Showing posts with label Africa. Show all posts
Showing posts with label Africa. Show all posts

Friday, 17 October 2014

Kitenge: Profit Seeking & Cultural Appropriation

Kitenge Earrings
I have been thinking a lot about cultural appropriation lately. Is it possible that even members of a given ethnic or cultural community can participate in the appropriation of their own culture? 

I was in East Africa for a while earlier this year. I went to visit family, go to my cousins wedding and just relish in the happiness of being back home. As a part of that visit I made sure to attain as many crafting supplies as possible, mostly glass beads, vitenge, and jewelry making accessories. I can never find nice and affordable vitenge here in Canada, and all the other crafting materials are so much cheaper there than here. So I merrily went around connecting with other crafters in markets, in my home area, and with Non-governmental organizations (NGOs) that support local crafting entrepreneurs to find wholesale prices. With every new product I came across I was ecstatic at the thought of the money I was saving for the quality I was getting. When I got back to Canada and found inspiration enough to get into the crafting groove I started making earrings. If y'all don't know by now, I love big earrings. Hate the heft though. So I thought that these super lightweight and boldy coloured kitenge earrings would be perfect. As I started making and selling them I had this growing feeling of discomfort and constantly thought to myself thought, 'am I selling my own culture for financial profit?' I started feeling like I was participating in the process of rendering cultural artifact to commercial product. I realized that I have absolutely no idea what the history of vitegne are within my countries of origin and instead of trying to learn their meaning I have rendered them nothing more than fashion accessory. For example, remember my post on kangas? Kangas often reflect current events. The sayings written on the bottom are not neutral or without meaning. They can tell stories of political or historical events, reflect religious values, offer advice and knowledge through proverbs, or have encouraging words. They are used during wedding rituals or when someone gives birth to carry babies. In short they have social value and meaning. Of course they are sold and produced for profit, but attached to them is meaning and purpose.

Beyond that I started looking at all the different ways that African cultures and artifacts have been appropriated as object for consumption or display. In museums, through micro finance projects in developing countries, curios shops, the north American/European fashion industry...and in all of this continental Africans gain little economically. In buying raw materials cheaply and selling finished products at a higher price am I contributing to sustaining poverty in my own home for personal gain? How am I any different from the multinational corporations who extract raw resources like oil, gold, tanzanite and diamonds then refine them and produce finished products for consumption? Am I excused simply because I have roots there? Oh Capitalism. What are the implications in representing my culture as fashion, is the financial or aesthetic trade off worth it? What do you think?


Smiles :)
Tuly Maimouna


Friday, 20 December 2013

Fab-you-lize: Kanga Nostalgia Blues

Kanga (kah-ng-ah)
A kanga is a brightly printed rectangle of pure cotton cloth with a boarder around it that has bold and elaborate designs. They originated along the east African coast in about the 19th century by swag savvy womyn who would buy different printed kerchiefs and sew them together to get individual designs. By the early 20th century swahili sayings began to be added to kangas. The ever elusive 'they' speculate that this was started by a famous trader in Mombasa, Kenya who would often print proverbs on kangas, others may tell you that this originated in Zanzibar (off the coast of Tanzania) where aphorisms were first printed on kangas in Arabic and later in the roman alphabet. The different kanga prints and sayings have come to reflect social meanings, changes and political events. A fanciful and creative way of advertising and expression! The great thing about them is they are also multi-purpose! I bought this charming book while visiting in Tanzania called Kangas: 101 Uses. The title is pretty self explanatory, it shows you how to tie a kanga into a head-wrap, skirt, different style dresses, bikini top, bathing suit, underwear, how to use it as a towel, baby carrier, scarf, shawl, rug, hang it on your wall...you get my point. But one thing it doesn't cover is how to sew kangas!


