Friday, August 2, 2019

AU AND ADEA LAUNCH CONTINENTAL FRAMEWORK ON BOOK AND READING POLICIES FOR AFRICA


ADEA workshop group photo at Parkinn by Radisson Hotel
I knew I was in for an international experience the minute I entered the conference room and spotted translators in a glass booth at the back. The gentleman I sat next to had passable English but was fluent in French,  coming as he did from ‘the other Congo’ (Brazzaville as opposed to DRC). The event was the ‘High-Level Regional Workshop on National Book and Reading Policies in Africa’, organized by the Association for the Development of Education in Africa (ADEA) in collaboration with the Ministry of Education of Kenya and the African Union Commission (AUC), with support from the United States Agency for International Development (USAID)’s Global Book Alliance (GBA) initiative. It took place at Parkinn by Radisson Hotel in Westlands, Nairobi, from 17th to 19th June 2019.

Albert Nsengiyumva - Executive Secretary of ADEA
Key issues addressed during the event included African literacy rates, indigenous languages, publishing, education, the AU-backed Continental Books and Reading Policy Framework, and working towards Africa’s Agenda 2063 as well as Vision 2030 goals. The workshop was officially opened by Dr Belio Kipsang, Principal Secretary in the Kenya Ministry of Education’s State Department for Early Learning and Basic Education. He pledged to ‘deploy all resources necessary to formulate and implement a national book and reading policy for Kenya.’ Dr Silvester Mulambe, also from the Kenyan Ministry of Education, observed that, ‘Most learning is informal. The library is an extension of that. The library brings the whole world to the room. We are willing to work with partners to create a thirst for reading among the youth.’ 

Prof Kimani Njogu - Director at Twaweza Communications

Linda Hiebert, the Global Book Alliance Senior Advisor, said that the ‘GBA is supporting the development of reading amongst children…Over 600 million people globally are not getting access to education in a language that they understand…(Our) mission is to ensure that children everywhere have books.’ The issue of vernacular languages has always been a ticklish one in education and publishing circles. There appears to be a general consensus that preserving ethnic languages is important but not commercially (or politically) viable for most languages. ‘Indigenous publishing cannot be left to individual publishers,’ Prof Kimani Njogu, a Director at Twaweza Communications, said. ‘It needs a larger, government-involved ecosystem. Local-language books are hardly visible. Local bookshops rarely stock them. There are a lot of local-language manuscripts and writers but few willing publishers due to the costs involved.’  He added that he was pleased that Kiswahili learners in tertiary institutions are now required to write their Masters and PhD theses in Kiswahili. ‘Basic proficiency for reading exists. For cognitive academic proficiency, the language skill level needs to be above average,’ he said. Among the delegates was Ms Joan Mwachi, Worldreader’s Regional Director for East Africa. Worldreader is a nonprofit organization that distributes digital books globally, in 52 different languages. She identified the ‘barriers to reading’ as lack of access to relevant books, lack of awareness, and limited proven models in the distribution of literature. Digital, she said, offers convenience and on-demand content. But even on the mainstream publishing front, all hope of indigenous publishing is not lost. The CEO of East Africa Educational Publishers, Mr Kiarie Kamau, said that EAEP has published texts in six local languages: Kikuyu, Kamba, Maragoli, Dholuo, Giriama and Ekegusii. ‘Africa has 2,000 local languages,’ he said, ‘Some of which are dying. One language in the world dies every fourteen days. Most languages are too small to sustain commercial activity.’ 

Joan Mwachi - Worldreader Regional Director for East Africa
The workshop was organized into different sections, including speeches, presentations of papers, and group discussions. The main topic of discussion was the draft Continental Book and Reading Policy Framework. Ruth Makotsi, a publishing consultant, observed that the quest for national book policies in Africa began decades ago, spearheaded by UNESCO. ‘Most African countries only have a text book policy,’ she said. ‘A Book and Reading Policy goes beyond textbooks.’ The draft policy, which was studied in-depth in the discussion sessions with attendees being encouraged to identify inadequacies and customize it to their national needs, indeed goes way ‘beyond textbooks.’ The 28-page document dated ‘June 2019’ begins with an Introduction that details the quest for a comprehensive policy and the current state of things. It reads, in part:

‘The value of general, cultural and, even, scholarly books remains unrecognized. In the few countries where some progress has been made towards developing a more expanded book policy, such effort has tended to be driven mostly by the private sector. Consequently, national governments have been reluctant to ratify policy documents originated outside of their administrative or political structures.’
As a writer, I was glad to find numerous references to authors and authorship in the draft. Section 2.5.1 of the document is titled, ‘Development of authorship’ and its stated objective is to ‘Support, promote and protect African writers.’ It postulates various strategies in aid of this, including establishing a book development training institute for authors of all categories and age groups, mainstreaming creative writing as a curriculum subject from primary level of education, establishing and supporting literary awards, enforcing copyright laws, establishing and supporting African writers’ associations, and developing author-promotion channels such as journals, media and book launches. Veteran Kenyan publisher Henry Chakava suggested that the African Union should spearhead the policy framework to and from there it cascade to member countries. ‘We cannot create a reading culture without bookstores and libraries,’ he said. On the challenges facing indigenous publishing, Mr Chakava said that countries such as Denmark, Finland and Sweden ‘have small populations but thriving publishing industries. Why not African nations, some of which have tribes larger than the aforementioned national populations?’ Mr Albert Nsengyumva, Executive Secretary of ADEA, encouraged each country to enact a book-reading policy that encourages reading and creates ‘an enabling environment for learning.’

Henry Chakava - Chairman at East African Educational Publishers Ltd
The diversity of nations represented at the meeting offered insights into the different publishing landscapes on the continent. According to Catherine Uwimana from Rwanda, until recent years, there were no literary associations to speak of in her country. This contrasts sharply with Kenya which has had myriad reading, writing and publishing associations for decades, some of which have now run out of steam. However, we still have vibrant associations, such as the Kenya Publishers Association and the Kenya Booksellers Association. The main reason associations fold, Mr Chakava said, is due to heavy reliance on donor funding. Once the funds dry up, so do the organizations. A Tanzanian delegate said that many bookseller and library associations in her country were ‘existent but inactive’. She described the Tanzanian National Book Council as ‘moribund’ and said there was a general lack of an ‘institutional policy framework’. A Cameroonian representative agreed that associations/institutions work hand-in-glove with a policy framework. He suggested that national book councils should be co-ordinated by ‘a continental body.’ According to Mr Elliot Agyare, President of the Ghana Book Publishers Association, no African country appears among the top 65 nations in the world literacy index. Illiteracy is high due to lack of a strong reading culture compounded by the difficulty many Africans have trying to provide books for children at home. ‘Reading is an enabling skill,’ he said. ‘The economic, social and political health of a country is dependent on literacy…In politics, the illiterate are misled…Books and libraries are not a governmental luxury.’  Mr Agyare commended the First Lady and various celebrities of Ghana who have taken up ‘reading projects’ to raise their nation’s literacy level. ‘(African) citizenry are capable of existing in a knowledge economy,’ he said. A speaker on Day One of the conference had described Africa as having ‘twelve per cent of the world’s population but only contributing one per cent to the world’s knowledge economy.’

Elliot Agyare - President of Ghana Book Publishers Association
After the curtains closed on the workshop, Mr David Waweru, CEO of Word Alive publishers, described the event as a ‘significant milestone for books and reading in Africa. The Association for the Development of Education in Africa, African Union Commission, Kenyan Ministry of Education and partners USAID and Global Book Alliance made significant steps towards the ratification of the Continental Book and Reading Policy Framework.’ 

Elliot Agyare - President of Ghana Book Publishers Association
The ‘High-Level Regional Workshop on National Book and Reading Policies in Africa’ brought together 42 delegates from both Francophone and Anglophone African countries. We came away with a clearer understanding of the pivotal role the book publishing industry plays in a knowledge economy, the importance of government participation, and the need for comprehensive National Book and Reading Policies. A pan-African spirit flowed throughout the event. Despite the different backgrounds, languages, and ideas of the delegates, there was overwhelming support for the promotion of quality education for national development. Moving African nations a few notches higher on the world literacy index is something my new friend from ‘the other Congo’ and I can shake hands on, despite the language barrier.

