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Jukwaani, that’s where we meet on Thursday

African culture has from time immemorial been transmitted, from one generation to the other, through the spoken word. This goes to show why the fireside stories, often told by grandmothers, occupy such a central place in the African literary setting. The study of African literature is not complete without talking about oral literature. Some of the greatest African novelists trace the roots of their prowess from the stories they were told by their grandmothers when they were growing up. Here, Chinua Achebe of the Things Fall Apart fame comes to mind. Performance literature has, over time, undergone a transformation in tune with modern trends. Still, this form of art is highly cherished in Africa. Perhaps the finest form of performance literature are poetry recitals which come in various forms, ranging from poetry slam to spoken word. In a move to celebrate performance literature, the Kenya Cultural Centre, the Goethe Institut and Alliance Francaise will be holding a one-of-its-kind festival from 17 to 20 September, whose entry will be free.Poster JUKWAANI 2

Dubbed Jukwaani! the festival will feature a blend of the new and old as far as East African performance literature is concerned. The five-day event will also feature European-based African artistes as well as those from Europe. The performances will mostly be in English and Kiswahili. Among the personalities set to perform during the festival is German-based poet and scholar Abdilatif Abdalla. Most young Kenyan’s would not be immediately aware of Abdilatif nor his achievements. In literary circles, he is best known for his protest works. The Kenyatta regime jailed him after he wrote the book Kenya Twendapi? (Kenya; where are we headed?) This book criticised the Kenyatta government for its excesses and neo-colonial stance. He was actually charged with sedition. His other book, Sauti ya Dhiki (Voice of Agony), a collection of poetry was written while he was incarcerated at Kamiti Maximum Prison. It was basically agitating for the opening up of democratic space in Kenya. Sauti ya Dhiki went on to win the inaugural edition of the Jomo Kenyatta Prize for Literature in 1974 for the Kiswahili category. Ukoo Flani Mau Mau, better known for their lyrical prowess, will also be part of Jukwaani! attractions. Ukoo Flani, draw their inspiration and creativity from the day-to-day struggles in Nairobi slums. They are based in slums of Dandora. Best known as underground artistes, these Dandora-based hip-hoppers have chosen to remain true to their impoverished slum existence by shunning the more commercial forms of creativity. Theirs is the hard-hitting poetry that depicts typical life in the slums, their suffering, in the hands on corrupt authorities, as well as triumphs. They also document the negative side of life in the slum, like the effects of crime and drug abuse. Ukoo Flani are a direct contrast to the other form Kenya’s urban hip hop, which appears to celebrate materialism, commonly expressed in the form of flashy lifestyles and bling. Proceeds of their album Kilio cha Haki are going towards the creation of a permanent studio in Eastlands. This, they argue, will help to give young Kenyans a voice and demonstrates how hip hop and music can be an alternative to drugs and crime; a source of income; a means of voicing social and political protest. Truth be said Ukoo Flani boasts some of the finest urban poets in Kenya today, and it is their lyrical prowess that will be showcased at the festival. Tony Mochama, also known as the Literary Gangster, for his unconventional and often abrasive poetry, will also be performing at Jukwaani! The moniker Literary Gangster was inspired by the title of his book, What if I am a Literary Gangster, a collection of poetry. Other featured performers include Dalibor Markovic, Sheikh Ahmed Nabhany, Talking Drums of Africa, and Zamaleo, among others. While the example of Abdilatiff Abdalla goes to show that performance literature has been in existence for a long time, particularly among the Swahili people, the idea of performance poetry has caught up among urban youth in the last four years. Perhaps the best known is Open Mic poetry sessions organised on a monthly basis by Kwani Trust. The idea of Open Mic is borrowed from the American inspired Poetry Slam. Here a number of poets take to the stage to perform their poems and are awarded points from either a panel of judges or the audience. Spoken word is the other form of performance poetry, which is often accompanied with a musical background. Compared with Southern African countries, East Africans lag behind when it comes to performance poetry. Zimbabwe for example, has a well-established poetry movement, which has been at the forefront in the agitation for opening up of democratic space in the country. Jukwaani! as the name suggests, will mainly centre on what is on show on the podium. Jukwaani is Kiswahili for on the stage or podium. Jukwaani! hopes that the boundaries separating the performer from the audience will be shattered leading to a situation where the audience is fully involved.

