In the early noughties, I was working on a project to publish a lifestyle magazine that my team called Miro. “Miro”, deriving from “Amero” or African American, is a word that urban Nairobians of yore used to describe black people. We were hoping to come up with the first urban lifestyle magazine in which Nairobians would see themselves represented as they did in the Ebony and Essence Magazines published in the US.
During that period, I met a guy named Peter Achayo who had a clothing label and believed in what we were doing. He also knew some other guys doing something similar but their focus was mainly literary. He offered to make the introduction and in early 2005, I met the leader of that group, Binyavanga Wainaina, at the Java Coffee House on Mama Ngina Street, a dreadlocked, dark-skinned, heavyset fellow of medium height, sitting in the company of several people. We sat at a booth where I explained to him what my team and I were doing and trying to achieve. He listened keenly, offering several suggestions which I noted. Binyavanga told me that Ghanaian writer Ayi Kwei Armah, who wrote The Beautyful Ones Are Not Yet Born, was in town at his invitation and wondered if an interview with him would be useful. I jumped at the opportunity as I had read the book as a teenager and rated the writer highly.
On the day of the interview, I made my way to Lillian Towers, aka the Nairobi Safari Club, where Binyavanga had me sit at the lobby and wait to meet the great writer. At the time, our magazine Miro hadn’t seen the light of day but he was willing to accord me the same respect that I had seen accorded to journalists who had been around for a while. That respect was something that I carried with me into a career as someone who catalogued the lives of those whom I met. For Armah it was probably just another interview but it forever changed my perception of what being African was.While our efforts at creating a publication failed only months later, I cherished the meetings I had had with this guy with a weird name and with the famous writer from Ghana.
A year later, I founded a new website/blog called NairobiLiving.com (since discontinued) to catalogue a city that was evolving in multiple ways. Some of the hottest gigs at the time were the monthly Kwani Open Mics, an even which was first hosted at the Yaya Centre and later at Club Soundd on Kaunda Street. My reviews of the Kwani Open Mic events got me an invitation to the East African Writers Summit at Lukenya in 2006 organised by Kwani Trust because I was cataloguing the literary revolution that was taking place.
My life was a mess when I received that invitation. My mother had invested a huge sum of money to ensure that I received the best private university education. I had left the country for a year and a half and returned floundering. I was a thirty-one-year old man with no income who had moved back to live with his parents. The magazine project that I had initiated had failed spectacularly and I was desperately looking for something to fill that void both as a career and for income.
I attended the Lukenya writers’ summit and adopted a sort of mute position, one that I would adopt for many years to follow where Binyavanga was concerned. I sat and listened in on the panel discussions by day and, in the evenings, on the conversations that took place by the campfire over copious amounts of alcohol. Listening to Binyavanga, Yvonne Adhiambo Owuor and others discussing the challenges and the opportunities in their writing careers had a marked influence on my life. Binyavanga spoke about the need to write back to the European canon, challenging the writing that defined Africa from the likes of Ernest Hemmingway and Joseph Conrad. It was an amazing opportunity for someone seeking purpose in life. That weekend was a turning point for me and I committed to this writing world fully in the months and years that followed.
In making this commitment, I got to know more about this dude who went by the name Binyavanga—or The Binj, or Binya to the many who knew him in the African creative community—and who was central to my making such a life-altering decision. Over the years of a glittering career, his work was featured in many of the world’s most famous publications. Starting with G21, the magazine which had featured his award-winning short story Discovering Home, his work could be read in Chimurenga, Virginia Quarterly Review, Granta, The East African, National Geographic, New York Times, Transition, Bidoun, Harper’s Magazine, The Guardian, Africa is A Country, Jalada, Bomb, etc. At one point he had a regular column in the South African newspaper Mail & Guardian.
The year I met him, Binyavanga’s essay How To Write About Africa, satirising how European writers talk about our continent, was published in Granta. That essay reminded me of sitting around a campfire listening to him railing against those who brought Africa and Africans to disrepute with their writing. It became one of the most shared pieces of writing in that respected literary journal and brought him worldwide fame.
His 2011 memoir One Day I Will Write About This Place was his personal contribution to the canon. It was a memoir of his middle class childhood in his Nakuru hometown, his time as a student in South Africa and, after he return home, his travels across the world. The book, which was favourably reviewed, made it onto Oprah’s 2011 Summer Reading List . It was The Binj at his best, showing what English could become in the ownership of a writer with his singular talents.
Also memorable was I’m A Homosexual Mum which was published in Africa Is A Country in 2014 when Binyavanga came out as gay. At the time, several African countries including Nigeria and Uganda were either drafting or passing new laws that would make it very difficult for gay people to be who they were. Outing himself in this “lost chapter of his memoir” and following it up with a series of videos that outlined his views on what was happening to the social fabric of the continent was a revolutionary act.
While his own writing career was significant, his biggest contributions came from his ability to influence others with his larger-than-life personality, his compassion and his sheer determination. It started with the winnings from the Caine Prize, part of which he used to set up the Kwani Trust, jolting the literary establishment in Kenya and across the continent. Before he showed up, there was no Kenyan literature in the true sense of the word as, for a quarter of a century, the industry had been hobbled by anti-intellectual dictator Daniel Arap Moi. At the time the publishers association was a text book lobby that focused mainly on selling books to school children while onn the continent, there was a lull in African writing after the glory years of the Heinemann African Writers Series in the 1960s and 70s.