I'll leave you with a few more images from the event:

Elitha van der Sandt  – CEO South African Book Development Council
Daniel Chebutuk Rotich - Professor of Publishing Studies at Moi University, Kenya
Gbadega Adedapo - President at Nigeria Publishers Association
Henri N’koumo - Minister of Culture in Côte d’Ivoire
Kenya Publishers Association Chairman Anthony Njagi
Dorah Kitala and Joan Mwachi
 ---
Alexander Nderitu is the Deputy Secretary-General of Kenyan PEN and a Business Daily 'Top 40 Under 40' Award winner. Website: www.AlexanderNderitu.com

All photos in this article are courtesy of Lily Nyariki/ADEA

Saturday, April 20, 2019

BECOME A CHARACTER IN A SUSPENSE NOVEL


‘That great Kenyan novel will eventually come. Perhaps, it will even emerge online, like the novels of Alexander Nderitu.’ ‐ Joyce Nyairo, cultural analyst, in the ‘Daily Nation’ (Sep 4, 2015)
 
 

'WHEN THE WHIRLWIND PASSES' was Africa’s first digital novel and remains one of the most downloaded. A review in the Daily Nation’s ‘SATURDAY' magazine (Nov 2002) described it thus:

'Brilliantly written...The story is fast-paced and the characters are built well. This is a book that is guaranteed to keep you seated ...If you can access the book, please do. It will be worth the energy.'

The author is currently working on the sequel (set in Nairobi city and revolving around Margaret Njeri’s beautiful-but-sassy daughter from the prequel) and you can be in it. Yes, YOU!!! You can make an appearance in the novel as a ‘fictional’ character!

HOW?

1. Read ‘When the Whirlwind Passes’ by Alexander Nderitu. It is freely available via the Worldreader app from Google Play Store (https://read.worldreader.org/Book/Details/d3b42c46-fb80-4c04-9e53-a84b50bdbcb2)

2. Write or record a review.

3. Post the review to a publicly-accessible place on FACEBOOK, INSTAGRAM, YOUTUBE or TWITTER, accompanied by the hashtags #WhenTheWhirlwindPasses and #AlexanderNderitu

4. We will find the reviews online (be genuine) and pick five winners to be announced in the month of June 2019.

5. There is no restriction on the nationality or location of the reviewer but the review must be in the English language.

BONUS:

- The best review, according to the author, will win Kshs 5,000 (USD$ 50) to be delivered via PayPal.

There are no restrictions on length, style etc but if this is your first time to write a book review, you can find some useful tips here: http://teacher.scholastic.com/writewit/bookrev/tips.htm

Got questions/inquiries? Hit us up via www.AlexanderNderitu.com
 

Tuesday, April 2, 2019

REQUIEM FOR A CULTURE

Catwalk photo: Louis Vuitton (2012 Spring-Summer collection)

‘We understand we shall not be titled henceforth to cross the boundary of the new Serengeti National Park which we have habitually used in the past. We agree to move ourselves, our possessions, our cattle and all our other animals from this land by the advent of the next rains.’ – Colonial-era agreement expelling Maasais from the Serengeti

‘When I started researching this piece on the Maasai, I intended to write something akin to a love letter to this fascinating tribe. Alas, given the effects of modernization, this section has turned out to be more like a “Eulogy for a Culture”. Nonetheless, the contribution of the Maa people to the world cannot be gainsaid. They have bequeathed to us beautiful legends, myths, dances, fashions, and lessons on how to live in harmony with nature. They have inspired in us a spiritual fervour to protect our traditional ways of life, and see them as good – not retrogressive. As in the distant past, the Maasai community continues to earn “the admiration of strangers”… ‘

Discover the (possible) origins of East Africa’s most famous community, as well as their rise and fall, in ‘Changing the Literary Map of Africa’ (PDF), available here: http://tiny.cc/tsql4y


Saturday, February 16, 2019

ZIMBABWEAN THEATRE CULTURE ‘EMERGING’ FROM THE SHADOWS


The inaugural Mitambo Festival will run from the 8th to the 12th of October 2019 in Harare, the capital city of Zimbabwe.  The theme is ‘Emerge’ and the organizers are aiming for an annual international theatre festival that will showcase local and international. Planned events include performances, master classes and presentations of papers. According to information released by the organizers:

Zimbabwe TheatreAcademy in partnership with the Network of emerging Arts professional, Zimbabwe Centre of the International Theatre Institute, Reps Theatre and Africalia presents – Mitambo International Theatre Festival.

MiTambo, a Shona word for plays, truly encapsulates what the festival is about; a platform through which local communities can access and celebrate the diversity of cultural identity and artistic expression. Mitambo Fest, aims to uncover and support what theatre can be and, what it can enable communities to do. It seeks to harness the unique energy and power of theatre as an immediate engagement tool for transformation of ordinary people. As a way of enhancing the visibility of theatre the festival will also have a cultural exchange component. This potential cross-pollination of ideas, aesthetics and professional artistic potential between local and international artistic initiatives will enhance the Zimbabwean theatre landscape towards performing arts taking on an active role in the socio-economic growth of our society.

