Saved by education: A Somali woman’s story

Growing up in Mogadishu in the late 80s in a house full of young single women, the standard dress code for us was a traditional costume called a dirac (a long transparent loose dress), worn with an underskirt, bra and a light shawl. Women did not cover their hair until they were married. My aunts were allowed to date once they turned 16. There were only two rules: date men who had cars so they could pick them up and drop them off, and be back home before 10pm. When their potential suitors came to fetch them, they would politely greet family members with the customary “Galab wanaagsan” (good afternoon) or “Habeen wanaagsan” (good evening).

Just before they left for their dates, my aunts would burn some of my grandmother’s homemade unsi (incense) and apply it under their clothes for a long-lasting patchouli-mixed-with-vanilla-like sweet scent. It was amazing. I would sit in the room with them and hope for some of that perfume to get onto my clothes and hair. I often tried on their beautiful, multi-coloured diracs and high heels. I could not wait to turn 16, get my hair highlighted and straightened just like my aunts, and go on dates.

But in 1990 the civil war rudely interrupted my plans and, at the age of 13, I fled Somalia with my family and thousands of others. There was no more talk among young women about dates, fashion and hairstyles. All I was left with were three younger siblings to look after, a disabled and unemployed father, and desperate poverty. My world was turned upside down and I had to find something else to look forward to, now that my aunts were married off and I was the eldest female in the house.

During 1991 and 1992, we lived in Eastleigh, then one of Nairobi’s slums populated by other Somalis also escaping the civil war. My focus in life changed considerably during this time. I realised I had only two options to escape poverty and the miserable living conditions I found myself in: marry or study. Most of the women in my family only studied as far as high school, and I was not impressed with how their lives turned out after they got married. They seemed unhappy, and some of them were even beaten by their husbands.

To me, marriage seemed like a trap. Women were burdened with too many babies and no time to enjoy life. I was also surprised by the rise of a strict version of Islam that had women get rid of their colourful and beautiful diracs and wear ugly umbrellas. The music stopped, perfume became haraam (forbidden)  and “Subax wanaagsan” (good morning) was replaced with the Islamic greeting of “Assalamu alaykum”. It seemed that our Somali culture and way of life was erased, overnight.

The only way to escape this systematic silencing of women and the oppressive new culture was to study my way out of the slum. Despite wearing a hijab (forced on me by my father and “society”), I registered for the cheapest and only English classes I could afford. They were held in the local church a couple of blocks away from the dingy two-bedroom flat I shared with my dad, three siblings and five other relatives. This initially caused a lot of heated arguments with our Somali neighbours. How can a Muslim girl in hijab enter a church?! Where are her father and male relatives to stop and discipline her? I calmly tried to explain that I was attending English classes and not going to the church to pray. What I could not say out loud (my first lesson in carefully picking my battles) was that I did not care much for their opinion and there was nothing they could do to stop me. If I could not wear the beautiful Somali dirac, put highlights in my hair, and look forward to dates, then I was going to find other ways to get excited about life. What better way than learning English as part of my get-out-of-poverty strategy – and irritating the self-appointed moral police at the same time?

Fatuma Abdulahi.
Fatuma Abdulahi.

My lucky break came in mid-1992, a few months into my English classes. A British charity, The Hugh Pilkington Trust, was sponsoring refugee students to complete their war-interrupted studies and offered free English classes. My kind and dedicated Kenyan English teacher encouraged me to apply and told me that if I did well, they would send me abroad to complete my studies! In addition, the charity gave students a small monthly stipend to help them make ends meet so they could focus on their studies. This was the ticket I had been praying for. I threw myself into that English class like my life depended on it; I listened to the BBC World Service religiously; I told my siblings that from then on I would not speak anything but English. Everyone thought I had gone mad but I had a plan and nothing was going to stop me.

A year after I enrolled in the class, I won a scholarship to attend the prestigious United World College, an education movement comprising 12 international schools and colleges. I had to choose from three colleges in Swaziland, Canada and Hong Kong. I did not know where Hong Kong was, but I knew where Swaziland was and I wanted to get the hell out of Africa. All I experienced in this continent was war, poverty and stifling cultures. Many Somalis were immigrating to Canada, so that was a no-go. I needed a break from Somalis also. I asked about Hong Kong and how far it was from both Somali culture and Islam, and when they told me it was the furthest from both, my decision was made!