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A tribute to Kimani Maruge

When Kimani Maruge burst into the public limelight, I thought it was a bad joke, a publicity stunt gone too far. Seriously, how could a man aged over 80 enrol in Standard One? Nevertheless, I followed his ‘educational career’ with detached interest.
Two years down the line the man was still at it. So the guy was serious after all? I was now asking myself. Slowly he was winning me over. And yes he had become a media superstar. Boy, did the media love Maruge? And he rarely disappointed. He always came up with soundbites, that TV people ran over and over again.
My most enduring image was of the old man with a blue (I am colour blind) blazer, with matching knee-length shorts. His socks were always pulled to the base of his knees. And below them was a pair canvas shoes popularly known as Bata Bullets.
Thus dressed, and with his ubiquitous cane Maruge would drag one heavy foot after the other on his way to school.
It did not take long before the folks at Guinness Book of Records took notice, and he promptly entered their books for the dogged way he sought to get educated. He became the world’s oldest pupil.
This man kept telling everyone who cared to listen that he went to school so that he would be able to read the Bible, and soon he was reading his favourite book.
It was worthy noting here that Maruge despite his advanced age wanted to learn how to read. His example put to shame many people who soon after they are through with formal schooling throw away their books. You’ve probably heard of infamous academic bonfires, where secondary school leavers pile all their books and set fire to them.
In their foolish thinking that is the end of them and reading. These are people who have been socialised to think that reading is a form of torture, that is only tolerated for the sake of sitting exams.
During the just concluded Storymoja Hay Festival I attended a session where Muthoni Garland, the managing director of Storymoja, told the story of a young woman who came looking for a job in her firm.
When Muthoni asked the young woman the last title she read a book, the young woman shamelessly told her that she no longer reads and she had now finished schooling! Muthoni says she was scandalised and rightly so. Here is a person who hopes to be employed in a publishing firm, and who does not read.
Well, that girl is in good company. There are quite a number of people who work in our publishing houses, who do not read. Don’t ask me how I know.
Back to Maruge. As a media star, his star never faded. He continued to attract media attention in almost everything he did. Such was his star power that the Kenya Publishers Association (KPA) invited him as a guest during the 2005 edition of the Jomo Kenyatta Prize for Literature awards at the Nairobi International Book Fair. Marugi Photo
In his speech Maruge, then in Standard Five, counselled on the need to cultivate a healthy reading culture. He also took the opportunity to urge the youth against engaging in casual sex.
After that Maruge retreated to his quiet lifestyle in Kenya’s Rift Valley, where he continued with his studies. The next time I heard major news on him was after the post-election violence, where he was talking to the media from an Internally Displaced Persons’ (IDP) camp.
He had been ejected from his home for belonging to the ‘wrong tribe’.
And that is how he landed in a home for the aged, in Nairobi, from where he continued with his education. All this time, he pledged to pursue his education up to university level.
By now, Maruge was looking frail, and he spoke with difficulties, but still his star power was unmistakable. Everything he did attracted media attention.
This included his baptism ceremony at a Nairobi church. Meanwhile Hollywood was planning to shoot a major movie based on his life. Titled the First Grader, the movie unfortunately, could not be shot in Kenya as the relevant authorities levied exorbitant taxes on the moviemakers. South Africa gave them tax incentives they sought and that for the umpteenth time the South African country got to shoot a movie originally destined for Kenya.
I must mention here that I was involved, in a small way in scouting for a suitable person to play the part of Maruge, but that is a story for another day.
Maruge died on August 14, at the Chesire Home for the aged in Kariobangi North, where he was staying, from complications of stomach cancer. He was aged 89.
Fare thee well Maruge. You fought the good fight. I propose a literary award in honor of the old man. Any takers?

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Events Issues News

Does more prize money = more creativity?

