Category: General

Laugh at your own risk in Zimbabwe

Laughter is the best medicine, wisdom says. But not necessarily in all places at all times. In Zimbabwe, laughter might actually be the worst poison, depending on who or what you are laughing at.

A Zimbabwean man living in the east of the country near the belly of the rich diamond fields drinks a few quaffs of his frothy beer, the ­semi-traditional Chibuku. It is President Robert Mugabe’s birthday. And the 2012 presidential birthday party is in the eastern province’s capital, Mutare.

The man, who is stubborn in the wholesome traditional personality of that region, does not go to the stadium where the party is being held. He has probably attended many in the past and has come to the conclusion that standing in the queue for hours for a small cup of his favourite drink was not to his liking.

So, the man goes to his favourite bar, which is screening the festivities. As if to torture him further, the national broadcaster is airing the lavish birthday party live. The birthday cake is a crocodile-like monster of a sugary thing weighing 88kg — a kilogram for each year. A massive affair with 88 lit candles fluttering in the wind like tiny butterflies blown around by a soothing breeze.

The half-drunk man chats with a stranger sitting next to him: “At the age of 88, where does this old man have the breath to blow out 88 candles? Did he ask for some assistance?” He is referring to Mugabe.

The stranger walks out of the bar with a stern look on his face and shortly returns with two aggressive-looking men at his heels. “Secret police!” the boozer whispers to himself, recognising them by their dark glasses and familiar, wrinkled suits.

The court trial about a pub joke lasts for weeks and weeks, and people all over the country sympathise with the offender. They feel inspired to make more jokes about the president, despite the risks.

(Graphic: John McCann/M&G)
(Graphic: John McCann/M&G)

In Zimbabwe, joking about the president is a serious crime, and many citizens have lost their freedom for having the courage to laugh at the president. If the South African artist who painted President Jacob Zuma’s privates had been a Zimbabwean, he would probably now be languishing in Chikurubi Prison.

The crime: insulting the president. The punishment: months behind bars in a dingy prison cell, or, if the magistrate feels pity for you, a sentence of hundreds of hours of humiliating community service in a public place in the scorching sun.

But one man seems to have gone too far in the southwestern part of the country. He supports Mugabe’s Zanu-PF party partly because it gives him free T-shirts every now and then. Unfortunately, he did not like the president’s portrait on the front of the T-shirt, so one day he laboriously erased the portrait with white paint. When the secret police saw him wearing the stained shirt, they asked him what he had done to the presidential portrait.

As honest as the people from that part of the country are known to be, he declared: “I removed the face of Mugabe. I like the ruling party, but I don’t like the leader of the party.” He says this with a straight face, not knowing what he’s getting ­himself into — which turns out to be the mouth of a lion of a magistrate, who sentences him to many hours of community service.

The commandment: thou shalt not deface the picture of the president on a party T-shirt.

In the extreme south of the country, near the border with South Africa, an agitated man speaks to himself in a bar. “I am well educated, but have been unemployed for a long time. It is this Mugabe madness. The man has ruined our country.”

He promptly finds himself in a police cell for the common crime that is now called “insult” by the police. Later when they arrest a journalist, they say he is in a police cell for “the crime of the pen”.

The crime: thou shall not introspect maliciously about the president. The thought police are everywhere, you know, the law seems to say. It is already past George Orwell’s 1984! Life gets worse.

Zimbabweans fight in many different ways for their freedom, including the fight for the right to giggle or laugh. But the law instructs other­wise in the area of what or who not to laugh at. It seems the secret police have a secret manual on guidelines to Zimbabwean laughter.

In another incident, a man was walking home during the day. He came across a herd boy who was taking care of the animals in the open valley near the village. The boy was wearing an over-sized T-shirt with Mugabe’s portrait emblazoned on it. The man was annoyed and called the child to come to him. The boy obeyed, as decent African children are always expected to do.

“Why are you wearing a T-shirt with the face of this old man with a wrinkled face? Take it off!” The man then broke a small branch of a tree, whipped the boy and then let him go.

The following day, the man was in front of a vicious magistrate. The practical joker was sentenced to a year in jail with labour. The offender was not charged for whipping an innocent boy. He was charged for protesting about Mugabe’s portrait.