Example: Kanga Head Wrap!
&
Tusker Bottle Cap Earings!
Example: Kanga Tube Top!
I was strolling around my favorite undisclosed location and came across a store filled with kangas! I have never seen them for sale here in Canada so I got excited, plus they were only $5.99 each! I instantly fell into deep nostalgia, day dreaming of east Africa caressing the kangas with with a huge smile on my face. Right there and then I decided that I needed this little slice of my paradise to feel a little more at home. I bought four double kangas with a spontaneous project in mind. I have been looking for a fly duvet cover for a while, but I never find anything exceptional or tantalizing. I'm sure impatience drives my creativity, cause I can't wait around for someone else to please me, ain't nobody got time for that! So I decided to fab-you-lize and make it myself! In order to get this project popping here is what you will need;
 
Materials

1. Measure your duvet/bed cover (length & width)
MEASURE TWICE CUT ONCE! That is the number one rule. I made my duvet cover for a queen sized bed so the measurements were roughly 76"x 98" I had to use a hand tool tape measure cause the sewing measuring tape was far too short. You will use these measurements to cut your fabric.
Measuring Tape
2. Iron all of your kangas
If you are going to sew, you need to know how to iron! If you don't, you gon learn from this video. This step is critical! Because you will be cutting the fabric you need to make sure that all the wrinkles are gone so the final product doesn't turn out oblong. I like to use starch when ironing kangas because they are pure cotton it helps to keep it from wrinkling longer. 


Iron & Speed Starch
3. Cut your kangas to the required measurements 
I bought four different kangas because my bed is queen sized, so I had to sew all the pieces together. Depending on the size of your bed you might use less.
- Lay the first two kangas over top of your blanket/duvet and make sure that the black lines are matched up evenly. (This is the way you will sew them together & make sure it is the right length and width that you measured!) 
- Cut little notches where you want to make my final cuts. 
- Cut across each piece...with scissors.
By the way: having sharp fabric scissors will make your cuts a lot less jagged.

How to match the lines 
4. Pin & sew your project together, piece by piece
Make sure that you are pinning it with the inside out! That way all of the sewing you do wont be seen. I pinned from the black lines first. They act as a reference point to insure your project doesn't turn out lopsided.
- Pin two kangas together lengthwise & sew 
- Repeat for the remaining two
- You should end up with two huge kangas sewn together at their longest sides
- Match up the black lines again and pin the two huge kangas together lengthwise & sew
- Repeat for the other side
- Pin & sew the top (width wise) side of the kanga together
- You should now have 3 sides sewn together
- For the final side, from each end sew in 1/3 of the way leaving a gap in the middle (this is where you will insert your duvet from)
By the way: When sewing, sewing needles will save you from a mess of confusion and will help your project move a long faster. They help to secure pieces of fabric together, they help you to imagine how your project will look before you actually sew it. I like use them as markers of where I need to sew and to use them to make sure I sew in a straight line.

Sewing Pins

Kanga Throw Pillow & Reversible Duvet Cover!
My bestie gave me some trim she didn't want and I wasn't sure what to do with it, but you know how we crafts hoars do and I took it anyway. Look at me now! I used the scrap pieces from the kangas to make this really cute throw pillow! 

My kanga bed!

This took me quite a while, and a few funk ups to make, so take a break walk away but make sure to come back to it! This is probably one of the most exciting projects I have done yet, I am so pleased with the way it turned out! It makes me so happy I even feel more inclined to make my bed in the morning! Now there are 2 more uses for kangas! The colours are so bright and warm I see no better way to beat the nostalgia and winter blues than to cuddle up to a little piece of east African paradise by fab-you-lizing.

Update 2014: I made a basic 40" x 40" pillow that is great for lying in bed and reading...or doing anything else! It is filled with a 20" x 20" foam square enveloped with cotton stuffing.


Smiles :)
Tuly Maimouna

Any questions, something not clear? Just ask!

Tuesday, 10 December 2013

Found and Lost?: African Unity


I had intended on making and posting this on remembrance day in remembrance of the Kings African Rifle (KAR), but since the passing of Madiba Nelson Rolihlahla Mandela on December 5th 2013, this seemed fitting.

