Showing posts with label Homesick. Show all posts
Showing posts with label Homesick. Show all posts

Monday, 13 June 2011

Ending Sudan's Identity Crisis

Sudanese blogger, Amir Ahmadhad an op-ed on CiF last Friday on Sudan's identity politics and this is an excerpt from a longer and thought-provoking piece.

pic jacked from the internetz
Since a year before its independence in 1956, Sudan has witnessed terrible violence and bloodshed, which continues to this day. The reasons for this are numerous and complex, but one key culprit has always been our Afro-Arab identity crisis, which doesn't seem to have any near end in sight. 
Contrary to what many northern Sudanese may like to believe, the secession and independence of the south is not going to end the identity crisis, and it's certainly not going to magically turn the country into a genuinely Arab Islamic nation-state despite what Omar al-Bashir may want. 
It won't happen, not even by force, due to the simple fact that Sudan always has been and always will be a multi-ethnic, multi-religious melting pot. Multi-ethnic given its minorities and various dominant Arab, Afro-Arab and African tribes, and multi-religious given its diverse population of Muslims, Christians and animists. 
The question is: will we eventually have a democratic government that actually recognises and respects our diversity? Or will we continue to have an Islamist Afro-Arab regime, largely in denial of its "Africanness", which forcefully seeks to impose its self-serving interpretation of Islamic law and confused Arab identity on the rest of us? 
...We're Afro-Arab in three main ways, simplified as follows: 

1. Ethnically as well as culturally Afro-Arab2. Ethnically Afro-Arab but culturally predominantly Arab (the majority)3. Ethnically African but culturally predominantly Arab and hence "Arabised"  
Nevertheless, our attitudes don't really honour this reality. Yes, there are many of us who value our combined Afro-Arab heritage and self-identify, either as Afro-Arabs or just as Sudanese. There are also many who identify primarily as Arab or African for valid reasons that depend on which side of their cultural and ethnic heritage weighs more heavily. 
However, there are too many who reject their "Africanness" or "Arabness", with a few in both camps condescendingly and outspokenly showing disrespect for that aspect of themselves which they reject. Then there are those who don't reject, but rather gently distance themselves from their "Africanness" or "Arabness" – consciously or subconsciously.


TwoCents: I think the discussion extends to other parts of Africa - what does it mean be African, what does it mean to be Arab, and an Arab African or African Arab? And who defines what the dominant meanings of Arabness and Africanness is, what's the political relation and power balance? These are all contested and continually evolving identities and this is something Arab Africans and Africans (in all their diversities and colors), alike, need to have multiple, frank, cross-generational discussions about. 

Tuesday, 10 May 2011

New Navy


New Navy are a indy band based in Australia and this is their debut song 'Zimbabwe'. The video  was released yesterday and their album, 'Uluwatu' is due to be released at the end of May. Having previously reached number one on the Tripple J Unearthed charts (discovers new bands in Australia) with their song Animals, this track looks set to take their name beyond Australia. New Navy have also performed with or opened for Cassette Kids (Google them, plse!) and Wolfmother among many others. 

In DOPE Music WE Trust.

Monday, 18 April 2011

Tozeza Baba



Still in Independence Day mode, I'm sitting here wishing the whole world understood Shona so I could post a playlist of all the songs I'm listening to right now. But since that's an impossible wish, I'll post one song by Oliver Mtukudzi (Tuku). It's called 'Tozeza Baba', meaning 'we are afraid of father' because the father's a drunk who beats up on the mother, as the video shows. It's also a chastening of the father by a child as Tuku's first line is 'Imi Baba imi manyanya' meaning 'you father you, you're overdoing it now.' (*insert finger wagging here*)
Depending on how much you read into Tuku's music, there's also a subversive political meaning to the song. Substitute the domestic setting for the national and this could describe the situation of the country, a nation with a political Father who unnecessarily exerts his authority on the weak and vulnerable. The genius about Tuku is that he has never openly expressed his political beliefs in his music, the listener is free to interpret his music in whatever way they wish. Both of the main political parties in Zimbabwe, Zanu and MDC, have appropriated his music because he has played at Zanu rallies so some say it suggests he supports the brand anti-colonial nationalism of Mugabe whereas the latter interpret Tuku's songs to be an anti-violence, pro-change stance, especially because of Bvuma (not the best videos) a controversial song urging someone to accept that he has gotten too old and must make way for young...

