958 at Noble Studio in Nairobi when John, her first born son, was four years of age.

John’s story of his mother reveals many intriguing circumstances, first being that his mother was born on a sisal estate in Juja, Kalimoni, where his grandfather worked as a nyapara or ‘overseer.’ John notes that Tom Mboya was born in similar circumstances, showing the country had already started to change with people migrating from their homes and making new homes in different parts of the country.

Rosalie Kere wearing a “Stiff” skirt and her “Beehive” hairstyle (1961). Photograph submitted by Caroline Kere.

Caroline Kere shared the photographs of her mother Rosalie Kere – the first photo above – who had the distinction of being a poster girl for soap called “Nakasero” and “Lux” in the early 1960s. Caroline’s tribute story to her mother has the intriguing title, “The Amazing Story of How my Father Found my Mother”. Her mother and father’s story is such an improbable romance story worthy of a blockbuster Nollywood film, that you can read for yourself at the exhibition, the online archive or in the coffee table book that is to come.

What follows is an exhibition of selected photographs.


Grace Ntini, from Narok County. The photograph was taken in Nairobi in 1969. Grace was 24 years old and worked for Avis Rent-A-Car Company. The photograph was submitted by Grace’s sister-in-law, Rosemary Mesopirr.


Rosemary Mesopirr, who
was 14 years old and a primary school pupil in the rural areas of Narok County. This photograph was taken in Mombasa in 1974. This was the first time she travelled to the Kenyan coast to visit her father who was a civil servant then. It was her first time to board a bus.

 

My Stylish Mother
By Doris Rutere

My mother Cecilia Kanyoe was a copy typist at Marimanti Rural Training Centre back in 1975. She was always detailed and careful in her choice of office wear. In this photograph she is wearing closed toe heels and has broken her suit with a turtleneck that matches her head gear, a chain and a wrist watch. I think they present a level of sophistication making her refined and chic. Next to her is Esther Muthoni, who was my mother’s friend. In the picture, she wears a wide belt on her cute mini-dress to create contrast while matching her head gear partly with her shoes. 

Both women are quite careful in how they let their hands rest on their thighs.

 

Joyce Akoth, pregnant with her fifth born in 1973. This picture was taken in the early 1970s when Joyce worked as a teacher and before joining the Ministry of Public Works. The photograph of Joyce Akoth was submitted by her daughter Esther Adiambo.

***


Nancy Wanjiku Kimani , the photo was taken outside Kijabe Nursing Institute, where she was undergoing training as a nurse in Kijabe Town (1969). The photograph was submitted by her daughter Ruth Kimani.

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Reflections

A Letter to Stella Nyanzi: “You Teach Us to Lay Blame Exactly Where It Belongs”

6 min read. Too often we are willing to believe that if we are calm enough, if we are silent enough, polite enough, eloquent enough, poised enough, then the tyrants will listen. We believe that if we are ‘’well mannered’’ then we will be heard. You remind us that this is deception.

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A Letter to Stella Nyanzi: “You Teach Us to Lay Blame Exactly Where It Belongs”
Photo: Facebook/Stella Nyanzi
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My sister Nyanzi,

I used to think tyranny means one-party rule, one media station and army garrisons everywhere. Now I know tyranny also means that who we love, how we live, how we die and even the speed of our death is chosen for us by people that never have to face us, by people that have learned not to fear our wrath or our collective pain. You have taught me this, because both of us live under tyrannies. As I write this, you are in Luzira Maximum Security Prison contending with the tyrannies of the prison authorities, the judicial system, the police, Makerere University, Museveni and his state and personal machinery. We live under multiple tyrannies at once, some more immediate than others, all of them intent on silencing us.

I am writing this from Kenya. I am writing from a country reeling through an economic recession that the state’s press statements will never admit exists. A manmade recession fueled by the looting that seems to grow more arrogant with each day. As I write this, many Kenyans are dying in public hospitals because there is no medicine or the doctors have not been paid or someone stole the money for the equipment. As I write this, there are young people attending endless seminars on entrepreneurship because they face grim rates of unemployment, this too is manmade disaster. I don’t know how many young men the police have killed today; I don’t know how many women have been sexually abused or killed by a country that just seems to hate its women. There are also the university students who are teargassed and beat up every time they try to march, and the many communities unhumaned by the state. I don’t know how many queer people have been stripped or raped or mocked or told to prove they are human beings today. These are the tyrannies I live under.

We share some of these tyrannies and for this, I call you sister. Allow me to call you Stella.

When you staged your first nude protest at Makerere Institute of Social Research (MISR), several academics gave media interviews to say that they condemned your protest and found it to be ‘’too much’’, they mockingly asked if negotiations had failed for you to go to such lengths. More insultingly, some said while they agreed you had legitimate grievances, you could have been more civil. They seem to think that you should have spoken more sweetly. I laughed when I heard them. You know how tyranny works Stella, how it works especially well in bureaucracies. You know how good bureaucracies are at silencing and ignoring. You and I know that bureaucracies move at exactly the speed dictated by tyranny, no faster and no slower.