I feel conflicted. Mwalimu Julius K. Nyerere, visionary and former president of the United Republic of Tanzania in his 1983 speech stated that he was 'tired of being told that Tanzania's present condition arises out of our own mistakes of policy, our own inefficiency and our own over-ambition - that Africa's present condition is the result of African incompetence, venality or general inferiority in capacity, and being told that the solution to our problems is an agreement with the International Monetary Fund (IMF), despite the severity of the terms which can be obtained, followed by the single minded pursuit of private investment"

I completely agree with his sentiment, it is far too easy to blame the existing conditions of African countries solely on despotismnepotism or political corruption. It is a surface level and simplistic analysis of issues that have deep historical roots. Yet still I remain conflicted. The evident regression of Tanzania in the past 15 years since Mwalimu Nyerere's passing I had to ask myself, how much responsibility does a democratically elected head of state hold when the trajectories established by former leaders are completely diminished? How have leaders gone from ambitious visionaries like former President Kwame Nkrumah of Ghana who called for the African Peoples Congress Organization meeting in 1958 reflecting and promoting geographical unity (Nyerere, 1974). Leaders who believed in regional, national and intercontinental trade, founders of the East African Federation, leaders who believed in disaporic cooperation from the Pan-African Congress to the Organization of African Unity (OAU)? To ending up with leaders like Jacob Zuma the current president of South Africa, who recently raped a woman and justified it by saying she was wearing a short skirt. Or the Kenyan African National Union (KANU) the former Moi regime who in 1996 allocated over half of the public Karura forest located in  Nairobi for logging, to raise funds for his 1997 re-election (Njeru, 2010). Uprooting, displacing and destroying the livelihoods of thousands of people. In short what has happened to positive government leadership that people can believe in? So in the passing of Mzee Madiba Mandela, I felt worried. Has the passion and insight died along with the first African leaders of independent African nations? Have we lost the fundamental unity required for liberation? What has happened to the models of African liberation and African liberation movements our fathers and mothers of passed generations fought, suffered or died unflinchingly for? 

Like I said I feel conflicted, because the answers are not clear. Who is to blame? Or does it even matter? What I admired about Mandela, Nyerere and others was that their dialogue was not around who was to blame, but how we can move forward together. Investing in alternative models of political and economic development like the Arusha Declaration on Socialism and Self-Reliance or Rainbow NationIf anything I hope that action oriented dialogues will persist with African leaders, that there will be an emergence of those who do not talk but live what they believe. I see glimmers of hope. Like the recent establishment of the East African Community's (EAC) Monetary Union, where Kenya, Uganda, Tanzania, Rwanda and Burundi hope to merge currencies over the next 10 years and create a central bank to wean countries off foreign aid, and promoting south-south cooperation. I see grassroots organizations mobilizing people around the foundations of liberation that have not been taken up by existing governments. Unity is being taken up in varying shapes and forms in different capacities, and so I am also hopeful.

I decided to make this flower to represent my confliction, worry and hope as well as to acknowledge those fallen, lost, found, uplifted or caught between the challenges and successes of liberation. Red for the blood that unites us, the blood spilled and lost. Green for the rich land. Black for the people who belong to the land, and yellow for the characteristic and ever persistent sun that gives life. To the people past and present who participate in Africa's liberation from colonialism, oppression and racism, and for so humbly cooperating in laying down the foundations, supporting and believing in human liberation this is for you. Furthermore, to the people who never got recognition, farewell memorials, statues erected in their honor, medals, government compensation or even a thank you for taking up arms or non-violence because they believed in the independence, autonomy, freedom, dignity and unity for Africa I pay my respects. 