Creative writers in Kenya will be in for a major treat at the annual Nairobi International Book Fair (NIBF) set to be held towards the end of September. For the first time, the winner of the Jomo Kenyatta Prize for Literature will take home a substantial amount of prize money.
The Kenya Publishers Association (KPA) who are the organisers of NIBF told maisha yetu that winners in the two adult fiction categories – English and Kiswahili – will each get Sh150,000 in prize money.
This is a major improvement from the miserly Sh40,000, previous winners used to receive, for the bi-annual award, the most prestigious in the country.
Other categories in the award, namely the youth and children’s writing will each get Sh75,000.
The increase in the prize money was made possible when the Prize’s main sponsors, Text Book Centre (TBC) presented the KPA Council with a cheque worth Sh800,000 to go towards the fund.
TBC has had a long history with the award. The award ran into financial trouble soon after its first edition in 1974, where Meja Mwangi’s book Kill Me Quick and Abdulatif Abdalla’s Sauti ya Dhiki, won the English and Kiswahili categories respectively.
After a long hiatus, members of the KPA council approached the management of TBC, in 1990, with a view of helping revive the award, which had been formed to encourage and reward creativity in Kenya.
TBC agreed to sponsor the award and donated Sh200,000 for the Prize Mr. C.D. Shah, a director of Text Book Centre, says that their decision to support the award stems from the fact that they had cordial working relations with publishers. “Being the biggest booksellers at that time, we were also their biggest customers,” he says. Text Book Centre has been in the business of selling books since 1950s, thereby making them the oldest booksellers.
TBC has handed over Sh200,000 on a bi-annual basis ever since.
In 1992, the prize was revived and Wahome Mutahi’s book Three Days on the Cross shared the first prize with David Maillu’s The Broken Drum. In 1995, the first prize went to Margaret Ogola, for her book, The River and the Source, Margaret Ogola’s book went ahead to win the Commonwealth Writers prize the same year.
In 1997, the first prize went to Ngumi Kibera’s book Grapevine Stories, with the Kiswahili prize going to Emmanuel Mbogo’s Vipuli vya Figo.
In a move that was deemed controversial, in 1999, judges decided that the books that had been submitted lacked creativity and therefore did not award any prize.
In 2001, Meja Mwangi again won with his book The Last Plague. Kyalo Wamitila’s Nguvu ya Sala took the Kiswahili prize. In 2003, Stanley Gazemba won the Jomo Kenyatta Prize for Literature with his book The Stone Hills of Maragoli.
In 2005, judges failed to award the first prize in the English category, arguing that the titles submitted were not strong enough. They however awarded the second prize, which went to Muroki Ndung’us A Friend of the Court.
In the Kiswahili adult category, the first prize went to Kyalo Wamitila’s Musaleo.
In 2007, Marjorie Oldudhe’s book A Farm Called Kishinev won the Jomo Kenyatta Prize for Literature under controversial circumstances. There was disagreements among judges as to which book, between Marjorie’s and Margaret Ogola’s Place of Destiny, deserved to win the prize.
The controversy led Pauline’s Publications, Ogola’s publishers, to boycott the NIBF since.
Apart from the River and the Source, which went on to win the Commonwealth Writers Prize, other winners of the award have little to show for it.
Critics have accused KPA of making little or no effort at all in marketing or publicising the award. The situation is such that these writers are barely known outside of the publishing and writing fraternity.
Perhaps the saddest story is that of Stanley Gazemba, whose book, The Stone Hills of Maragoli, published by Acacia, and which won the prize in 2003, has been out of print for a number of years now. The author has been engaged with the publisher in a long-running tussle, to make the book available.
The author says that only 500 copies of the book were published. Gazemba is however elated that the efforts of authors are finally being recognised. “They should have increased the prize money a long time ago,” he says. “What they used to give previously was a joke.”
The same fate is suffered by winners of the Wahome Mutahi Literary Prize, formed to honour the late humourist. Although Oduko bw’ Atebe’s book, which won the inaugural prize in 2006, is readily available in the market, the author laments that it should have sold better, had KPA invested in a more aggressive campaign.
Blame here should also fall on the individual publishers, who should also take advantage of the win, to aggressively push the book in the market. But in a publishing market that overwhelmingly feeds on the government funded textbook market, it might be too much to ask of them to invest substantially in marketing a non-textbook.
Mrs Nancy Karimi, who is the chairperson of KPA promised that with the windfall from TBC, the publishers’ body should make a difference in the whole marketing of their prizes.
“The increase in prize money should now trigger more creativity from our writers, as their efforts are now better rewarded,” added Mrs Karimi, who is also the managing director of Jomo Kenyatta Foundation.
Mr Rajiv Chowdhry, the managing Director of TBC explained that their decision to increase the fund came as a result of the fact inflationary forces experienced in the country over the years have seriously eroded the value of the earlier award of Sh40,000.
TBC has promised to donate an additional Sh1.6 million to cover the 2011 and 2013 editions of the prize.
During the handing over ceremony, done at the refurbished TBC offices on Kijabe Street, both the management of TBC and the KPA Council hinted at the inclusion of more categories, in future, subject of availability of funds.

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Events Issues

Role of media in promoting creative writing

I recently was invited to presented a paper, at a Ministry of Culture sponsored workshop, on the above subject and below are my thoughts.