The appearance of Binyavanga Wainaina signified a shift not only in Kenya but across the continent. After many years of inactivity, the “literary desert” got a new lease of life with the publishing of the literary journal Kwani? (which in Kenyan slang means “so what?”). That journal gave us the next winner of the Caine Prize, Yvonne Adhiambo Owuor. In the years that followed, the journal introduced many writers to the African literary community like the aforementioned Yvonne Adhiambo Owuor, Parselelo Kantai, Muthoni Garland, Dayo Forster, Billy Kahora, Andia Kisia, and many more that became the foundation of the literary community that we all look up to today.
With Binyavanga editing Kwani?, he challenged the idea of what literature looked like, what it sounded like or even in what language it was expressed. Experimentation was the name of the game and nothing demonstrated this as well as his association with Ukoo Flani Mau Mau which many considered the biggest hip hop group to come out of Kenya. Led by the inspirational Kama (Kamau Ngigi), young artists who came mainly from Dandora could be spotted at the Kwani? offices huddled around an office assistant who was typing their poetry and other musings. These musings, written in Sheng—a constantly evolving urban language made up of Kiswahili, English and many other Kenyan languages—ended up in the journal much to the consternation and fury of those in academia who considered themselves the arbiters of good literature.
When not ensuring that their work was immortalised in his preferred literary medium, Binyavanga also influenced the young artists as the executive producer of the 2016 Dandora Burning album. He raised money for studio time as well as for living expenses for the artists who featured on the album like Juliani, Kitu Sewer, and a whole host of others.
It wasn’t just experimenting with language that became a trademark of the journal under The Binj. Stories refused to follow any familiar patterns, with fiction, nonfiction and poetry mixed in with everything one could imagine, being published in the smaller version Kwanini when the journal wasn’t in publication. For a long time, there had been a yearning for something new and exciting and the breath of fresh air that was Kwani? was welcomed by those who had been rejected elsewhere. There was now a new space in which to showcase their talent. The new methods were however not as welcomed by those in publishing and academia, with one commentator famously calling the Kwani? writers “literary gangsters”.
One of the methods that the Kwani?, team employed to share their work with the Nairobi audience was the Kwani Open Mic. At the beginning, the events were hosted away from the Central Business District at the Yaya Centre Café Crème and at Kengeles in Lavington. Writers would read from their current or forthcoming entries to the Kwani? Journal, the readings interspersed with poetry and music including from the aforementioned hip hop artists who were part of Ukoo Flani Mau Mau. The open mic events were a occasions where some of the city’s well-heeled residents met some of the least well off, continuing on a theme that had been prevalent in the wake of the 2002 “revolution” where everything was possible without Dictator Moi; even the rich could sit with the Dandora boys.
The open mic events eventually moved to Club Soundd which was located in the Central Business District. People coming to Club Soundd had convenient access to public transport until the late hours and so more people attended and stayed longer. The events became a spectacle, with the person on stage having to be extremely compelling with whatever poetry, prose, or rap they were presenting or else the audience would switch off and turn to conversation with whoever they were with. Showtime at the Apollo had the Sandman; Kwani Open Mic had a crowd that became easily bored and tuned out.
As the years went by, it became the stage on which many of the poets of the last decade and a half cut their teeth. It was an important space for the community of the arts to get together and meet every first Tuesday of the month. From these events, many relationships, both professional and personal, were forged that endure to this day. That open mic spawned what became Nairobi’s vibrant poetry scene.
Eventually, Binyavanga had to leave the day-to-day running of the organisation to other people as he took up writing gigs “in the abroad”. He was the writer-in-residence at Union College in Schenectady, New York, in 2007 and in 2008, at Williams College, in Massachusetts. He then became director of the Chinua Achebe Centre for African Writers and Artists at Bard College, New York state. While not physically present at the organisation, Binyavanga sat on the board, giving valuable energy and input.
The organisation he once led came up with the Kwani Manuscript Project in 2011 to identify the next big writing stars from the continent and it delivered the motherload. The shortlist from the hundreds submitted included the manuscripts of Ayobami Adebayo’s Stay with Me, Ayesha Harruna Attah’s Saturday’s People, Toni Kan’s The Carnivorous City, Jennifer Nansubuga Makumbi’s The Kintu Saga, and Saah Millimono’s One Day I Will Write About This War. The Kwani? Manuscript Prize was ultimately won by Jennifer Nansubuga Makumbi, arguably the biggest starin Ugandan writing today.
Binyavanga was involved in other projects with varying degrees of success. In 2010, he led a team of writers in the Pilgrimages project where 14 African writers travelled to 13 African cities and to one city in Brazil to explore the complexities of disparate urban landscapes. From this experience, the writers were to create 14 works of non-fiction about their trips, capturing each city against the backdrop of Africa’s first World Cup. In the list of writers were Chris Abani, Doreen Baingana, Uzodinma Iweala, Alain Mabanckou, and Yvonne Adhiambo Owuor. The much-hyped works never saw the light of day; even the charismatic Kenyan couldn’t always deliver on the hype.