At MiTambo Fest., we believe in the sharing of stories which foster a culture of dialogue and the upholding of the right to free expression. As a priority the festival will ensure that everyone in our community is given access to fresh, thought provoking and high standard theatre performances.’

There has been a revival of theatre and arts in general following the bloodless ouster of long-time president Robert Mugabe. One of the first indications of the change in political temperatures was the production of the hilarious stage play Operation Restore Legacy which re-imagines the military takeover in Harare that ended one of Africa’s longest and most controversial presidential tenures. Operation Restore Legacy was written and directed by Charles Mungangasa, and produced Mashingo Theatre.

A scene from Operation Restore Legacy (Photo: africanews.)

Zimbabwe is also the home of the Harare International Festival of Arts, a six-day performing arts extravaganza that for years was one of the premier theatre events on the continent. The event will, however, not take place this year. According to a statement posted on the official HIFA website on 15 Feb 2019:

The HARARE INTERNATIONAL FESTIVAL OF THE ARTS (HIFA) will not stage the event in 2019 and will focus on new projects leading up to a major Festival in 2020. The decision has been taken after much thought, soul-searching and discussion. Zimbabwe is dealing with many important issues, both social and economic. In this context, the Festival cannot responsibly commit to presenting a feasible and viable event this year of the same quality and impact that HIFA is known for. The Festival will use this time to work on other projects, particularly in schools, to broaden and deepen the organisation’s contribution to arts and cultural development. Showcasing the artistic outcomes of our planned new school programmes will be one facet of the next Festival, 28 April to 3 May 2020.

Years of economic hardship (exemplified by hyper-inflation) and a political crisis revolving the ageing President Mugabe led to a downturn in the fortunes of the southern African nation that the citizens are still recovering from. 

Thursday, November 22, 2018

PIONEERING BLACK SUPERSTAR IMMORTALIZED ON STAGE


By Alexander Nderitu

BANANA DANCE: Zakiya Iman Markland as Josephine Baker in ‘La Négrophilie’
(Photo: www.tatianapandiani.com)
Before Ella Fitzgerald, Louis Armstrong, Dorothy Dandridge, Billie Holiday, Diana Ross or even Muhammad Ali, there was another Black superstar entertainer - a woman unlike any other of her time -and her name was Josephine Baker. Her story has been told in film and documentaries and it has now landed in the live theatre world with a bang: in the form of two highly-acclaimed one-woman shows titled, La Négrophilie and Josephine: A Burlesque Cabaret Dream Play respectively.

Written and performed by Zakiya Iman Markland, La Négrophilie has been staged in several venues across the world, including: Frank Collymore Hall in Bridgetown, Barbados; Ubumuntu Arts Festival in Kigali, Rwanda; Kampala International Theatre Festival in Kampala, Uganda and Teatro SEA in New York, USA.

In a description posted on her official website, the playwright describes the work thus:

‘In a very racialized 1910s America, Josephine Baker is both lauded and taunted for the brown hues of her skin. Despite being incredibly talented and beautiful, internalized racism displayed by people of her own race held young Josephine in a compromising predicament concerning success in the African American theater scene. Never light enough to pass the quintessential “paperbag” test (used by blacks at this time to test the lightness of one's skin/how much white or mixed-blood one had), she left the United States and found stardom in the “land-of-the free” Paris, France, where racism was…well, different than in the States. She became an instant success; a sex icon catapulting into the first major movie star of color, an aid to French Resistance during WW2, an activist for the Civil Rights Movement, and so much more.

But what happens to the soul when fetishization, and eroticization of the body is the price you pay for fame…for freedom? Shuttling 40+ years in time, La Négrophilie takes you on the twisty ride of young Josephine’s rise to international stardom, all the while leaving behind a trail of questions about the good, bad, and ugly of oppressive love.’

Meanwhile, Josephine: A Burlesque Cabaret Dream Play was created by Tymisha Harris (Performer), Michael Marinaccio (Director/Producer) and Tod Kibro(Book and Musical Direction). The one-woman show wowed audiences at the 2017 Fringe Festival (USA) where it scooped multiple honors, including 'Outstanding Production of the Year',' Best Leading Actress in a Musical' (Orlando Sentinel Critic’s Pick), 'Best National Show', 'Outstanding Female Performance' and 'Festival Top Seller'. In 2016, the show scooped the ‘Best of Fest’ and ‘Outstanding Solo Performance at Fringe Festival ‘in San Diego, USA.