Media continues to be an important tool in the dissemination of information in the country. This perhaps explains why media occupies such an exalted if not powerful position in the society we live in. This position of influence, if well harnessed, can bring about positive transformation in the society.
Ideally, media is supposed to serve the masses who consume it. However the reality on the ground is such that, due to ignorance, on the part of the public, media in Kenya is viewed with suspicion, in that it exists to serve not those it is supposed to serve.
Many of you gathered here today will agree with me that worst, the media is perceived as a tool to ‘fix’ out people one has some form of quarrel with. Even then, it is a privileged few who have access to media. In short media is seen as a vengeful agent to be avoided at all costs.
At best, media is seen as an avenue to being famous, and this fame is mostly associated with riches, and not many people like the idea of remaining poor. On that respect alone, media and media practitioners are much sought after.
As a media practitioner I have had occasion to encounter both extreme perceptions of the media from the public I interact with. “Si utaniweka kwa gazeti?” comes the hopeful question from those believe that only good can come from the media. “Wewe, usiniweke kwa gazeti!” is the admonishment from those who think the media is out to harm them. And in the case of the latter, it is not uncommon to hear incidents where media practitioners have had their lives threatened.
It is against this background that we must look at the role of media in the promotion of cultural content. It is also important to note that in the Kenyan media scene, not much premium is placed on culture and the arts, where creative works lie.
A casual glance at the Kenyan press will reveal the heavy bias towards reporting politics and politicians, little wonder politicians call have so much influence in our society, such that almost everything they say or do is rarely questioned.
Last year’s post-election violence is enough testament of the pervasive influence politicians have on us.
But I digress. The fact of the matter is that very little space is given to the coverage of the arts. Even in the newsrooms where we work, art and cultural writers are not taken that seriously. The unwritten rule, both in the newsroom and outside, is that you have to be a political writer to be taken seriously.
The other day I attend a joint forum for artistes and art journalists, when a well-known thespian made the unsubstantiated allegation to the effect that journalists only take up art writing, while waiting for better prospects… of eventually becoming political writers.
Well, let me say there are committed art and cultural writers, who would never substitute what they do, however unglamorous, to follow politicians around.
I long for the day when the leading news items will be Njue Kamunde (a children’s writer) holding a press conference to announce the arrival of his latest book. The reality however is such that Njue would probably not have the guts to approach a media person.
Yet, Njue, or any other writer for that matter, needs to be able to command the attention of a journalist at any given time.
When you talk about a creative writer, we are in essence talking about intellectual property. In countries like the US, the intellectual property industry is worth billions of dollars. Hollywood alone contributes a very significant proportion to the exchequer in that country.
Maybe to speak in more familiar terms names like Robert Ludlum, John Grisham, just to name but two, should be able to tell you the power of creative writing. If Grisham, for example decided to comment on the proposed health care plan in America, chances are that he would knock Obama off the headlines.
No matter how eloquent our Njue is, he can not even dream of sharing his thoughts on, say, the prosecution of post-election violence suspects, not unless he decides something out of the ordinary.
This point brings to mind Okoiti Omtata, a creative writer, who in order to get heard, had to chain himself to the fence at police headquarters. Today Omtata is known more for his political and not cultural activism. Not many people know that his play, Voice of the People, which won the Wahome Mutahi Prize for Literature, in 2008.
To remedy this situation, there needs to be a paradigm shift in the way the creative industry operates in this country. I think it is high time players in the creative industry engaged the media in a meaningful dialogue.
As an art and culture writer, I run a weekly column on happening in the industry, and every week, I have to prod people in the industry to give me material for the page. At times I am forced to beg to get this information. How do you then expect my editor to take me seriously when the political writer is spoilt for choice over what to write?
Not that there is nothing happening in the creative and cultural industry, it is just that players in the industry do not think it merits any attention. You see when I have more than enough material to put on my page, only then I can convince my editor to give me more space.
Along the same lines I challenge the parent ministry to take a more proactive role in promoting the creative/ cultural writing industry in the country. It is so disappointing when all the major literary prizes are scooped by Southern and West Africans.
I believe with more exposure, and need I say trainings, our writers can compete effectively with their colleagues in the West and Southern African countries. Then, they can be able to make news, not only locally, but also internationally.
This is not to say that the media is free from blame. Far from it. Our local media needs to take an affirmative action approach in the coverage of the arts and culture in the country. Maybe when artistes and cultural practitioners notice that their industry is being taken with more seriousness and sensitivity, then they would be more forthcoming with information. Who knows, it would spur more creativity.
Artistes and cultural practitioners, and supporting bodies like the Culture Ministry, should also take it upon themselves to sensitize media practitioners on the finer details of their operations and activities. This should be in the form of trainings and seminars.
As things stand, there is a lot of ignorance in our media, as regards what art and cultural reporting entails. Again going back to art and art writers’ forum, some of the artistes accused the journalists of not understanding what they do. To them, I will say this; If you do not take the trouble to enlighten me on what it is that you do, how do you expect me report you accurately and favourably?
With the help of more accurate, effective and informed art and cultural writing, our creative writing gets wider exposure. This exposure leads to more awareness among the reading public – and let us not talk about Kenyans poor reading habits here – and this translates into more sales and therefore better earnings.
And in conclusion, I will say here that with more meaningful dialogue between artistes and art writers, then Njue will only be too happy to see me than threaten me with dire consequences if I ‘put’ him in the papers.
And by meaningful dialogue, I mean that Njue should be able to understand that I will time and again be called upon to criticize his work, if only with a view growing him.
That said I would rather Njue be mad at me for pointing out his weaknesses, than have him happy with me covering up his mediocre output.