The Binj did deliver on many other occasions though. One of these was the Hay Festival/World Book Capital Africa39 list, a project to identify the writers, under 40 years of age, most likely to influence African writing in the future. That project, for which Binyavanga did most of the initial research, gave us a list of writers who would theoretically influence African writing in the future. Many on that list like Chimamanda Ngozi Adichie, Lola Shoneyin, Abubakar Adam Ibrahim, Shadreck Chikoti, Novuyo Rosa Tshuma, and Zukiswa Wanner continue to live up to its premise. Binyavanga was also the biggest supporter of the 24 Nairobi book project which showcased Nairobi as a modern African city through the eyes of its own photographers.
Away from his hits and misses, Binyavanga was plagued by illness in the last few years of his life, suffering a major stroke in 2015 from which he never truly recovered. He announced that he was HIV positive in 2016 and battled with his body until it all ended on the evening of May 21, 2019.
There were two Binyavanga Wainainas; the man before and the man after the 2015 stroke. After he recovered, Binya as I knew him, was not the the same force of nature that he had been. The man who was clumsy in an endearing sort of way was now having that clumsiness seep into all of his life, and it showed. He spent many hours on social media sharing whatever he was thinking and doing while getting into unnecessary virtual battles with perceived or real enemies.
The Binyavanga I wanted to remember was The Binj of before 2015 who showed up one day and changed the game by sheer force of will. I remember meeting him two weeks after being hired as an editor at the Star newspaper in Nairobi in 2011 and was invited to his birthday party where we chatted and he encouraged me, reminding me just how important the work that I did was. This coming from him was a boost that drove me for a long time. I knew that, being in an influential space, I had to ensure that the literary arts occupied their place of honour in Kenya.
We met on and off over the next few years until he was hospitalised by illness. His last words to me were, “You’ve grown a beard”. I laughed and said, “Yes”. They were the last words we shared.
The last time he was at my house, he took a nap in my living room then woke up and dominated the conversation at the smoking area at the backyard. I could tell that he could be a bit frustrated with his speech but he still held his own on in a wide variety of topics. That night showed me the best and the not-so-great of the great man. Being down because of a physical challenge but still coming to the conversation, opening with his signature, “you knowwwww…”
Thank you Binya. You saved me, and many like me.
Rest in Peace Binya. Rest in Power.
You can find a gallery of Binyavanga Wainaina’s writing at PlanetBinya.org.
Support The Elephant.
The Elephant is helping to build a truly public platform, while producing consistent, quality investigations, opinions and analysis. The Elephant cannot survive and grow without your participation. Now, more than ever, it is vital for The Elephant to reach as many people as possible.
Your support helps protect The Elephant's independence and it means we can continue keeping the democratic space free, open and robust. Every contribution, however big or small, is so valuable for our collective future.
Hamba Kahle Kenneth David Kaunda, Pillar of African Liberation Struggles
Kenneth David Kaunda was one of a generation of African leaders of a caliber that Africa will not see again.
Ten years ago, I was sitting together with other invited guests during the Republic of South Sudan independence celebrations on the day that South Sudan was declared a free nation, when I saw an elderly man with a white handkerchief in his hand, walking slowly towards the podium. The independence celebrations were already underway and the podium was crowded with African heads of states. The stadium was quiet, possibly because everyone was puzzled that this elderly man was walking towards the stage when everyone was already seated. When the master of ceremonies announced that the man was Kenneth David Kaunda the venue buzzed with excitement.
Everyone on the main podium where the heads of states and prime ministers were seated stood up and clapped until Mzee Kaunda was seated. Many of those seating near me were wondering how Kaunda had entered the stadium while all the presidents, including the host president, had already arrived. Foreign affairs officials of the United Republic of Tanzania later explained to me that Mzee was late because his flight had been delayed. The reception he received at the stadium showed the esteem with which the elders who started and led the struggle for freedom were held even in their retirement years. It was a big honour for the Republic of South Sudan that the former president of Zambia and the second Chairman of the Frontline States was present on the day the country became independent.
A few months later, around March 2012, I was lucky to meet Mzee Kaunda. I was in Lusaka on parliamentary business and I requested that the Zambian parliament afford me the opportunity to pay him a visit. Mzee Kaunda received me warmly in his office and we spoke about a number of African issues. The conversation was essentially Kaunda answering my questions about African liberation movements. I remember that as you enter his office, there is a photo of Mzee Kaunda, Mwalimu Julius Nyerere and Mzee Jomo Kenyatta taken at the airport in Nairobi as they wait for their flight to the United Kingdom.
This was before their countries became fully independent; it was the time of self-government, when both Kaunda and Kenyatta were Prime Ministers. Tanganyika had already obtained full independence, although this was prior to the formation of the United Republic of Tanzania. I asked Mzee Kaunda if he could remember when that photo was taken and he said that it was in January 1964. They were young, smart individuals who possessed a lot of self-confidence. Mzee Kaunda explained to me how at the time, Africa had a lot of hope and he spoke of his very close relationship with Mwalimu Nyerere and even with Mzee Kenyatta, although their politics were not very similar. All three are now no longer with us. Mzee Kenneth David Kaunda passed away on Thursday 17th June 2021 in Lusaka, Zambia.