Smiles :)
Tuly Maimouna






Monday, 28 October 2013

R&S: Takataka an ode to Meja Ngeti

Takataka
[tak-ah-tak-ah]
Bottle cap necklace
When I was in east Africa anytime I went out friends they would always ask with a look of slight disgust "why are you picking garbage up off the floor?" without confidence and shifting eyes I would reply "...I want to make something..."  In reality I had no idea why I was picking bottle caps up off of the floor when I thought no one was looking, but it really did seem right at the time. On my trip back home I was acquainted with a rather strange but charismatic major in the Kenyan air force who we always addressed as Meja Ngeti. Now Meja Ngeti while obnoxious in his own right was whole heatedly generous, when we hadn't eaten and were hungry he fed us, he provided advice to young men and challenged them to think seriously about themselves, he avidly demanded that I was respected as a lady but mostly he bought us drinks...a whole lot of drinks. Now that I think about it, I am actually not sure if his obnoxiousness can be attributed to him having a few too many, but none the less his company was always a pleasure.

On one of our many encounters Meja Ngeti taught me a really cool trick, how to open a bottle of beer with another beer bottle. With every round that would come to our table he would tell the barmaid to leave them all closed and insist that I open everyone's beer. You might wonder why this newly acquired skill mattered so much to me. Well, as soon as I mastered the skill I was from then on able to collect bottle caps in a discreet fashion! I no longer had to pick them up off them floor, I just popped the caps off and put them in my pocket free of disgusted looks. Sadly, not long after I returned to Canada I heard that he had passed away, so to Meja Ngeti, asante sana kwa chaluka tamu, moto ama baridi tutakunyuwi White Cap, Sumit, Tusker, Pilsner na Amarula kwa wewe. I am sure he would be proud to see how far my beer-on-beer opening skills have come.

Yesterday as an ode to Meja Ngeti I felt inspired to make a R&S takataka 'garbage' necklace with all the bottle caps I collected on my many adventures with him, as well as some random ( and delicious) beer drinking adventures I had on my own facilitated with the help of the bottle opening skill he passed down to me. 


Materials!
It was a really simple process! I recycled an old link chain in my box of stuff and used my jewelry making supplies (pliers, jump rings & hole punch) to get this project popping.You can buy all the materials at the dollar store or your local beading store. You can get like me and sneak bottle caps from the floor into your pocket at the pub when no one is looking, or...drink dozens of beers for their caps? You'll have to get creative with that part and figure out what works for you. 

Instructions:
1. Assemble all materials
2. Flatten bottle caps with mini pliers
3. Use one hole punch to punch a hole at the top of the bottle cap
4. Use mini pliers to open jump ring & attach the bottle caps to link chain 
5. Fiddle with it to get it to sit how you want it to
Thats it!

Final Product!
  
I now get to wear all of my favorite beers on my neck! I was told it makes me look like a drunkard, but this simple project that costed me nothing but time to make means so much more than that. To Meja Ngeti, where ever you are thank you for your kindness and welcoming nature. It was a pleasure knowing you and may you have found peace and an abundance of blessings. 


Smiles :)

Tuly Maimouna

Tuesday, 13 August 2013

Shags: Ode to a Village Bar

SHAGS
Bamboo Bead Necklace
$20.00


Ever since I was young I always wanted to have one of those bead curtains. I think they are absolutely tantalizing! About five months ago my friend and I came across them and it was like a childhood dream come true! I snatched one up and hurried home to hang it up. When my mom saw it she said dryly with a look of distaste 'it reminds me of something you'd find in an old village bar' Dreams crushed I took it down and lay it to rest...until recently. I decided that if I couldn't hang it lavishly in my doorway I would hang it from my neck. I hesitantly cut off the beautifully strung beads and made an array of necklaces and earrings, and this is one of the many final products! As an ode to a lost childhood dream and some old village bar charm, I have appropriately called this necklace shags which is the slang word for 'village' in my mother tongue of Gikuyu. 


Now I get to carry a little bit of childhood fancy with me!

Smiles :)
Tuly Maimouna

Friday, 7 June 2013

Uchungu na Tamu: Life Lessons

This has been a very interesting week that has brought about a lot of reflection on the people around me, family, people who say they are my friends, those who are my friends and those who have come into and left my life. Through this reflection I have leaned that life can have a harsh way of providing us with lessons, and you can only learn these lessons through the mistakes you have made along the way...but from mistakes arise new opportunities. If you choose to ignore the omens placed before you or doubt your intuition, ultimately you are the only one who will suffer from regret or loss.