I studied in Hong Kong for two years and obtained an International Baccalaureate (IB) pre-university diploma. I went on to receive undergraduate and postgraduate degrees in politics in the United Kingdom, also on full scholarships. Studying, living and working abroad widened my perspectives. After nearly 20 years away, I have returned to Africa for good, grateful for the wide open spaces and eager to contribute to the changes necessary in Somali culture so the next generation of Somali girls lead better lives.

Fatuma Abdulahi blogs at postcardfromafrica.blogspot.com. Connect with her on Twitter

Our World is Round

Our World is Round is a short film by Kenyan filmmaker and artist Mũchiri Njenga about the country’s star cyclist, David Kinjah. It chronicles how Kinja discovered the sport and turned it into a professional career. Kinjah’s efforts to transform the lives of the people in his village through the power of the bike is inspirational, and has resulted in an initiative called the Safari Simbaz Trust. The organisation gives underprivileged youth in Kenya the opportunity to develop their athletic prowess.

 

 

For the love of African literature

I don’t remember a time in my life when I didn’t have books around me. My parents and grandparents were all bibliophiles, and it went without saying that I was expected to find similar joy in reading.

As a child I was introduced to the worlds that lay within Mallory Towers, The Famous Five, Secret Seven, Nancy Drew Mysteries and others. When I grew older, I fell in love with Jane Austen and the Brontë sisters.

African literature barely registered on my radar until about three years ago. Prior to this I had only read a handful of requisite titles by African writers. I just did not make the effort to read more, and hid behind the handy excuse of good African literature being hard to find.

My light bulb moment came after reading Twilight in the Morning by Theresa Lungu, a Zambian writer based in the US. It is a simple story: boy meets girl, they fall in love, they’re separated and endure great personal loss before being reunited. However, what made this book thoroughly enjoyable was the writer’s skill to make this more than a cliché about love and loss. Instead she showed the remarkable resilience of the human spirit even after enduring heartache and pain.

After this I resolved to read more books by Zambian writers and others from the continent. I further decided to share my reading experiences through book reviews to perhaps help others make purchasing decisions and to introduce them to new and old writers. It was the least I could do after years of neglect.

In doing so I’ve found a new meaning in what it means to be an African. The African writer explores the depths of the human condition. In these works we are not merely caricatures or objects to be ridiculed and placed on display. We are fully formed human beings with the capacity to love, hate, laugh and cry. Furthermore the African writer has given voice to many stories that once were only shared through our oral traditions, some of which we have lost with the passing of time. This is why I continue to read and share.

Some of my favourite books to date are:

A Cowrie of Hope by Binwell Sinyangwe

acowrieofhopeNasula (mother of Sula) is a young widow struggling to make ends meet for herself and her daughter. Her daughter who recently passed her exams has been accepted into an all-girls’ secondary school but she lacks the money required for fees, supplies, and other things required for Sula to continue with her education. Though illiterate herself, Nasula, understands the need for her daughter to be educated and she feels the burden acutely.

Faced with the dilemma of her daughter possibly dropping out of school because of lack of funds, Nasula faces a seemingly hopeless situation until a friend proposes a solution. If she sells her last bag of Mbala beans, which are on high demand in Lusaka, the money will more than adequately fund Sula’s schooling. Re-energised with this new hope, Nasula sets out to earn this money.

Nasula’s naïveté is touching, and her boldness inspiring. What I really love about this book is that despite the desperate situations Nasula finds herself in, she loses neither her dignity nor her sight of goal. Her daughter exemplifies this too, which speaks well for the strength of both mother and child. We often talk about the indignity of poverty, and how it slowly chips away at the soul but Sinyangwe masterfully crafts characters that transcend that predicament.

Everything Good Will Come by Sefi Atta  

Atta

Sefi Atta’s debut novel is set in Lagos, Nigeria. It is the story of Enitan, born on the eve of her country’s independence. Through her eyes we witness the changes the young republic and her citizens go through – military coups, the rise of an indigenous ruling class, political activism and so forth.

As a child Enitan is sheltered, naïve and spoiled; her parents use her as a proxy in their fights, each vying for her undivided loyalty.

We follow her story from childhood to adulthood, and we see her come into her own through her life experiences. Her friendship with a childhood friend, Sherry, is also quite pivotal and through them Atta raises troubling issues such as the role of women in society and the expression of personal freedoms in an increasingly autocratic nation.

Sefi Atta is truly a gifted writer and this work is well worth reading.

Nervous Conditions by Tsitsi Dangarembga

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“I was not sorry when my brother died. Nor am I apologising for my callousness, as you may define it, my lack of feeling.”

Never have I read such a bold opening to a novel. I paused briefly to check what roller coaster ride I had just committed myself to before launching into the book. It turned out to be intense and thought-provoking.