Kenneth Kaunda, popularly known as KK, was the only surviving founding president of an independent African state. But he was not a founding president of the Organisation of African Unity (OAU). Zambia was not an independent state when the OAU was formed on the 25th of May 1963 and neither Kaunda nor Jomo Kenyatta were amongst the leaders who signed the OAU Charter. Zambia joined the OAU on the 26th of February 1965. It is however easy to assume that KK was a founder of the OAU as he was at the forefront of the independence struggle in Africa and because Zambia gained independence shortly after the OAU was formed. KK believed strongly in the OAU and took part in almost all its meetings. He became the Chairman of the OAU in 1970 at the 7th meeting of Heads of States in Addis Ababa, Ethiopia.
As Zambia gained its independence, Mozambique and Angola were engaged in the struggle for independence from Portuguese colonial power, while South Africa and Namibia were fighting the white supremacist apartheid regime. And although Zambia was surrounded by countries that had already gained their independence — Zaire (now Democratic Republic of Congo (DRC)) and Malawi — it only had close relations with Tanzania and Botswana. Under Kamuzu Banda, Malawi had close relations with Apartheid South Africa while Zaire was used by Western nations against liberation movements. Zambia was going through trying times. Being a landlocked country, the country could either transport goods through the ports of Beira and Nacala in Mozambique, which was under Portuguese rule, or through Southern Rhodesia (present-day Zimbabwe), which was under Ian Smith’s settler rule. This is where Kaunda’s leadership underwent trying times – to protect his country’s interests by cooperating with the apartheid regime or to support the struggle for freedom from colonialism in Africa. Kaunda chose the latter option at a very high cost.
Kenneth Kaunda, popularly known as KK, was the only surviving founding president of an independent African state.
President Kaunda started the Mulungushi Club together with President Nyerere and President Milton Obote of Uganda whose aim was national reconstruction. Unfortunately, President Obote was overthrown by Idi Amin in 1971, leaving only Kaunda and Nyerere. They invited President Seretse Khama of Botswana to one of their meetings, during which, for the first time, the name Frontline States was used. That first meeting was held in Lusaka, Zambia and Mwalimu Julius Nyerere was the first chairman of the Frontline States, contrary to custom which dictates that the president of the host state should be chairman. Mark Chona, special assistant to President Kaunda, has documented in the Hashim Mbita Project – Southern African Liberation Struggles Contemporaneous Documents 1960 – 1994 how Nyerere became chairman:
It was on the issue of releasing from prison the Zimbabwean freedom fighters, the first meeting was in October when I was sent to Cape Town and KK wanted to give a recap to President Nyerere and President Khama. Once seated Mwalimu said “oh! Kenneth, you are the host. I request that you should be the chairman” and KK said “No, Mwalimu please chair the meeting, I am only a host.” At the second meeting, Mwalimu again requested that Kaunda should be the chairman and again Kaunda said “No, no, you spoke very well at the first meeting, please continue to chair the meetings” and that is how Mwalimu Nyerere carried on as the Chairman of Frontline states until 1985 the end of his presidency in Tanzania. That is Mzee Kaunda then became Chairman and he continued with this role until he lost the election in Zambia in 1991.
President Kaunda is essentially remembered for his role in African liberation. In his time, Zambia served liberation movements, resolving disputes within the movements, providing financial assistance and preparing them to run their countries. Zambia came under military attack from Ian Smith’s Rhodesia and Apartheid South Africa and was even threatened with nuclear bombing by the Apartheid regime. In order to stop Zambia from being dependent on the ports in Mozambique and South Africa, President Kaunda and President Nyerere decided to seek assistance from China to build the TAZARA railway. At one point, Zambia also started efforts to develop a nuclear bomb to be used against South Africa.
Members of the Frontline States increased to six when Angola, Mozambique and Zimbabwe gained independence. The biggest task remaining was to liberate Namibia and South Africa, both of which became independent in 1991 and 1994, respectively. Mzee Kenneth Kaunda was at the forefront in ensuring the success of the liberation struggle, during which many lives were lost.
Kenneth Kaunda’s power handover was a big lesson on democracy for Africa when he conceded defeat in an election and handed over the presidency to Frederick Chiluba in 1991.
Kenneth Kaunda also made decisions that either brought misunderstandings between him and his fellow leaders of the Frontline States, or convinced them to take positions that were contrary to those of the OAU. Three issues will be remembered the most. The first was recognising the secession of Biafra from the Federal State of Nigeria. This decision, which was made by only four countries in Africa – Zambia, Gabon, Ivory Coast and Tanzania – caused a lot of misunderstanding among African heads of states. Tanzania recognised the Republic of Biafra on the 13th of April 1968 and Zambia did the same a month later on the 20th May 1968. I was told by a former ambassador from Tanzania who had attended the 5th OAU general meeting which took place in September 1968 in Algiers, Algeria, where the issue of Biafra was discussed, that President Kaunda was verbally attacked by his fellow presidents to the point that he had to leave the meeting. His friend Mwalimu Nyerere did not attend the meeting but sent his friend Rashidi Kawawa instead. KK continued to believe in Biafra for a long time and in November 2011 he attended the funeral of Lt. Colonel Odumegwu Ojukwu, who had been the leader of secessionist Biafra.
The second issue was recognising Angola’s independence. Angola obtained independence from Portugal in 1975 following years of armed struggle. The 1975 military coup in Portugal opened the way for independence talks that were led by Zambia. As none of the country’s three liberation movements — the MPLA led by Augustino Neto, União Nacional para a Independência Total de Angola (UNITA) led by Jonas Savimbi and Frente Nacional de Libertação de Angola (FLNA) led by Holden Roberto — had control over Luanda, the OAU intervened and a vote was organised to decide which of the three parties would take over from Portugal.
