Saying no to violence

You might have heard the statistic recently: up to 70 percent of women in the world experience physical or sexual violence during their lifetimes.

If you've heard this or numbers like it, that's because November 25-December 10 are dedicated to raising awareness about and taking action on violence against women.

November 25 was the International Day for the Elimination of Violence Against Women. It also marked the start of 16 Days of Activism Against Gender Violence, incorporating International Women Human Rights Defenders Day on November 29 and ending on International Human Rights Day, December 10.

In Canada, today, December 6 is the National Day of Remembrance and Action on Violence Against Women. It commemorates the 1989 murders of 14 young women at l'École Polytechnique de Montréal.

The United Nations’ UNITE to End Violence Against Women campaign underlines that there are many forms of violence against women, and that these are not confined to a specific culture, region or country. But since this blog is about Africa, and in honour of December 6, today’s post will feature 6 groups in Sub-Saharan Africa who are working to address gender violence:

1. Women of Zimbabwe Arise (WOZA), Zimbabwe: WOZA is a civic movement advocating for Zimbabwean women and their families. It has over 75,000 members, both women and men. For WOZA, November 29 is not only International Women Human Rights Defenders Day but the date in 2006 when hundreds of its members were beaten and arrested while peacefully launching the WOZA People’s Charter. WOZA has conducted hundreds of protests since 2003 and over 3,000 of its members and leaders have been wrongfully arrested while exercising their constitutional rights.

2. Mothertongue, South Africa:  Mothertongue is an artists’ collective that supports women to tell their stories through performing, visual and literary arts and art therapies. This enables women who are victims of violence to self-heal and gain awareness of their rights. It also challenges society’s silencing of women. Mothertongue cites the example of a woman whose husband infected her with HIV and then forced her out of her home, who started legal action against him. Mothertongue, with support from the United Nations Development Fund for Women (UNIFEM) Trust Fund To End Violence Against Women, brought together 28 women in Khayelitsha near Cape Town who were HIV-positive and survivors of gender-based violence to develop performances based on their experiences. This helped them in their own healing and in supporting other women in the community.

3. Tisunge Ana Athu Akhazi Coalition (TAAAC) / Let’s Protect Our Girl Children, Zambia: TAAAC is a coalition of 9 organisations working to fight sexual violence against girls in Zambia. It advocates for judicial reform to stop violence against women and girls, and supports the Safe Spaces program for educating school children about their rights. Safe Spaces teaches girls about HIV and AIDS, puberty, gender stereotypes and human rights, and provides physical space for them to meet together. It also teaches boys about respect for girls, and gender roles. (Let’s Protect Our Girl Children is also a recipient of a UNIFEM Trust Fund Grant.)

4. The New Sudanese Indigenous NGO Network, Sudan: NESI-Network is one of 16 organisations and individuals that the Nobel Women’s Initiative is highlighting during the 16 Days of Activism Against Gender Violence. This 22-member network of organisations throughout Sudan seeks to strengthen civil society and to enhance the dignity of people regardless of ethnicity, gender or religion.

5. Civil Resource Development and Documentation Centre (CIRRDOC), Nigeria: CIRRDOC supports women survivors of violence and works to halt violence and the spread of HIV through various mechanisms such as the creation of anti-violence committees headed by men, including traditional leaders:




6. Raising Voices, Uganda: Raising Voices is a project that along with the Centre for Domestic Violence Prevention in Kampala aims to prevent violence against women. It uses a model of community mobilisation called SASA -- a Kiswahili word that means "now" as well as an acronym for Start, Awareness, Support, Action --  to stop violence and the spread of HIV, by raising awareness of power imbalances and how to address them:




Stopping violence against women requires action at many levels, and by all of us.

The literature of Africa

Yesterday’s post featured the creative non-fiction and social and political commentary of Nigerian writer Pius Adesanmi.

Pius Adesanmi

I wanted to write a second post about Pius Adesanmi because he’s also doing some interesting work as an academic.

Adesanmi is an Associate Professor at Carleton University’s Department of English Language and Literature in Ottawa, Canada. He teaches and researches the literatures and cultures of Africa and the Black Diaspora (i.e. people of African origin living outside Africa). Adesanmi’s work encompasses both anglophone and francophone African literary traditions. He did his PhD in French Studies with a focus on African women’s fiction at the University of British Columbia, Canada, after obtaining a B.A. at the University of Ilorin, Nigeria and an M.A. in French at the University of Ibadan, Nigeria.

Adesanmi specialises in contemporary African and Black Diaspora knowledge production in an era of globalisation. His earlier focus on literature has expanded to include the production of culture (such as language, food and aesthetics) in the Black Diaspora. For example, he's examining how dance forms such as soukous from Kinshasa evolve as they come in contact with hip-hop, Acadian and other forms in North America.

Pius Adesanmi, who is cross-appointed with Carleton University's Institute of African Studies, is also the Director and founder of the Project on New African Literatures (PONAL).  PONAL is an online resource featuring literature produced by African writers in the last 20 years, which according to Adesanmi "probably have been the best years for African literary production."