This is a semi-autobiographical coming-of-age story about a young woman in pre-independence Zimbabwe. It’s set in the late 1960s and early 1970s, and centres around two female cousins, Tambudzai (Tambu) and Nyasha. The adult Tambu reflects back on her adolescence and in particular the major events that shaped her life.

This is not simply a story about family drama. It is about girls maturing into teens. Women moving up in the world by virtue of their hard work and/or education and not because of advantageous unions. The struggles of a newly educated class as they straddle the “white man’s world” and that of their forefathers. Familial pressures to help less advantaged (and sometimes lazy) siblings. The gradual emancipation of the black man. Social acceptance of outsiders.

It is not an easy read but the gifted Dangarembga does a remarkable job in making it enjoyable.

The Screaming of the Innocent by Unity Dow

9781876756208

The Screaming of the Innocent is a powerful book. A young girl goes missing in the remote village of Gaphala in Botswana. The police rule out a human connection in her disappearance and make the determination that she has been eaten by wild animals. Her family dispute this but have no means to pursue the case, and it is soon closed.

A few years later a young woman assigned to the local clinic as part of her national service comes across a box that reopens the old case and wounds that have barely healed start to bleed again. This sets in motion a quest for the truth about what happened to the little girl.

What follows is the struggle between a community of people who have traditionally been disenfranchised as they go head to head with those who rule and oppress. Dow weaves together a fascinating tale that’s hard to put down and shows that even in the midst of horrific darkness there is hope, and this hope is carried by ordinary men and women.

It’s a tragic story told by a wonderful writer. I absolutely loved it.

Patchwork by Ellen Banda-Aaku

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The central character of the book is Pumpkin. We first meet her as a nine-year-old living in  Lusaka, Zambia with her single mother, Totela Ponga. Theirs is a turbulent existence – Totela is a barely functioning drunk who obsesses about her married lover, JS, Pumpkin’s father. Pumpkin slips into the role of caregiver though she understands little of alcoholism and the destructive nature of her parents’ relationship. She also faces the unkind questions from her friends about her absent father which she fights off defiantly.

In the second half of the novel, we encounter an adult Pumpkin. She’s a successful architect and is married with children of her own. She still carries with her the insecurities from her childhood. She’s distrustful and has a knack for telling little lies that slowly chip away at the foundation of her marriage. This culminates in an ugly encounter with a woman she suspects of preying on her husband.

Overall this was an enjoyable book. Having the story told from Pumpkin’s point of view as a child and later as an adult was very well done. Even though she seemingly has it together on the outside, there are many times she wonders “why couldn’t they see the tears I was crying inside?” One can’t help but be thoroughly annoyed at her parents for failing to step back to see what their behaviour had done to their child. They fail to understand the outward expressions of love Pumpkin needs or how she struggles to fit in a world where she constantly feels rejected.

Through Pumpkin’s eyes we are confronted with various themes – polygamy, alcoholism, HIV and Aids, trust and personal insecurities. As the lives of the different characters intersect we see how they respond and evolve. No one comes out of this as he or she went in.

Bwalya Chileya was born in the early 80s and raised in Malawi and Zambia. She holds a masters in business administration and works as a project manager. She still reads and writes stories in her free time. Connect with her on Twitter

Tomboys, masculinity and the unmaking of a girl

When I woke up to International Women’s Day celebrations last week, the first thing on my mind wasn’t politics, but the personal connections I didn’t know I would forfeit the minute I stopped wearing skirts, traded in my long hair for a frohawk, and fell in love with a woman.

I used to have a very close-knit circle of African/black female friends. We defended each other from perverts at crowded bars, cried on each other’s shoulders, told each other we were beautiful whenever the world made us doubt that we were, and gave each other relationship advice, regardless of the gender of the person we loved.

We were sisters. It didn’t matter if we were tomboys or not. We were sisters. It didn’t matter that some of us wore skirts, and some of us wore shorts. We were sisters. That was all that mattered. Right?

Wrong. The second my gender presentation transitioned from “straight-girl-femininity” to “queer-masculine-in-betweener”, I lost most of my black female friends. I’m a different kind of woman now. And all of a sudden women I used to call my sisters don’t know how to interact with me. I’m still a woman but the reactions to my expression of womanhood have changed, drastically.

This is the kind of experience that informs my work as a media activist. I’m always thinking about which perspectives are missing from political conversations about women’s equality and representations of African women in pop culture. Who is being excluded? Why? How can the African women’s movement become more self-reflective so that we can identify who among us is being left behind, and become stronger advocates for the kind of progress that includes them? Incidentally, in the fight for women’s equality, the people most frequently excluded from consideration and celebration, often enough look just like me.