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A community library for village folks

About two months ago I had the rare honour of visiting a community library in a dusty, remote village called Ndeiya. I would love to share my thoughts on what I saw there:

The Cardinal Otunga Library is as modern as modern libraries go. Its catalogue includes much-sought after books like the two biographies on American President Barack Obama. Simply put, the library is a gem for a book lover or anyone in search of general knowledge.
Indeed the library, with a sitting capacity of 100 people, has more than 5,000 books, and more are still to come. Well, The Cardinal Otunga Library is not in Nairobi or any other major town for that matter. It is right in the heart of Ndeiya, the very exemplification of a rural area.
Prior to the construction of the road that runs from Thogoto in Kikuyu to Mutarakwa in Limuru – though incomplete – Ndeiya was pretty much a forgotten place. Ndeyia, which is part of the larger Kiambu, and which cuts across two constituencies – Kikuyu and Limuru – had the dubious distinction of being backward, and people from that area were subjected to much ridicule.
On a good day, the library, which opens its doors at 11 am to 5.30 pm, five days in a week, is almost always full of people willing to quench their thirst of information.
The centre, which is housed at the Holy Cross Catholic Church in Thigio, is run by the Daughters of Charity. Sister Liz Smith, who is the centre’s administrator told Maisha Yetu that the center was established with the interests of area residents in mind.
“We wanted something that would take care of the youth, in the area, who are mostly idle and unemployed,” explains Sister Liz adding that the centre also has a hall which hosts recreational games like pool and table tennis.
Money for constructing the hall was donated from a family in Ireland. “After much consultation on how best the hall would be put to use, it was decided that a library would come in handy,” adds Sister Liz.
Over the years, schools in the area have generally performed badly, partly due to lack of adequate learning materials like books. And when Mrs Ann Mburu, a former teacher, was appointed the librarian, the first thing she did was to order for school textbooks, both for primary and secondary schools.
And this has borne fruits. Students from nearby schools drop into the library during weekends and school holidays to do their studies using the textbooks available. A former student from the nearby Thigio Boys Secondary School, who scored an A- in his Kenya Certificate of Secondary Examinations (KCSE) offered to tutor other students for free.
“The boy told us that his good performance in KCSE was a result of using facilities at the library,” explains Mrs Mburu. “He therefore wanted to give something back to society.”
At the time we got into the library, there were only three people, including a young girl browsing through the children’s section. As the interview progressed more people started dropping in. Most of them were in school uniform.
Sister Catherine Madigan, who is in charge of the library says that most of the books were donated from the US. “Three schools from Chicago were being closed and they donated all their books to us. We update books according to the demand,” says Sister Catherine.
The library charges a modest membership fee of Sh250 per year for adults and Sh100 for children. Members can borrow a maximum of two books, which they return after two weeks. Membership currently stands at 150.
Non-members are welcome to come and read from the library. “Membership is open to everyone irrespective of their denomination,” adds Sister Catherine.
Since the library was opened in January 2007, there has been some progress especially among neighbouring schools. “Some of the feedback we have been getting from teachers and parents is that pupils are now able to write better compositions in school,” says Mrs Mburu.
Mr David Kimani, who is in the management committee of schools in the area is full of praises for the Daughters of Charity for introducing the library in the area. “Of all the assistance that has been given to people in this area, this is the best gift so far,” he says. “Other forms of assistance create a sense of dependency among the people, but with book, our young people are going to open up their thinking, which will in effect bring about innovation and creativity.”
UPDATE: I am reliably informed that Mrs Anne Mburu no longer works at the library, otherwise everything about the library stands, including what she told me

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Ngugi’s new book launched in Nairobi