Actress Tymisha Harris in Josephine: A Burlesque Cabaret Dream Play
 Born and raised in a racially segregated America, the real Josephine Baker started dancing professionally as a teenager. Her entry into the showbiz world coincided with the ‘Harlem Renaissance’ and at eighteen she got the opportunity to tour to Europe with her troupe of African-American performers. In Paris, France, where she gained instant recognition, a new show was devised for her: the ‘Dancer in a Banana Skirt’ (and little else). She became an overnight celebrity, instantly recognizable and highly paid. According to Time, a Hungarian cavalry officer and an Italian count fought a duel in her name in Budapest, in 1928. The sword-fight took place in a cemetery, in her presence.

Unlike the US, France had no Jim Crow laws and ‘madam la Baker’ did not face overt racism (she could live anywhere and patronize posh eateries, for example). She made Paris her home and would later lose her American citizenship (although she visited America severally and participated in the Civil Rights marches of the 1960s). In France - where she branched out into singing and acting as well - she became a fashionista and socialite. Several French magazines offered her fashion columns to write. Her super-shiny hair, that stuck to her head like a coat of jet-black paint, was a major point of interest. With regard to her better treatment in France than America (then in the throes of often-violent Civil rights demonstrations) Josephine said:

‘How can I forget it (receiving a hero’s welcome in France)? They made me forget the colour of my skin. All of my good friends. They were White!’

 In Germany, the now-famous Black female dancer created a sensation – and stirred controversy – after a series of performances in post-World War 1 Berlin. She reportedly received 40,000 love letters and 2,000 marriage proposals! She was eventually ejected from the Berlin nightclub circuit by socialist moralists who were offended by her highly sexualized stage act. During World War II, she zealously aided France’s war effort and was decorated for it after the hostilities. She proudly wore her French military uniform in peacetime, even while visiting America in the later half of the 20th century. She also, finally, managed to get moderate success and acclaim in the US, in her old age, performing in extravagant costumes at the hallowed Carnegie Hall.  US author, Darryl Pinckney (quoted in the documentary Josephine Baker: The First Black Superstar):

‘You have to think of Josephine Baker as a symbol that the Jazz Age and the Harlem Renaissance could share. That in some way the White and the Black wings of this artistic movement that we could call “Modernism” could sort of meet in her, as a symbol.’

Michael Eboda, editor of New Nation:

‘She (Josephine Baker) exported the Harlem Renaissance to Europe. And for her to do that at that time, and do it so quickly! She moved to Paris and two years later, she was the highest paid (female entertainer) and most photographed woman in the world. That’s amazing.’

The real Josephine Baker in her hey day
(Photo: ThoughtCo)
 A staunch believer in universal brotherhood, Ms Baker spent her 40s and 50s adopting and taking care of 12 children from all corners of the world, whom she christened ‘The Rainbow Tribe’. After enduring soul-crushing racism in the USA and finding success and acceptance in France, she wanted to prove that all the races of the world could, in fact, co-exist harmoniously. Despite being wracked by ill health and with her fortunes declining, she was determined to make nonsense of racial segregation. Her words:

‘My little village, this little village of the world, is badly in need of financial support so I came back on the stage to make it possible for it to live on and on and on. Because it is very important, that little village. I have a lot of children from the four corners of the world who live there (in her French château). They are a symbol of true brotherhood. I must have the money for these children. The (château, which also doubled up as a tourist attraction) must live, it must not die. This village is too important. It represents a beautiful, beautiful, beautiful ideal. An ideal (that) must not die. It mustn’t.’

Sustaining ‘The Rainbow Tribe’ well beyond her ‘productive’ years put enormous financial strain on the former entertainer, and she spent the last days of her life on the breadline. Her impact on arts and culture, however, continued to be felt across the world, like seismic shock waves. According to the documentary film Josephine Baker: The First Black Superstar:

‘Josephine’s impact stretched way beyond the theatre. She entranced and inspired a generation of writers and artists in Paris, including Picasso, Hemingway, Collette and Seminole. Alexander Colder sculpted wire models of her, and Gertrude Stein imposed an affectionate tribute.’