On the controversy surrounding Bvuma in 2000 (?) (year of the fast-track land re-appropriation scheme):
There was also the case of a sound engineer who worked for Oliver Mutukudzi who was apprehended after a live performance where it is said that he directed a stage light on Mugabe’s portrait when Tuku was tuning out his banned 'Bvuma' a song that has been interpreted as directed to Mugabe.
Artists such as Mutukudzi and [Thomas] Mapfumo command a huge following and their lyrical composition has always been under the spotlight. The government tried to pin down Mutukudzi for his song 'Bvuma' and he gave an excuse that he did not direct the song at the head of state. Actually it referred to his relationship with his children. Mutukudzi has been on record for making it clear that he is not a ZANU PF supporter after a series of botched attempts to align him and his music with the ruling party.
Source: Freemuse

31 Today, Makorokoto Zimbabwe



Zimbabwe turned 31 today and I decided to return to blogging after an extended break. To acknowledge, Zimbabwe's Day it was a toss-up between an inspirational song or something historic (as I did last year) but Independence Day signifies many things. It is not only a day of revolution, but also a day of celebration, so I chose a song of upliftment. It was a tough choice between 'Pane Rudo' (There is Love) by ExQue featuring the legendary Oliver Mtukudzi
and 'Mugarandoga' / Loneliness by DK Republic (posted below), but I settled on the above as the main track to partly convey how I feel today. The one below probably expresses the feelings of millions in the diaspora who for many, complex reasons left Zimbabwe.
The song is called Shaina meaning shine and its a collaboration between two well-known Zimbabwean singers; Alexio Kawara and Andy Brown. As the song title suggests, the song is about making it through the trials of life and shining like the sun after a storm. Never give up and never allow yourself to crumble because you never know what lies ahead, so despite the darkness, you are a star and you must shine, don't let your light go out Zimbabwe, happy birthday.




Friday, 21 January 2011

postcard from lamu...

Lamu, Kenya
jacked from mahala.co.za
fotocredit: Sydelle Willow Smith

Frames: Youssou N'dour


This short film is part of Al Jazeera's series called Frames that showcases six 2-minute films from around the world. (2 x 6 = 12 minute. Sit. Watch. Please.) Youssou N'dour was made by Matt Rogers, a freelance web designer and film maker currently based in Australia. His animation of Youssou N'dour's words is such a simple but effective concept that brings out the humour, sincerity and depth in the speaker. World renown musician, Youssou N'dour talks about his love for Senegal and his choice to live in Dakar rather than places like Paris or New York. Hearing N'dour speak so fondly of his county comes as no surprise as N'dour is Senegal's AU Peace Ambassador and UN Goodwill Ambassador and he has been involved in various aid and development projects for Senegal. In May last year, Africa's a Country blogged that N’Dour created a new political movement called “Fekkai maci Bole” which means “because I am a witness (or present) that I am taking part.”



Sunday, 16 January 2011

Pieces Of Paper



Am feeling this song by Tinashé, right now...in an African so far from home, always gotta hustle to live kinda way.

Sunday, 19 December 2010

The Chidamoyo Story

The New York Times has this story on rural Zimbabweans from the Makonde valley having to barter peanuts and other agricultural produce for medical treatment from Chidamoyo Hospital. Parts of it are quite good and informative but other parts of the report are laden with all the typical cliches of abject poverty and desperation with saviour America on a mission and it's irked me. Take this gem for example: 
'The hospital’s cavernous chapel is now filled with what looks like a giant sand dune of unshelled nuts.'
or this:
'“It’s very difficult to get this famous dollar that people are talking about,” said Esther Chirasasa, 30, who hiked eight miles through the bush to the hospital for treatment of debilitating arthritis. Her son, Cain, 13, walked at her side carrying a sack of peanuts to pay for her care.'

The descriptions of the 'cavernous chapel' and arthritic Esther hiking through the bush leave quite an impression on one's mind: of the primitive and dreadful circumstances these people live in. Without taking anything away from the severity of Esther's suffering or the image of the chapel turned hospital as a place of refuge in a remote area, I think it's quite possible to write about that without casting Esther in the poor villager/victim role and the American hospital as the 'star-spangled saviour' stuck in the middle of nowhere in Zimbabwe. I find it annoying that the Heart of Darkness narrative continues to seep into stories in so many ways despite that it's 2010 and reportage and postcolonial* travel writing  has long moved on from this way of writing about places.


Admittedly my response to the problematic sections of this article is not impartial but I offer no apology for that. I'm tired of the aid discourse of victims and saviours. I always have a glass half-full perspective when it comes to all things Zimbabwe so I don't think the way this story is written gives much emphasis on the fact that the villages are actually able to produce crops and trade them for health care. Considering the myths about Zimbabwe's failed land project and collapsed agricultural sector, how is it that this story of agri-resourcefulness can be written in the same 'Zimbabwe is on the brink of disaster' tone? 


Barter trade has long been a part of Zimbabwean history (after all, that is how we met the Portuguese, the Arabs and the British) and has continued through the colonial and post-independence periods of modernity. Rather than go the long route of having to sell one's goods at the market (that must be travelled to!) for days or weeks to raise enough money for hospital care or school fees in some cases, this is an alternative and a short cut. In the mid-1990s when primary education for rural schools was no longer free, it was no surprise to hear stories of villagers bartering livestock for a term or a year's fees - depending on the beast. In more recent times, barter has become commonplace in the cities too, at my niece's school when fuel was in short supply in '08-'09 this well-equipped private school accepted fuel or fuel vouchers as payment of fees to keep it's fleet of cars on the road. Parents in the fuel business or with access to large amounts of fuel happily complied. Even businesses do it - trade offs of fuel or sugar happen all the time, why run around looking for US $, Botswana Pulas or South African Rands when commodities of value can be used? 