It is a maddening thing to realize that even in the hallowed halls of universities, we are ignored and insulted and treated anyhow, as our people say. It is more maddening to know that our emails, our eloquent letters and our pleas will go unheard when tyranny is present, as it was at MISR. Tyranny often wears a nice suit and can be well spoken and well respected. At Makerere, you used the tools at your disposal in defense of yourself. The tools on that day were red paint, cellotape, your body, your voice and camera. Those were the tools available to you. The other important tool in your arsenal, arguably the most potent, is your refusal of respectability.

So often, women are only celebrated when we protest in service of the men in our lives — our brothers, our fathers, anyone but ourselves. I think of all of us who are scared of speaking in our own defense, scared of organizing for our own wellbeing, our reproductive freedom, our sexual freedom, our safety. I think of how we have been intimidated to believe that this is entitlement, as if being entitled is a bad thing. How many of us have swallowed indignity after indignity because the only person being humiliated is us?

Here, I pause, in the middle of my letter to acknowledge and greet you in the movements you come from, the movements that have shaped you and supported you. We know that often people are isolated from their movements in order to make them messiahs. But messiahs always fail because they don’t really exist. I greet you in the name of the #RotAtMISR , #WomensMarchUG , #ThisTaxMustGo , #PeoplePowerMovement and the many offline political actions you have taken. From standing in solidarity with students of Makerere when they protested arbitrary inclusion of fees, to caring for the Arua 33 that were victims of state violence, to dealing with menstrual injustice through the #Pads4GirlsUG movement.

It is from your movements that you have dealt with the effects of Museveni’s tyranny intimately, by seeing how your comrades are brutalized and seeing how relaxed the dictators can be even in the face of impassioned pleas for even a small measure of justice. You have seen your movements forced to wait on the dictator’s time. We all do so much waiting after all. We wait for enough money to take our relatives to decent hospitals and decent schools, we wait for courts to vindicate us and for the churches to speak for justice and for the police to stop killing. On both sides of the Malaba border, we wait. A feminist sister, Mumbi, has written about how we are forced to wait on the state’s time, wait on tyranny’s time, in order to live as human beings. Mumbi considers that one of the ways we can disrupt the state’s time is through the communities we build and how we care for each other.

You have given us another answer to how we can disrupt the state’s time; by abandoning respectability and politeness. After all, the tyrants know exactly what they are doing when they abuse our humanity. From your political actions, your Facebook posts, and your court appearances, we learn to call the tyrants by name and declare their shame to them. I read somewhere that your father died because of the poor healthcare system in Uganda, and in your writing, you lay the responsibility for this on Museveni’s head. Rightfully so. Another feminist sister, Sunshine, says that this is reminiscent of what Fela Kuti did when his mother (and our feminist ancestor) Funmilayo Ransome-Kuti died from injuries she got after the Nigerian police raided Fela’s home. Fela took his mother’s coffin to the army barracks, to Olusegun Obasanjo, who for all intents and purposes had killed Funmilayo. When you call Museveni a pair of buttocks, that is exactly what you are doing, connecting the tragedy of all the deaths and suffering caused by a sick state to the head of the state. Truth telling can start there, by us clearly naming the tyrants and abusers.

For some reason, tyrants hate this. They are shocked at the idea that we might call them what they are: abusers, misogynists, sexists, thieves, robbers, murderers, homophobes. You teach us to lay blame exactly where it belongs, to practice the radical truth telling that refuses to be distracted by bureaucracy. Stella, you say that politeness has been held captive, and the powerful don’t listen anymore, and sometimes we have to say fuck it and then people will listen.

Too often we are willing to believe that if we are calm enough, if we are silent enough, polite enough, eloquent enough, poised enough, then the tyrants will listen. We believe that if we are ‘’well mannered’’ then we will be heard. We think if we bend ourselves enough, the tyrants will feel some pity for us. You remind us that this is deception. Good manners are decided by the powerful, and after all — isn’t it the worst manners to steal and oppress? Yet no one accuses tyrants of having bad manners. No, bad manners are left to be a cross for us to carry to hasten our own silencing, our own internal and final deaths. Respectability protects the comfort of the tyrants. Your political actions show us that when we shed politeness, we can disturb their peace in potent ways.

You, like Audre Lorde, know that our silence will not save us. Not only that, but politeness and niceness cannot save us either. You know that we only get silent to work out our internal convictions and from there, we use whatever tools we have to shout, be it our bodies, our phones, our voices. We shout. We shout because we are being killed either way. Your poetry, court appearances and nude protest are all political actions, asking us what we are still afraid of. What do we gain by protecting the comfort of these tyrants to enjoy their theft, their tyranny unoffended?

Stella, you are a woman who has reached into herself and taken joy, taken brazenness and categorically refused shame. Your body is your manifesto, as you say, and with it, you declare and live your radical queer feminist politics every day. We are affirmed by you.

Some people think you are fearless, others believe you are unashameable, I don’t believe either of them. Even with the best intentions, they are trying to make you iron, invulnerable, and otherworldly. I know different. You are not otherworldly Stella, you are fully human.

In care and love,

Karwitha

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