The results of the vote did not produce an outright winner and OAU member states were very divided on this. At a meeting of African heads of state in Addis Ababa, President Kaunda gave a speech that showed his support for UNITA which really angered Mwalimu Nyerere and the Tanzanian delegation. Mwalimu Nyerere therefore decided against giving his speech and instead only said a few words in response to the president of Senegal.
Journalist and lawyer Jenerali Ulimwengu, who was in Addis Ababa as the Deputy Chairman of the Pan-African Youth Movement, told me that the situation had been very tense. The MPLA decided to enter Luanda and declare independence after Portugal surrendered the instruments of power. Jenerali, who was present in Luanda on independence day, will not forget that day; as Tanzania was seen as not principled despite sending the Vice PresidentAboud Jumbe to the celebrations. The issue of Mzee Kaunda, Jonas Savimbi and UNITA is an issue that has still not been understood.
The third issue is one that concerns Zambia. President Kaunda was severely punished by the settler government of Rhodesia and the apartheid regime of South Africa, to the point that Zambia’s economy completely collapsed. Kaunda had closed the border with Smith’s Rhodesia but TAZARA was unable to transport goods into Zambia. The people of Zambia blamed him for his politics of assisting liberation movements instead of focusing on Zambia’s interests. Contrary to his agreement with his fellow leaders, and contrary to his promise that he “would not open the border until Zimbabwe gained independence”, KK decided to open the border with Zimbabwe. In the meeting of the Frontline States a big dispute arose between Presidents Machel, Neto, Kaunda and Nyerere. Mzee Joseph Butiku, who was then Nyerere’s Chief of Staff, has said that it was one of the most difficult meetings he attended during his time with Mwalimu Nyerere. Butiku states that “in the middle of the meeting leaders began to cry. Our role as assistants is to make a record of the conversations, I simply wrote that ‘the presidents are weeping!’”. Zambia was eventually allowed to carry on with its plans. A similar thing happened to President Machel in 1984 following the Nkomati Accord with the Apartheid regime of South Africa and this led to Nyerere “chasing him away” when he went to give him a recap.
Zambia came under military attack from Ian Smith’s Rhodesia and Apartheid South Africa and was even threatened with nuclear bombing by the Apartheid regime.
Kenneth Kaunda’s power handover was a big lesson on democracy for Africa when he conceded defeat in an election and handed over the presidency to Frederick Chiluba in 1991. Kaunda was a president who was very modest to the point that by the time he relinquished the presidency, he did not own a house. When Chiluba took over, he gave Kaunda a hard time, going to the extent of imprisoning him for treason. Mzee Kaunda went on a hunger strike while in jail which he only ended when Mwalimu Nyerere visited him. Dr Levy Patrick Mwanawasa, the third president of Zambia, returned KK to the status of Father of the Nation, giving him all his dues as a retired president, which he continued to receive until his death.
In Development as Rebellion: Julius Nyerere A Biography, Prof Issa Shivji, Prof Saida Yahya-Othman and Dr Ng’wanza Kamata explain how shocked President Kaunda was by the terrible condition of the road to Butiama (Nyerere’s home village). He came to the conclusion that the driver had gone the wrong way as it was not possible that the road to the president’s house could be in such a terrible condition. But it is more shocking that President Kaunda did not have his own home when his presidency ended as he had served his country and never thought of himself. Without a doubt, the first generation of African leaders was unique and I do not think that Africa will get leaders of Kenneth Kaunda’s calibre again. May God rest his soul in peace.
Hamba Kahle KK. You are the last to depart. Greetings to Nyerere, Bibi Titi, Samora, Josina, Winnie, Mandela, OR Tambo, Lumumba, Neto, Mondlane, Hani, Chipeto, Marcelino and all the others who gave their blood and sweat to liberate us.
Benjamin Ayimba: The Making of a Rugby Great
Not even the privilege of the national honour of the Order of the Golden Warrior of Kenya (OGW) and his personal acquaintance with the country’s top leadership could save Benja from this fate. A man who handled his public and personal failures gracefully, would become a victim of state failure.
On April 17th 2016, the Kenyan rugby fraternity was ecstatic. It felt good to be Kenyan. We had finally arrived. The impossible had been achieved. Kenya 7s had won the main Cup at HSBC finals at the Singapore Sevens, against the formidable Fiji, the most successful rugby sevens playing nation in the world.
In the iconic picture, now a part of the annals of great Kenyan sporting moments, is the entire team in dominant red colour of the national flag, their fists raised and joy painted on their faces. In the centre, stands team captain Andrew Amonde holding the trophy high above his head flanked by former captain Humphrey Kayange.
On the extreme right of the picture, standing at the back, partly hidden by the jubilant frame of team physio Lameck Bogonko, is the man responsible for that victory, coach Benjamin Otieno Ayimba better known as Benja. Head coach of Kenya Sevens and the first and only Kenya Sevens coach to lift the World Sevens Series. The position was typical of Ayimba’s graciousness. Every member of his team would have a spot on the podium, no matter how fringe their contribution may have been. The road to Singapore was 20 years in the making. Singapore was Benja’s first international assignment in 1996. It was a dismal outing for Kenya. His coach then, Mike Tank Otieno described him as focused, intense, disciplined and a quick study. Those traits would come to epitomise his career both as player and coach.