So onto my not so new creation. I made this scarf a while ago and I got really upset because after I washed it, it stretched about three sizes and didn't look all that good anymore. My mom and I went out for dinner one day and when she put in on I realized it looked amazing as a shoulder poncho!  I added a button to the front that works to adjust the size of the poncho at the neck...I also thought it looked really cute! So this once scarf that I though I had mistakenly ruined provided an opportunity for my 'newest' old creation to come to fruition, which left me thinking of the kiswahili proverb:

 Mla cha uchungu na tamu hakosi: he who eats bitter things gets sweet things too

Uchungu na Tamu
Shoulder Poncho with button
$35.00
Life is an interesting experience and sometimes the lessons we learn leave us thinking of what we should have, could have or would have done...the thing is we have to be able to translate these lessons into our existing relationships and en devours. Otherwise we are at risk of living in vain and rendering those relationships (or in this case a scarf) meaningless. 

I guess we can only know sweetness through tasting bitterness. 

Smiles :)
Tuly Maimouna

Thursday, 30 May 2013

Duwara: Full circle

When I was in Nairobi, Kenya late last year I was staying in Eastlands mlango kubwa (big door) with a friend and both of my cameras, her camcorder and all our money was stolen...how unfortunate! But as my mom told me "it was baptism by fire" so I can now call myself a true Kenyan. You have to laugh about the situation, but be thankful that we are both still alive and well. So as a result of this loss the quality of my pictures has decreased significantly, but ultimately I'm flooded with pleasant memories every time I try to take pictures of the new stuff I have made. I have learned that it's the memories, people and experiences that make us, not the things that we acquire along the way. So in regards to that, I have been feeling like I have come full circle this year. The people I have met, the places I have been and the experiences I have experienced have all been blessings in full view. It has been such a privilege to feel the rough edges chipping away to me becoming a well rounded individual, and getting closer to realizing who I am and what I appreciate in life.  So this creation reflects that.

Duwara earrings are bright, bold, and so lightweight I even forget I am wearing them. I only make one of each pair and design so they are really one of a kind!


Duwara
[do-wah-rah]
Circle earring

  Also circles just look really cute!

Smiles :) 
Tuly Maimouna

P.S I also have to note that these earrings were inspired by the beautiful designs of Luz Arte who is making crochet jewelry inspired by Spring's flowers, nature and color, check her out!

Thursday, 18 April 2013

What happened to all the book worms?

Book MONSTER!
material: 100% worsted
Size:10'
Stitch: Single crochet
....the book monsters ate em all! Growing up I was never really too big on books, mostly because up until I was in grade three I had trouble reading. The weird thing is that I always used to read with my mom before going to sleep as a child, but for some reason when in school the ability somehow escaped me...so I used to attend after school reading classes with my homeroom teacher. Since then I have developed a healthy appreciation for reading, I have come to the conclusion that it stems from past inability! My appreciation has manifested its self in different ways throughout the years, and reading has developed beyond an action or pass time to a deeply personalized experience.


I first started reading novels by black authors when I was in high school. It first started off with black erotica, anything from Eric Jerome Dickey to Mary, B Morrison was a must read, which is probably attributed to underlying teen sexual frustration haha! But more importantly while reading I started to realize that it was hard for me to imagine black characters in novels, and to this day it honestly still proves to be a challenge for me. I thought "oh gosh, has my mind been white washed?" This was really a troubling thought for me, so I started to look for books that distinctly addressed historical events pertaining to the black diaspora. Books like, Roots By Alex Haley, The Book of Negros By Lawrence Hill and so on. While this proved to be helpful, I hated the idea of black populations not being represented beyond traumatic events of displacement, and mostly I did not relate to these stories because my experience of 'blackness' is fragmented between being a racial minority and being of East African decent.