Kenya’s most celebrated author, Ngugi wa Thiong’o, was in town and there is no way I was going to miss the occasion of launching his newest book, Re-membering Africa. This was yet another opportunity for me to interact with the cream of Kenya’s literary society – who in their right mind would dare miss an event graced by Ngugi?
I am walking to the Alliance Francaise, where the launch is taking place, when Billy Kahora, the Kwani? editor calls me from South Africa. There are some details I wanted clarified on the second edition of Kwani? 5, I am reviewing for the Sunday Nation.
I have particularly strong views on a certain Kwani? writer, which I am including in the review. “I have no problem with what you have to say as long as it is constructive criticism,” Kahora says from the other end of the phone. Hmm…
I am a bit late for the event, as usual, and Henry Chakava, the chairman of East African Educational Publishers (EAEP), Ngugi’s local publishers, is almost halfway into his speech.
My feelings of guilt are banished by the reception I get from Lydia, who is looking particularly hot tonight. Lydia, for those who do not know, is the receptionist at EAEP’s Westlands offices.
As he finishes his speech, Chakava addresses the issue of language in the book being launched. Remember Ngugi had sworn to only write in his Gikuyu language? Is Ngugi backtracking on his vow? “Sometimes it makes sense to tell them (Mzungu) in their own language,” says Chakava as he welcomes Ngugi.
As usual Ngugi welcomes members of his family present. Of particular interest is a young man, in his early twenties, who someone whispers to me, is a product of Ngugi and a Mzungu woman in Sweden. Apparently, the young man must have been conceived in the early years of Ngugi’s exile.
Ngugi then makes a revelation that he is working on his memoirs. The first installment is titled Dreams in a Time of War, which basically talks about his early childhood. Already five publishers around the world have already bought publishing rights of the book! I told you Ngugi was big.
Publishers in the region must envy EAEP. They are automatically assured of rights for Ngugi’s works.
And to appreciate how this relationship came about Ngugi tells of how far he has come with Chakava. At some point Chakava almost had his finger severed for continuing to publish Ngugi at the time when the powers that be wanted nothing to do with him. He is also the man who had to bear with Ngugi’s experimentation in writing in Gikuyu, in spite of repeated warnings from his superiors – then Heineman Educational Publishers in the UK.
Unconfirmed reports say that Ngugi is a major shareholder at EAEP.
Re-membering Africa, is apart of a series of lectures Ngugi gave in 2002, staring with Harvard. In the book he has addressed issues of language. Well aware that his thoughts might spark off heated debates Ngugi said that when people read the book, they will agree, disagree or add onto his ideas. “Most of all, I just wanted to provoke a debate,” he said.
On the issue of language, he said that there is nothing wrong for Africans to learn foreign languages. “However, there is something fundamentally wrong when one identifies with other people’s languages and despises his own language,” he said heatedly, calling that a form of slavery.
He added that to add foreign languages to your own language is to empower oneself. Mnaskia hiyo maneno?
Check this space for a review of this book.
The book was first published early this year by Basic Civitas Books under the title Something Torn and new: An African Renaissance.

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Issues Personalities Reviews

Koigi’s shock and awe in new book

It has been said that former Subukia MP Koigi wa Wamwere and controversy are inseparable. Nowhere does that come out clearly than in his new book Towards Genocide in Kenya: The Curse of Negative Ethnicity in Kenya. Actually, this is not an entirely new book. Koigi added a new chapter in his earlier book Negative Ethnicity: From Bias to Genocide, to come up with the present book.
The first book was published by Seven Stories Press in New York in 2003. It warned of what would happen in Kenya should we let the monster of negative ethnicity (tribalism) entrench itself in the country. We entertained the monster and it did not disappoint. Four years after Koigi’s book was published the country burst its seams.
Kenyans turned against Kenyans in an orgy of murderous violence previously unseen in the country history of the country. Well, we had witnessed violence inspired by negative ethnicity since 1992, at the introduction of multi party politics, and which occurred predictably, every five years, in time for general elections.
The violence that took place after the contested 2007 General Election, though said to be a “fight for democracy” was just an extension of what had been happening in 1992 and 1997. The only difference is that this time inhibitions were cast aside, and our soft underbelly was exposed. Local and international media cheered on as poor Kenyans butchered fellow poor Kenyans.
If truth be told, the 2007 elections were not about issues. It was all about tribe and hatred, and negative ethnicity was on the driver’s seat. The new chapter on Koigi’s book is aptly titled Reaping the Storm, for we surely reaped the storm. The author puts events that led to the violence into sharp perspective, and he takes no prisoners. In the book, he delves into issues that are only talked about in whispers. In short he goes where the Kenyan media chose to ignore or to cover up all together.
Koigi also takes the battle to the backyard Western powers and exposes what he thinks was their role in the whole issue. Most of all he examines the relationship between various ethnic communities in Kenya and how politicians were able to exploit that and sow seeds of enmity and hatred among the people. He also addresses the issues of the coalition government, and what he thinks are its chances of success.
Going by some of the revelations in the book, it is likely that it might rub some feathers the wrong way, and that is where Koigi excels in courting controversy. Some publishers had to turn the book down, in view of the explosive contents of the new chapter. Eventually, the book found home in Mvule Africa, a publishing venture run by Barrack Muluka, another person who does not shy away from controversy. I must also mention that the book has some pictures, whose only intention must have been to cause “shock and awe”. You only need to see some of the images to see what I mean.
The book is available at leading bookstores and is retailing at Sh1,200, which I think is a bit on the higher side. Overall, the general physical outlook of the book should have benefited from more professional input.