But then, the area is renowned for its traditional voodoo power; mysterious things originate in the area, including the ability to create lightning. Lawyers arrived to defend the culprit for free so they could make a good legal reputation for themselves. While the case was still in the court, the magistrate collapsed and died in his courtroom.

The new magistrate, probably in utter fear, decided to fine the culprit a few dollars, perhaps just in case his magical powers could be summoned with more potent and fatal force.

And one thing to learn from Zimbabwean public transport is never to mention the name of the president in an argument. Two brothers learnt this the hard way. In their argument about domestic issues during a bus ride in Harare, the elder brother, rather fed up with the younger one’s stubbornness, shouted: “Don’t be as hard-headed as Mugabe, young man.”

Silence during the bus trip
All of a sudden, the bus changed its route and stopped outside a police station. One passenger pointed at the joker and said: “That one, he insulted the president.” Soon, the whole country knew the president was “hard-headed”, and they laughed in subdued ways in isolated places.

The law: be silent on your bus trip if you don’t want to arrive at a prison cell instead of at your house. Although technology is the new miracle in human relations, it can cause much heartache. Case in point: a Zimbabwean woman sent a friend an SMS containing a Photoshopped picture of Mugabe in the nude. Imagine, an 88-year-old man in the nude!

She soon realised the gravity of her offensive joke when her friend appeared with a troop of police officers in tow to arrest her. Poor woman, she is still in the courts, waiting to know when the doors to a dirty prison cell will swallow her. The law: thou shall never imagine the president naked under any circumstances.

In Zimbabwe, insulting the president can simply mean complaining about the way the man has ruined the country politically, economically, culturally and academically, or in any sorts of other ways.

I had a share of it myself when a secret agent asked me what I thought about the president’s academic achievements. “Seven academic degrees,” he said. When I said I was neither impressed nor amused, the agent was burning with fury. “Why?” he shouted, spraying my face with his spit.

“They are all undergraduate degrees. Didn’t someone tell him to advance to a master’s degree?” I retorted as I wiped the new washing liquid from my face.

The man then threatened me with the possibility of disappearance: “We will not arrest you. That will make you more famous. We have other ways, disappearance, accidents, many more,” he warned.

Cruel, beloved homeland, deprived of the permanence of laughter, but allowed only to cry with wrinkled faces of sadness, or dance with commandeered joy.

Even our balancing rocks of the Matopos Hills have given up the hope of teaching us to balance life in all its aspects.

Chenjerai Hove is a Zimbabwean writer living in exile in Europe. This post was first published in the Mail & Guardian. 

Oya: Rise of the Orisha

An upcoming action-packed feature film takes a pantheon of ancient West African deities known as Orishas and resurrects them as modern-day superheroes. The lead character in Oya: Rise of the Orisha is a young woman named Adesuwa who has the unique ability to transform into the fearsome warrior goddess, Oya, the Orisha of change. When she does, she gains amazing powers.

latest oya

The film will be presented in a visually unique style, drawing inspiration from related genres including sci-fi, action and martial arts, and aims to be a truly phenomenal spectacle in the art of film. London-based writer and director Nosa Igbinedion hopes it will do for African folklore and oral tradition what 300 and Thor did: they took Greek and Norse mythology and made it fresh and exciting.

This is a synopsis:

For centuries the doorway between the world of the Orishas and our world has remained closed, until now. Our hero, Ade, is one of the few people with a connection to one of the gods, Oya. She has been tasked with the job of protecting the innocent and that means keeping the door to the gods shut. If the doorway to the gods is opened, they will wreak chaos upon us as retribution for our abandonment of them.

To keep the door shut, she must find ‘the key’, a young girl with the potential to open the doorway, and keep her safe. The adventure unfolds with a host of memorable characters and a string of unexpected twists, Ade, goes in search of the key, battling against those who wish to open portal and unleashing a horde of forgotten gods and goddesses into the world, with powers and skills beyond our comprehensive and supernatural gifts which will change the course of history for mankind, forever.