PONAL aims to make this literature more widely known. Adesanmi explains that in North America, people tend to be aware of African authors who win international prizes, and students of African literature study "classical" texts such as Chinua Achebe’s Things Fall Apart. But North Americans aren’t aware or don’t have access to most of the literature that’s being created on the continent, particularly what's been written since the 1980s. "The continent is almost one of the most advanced hubs now of global – especially anglophone -- production in world literature. And 90 percent of these works are not known here."

PONAL will feature "third generation" writers from Africa as well as offer an online audio library, a photo gallery and a quarterly literary news magazine, Gboungboun. Through PONAL, people will be able to find new writers, reflect on critical directions in literature, or get recommendations for syllabi. Adesanmi also intends to build a collection of books of creative writing and poetry published by smaller presses in Africa that otherwise wouldn’t be available in this part of the world.

PONAL is one more of Pius Adesanmi's ways of making seldom-heard stories about Africa, as told by Africans, more visible and more recognised.

Earth from Apollo 17 / Photo courtesy NASA

The concept of Africa

Pius Adesanmi / Photo via
http://www.carleton.ca/ENGLISH/gradstudies/index.html

If you’re trying to understand "Africa," you need to have a look at the work of Pius Adesanmi.

Pius Adesanmi is a Nigerian writer of poetry, creative non-fiction, and academic works. He teaches African literature and culture at Ottawa’s Carleton University.

Adesanmi is no stranger to awards: his poetry collection The Wayfarer and Other Poems won the Association of Nigerian Authors Poetry Prize in 2001. But in September 2010, he received the inaugural Penguin Prize for African Writing in the Non-Fiction category for his manuscript, You’re Not a Country, Africa!

Penguin Books
cover photo

You’re Not a Country, Africa! is a collection of essays inspired by experiences that have caused Adesanmi to reflect on what "Africa" means, after living in the West for 15 years and travelling through 35 African countries. For example, he tells the story of being in a bank in Canada while an elderly woman was chatting unhurriedly with the teller. People in line were impatient and soon Adesanmi, having been socialised to wait for elders, was the only person left behind her. He listened to her explaining that she preferred banking in person to internet banking. "She was speaking English, but I was hearing my language; I was transported back home, in my village, and listening to one of the core philosophies of Yoruba civilisation being articulated by a Canadian woman possibly in her eighties," Adesanmi recalls, referring to a Yoruba proverb that the face is the abode of human discourse. This incident led to an essay on respect for age, communication, and traits that are not so much "African" as human.

Adesanmi explains that the title You’re Not a Country, Africa! conceptualises a dilemma that arises from him living in France, the US and Canada where he’s often expected to interpret and define "Africa" for Western audiences. He says of Africa, "you do not define it; it moves on its own terms, at its own pace." The book title derives not only from a tendency of non-Africans to assume uniform cultures and politics across the continent, but from the last stanza of a poem, "The Meaning of Africa" by the Sierra Leonean poet Abioseh Nicol: "You are not a country, Africa / You are a concept / Fashioned in our minds, each to each / To hide our separate fears / ".

You’re Not a Country, Africa! will be released in June 2011. Adesanmi is working on a novel as well as a second non-fiction book with the working title of "The Habit of Underdevelopment." In it Adesanmi explores the discourse and politics of development, particularly "the aid/charity/development nexus" that fixates on providing for "lack" while ignoring cultural dynamics.

Adesanmi’s social and political commentary and creative non-fiction also appear online at The Zeleza Post, Sahara Reporters and Nigerian Village Square. See, for example, his poetic and compelling reflection in The Zeleza Post on his father and grandfather in Nigerian society.

Pius Adesanmi is someone to listen to, for his insights on identity, politics, cultures, and humanity, and his command of language. His academic work is also worth knowing about -- so I'll write about it in tomorrow's post.

"The Danger of a Single Story"

Chimamanda Ngozi Adichie is a writer from Nigeria. Last year she gave a talk called "The Danger of a Single Story," about how having a single story about a person or place blinds us to the full reality of that person or place. The story about Africa, as created through Western literature and media, is often about a place of difference, of catastrophe.



With a mix of humour and seriousness, Adichie relates encounters such as that with her American roommate who asked her what her "tribal music" was (Adichie's answer was "Mariah Carey"), and of the professor who told her that her characters weren’t "authentically African" enough. She’s not just pointing fingers, though; Adichie tells of her own blinders when encountering other people.

The single story, says Adichie, is about power: making a single version of someone’s story the definitive story about that person. She explains, "The consequence of the single story is this: it robs people of dignity. It makes our recognition of our equal humanity difficult – it emphasises how we are different, rather than how we are similar."

There are catastrophes in Africa, but there are also breakthroughs, human stories, resilience. The key, for Adichie, is to engage with all of the stories of a person or place.

Adichie sums up by saying that "Stories matter; many stories matter. Stories have been used to dispossess and to malign but stories can also be used to empower and to humanise. Stories can break the dignity of a people but stories can also repair that broken dignity."

Adichie’s work includes the widely praised novels Half of a Yellow Sun and Purple Hibiscus, as well as the book of short stories The Thing Around Your Neck.