Benja was a master of iterations and applied the principle of continuous improvement.
Andrew ‘Ndiri’ Ondiek, one of Kenya’s most outstanding No.8s and the man whose position Benja inherited in the national team recalls an incident during a Kenya Cup game. Impala had suffered a bruising loss to a well oiled Mean Machine. Benja who played for Impala sought out the Machine backrow player and asked why it was so difficult to tackle him during the game whilst taking mental notes. By the following season, Impala marshalled by Benja, was handing out regular upsets, on the road to becoming genuine title contenders.
In 2008, assailed by sceptics who believed he would face eminent failure as coach, a sports journalist asked what he would do differently. His response was accountability. He would take responsibility for any loss the team suffered and Kenya suffered some humiliating losses before the grand moment in Singapore. All through the dark episodes, Benja shielded his boys from criticism from the fans and the rugby union administration.
Benjamin Ayimba’s contribution to the advancement of Kenyan rugby and sport is enormous. He gave his life to rugby when fell in love with the game 30 years ago as a student in Maseno high school. At every juncture, he pushed his team forward. Maseno high school had no rugby pedigree before Benja appeared. He left them as national champs who lost a final narrowly to Nakuru High in 1993. Impala Rugby Club, was playing in second division Eric Shirley Shield when Benja arrived and as a 20 year old captain, he brought Impala to the Kenya Cup where they went on to sweep every trophy on offer.
Sevens glory is usually the domain of the backs but Benja was part of the new generation of forwards, with ball handling skills of backline players, extremely agile and mobile, modelling himself after New Zealand and All Black legend, Zinzan Brooke.
Benjamin Ayimba was part of the winning squad at the Safari Sevens in 1997. He was a member of every Kenya Sevens team between 1996 and 2011 and represented Kenya at four consecutive Commonwealth games in 1998, 2002, 2006 and 2010. He was a member of the inaugural team to the Rugby World Cup in 2001 in Argentina where he scored Kenya’s first try against South Korea. He represented Kenya at two more World Cups and was head coach at our high points when Kenya made its first IRB Sevens Series Main Cup Final in Adelaide, Australia in 2009 and earned the third place finish at Rugby World Cup in 2009 in Dubai and eventually a main Cup trophy in 2016 in Singapore. He played 38 times for Kenya leading them 21 times.
Benja surpassed any other player and coach in terms of honours, straddling three generations. He was part of the second wave of sevens rugby that put Kenya on the international map taking over from the pioneering Watembezi generation who morphed into Kenya Sevens during 1986 Hong Kong Sevens.
He was a permanent fixture during Kenya’s return to the international sevens rugby scene. He was a Kenya Shujaa veteran when the new generation comprising the likes of Collin Injera, Humphrey Kayange, Lavin Asego and Andrew Amonde emerged. After his coaching stints, his proteges from Impala and Kenya, Mitch Ocholla and Innocent ‘Namcos’ Simiyu would also make their mark as Kenyan Sevens national coaches. During my brief spell as an editor of Kenya lifestyle magazine, Adam, Benjamin became one of the only two sports personalities to unanimously make the cover profile. Paul Tergat was the other. The theme of the June issue of 2008 was fatherhood. At the time, we positioned Ayimba as a young father who had made a career out of rugby and transitioned from player to coach in an exemplary manner.
Now in hindsight, I ponder on his role as a big brother and leader to the generation that he played alongside and a father figure to the hundreds who thrived under his tutelage as coach.
Benja should not have died. Not this way, not this young. It is difficult to put in words how devastating this loss is, not just to his immediate family, the rugby and sports fraternity but to the country. We are a nation badly in need of father figures with a measure of integrity. In a country at war with its best, intentionally extinguishing its brightest lights, there are not enough heroes in the public domain to inspire the masses to see beyond the state of despondency and cynical disillusion that has come to define the lives of the young in modern Kenya.
Benjamin Ayimba’s death is a consequence of systemic failure culminating in a dysfunctional health system brought about by our adopted neo-liberal culture of greed. The public performance of the political class, jostling to send their messages of condolences after his death announcement as his hospital bill remained unpaid illustrated the tragedy of national heroism.
Sports professionals for all their glory are subject to the same highly unsafe and exploitative work conditions affecting all workers under the conditions of capitalism.
Why would a beloved Kenyan, who attracts the personal attention of the head of state become saddled with a medical debt running into the millions? It is sobering that the gallant rugby dynamo would succumb to disease that was as commonplace as malaria.
Not even the privilege of the national honour of the Order of the Golden Warrior of Kenya(OGW) and his personal acquaintance with the country’s top leadership could save Benja from this fate. A man who handled his public and personal failures gracefully, would become a victim of state failure.
It is the recurring epilogue of our sports men and women, devoting the best years of their lives, making sacrifices for national honours, for something larger than themselves and from a place of love.
What does one do, when a country does not love you back?
In the wake of his death, at the young age of 44, I have been left reminiscing on his legacy. As streams of tributes are read in the wake of his tragic passing, the focus has been on his successes. It is a stellar career by any measure and one that I would dare say, deserves to be the impetus for the establishment of Kenya’s Rugby Hall of Fame, that is long overdue.