A few years ago I wrote about the experience of being forced to wear a dress to my Nigerian friend’s wedding (even though she knew I was a tomboy). Despite the political successes the women’s movement is celebrating today, not much has changed for me, professionally and personally.

Even within the open-minded, women’s activist spaces in which I find myself for work, I still have to endure not just the endless hours of boyfriend/husband talk (as though women can’t bond around any other topic), but also – after I attempt to contribute – the prolonged, awkward silences that follow once they realise my partner is a woman.

My straight girlfriends – bless their hearts – enjoy inviting me to their favourite (straight) nightclubs so they can maintain their perception of my being “normal”, but have no clue how uncomfortable it is to be a tomboy in a venue with a dress code policy that insists “ladies wear heels, men button-downs and hard soles.” So, they’ll usually abandon me on the dance floor to go to the ladies room for a “touch up”, or worse, disappear into the post-nightclub meat market, leaving me exposed on a street curb as a prime target for drunk dudes to take out insecurities about their masculinity: “Was that your girlfriend? What, you think you’re a dude? You like pussy? I like it, too. I got a dick though.”

Yup, that happened. I even broke up with a friend over such an incident.

I can’t tell you how many times my masculinity has been used to absolve other women (and men) of the responsibility of advocating for me; whether in the face of harassers on street corners, the gendered aisles of mainstream clothing stores, or even within the women’s movement itself – it’s as though people automatically assume I’m “stronger”, physically, mentally and emotionally, just because I shop in the men’s department.

“Don’t worry about her. She can take care of herself.”

But I have never experienced physical aggression from the world to the degree that I do now. From constantly dodging men who take it upon themselves to “put me in my place” to being ignored by women who’ve subconsciously decided that I’ve chosen “the other side”, I’ve never felt less safe and more in need of protecting.

I can’t help but note how often my masculinity is the unspoken reason I’m excluded from African women’s spaces, and denied access to the very same sisterhood that nurtured my unwavering dedication to every woman’s empowerment.

Since losing access to “the sisterhood”, I’ve been rebuilding my support network from scratch, one in which the full spectrum of “womanhood” isn’t just acknowledged, but celebrated: African feminists committed to building cross-movement alliances, queer “brown bois” in the US leading national conversations about healthy masculinity, and progressive women of all shades and stripes  interested in seeing gender justice done in the media.

I am fortunate. But today, I’m also aware of just how fortunate I am to have experienced even this yearning for a sisterhood that I did have – at least at some point. Even as a tomboy/woman whose gender presentation is more masculine my identity as a woman has never been questioned. But some of my sisters have never known that privilege. I know transgender women (born male, now living as women) and also, intersex women, for instance, who have never known the comfort, loyalty and power of a female friend circle.

But, we are still sisters. It shouldn’t matter that some of us were born male and some born female. We are sisters in blood and numbers, in shared missions and shared struggles.

That’s all that matters. That’s all that should matter … Right?

I was asked last week to contribute a response to “What does Women’s Day mean to you?” This was part of my answer:

When I remember how my mother celebrated International Women’s Day – as part of a community of hundreds, sometimes thousands, of African women, dressed in bright colours, often laughing and dancing, holding hands – I think about how many African lesbians have been evicted from their sister circles, how many transgender women have never experienced unguarded female friendship. Women’s Day inspires me to keep writing my story so that my African sisters can get to know me, and to keep advocating for queer Africans like me who are still fighting – not just for women’s “rights” but for women’s community, sisterhood, love.

Women’s Day should be a reminder to all of us to keep advocating for every woman’s right to love and be loved, even long after we’ve found sisterhood for ourselves.

Spectra is a Nigerian writer, media advocate and social commentator on gender, sexuality and pop culture. Her writing critiques social movements through the lens of media psychology at spectraspeaks.com. Connect with her on Twitter.

God Loves Uganda: Trailer

Roger Ross Williams’s feature documentary explores the role of the evangelical American movement in Africa, with a particular focus on Uganda. It follows the Kansas City-based International House of Prayer and local religious leaders who are hellbent on eliminating “sexual sin”, and reveals their attempts to influence the Ugandan government to criminalise homosexuality. A review by David Courier of the Sundance Film Festival, where it premiered in January, reads: “Masterfully crafted and astonishingly provocative, God Loves Uganda may be the most terrifying film of the year.” Visit godlovesuganda.com for more.