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Issues Personalities

What does Palin have against books?

I must admit here that Sarah Palin, in spite of the awful things that have been said and written about her, pulled off quite a speech when she accepted her vice-presidential nomination at the Republican Convention.
She proved that just like Obama, she has what it takes to work up crowds and the Republican conservatives must really love her. While I would wish her well, as she and McCain face off with the formidable opposition of Obama-Biden, I can’t help but wonder what she has against books.
I think her speech was going on rather well until she decided to make Obama’s authorship the topic of her attacks against the Illinois Senator
“… it’s easy to forget that this is a man who has authored two memoirs but not a single major law or reform – not even in the state senate,” she charged. This was in obvious reference to Obama’s two best-selling books ‘Dreams From My Father: A Story of Race and Inheritance’ and ‘The Audacity of Hope: Thoughts on Reclaiming the American Dream.’
It is not hard to see that Palin is miffed by the positive publicity the two books have afforded Obama. On the contrary everywhere she turns she effortlessly attracts scandal and more scandal.
Isn’t it the height of mediocrity that any person, let alone a vice-presidential candidate, would decide to attack the very fountains of knowledge; books.
What example is the good lady setting to American children by pouring scorn on books? The saddest part in this macabre script is that those gathered actually cheered when she uttered these unfortunate words.
I can understand where she is coming from. Brawn as opposed to brains has served her well on her way to the top. When you hear that she managed to tear apart the “old boys” network in Alaska, as well as taking on oil cartels, don’t imagine she did it through the power of persuasion. Is it any wonder that the word Barracuda has liberally been used to describe her? Oh, by the way she loves guns and likes hunting.
I gather that Palin has a degree in Journalism. But pray tell, why she exhibit such contempt of knowledge and information?
In spite of everything, I still have much faith in Palin. She can redeem herself and even put her massive talents to good use by writing a book or books of her own.
Suggested titles:
Pregnancy Myths: A Working Mum’s Journey to the Top
More Guns, Less Books: My Dream for a Terrorist Free America
Good luck Palin. You really need it.

Update: I gather that sometime back in Alaska, Palin tried to get a librarian fired because the said librarian refused to remove some books, the governor found “offensive” for the library! How anti-knowledge can one get?

Categories
Events Issues Reviews

Mundia Mundia on Storymoja

Good people,

I received this thought provoking piece from Mundia Mundia and I thought I would share.

Leave your comments down there.

Hi, May you kindly permit me to break into the residence of the ‘Nyama Choma Siesta’ with a few reflections on the ‘Story Moja Nyama Choma Fiesta’. First, Muthoni Garland, the stewardess of this ‘eatery’ venture deserves a warm part on the back for a job well done. The ‘Reading is Fun’, that was the thyme of the recently held event certainly would help promote social interaction with love for the book as the main course. On the flip side though does the recipe for pages and the Nyama Choma flavor equals summer, dumber and slumber? For it seems that reading a book certainly should thus leave behind a meaty, but memorable, taste now that the combined delicacy appears popular. But does the seemingly harmless fever appear imperceptible and surely infecting all, including children?
When I think of food I think of, ‘Comfort Me With Apples by Riechl; Chocolat and Five Quarters of The Orange, by Joanne Harris; Eat, Cheat and Melt the Fat, by Suzanne Somers and Food Nation, by Eric Schlosser ( Houghton Mifflin).

My friend, Perminder Suri, informed me that he could not attend the fiesta for he is a strict vegetarian though he is a religious reader of novels. He could not allow his wife, who is obese and has secondary medical complications to join other readers. He is also worried that his children, Inaara and Khaliq Singh, may be exposed to a ‘strange’ economic class and socio-cultural orientations though he is keen to witness the ‘end product’ of the fiesta. This then led us to a lengthy verbal discourse on differentiation, association, the Pavlov effect and other related habits. He wonders how Nyama Choma can readily be associated with reading. He says that his friend, Musau, always talks of ‘having a siesta after a Nyama Choma spree’ (may be due to him taking alcohol). On the other hand he recognizes the impact of the ‘crowd puller’ merger. I asked him if that wasn’t deceit but he literally swallowed his answer but this time round not with chapatti.I later joked that my taking Nyama Choma may literally overtake my reading habit due to the former’s  readily and easy-to-take palatable and ingesting flavor.As I contemplated taking the fleshy pieces a bout of gout and overweight caught my mind.There is no doubt that, ‘one can safely assume that the Kenyan literary landscape is slowly coming to life’, as Joseph Ngunjiri (SN, Aug. 17, 2008) put it.The same writer also confirms that Story Moja is ‘causing ripples in the literary world, if only through their unorthodox way of doing things’. Thus, Story Moja has helped promote social interaction at the same time reading.
But is Nyama Choma a recipe and the menu on the elusive literary pages?