According to the Yoruba religion, which developed in Nigeria and Benin, Orishas are a collective of charismatic deities with specialised supernatural gifts, powers and responsibilities. They are comparable to the gods of the ancient Egyptians and Greeks, and Roman civilisation. Tradition has it that these supernatural beings once walked the earth with humanity. The reverence and worship that was shown to them by the ordinary Yoruba people elevated their status and increased their power.

Orishas are followed in various religions by an estimated 100-million people worldwide (5-million in the US). The fact that they have been left out of popular media is a travesty. Igbinedion’s film is a retelling of black cultural experience that has not been attempted on this scale before, and it’s being done independently.

oya2 poster

He and his team plan to shoot a short taster film this April, using money raised through crowd funding. The short film will serve as a visual appetiser to attract more traditional film investors for the feature film. Follow their progress on Twitter and help support this incredible project.

Other African folklore projects include Akosua Adoma Owusu’s short film Kwaku Ananse and Central City Tower’s Spider Stories. These are influenced by the West African fable of Anansi, a trickster who appears as both spider and man.

From farm girl to city brat

I called my mom a few days ago. Our conversation went from how business was doing to my daughter, and closed with an invite to Nyanyadu, Dundee in northern KwaZulu-Natal. This small town is full of culture and history, and boasts the Blood River heritage site, where the Boers and the Zulus battled, as one of its main tourist attractions.

My mother grew up here. She left the village when she went to varsity in the late 80s and worked her butt off to make sure she did not have to return permanently.

I too spent the first four to five years of my life in Nyanyadu but it’s been years since I’ve returned. My last stay was in 2004, for about a month. My parents would ship my siblings and me down to Dundee twice or thrice a year – depending on how much we had pissed them off – so they could have a break.

The five-hour ride (sometimes it took eight or nine hours) was uncomfortable and always overcrowded by at least 40 people (this is how people die!). We would take our seats and wave goodbye to our parents but by the time we got to the third pick-up spot, before even exiting Johannesburg, somebody would have told us to “give a seat to your uncle” and we’d find ourselves standing the rest of the way.

Being a kid, these trips, although mostly disastrous, were opportunities for adventure for my siblings and me. We would enjoy seeing something strange happen because it meant we had endless stories to tell when we were back home.

Years later and now grown up, I’m looking forward to going back to my roots and seeing my sweet grandmother but the discomforts of rural life are too real to ignore. Discomforts like walking a kilometre to get water from the well, another two to visit family, and dare you run out of airtime, it’s another 500m walk to the tuck shop. That’s not all though. Everything else is just a process. One has to think long and hard before making decisions about simple things like breakfast.

Several things must happen for my full English breakfast to materialise. First I must wrestle the hens to get some eggs, and then risk a kick to the chin from the cow for some fresh milk. The night before, I need to make sure that bread is bought or baked by my gran. I have to pick veggies from the garden and make sure there is enough water. By the time I get around to actually enjoying breakfast I am exhausted!

I had to consider this trip carefully. I am now, although not always proud of the fact, a thoroughbred urban woman. I no longer enjoy endless cow herding and long works to the stream. I want my technology working all the time; I want proper roads and shopping experiences. Simply put, I cannot survive where I come from anymore.

Not wanting to lose family contact, we have tried to get my grandmother to move to Jo’burg and join the rest of our family. “The farm is far too big for you to be on, gran; you’re old and have no one to take care of you.” Her response is always the same: “The farm is my home, why do you think your grandfather left it to me?”

I suppose everyone has that one place they end up calling home. For a young, urban African girl like me, that home has been redefined as somewhere with comfort, working technology and a vibrant economy. Until Nyanyadu, Dundee can offer me these things, I am staying a city brat.

Ntokozo Khumalo is a business writer, reporter, and producer. She is also the director of Hot Content Media. Connect with her on Twitter

Have blade, will operate: Kenya’s jigger bugs

I woke up this morning to a strange sensation in my baby toe – a cross between an itch and a sting. On closer inspection, I noticed a transparent, pea-sized blister with a black dot in the middle. Living and working in some of the more dodgy areas of this wonderful continent, I am quite accustomed to insect bites and itches so I didn’t pay it much attention.