However, Benja’s other enviable quality, was how he handled failure. Both privately and in his public life, Benja was the comeback king and this perhaps is why his death left the fraternity reeling in disbelief. Most people assumed that Benja would pull through, as he always does.
Of the many accounts I have come across, this particular one struck me as an apt depiction of the selflessness that Benjamin Ayimba embodied.
The account was told by former Impala hooker, Willy Ombisi.
During pre-season training, a talented rookie player joined Impala with zeal, displaying dazzling skills and embarrassing some of the senior players. The players were divided into opposing teams of potentials in competition for the first team jersey where a plot was hatched by the Impala veterans playing on the opposing side to introduce the young buck to the truth of club rugby.
In the run of play, Sammy Migz, playing at fly half, received the ball off the back of a scrum. As the opposing fly half rushed at him and he easily evaded the tackle with a sidestep off his right foot into the space, where veteran winger Oscar Osir was approaching for a cover tackle and the young flyhalf repeated the same sidestep off his right foot dodging the winger and landing into what in rugby speak is known as the pseudo-gap putting him the inevitable path of collision with a loose forward. It was precisely where they wanted him.
Lurking on the wings, waiting to demolish this flamboyant run of play was a bone crushing flanker, the late Samson ‘Chum Reru’ Opondo.
Benja, who was playing on the rookie’s side running off his shoulder in support, caught a glimpse of Chum Reru moving at top speed closing the false gap headed straight for an oblivious flyhalf. It was a split second decision. He stretched out his hand, grabbed the edge of the fly half’s jersey, pulling him into his body and cradling him at the precise moment that Chum Reru made contact.
Benja’s body absorbed the impact of the devastating tackle. Both players were left stunned on the ground for a few moments after the collision but the young fly half had just survived a tackle that would have probably put him out for a season and dented his confidence. Benja had put his body on the line for the rookie and this was an act he repeated over and over again in more ways than one.
In arena of sports, games fade away but how those fleeting moments made us feel, stay with us long after our champions are gone.
It is why we mourn Benja deeply but with profound gratitude for the generosity of his spirit, his repeated acts of selflessness and the enrichment he brought to our lives.
Journey well Wuod Alego.
Rest in Power, Sir Benja.
George Floyd and Ma Rainey’s Black Bottom
Seeking escape in the art of Chadwick Boseman and the writings of Obama and Ta-Nehisi Coates in a time of trauma.
I watched Ma Rainey’s Black Bottom for the second time while waiting for the verdict in Derek Chauvin’s trial for George Floyd’s murder. The film focuses on Ma Rainey, an influential blues singer, and dramatises a turbulent recording session in 1920s Chicago. I was looking for escape.
The trial of Derek Chauvin was emotionally draining. It was also scary because of the very real possibility that Chauvin might walk free. And George Floyd would become just another statistic. Just another black man losing his life to a mix of police brutality and racism. We waited for the twelve jurors to do the right thing. To look beyond the skin colour of the executioner and the executed and give us a reason to believe again in the promise of justice for all. The jurors chose the right side of history.
I was looking for a good film with a strong black cast, and for literature by leading contemporary black intellectuals to provide me with perspective, a sense of reality, and hope during the trial. So I settled on Ma Rainey’s Black Bottom, on Barrack Obama’s Dreams From My Father and Ta-Nehisi Coates’ Between The World And Me.
Ma Rainey’s Black Bottom was an opportunity to witness black excellence on the screen, characters navigating America by their wit, pain, industry and love. I did not know much about Ma Rainey the artist before watching the film although I had heard about her pioneering work as a blues artist. And so I was looking forward to rediscovering her, and to once again paying homage to Chadwick Boseman, thanking him again, bidding him farewell a second time. My stomach was a knot of emotions, churning with excitement. But there was also a tightening in my chest. To look for closure for George Floyd in the beauty, the finesse, the artistry of Chadwick Boseman was quite an emotional trip.
The film turned into something else for me. It turned into an institution of higher learning. A thesis presentation by Levee, Chadwick Boseman in the character of a virtuoso trumpet player, who shows us how the anger and helplessness, the rage of young black men and women, robbed of their industry and creativity by white men, consumes them, sending them into self-destruction and to the destruction of those around them. Through Levee’s reflections on his life and the conflicts with the other members of Ma Rainey’s band, the film brings to life in a very dramatic and tragic fashion the destruction wrought by generational trauma. It calls us to be acutely aware of the trauma brought on by the murders of black men and women, the murders of men such as George Floyd. The film warns us to protect ourselves, to guard from descending into a murderous rage like Levee, where we end up killing our fellow blacks while those who profit by the actions of white supremacists continue to enjoy the fruits of our industry. We need to creatively self-preserve even as we relive the trauma of George Floyd’s murder during the trial of his murderer.
Obama’s elusive hope
Reading Obama’s Dreams From My Father, which permeates with hope for an equal America, reduced the anxiety that came with this trial. Revisiting the path of Obama’s early life and his ascent to the White House was refreshing, a reminder of the convergence of goodwill from the entire fabric of this great nation that propelled the young Obama, raised without a father, to the highest office in the land, provided a break from the intensity of the trial. I was very hopeful of a conviction. But I was also alive to the reality of Michael Brown in 2014. And the strangulation of Eric Garner. And Alton Sterling. And the execution of Breonna Taylor in her bed. The black bodies riddled with bullets kept piling up. The police kept walking free, unaccountable for their actions. A litany of deaths until the graphic murder of George Floyd shocked the world back into the reality of the systematic elimination of black men in America.