While searching for 'new' types of stories, to my surprise (not really) the only ones I could find in school/public libraries & book stores were stories about slavery,  war/political/civil unrest, travel guides or half-assed romanticized Eurocentric novels about African countries. Never stories of the Africa (I am using this term loosely) I have known, lived and understood. I also started to wonder why novels by African authors outside of those themes are so inaccessible. A lot of novels available on African countries tend to speak to non-African understandings of those countries experiences, so stories of love, families and everyday life outside of trauma, poverty and despotism seldom matter or exist in the conscience of the reader, or more frequently, the idea that these themes can not exist seperately. In the search for new literature my eyes were forced open to ideas and questions that extend beyond the books themselves.

I only recently started to think critically about the novels I had been forced to read throughout primary and secondary school. What obligation or responsibility does a white author have to represent bodies of colour? Should schools be forced to teach black diasporic history beyond slavery? What implications/ repercussions does ignoring contemporary African history have on the black diaspora? How has the absence/under representation of bodies of colour in government school curriculum, and mainstream media affected how and where people of colour place themselves within these exclusive and selective outlets, and how does this effect the way we navigate ourselves through everyday life? While all these questions require larger discussions and subsequently greater actions, my first step is to change the limitations my socialized imagination by inserting characters of colour into contemporary western stories that I read to challenge normalized ideas of white bodies as a neutral or default characters, and secondly to continue reading novels by various African authors past and present.


Books by various African authors


My favourite novels by African authors:
1. Ambiguous Adventure - Cheikh Hamidou Kane (Senegal)
2. Tsotsi - Athol Fugard (South Africa)
3. Tales Told by the Son of Kenya - Aggrey Chepkwony Sambay (Kenya) 
4. Going Down River Road - Meja Mwangi (Kenya)
5. A Grain of Wheat - Ngugi wa Thiong'o (Kenya)
6. Things Fall Apart - Chinua Achebe (Nigeria)
7. On To Kilimanjaro - Brain Gardner (this book is an exception because is not by an African author, but it gives you a very clear definition between self representation, and othering )


If you're a book worm like me, don't let the book monsters take away the ability to exercise your imagination by keeping truly reflective stories out of reach. Go out and look for a good book.

Smiles :)

Tuly Maimouna

P.S. If you are interested look up Roots (Alex Haley) vs.The African (Harold Coulter)...a really interesting back story to our friend Kunta Kente and the so called "timeless American Saga"

Friday, 9 March 2012

Beware the “New” Paternalistic Discourse

I watched the Kony 2012 video last night on youtube and had a few thoughts....sorry folks, sales aside real life beckons!