A few days later, my husband and close friend observed that they had similar ‘blisters’ on their toes. We had a group inspection in which we all spent a few minutes seated outside studying each other’s toes. Our investigation revealed that a) I still have blue paint on my feet from a project I worked on a few weeks ago; and b) our little blisters were identical: same colour, same size and the same strange sensation.

We called one of the local fishermen who was walking past and showed him our toes.

“Jigga Jigga Jigga!” he exclaimed. “You remove now before she gets more happy in your toe. She is not a good guest for your toe. You need to remove now.”

We decided that we did not want a non-paying guest staying in our feet and tried to find out how to remove them. We did a bit of research: these buggers are parasitic fleas called jiggers. They live in soil and sand and feed intermittently on warm-blooded hosts like cats, sheep and … our feet.

To reproduce, the female flea burrows head-first into the host’s (my/our) skin, leaving the tip of its abdomen visible through a tiny hole. This orifice allows the jigger to breathe and defecate while feeding on blood vessels! In the next two weeks, its abdomen swells with up eggs, which it releases through the hole to the ground to hatch and lie in wait for the next unsuspecting “host”. They need to be removed whole or they will spread.

Is that not the most disgusting thing you have ever heard?

The most fascinating discovery for me was that jiggers are a common and serious development issue in East Africa. A local NGO, Ahadi, is  committed to creating jigger infestation awareness. Established in 2007, it has established 42 help centres in Kenya, and provides services like education, treatment, fumigation of homes and schools, and medication to hundreds of thousands of jigger-infected people. Without treatment, they can lose their ability to walk and work. Kids drop out of school, and stigmatisation and low self-esteem are common effects. There is also the risk of HIV being passed from person to person when needles used to remove these buggers are shared.

The more we read about jiggers the more we wanted to get rid of them, immediately.

In Kenya, there is “a guy” for everything you need. You want fresh octopus, you know “a guy” to call. You want to fix your roof, your toilet, your car, just call “a guy”. I was not surprised that there is a “”jigger guy” too. He was summoned.

He looked like Mr T, complete with the gold chain and signature haircut. He showed us how to remove the bugs. His method involved using a pin and blade to cut a circle around the infected area. He then lifted the skin off, somehow it gave without much hassle. Suddenly, the white egg sack was visible. He carefully dug out and removed the sack without piercing or damaging it. It is bloody sore and left a pea-sized hole in my toe. He made me bite down on a chapatti while he did it. I guess this is a form of Kenyan anaesthesia I had not heard of before.

A health worker at the Good Life Orphanage in Kenya treats a child's jigger-infected toe. (Flickr/The Good Life Orphanage)
A health worker at the Good Life Orphanage in Kenya treats a child’s jigger-infected toe. (Flickr/The Good Life Orphanage)

Mr T had to leave after performing my surgery. He was quiet throughout my mini operation, and as he left he said: “Now you see me do it, now you can do the rest. Just do.”

Just do. With those words, I became the designated jigga removal service provider. I had my two patients bite down on a chapatti and attempted the same procedure on them. Since it was dark I did it with a head light and the torch on my phone. Cut circle, lift skin, remove sack (try not to let the eggs spread all over), clean, cover. Easy breezy.

I am pleased to report that I removed both egg sacks intact. It felt like quite an accomplishment.

This is why I love Kenya and my continent. It is constantly schooling me in lessons I would never receive anywhere else. There are lessons of survival everywhere – even under my toe.

Bash, from South Africa, is a freelance project development analyst based on the south coast of Kenya. She spends most of her time snorkelling, is obsessed with giraffes, has too many tattoos and loves traveling. She misses Nik Naks and Mrs Balls chutney. 

Cirkafrika: The continent’s got talent

The Parisian audience is like a petulant child: very hard to please. So when French spectators and critics waxed eloquent over Cirkafrika, a show by an all-African circus troupe, I was intrigued, but pursed my lips à la française.

“Pfft!” I thought to myself, “What do they know? Yet another ho-hum repeat of contortionists and jugglers and human pyramids and dancers and unicyclists that are typical in plush resort hotels that line the Kenyan coast. Seen one, seen them all.”