Donald Trump’s presidency, and the blossoming of white supremacy, might cause the hope expressed in Obama’s book to seem distant but it was a welcome break from the intensity of the Chauvin trial. We needed hope to cling to. Hope that justice might yet prevail, a life jacket in the tumultuous waters that are America for its black people. All our hope was in the twelve jurors. Did they share our hope for a better America. Could we trust them to do the right thing? Who were the jurors? What were their politics? Did they believe that black lives really do matter?
Ta-Nehisi’s electric shocker
Reading Ta-Nehisi Coates after Obama felt like being sucker-punched into reality. I had to compose myself. How could these two black scholars have such distinct and diverse experiences of America? How could Ta-Nehisi Coates walk under such a heavy yoke of historical trauma and Obama with so much optimism? Where was the magic switch to turn the darkness into the bright dawn of promise? Where did Obama find this switch? And what realities and historical traumas accompanied Ta-Nehisi in his daily living as a black man in America, reminding him that this optimism only existed as a hopeful comfort in our imagination?
Obama’s book, I would later conclude, was one that was hopeful for a perfect union. Just as his body was a beautiful union of an elegant African man and an elegant white woman. Both blessed with a great education and a superior understanding of the world. But could America let Obama be the embodiment of this perfection? It would not. He could only be black. The prescription of race was waiting for him at birth. This prescription was meant to place him in a world that America treated differently. A world where he could not enjoy the privileges that his mother was born into, even though he was hers, the product of her womb.
Ta-Nehisi Coates on the other hand embraces the reality that things are broken. The way Ta-Nehisi Coates relives the trauma of what happened to his friend and compatriot, Prince Carmen Jones, is as painful as when Darnella Frazier, the teenage girl who witnessed the murder of George Floyd, relived the trauma and her helplessness at the scene. All Darnella could be was a witness. With a cellphone. Incapable of providing any help because the force that was on George Floyd’s neck was the force of hate. Of white supremacy. A force that had taken so many black bodies. And was emboldened by the justice system to take many more.
Ta-Nehisi Coates writes that Prince Jones was stalked by a policeman across multiple jurisdictions and state lines before he was shot. Prince Carmen was educated, God-fearing and successful. When the man the killer police had allegedly mistaken Prince Carmen for was arrested, he did not look anything like Prince Carmen. The only plausible explanation for Prince Carmen’s killing was that the black policeman who killed him was only aware that he carried the authority of the land that did not value the life of the innocent black man that he had tracked like wild game. He was aware that being a policeman was the licence that would get him his job back without having to account for his actions.
On the other side, within the black community, the policeman’s actions left a colossal loss. The loss of years of investment in Prince Carmen. The loss of a brilliant future. The loss of the only son. A lifetime of trauma for his parents’ generation. His friends’ generation. Trauma in the many generations of blacks to come. And a chilling reminder that black lives are dispensable. Ta-Nehisi Coates was reliving this historical trauma for his son. Reminding him of the space he occupies as a black man in America. This was the reality of black America. For many generations to come, fathers and mothers would relive for their children the trauma of watching George Floyd begging for his life under Derek Chauvin’s knee. As long as these killings continued, the trauma associated with them would never leave the black communities. I realised that I couldn’t escape it either. It was deeply embedded in art. In literature. In film. A reminder that hope was just but temporary relief, a mirage before the next execution of a black man.
Does trauma heal by itself?
Obama’s book promises hope as a pathway to healing, reminds us to give hope a chance and continue believing in the collective goodwill of humanity. But Ta-Nehisi Coates reminds us that no one, regardless of their social standing, is safe from police brutality or the miscarriage of justice that follows in the wake of the brutality. And that the trauma of witnessing these repeated acts of brutality against black people stays with us forever, no matter how well educated or successful we are.
Ma Rainey’s Black Bottom is a warning about the destructive impact of the generational trauma suffered by black people in America from past encounters with white supremacy and the miscarriage of justice that soon follows. It is also a warning about what seeing George Floyd laying there, pleading for his life, could do to our collective psyche as black people. And a reminder of how the loss of black industry and art at the hands of white people in positions of power has a lasting negative impact on everyone.
Derek Chauvin is appealing his conviction and we are waiting to see if there will be another trial. But his conviction has brought some hope that the wheels of justice may have received a tiny drop of oil and will continue turning, moving inexorably towards justice and towards a more perfect America at last freed of the generational trauma of witnessing police brutality against black people.
Black Lives Matter.
Politics1 week ago
From Shifta to Terrorist: A Shifting Narrative Of Northern Kenya
Long Reads1 week ago
Tanzania: The Dialectics of Maguphilia and Maguphobia
Politics1 week ago
The End of Abiy-Mania
Reflections1 week ago
Benjamin Ayimba: The Making of a Rugby Great
Op-Eds1 week ago
BBI and Kenya’s Finest Jurists
Op-Eds2 weeks ago
Mr President, in the Name of the Constitution, Swear in the Judges
Op-Eds1 week ago
India’s COVID-19 Surge Is a Warning for Africa
Culture1 week ago
Forgotten Histories: Eugenics, Racism and Colonial Mental Doctors in Kenya