Mundia Mundia Jnr.

Categories
Events Issues News

Kwani? Litfest is the place to be

Chimamanda was one of the participants

The Kwani? Literary Festival (Litfest) kicks off today in Nairobi. This is by far the most prestigious literary event in the country, which attracts celebrated international literary luminaries, who mingle with homegrown talent.

The festival starts today and runs up to August 15 in Nairobi and the coastal town of Lamu.

The festival will be in the form of a series of workshops, symposiums, book launches, discussions, retreats, travelling and networking. Participants will also have a chance of developing their creative writing skills, with an emphasis on how stories can help society to see itself more coherently.

One of the star attractions of this year’s event is Chimamanda Ngozi Adichie, a Nigerian, who has variously been described as Chinua Achebe’s literary daughter. And it is not for nothing. Chimamanda has written two highly acclaimed novels, Purple Hibiscus and Half of a Yellow Sun. The book won the Orange Prize for Literature in 2007.

Chimamanda was one of the participants
Chimamanda was one of the participants

Another personality who will also be coming down for the festival is Ishmael Beah, a former child soldier in Sierra Leone, whose book A Long Way Gone has caused enough controversy, in the literary world with groups of writers vigorously contesting is authenticity.

There is also Doreen Baingana, a Ugandan, whose book Tropical Fish: Stories out of Entebbe, won a Commonwealth Prize in 2006, among others. Her stories have been nominated twice for the Caine Prize.

Another Ugandan is Monica Arac de Nyeko, Winner of the 2007 Caine Prize for her story The Jambula Tree.
Aminatta Forna, will also make an appearance. She is a writer of non-fiction and fiction. Her critically acclaimed memoir of her political dissident father and her country Sierra Leone, The Devil that Danced on the Water was runner-up for the Samuel Johnson Prize 2003.

Dayo Forster, a Gambian based in Kenya will also be there. Her book Reading the Ceiling, was short-listed for the 2008 Commonwealth Writer’s Prize Best First Book for the Africa Region.
Most of these foreign authors will be conducting a series of writing workshops

The festival will also be teeming with local talent, ranging from journalists, poets, writers to movie-makers. Toping the list of local stars is the other rebel, the mercurial Tony Mochama, otherwise known as Smitta Smitten.

Now, Mochama is not your everyday journalist. He is a gossip columnist extraordinaire. He also likes calling himself a vodka connoisseur, for his well-publicised escapades with the demon drink. He is also a poet and a trained lawyer.

Late last year he wrote his poetry anthology titled What if I am a Literary Gangster? which earned him the moniker literary gangster.

There is also Muthoni Garland, the founder of Storymoja, which has taken Nairobi by storm with its stimulating storytelling sessions. Muthoni is also the author of Tracking the Scent of my Mother, which was nominated for the Caine Prize for African Writing in 2006.

Another Kenyan in the faculty is filmmaker and writer, Simiyu Barasa. He wrote and directed of the Feature film Toto Millionaire (2007) and has written for numerous Kenyan dramas like Makutano Junction, Tahidi High and Wingu la Moto.

Going the example of the Litfest, there can be no denying the fact members Kwani? Trust has what it takes to keep the literary flame ablaze in Kenya for a long time to come. Ever since they happened on the scene about six years ago, they have been growing bolder and better. And lovers of the written word have been taking notice.

It all started when Binyavanga Wainaina, then virtually unknown in the country, won the prestigious Caine Prize for African Writing with his short story Discovering Home in 2002. He chose to invest his prize money in promoting writing in his country.

This came at a time when the Kenyan literary landscape was experiencing a fallow period, still smarting from the effects of Prof Taban Lo Liyong rebuke that East Africa was a literary wasteland.

Binyavanga had a plan for reigniting the now cold literary fires, and he had to do it his own way. For one he broke with conventions, and embraced individuals who conventional literary types would not have touched with a ten-foot pole.

Binya, as he is fondly known, took in his wing the Ukoo Flani Mau Mau, a hip-hop community based in the slums of Dandora. And to cap it all, he founded the Kwani? Journal, which even featured graffiti art. And to ruffle the establishement types even further he celebrated Sheng, that bastard street language, that is much reviled for its corrosive effects on proper English and Kiswahili.

In the Third edition of Kwani? there was a short story written in Sheng! The conservative types were not prepared to take Binya’s, brave and different style lying down. They called him all manner of names and he gave back as much as he got.

To cut the long short, Kwani? has today become a movement. Even those initially opposed to them today find themselves honored to appear in their functions.

Form the Open Mic, monthly poetry reading sessions, to Sunday Salon, monthly prose reading sessions, the Kwani? gospel is slowly but surely winning followers.

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