A friend from Benin, also sceptical, went with his son to watch Cirkafrika and came away singing a new tune. “Mesmerising,” was his text message. That gave me food for thought.

So tickets were bought for an adult and three children for the show, which runs for over two hours. The children were to be the jury, with the main judge being my three-year-old whose attention span is pretty good – 30-40 minutes tops.

The French circus, Cirque Phénix, produced Cirkafrika. Cirque Phénix’s aim is to present novel artistic creations each new season. Having no proper circus tradition to speak of in Africa – we have  only four big tops: one based in Egypt, two in South Africa and one in Tanzania – unlike the Chinese and Eastern Europe circus heavyweights, it is not surprising that Paris sat up and paid attention to Africa coming to town.

While looking for African talent comparable to circus chefs-d’oeuvre from Moscow and Peking, Alain M. Pacherie, the founder and director of Cirque Phénix, turned to the Zip Zap Circus (South Africa) and Circus Mama Africa (Tanzania). What was once a germ of an idea – an African show, unlike any other, in Paris – became a reality a few years later.

This was the reality we went to discover on a recent wintry Saturday afternoon in Paris.

The artists from South Africa, Ethiopia, Tanzania, Ghana, the Congo and Guinea; the costumes; the stage decor; the giant 3D animal and bird marionettes; the music – Lion King, move over! – were all made in Africa.

Forget clichéd African folklore and dancers garbed in traditional attire welcoming an African president or some other dignitary; forget the cold disciplined professionalism of Chinese acrobats and the aloof masterful excellence of trapeze artists from eastern Europe; forget the crisp, pasted smiles of chorus-line girls dancing the French cancan.

How could one not stand up, from the word go, and dance to Miriam Makeba, Youssou N’Dour or Touré Kunda numbers sang by three African musicians accompanied by a Big Live all-African band?

I felt Pata Pata.

The splash of colours from the costumes, decor and music reminded me of an African marketplace with its pyramid arrangement of colourful fruits and vegetables, and people talking, gossiping, haggling and laughing with music blaring from a nearby stall.

Cirkafrika is oh so cheerful, the music vibrant and the artists generous. The children couldn’t get bored even if they’d wanted to.

The artists – all very professional, focused and elegant in their performances – made their acts look so easy. They were genuinely having fun, their joy so contagious that I longed to join them on stage even though I have no circus skills.

Large, colourful plastic wash basins that can be found in African households replaced plates and bowls in the plate-spinning contortionist’s act. The artist spun five of them at a dizzying speed – one per limb and the fifth was spun using his mouth. The act was accompanied by vibrant dancing.

Pic: cirquephenix.com
Pic: cirquephenix.com

The colourful basins took me back to Saturday mornings in Kenya: tending to household chores after breakfast using similar kinds of basins, the same ones that hold grain and spices sold at the market. Cirkafrika was a ray of warm tropical sunshine in the middle of a European winter.

The Ethiopian hoop artist made me forget that she was manipulating hula hoops. What I saw was a Samburu woman beautifully adorned with handmade beaded ornaments.

Cirque Phénix never presents animal acts as a matter of principle, but what would Africa be without her rich fauna and award-worthy costumed artists on stilts? The children saw an animal parade of graceful giraffes, tropical birds, crocodiles and a life-size elephant. And the frog! Oh the lithe green human frog, padded feet, croaking and all. How on earth did he manage to fit into that little transparent box?

Pic: cirquephenix.com
Pic: cirquephenix.com

South Africa’s gumboot dancers made us long for more. So we asked for one encore and a second encore and yet another encore. We danced and we celebrated Africa. We saw the other face of the continent that has potential and talent and that can adapt and excel while preserving its Africanness.

Cirkafrika whispered that we can dare to dream and to believe in Africa because Africa’s got talent!

My children’s verdict? If Cirkafrika comes to a big top near you, drop whatever you are doing and run, don’t walk, to see it.

I agree.

The show, now on the road in Switzerland, Belgium and Ukraine, will be back in France/Europe in Winter 2013.

Jean Thévenet, a work-at-home mum, was born and raised in Kenya. She now lives in France and blogs at http://hearthmother.blogspot.com.