On the cultural and economic/technological front, the Chidamoyo story lacks context - I'm not in denial of the dire situation of these villagers, but context helps put into perspective the extent to which the situation is dire and how such stories of direness may be written. Peanuts are commonly used in Zimbabwean dishes so they're not 'melted into vegetables' as though that was a desperate move to shift the peanut butter to feed starving patients as the article suggests, but peanut butter is often used in Zimbabwean (mainly Shona, Chewa and Tonga) cuisine so it's the norm - a luxury in some cases to have peanut butter stew with vegetables or meat. On the economic/technological front, there have been a number of trial and error inventions of devices that can use peanut butter as a bio-fuel. If you look online, most stories suggest it can't be done, but offline there are stories that suggest it can. I remember some years ago somebody coming to my father's office to pitch his invention to him but my dad wasn't interested in buying it because we don't produce peanuts on a mass scale for the device to have been useful. As part of his pitch, the man had said that the Ministry of Education had expressed interest in the invention and they were looking it over and I don't know what's happened to it now, but if that man's idea hasn't taken off it might be worthwhile for this hospital to investigate the possibility of using peanut butter as bio-fuel for an eco-generator or using the sun as solar power. The hospital will need diesel to power the generator they're appealing for and if patients pay in peanuts and livestock, how will they raise funds to buy diesel?

So this story is not one of tragedy, but reality - were it not for the plea for funds for the hospital, there are parts of this story deserving of a so-what-that's-what-people-do-to-get-by response. I'm not dismissing this case, I'm dismissing the way the parts of the story is written. I just would like for stories to be placed in context and to move beyond the 'basket case' narrative. I'm kinda tired of always having that label stuck on me, my fellow people or my country. On the upside though, I do think the pictures of the villagers and what the hospital is doing are pretty cool. : )

(* i.e assuming the post-colonial moment began after the moment of encounter and not after political independence)

Thursday, 16 December 2010

Kilimanjaro Studio Sessions



The Noisettes deliver a brilliant cover Miriam Makeba's Kilimanjaro for Levi’s Shape Of What’s To Come campaign. The studio-session video above is of lead singer, Shingai Shoniwa covering the Miriam Makeba classic. I love that she gets the Zulu pronunciation and clicks right and she even worked in a li'l accent there, but still gives the song a modern twist. Props to the bad and backing vocals too! Very nice blend into Never Forget You and switch back to Kilimanjaro.


You can download this session from Goodies | Shape What's To Come


In DOPE Music We Trust

Tuesday, 14 December 2010

TIA: The White Room


Jusa, ft. Kazz & Cynthia from ThisIsAfricaChannel on Vimeo.

This is Africa have now launched something called The White Room where African artists perform one acoustic track in a white room in any studio around the world. Every week is a new artist and first up on the 7th of December, was Jusa Dementor, Cynthia and Kazz (from the duo BKay and Kazz) doing a cover of Bob Marley's Zimbabwe. iLike, but I wish Jusa would stop ad-libbing every five seconds! It's distracting and annoying especially at the beginning when Kazz is singing. If they ever release this, somebody please tell Jusa to kill the ad-lib. Other than that, it's a good cover. 

Wednesday, 8 December 2010

Old Song. New Video



This is a track by Comrade Fatso and Outspoken ft Chabvondoka which came out over a year ago and last month the official video was released. I posted the live version of this video some months ago ( iCan't hyperlink) and I still prefer it to this one. This is more sanitized and clean whereas the other one was much more potent because it was live, but still this is a nice video, some cool graphix. I don't know why the Shona translations are wrong - maybe not wholly wrong but they are incorrect in several places, these are just a few: hapana chakanaka means there is nothing good and toonana kuma streets means we'll meet in the streets, at 1:29 ivovanoenda kustars isusu tino atengesa means they go to stars (the night club) and we sell them (a play on the club name and the poor selling stars). Not nitpicking but #justsaying.
If you would like to know more about these guys checkout www.comradefatso.com. 

Wednesday, 20 October 2010

Eritrea Stand Up!

Asmara All Stars: Adunia feat. Mahmoud Ahmed Omer, Temasgen Hip Hop & Doc Reggae
Release Date: 11 Oct 2010 on Amazon
Asmara All Stars - Adunia by OuthereRecords

Jacked from ThisIsAfrica.me, this track is featured on an album compilation of musicians from Eritrea with a wide range of musical influences from Ethio-jazz to contemporary soul-funk, hip hop, reggae and gwaila ( a very popular Eritrean music form which makes use of drum machines and electric krar). The artists were put together by French producer and music collector, Bruno Blum and the project has gotten mixed reviews: the Financial Times review has described it as ridden with world music cliches that erase the specificity and uniqueness of Eritrean sounds whereas someone called Tim writing for Eritrea Compass described it as a musical showcase of Eritrea's cultural diversity and firmly puts Eritrea on the world music map. Not sure what to make of the whole thing, but the track above is alright wiv me!

Friday, 1 October 2010

Thursday, 30 September 2010

Friday, 3 September 2010