Perpetuating the idea that justice in the periphery is unattainable without assistance from the core, suggests that paternalistic theories of development and justice seem to be recycling themselves and reappearing as a wolf in sheep’s clothing.  Jason Russell the film maker of Kony 2012 suggests that modern science and technology must firstly, be provided by the United States and secondly, that they are key to the capture of Joseph Kony in 2012. These ideas, which I might add have not worked since their emergence in the early 1950’s, are quite similar to the varying theories of development that suggest these elements as preconditions to alleviation of sufferance. This movement brings to light that old ideas of the African continent and its people still persist in contemporary –north American- thought, and it enraged me that some people, including Jason Russell validate this language and imagery.
I have come to be very aware of langue use, and the power it has to mobilize people with good intentions in the wrong way. I have long been conflicted with the use of the word Africa to generalize and minimize a place and its people who vary in so many ways, from lived realities, language, customs and ideas, to values. Throughout the film I found myself cringing at the use of the word Africa, why? While the main focus is on events specific to Northern Uganda with Joseph Kony and the Lord’s Resistance Army (LRA), the term “Africa” was used too often, homogenizing 54 countries into a particular conflict that has more recently expanded into Central African Republic and parts of Democratic Republic of Congo. I must admit that I am mad and I had a lot of questions;
1.     Why is this group suggesting military action to target a man who has child soldiers and sex slaves?
2.     Why are Ugandans not at the forefront of this initiative?
3.     Why are Ugandan efforts over the last 26 years being ignored? Such as the reintegration of escaped child soldiers through Acholi mato oput; (http://www.aljazeera.com/programmes/witness/2011/10/20111012152024670219.html)
4.     Are they examining the more particular issues that have stemmed from Konys 26 year tirade? Aside from building schools, what about community needs assessments, which include addressing increased HIV rates as a result of sex slaves, and the mental state of former child soldiers.
5.     If the periphery must be involved, why are they not suggesting the United States facilitating a United African effort empowering African nations to help one another? Such as was done with the Organization of African Unity (OAU) during the fight for the liberation of Mozambique from the Portuguese, prompting and promoting African solidarity, sovereignty and unity.
6.     Why are they not trying to build capacity in a way that empowers the disempowered?
7.     Why is this group not creating a platform for Ugandans and Central African Republicans to speak upon for themselves, instead of speaking on their behalf?
8.     Are they looking at the bigger picture, those involved, his supporters? As with the 1994 genocide in Rwanda, it has not stopped it is simply at a smaller scale and the militia group had moved into parts of Congo.
9.     I also question the transparency of the group, and where funds are being allocated (as with most large-scale Nongovernmental organizations (NGOs))
All this touches on my point of perpetuating ideas of helplessness within the continent and regurgitating the idea of “otherness” and “backwardness” a dialogue and language started by Europeans, that has haunted African countries for centuries.
Now believe me when I say that I am able to give credit where credit is due, Jason Russell was able to create a contextual movement. By this I mean he came up with a perfectly innovative way of using social media for social movement, and I commend him for that. Russell was able to take an international issue and localize it, making it relateable to North Americans by challenging the idea of “I can’t do anything I am only one person.” He has increased awareness on an on-going issue and has mobilized youth globally, which on its own is very impressive, and much more than I have ever done or could imagine myself doing. Yet my points still stand.
The new face of the scramble for Africa is evident. In the beginnings of colonization, the scramble for African countries -more over its resources and available laborers- began simply as a “saving and civilizing Africa” movement and evolved to what it was during colonialism, to what it is now. Many people can argue that colonialism ended decades ago, but I strongly believe in the idea of mature colonialism, just as much as I do in new racism. Just because it no longer exists in the form it did when it first appeared does not mean it has since ceased to exist. I believe that this Kony 2012 initiative disempowers Ugandans as capable rulers and decision makers of their own country – invading on their sovereignty as a nation-, and serves to further perpetuate the age old idea that stems back to the partition of Africa, where European powers decided that Africans were uncivilized and could not govern themselves, thusly prompting outside –European- intervention. The language of “saving Africa” and “saving Africa’s children” is one of the more elusive and clandestine scrambles for Africa, masking its intentions and through dialogues that openly exclude the voices of African people, – except of course as the innocent victims- creates a vast knowledge gap, while also creating a void validated to be filled by western values and ideas. I am not suggesting that Kony 2012 has imperial motives behind it – although I am skeptical-, but we have to question the potential backwash effects of this movement. In context ask yourself, what role are Ugandans playing in this Kony 2012 movement? Are they in positions of power and decision making? How will Ugandans and their country be affected by US military backing and intervention? What role will existing Ugandan institutions play?
In short, my main worry is the resurfacing of large scale of colonial language that once justified imperial occupation within most African countries. I ask that we always keep mind the politics of representation, whom is speaking on behalf of who, are the real issues being addressed and question if the right voices are being heard or even considered. I ask that as global citizens we do not take the things presented before us for face value, and that we challenge these ideas before leading each other blindly, and most importantly, we have to learn from and understand the past and the cumulative causations of seemingly simple issues to be able to examine future courses of action.
Is anyone else sensing another free the children on the rise? As if one wasn’t enough -_-



Beware the “new” paternalistic discourse

Smiles :)
Tuly Maimouna