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

Poetry and then some

I’m overwhelmed by the wealth and breadth of poetry coming out of Sub-Saharan Africa. There’s much to explore, but in today’s post I thought I’d mention the Poetry Africa festival.

Poetry Africa is an international festival that takes place annually in Durban, South Africa. It’s now in its 14th year. Two months ago (October 4-9), 20 poets from 12 countries – including South Africa, Jamaica, Palestine, Australia, India, Uruguay, Italy and Senegal – performed their poetry. Associated events were held in Cape Town, Harare (Zimbabwe) and Blantyre (Malawi).

Here are three of the South African poets who participated:

Gcina Mhlope / Photo courtesy Poetry Africa

Gcina Mhlophe: a poet, storyteller, playwright, director, author, singer, actress and activist whose work addresses themes such as apartheid and patriarchy. She also created the group Zanendaba Storytellers as a means of revitalising storytelling traditions.

Pitika Ntuli / Photo courtesy Poetry Africa

Pitika Ntuli: a poet, artist, sculptor and professor who uses myth and history in his poetry. He’s also played advisory roles on arts and culture, indigenous knowledge and traditional leadership. He’s even written his bio as a poem.

Lebo Mashile / Photo courtesy http://www.lebomashile.com/fanclub/

Lebogang Mashile: a poet, performer, actress, writer, columnist, TV presenter and producer. She sees poetry as a means of changing attitudes in post-apartheid South Africa; her website quotes her as saying, "The enemy isn’t really clear in the way it was before. It’s an incredibly sensitive, complicated struggle with many dimensions, but the site for that struggle is inside. ...The language of poetry comes from a place where that transformation has to begin, that sort of intuitive, creative, spiritual searching place that will be the fuel for any kind of transformation process." Mashile co-founded the Feel a Sistah! Spoken Word Collective, acted in the film Hotel Rwanda, and collaborated with choreographer Sylvia Glasser to create the contemporary dance performance Threads. She deals with issues that include women and violence, identity, and South African society and politics.

Here's a performance by Lebo Mashile earlier this year:


Lebo Mashile - Poet/ Writer/Producer from Thabo Thindi on Vimeo.
　
The Poetry Africa Festival is organised by the University of Kwazulu-Natal’s Centre for Creative Arts. The Centre also hosts the Time of the Writer festival, the Durban International Film Festival,  and the Jomba! Contemporary Dance Festival.

Global grandmothers

I started this blog to highlight the work of Africans who are providing new or alternative perspectives about the continent. But I also started it to support the Stephen Lewis Foundation’s A Dare To Remember Campaign, which assists communities in Sub-Saharan Africa dealing with HIV/AIDS.

AIDS is not an “African” issue – it’s a global one. Nor is it the only health issue facing Africans. But HIV/AIDS is part of the picture for all too many people.

December 1 is World AIDS Day. So I’m going to write today's and tomorrow's posts about people who are dealing with the challenges of HIV and AIDS in their daily lives.

In yesterday’s post I referred to the value of listening to the stories of communities. Stories are important: they help us imagine ourselves in someone else’s place. Stories allow us to glimpse each other’s realities. That’s the first step in understanding not only how other people’s lives are different, but how they are similar to our own.

Here’s one story: that of Maria Mhlongo, a grandmother in South Africa.

Pius Adesanmi, a Nigerian writer and academic who has written about the idea of “Africa” (and who I'll feature in an upcoming post), commented to me that some things that we think of as “African” are on closer look, human qualities.

Some people reflect those shared qualities. I want to mention in particular the "Kilimanjaro Grannies." They are six Canadian grandmothers living in and around Ottawa who climbed Mount Kilimanjaro in 2007 to raise money for HIV/AIDS. The climb was the idea of Gisele Lalonde Mansfield, who decided to climb Mount Kilimanjaro in memory of her brother Michel who died of AIDS in 1995. She heard two African grandmothers interviewed on Canada AM and contacted the Stephen Lewis Foundation to offer support.

Mansfield was joined on the adventure by Liza Badham, Trudy Stephen, Tina Cuerrier, Barbara Carriere and Janet Carrière. Together they’ve raised $84,000 for the Stephen Lewis Foundation’s Grandmothers to Grandmothers Campaign. They’re also raising funds to build a camp in Eastern Ontario for people living with HIV and AIDS, and their families. The Kilimanjaro Grannies have written a book about their experience, called Kilimanjaro: A Purposeful Journey. More information is available at www.kiligrannies.com.

AIDS is a global issue, and caring and supporting are univeral traits.

Stories

Sometimes a human story can tell us more than a whole page of statistics about what’s going on in the world.

Tsitsi Dangarembga / Photo courtesy
http://www.cca.ukzn.ac.za/images/tow/TOW2007/bios/Dangarembga.htm

One storyteller is Tsitsi Dangarembga. A novelist and filmmaker, she portrays the lives of people, family relationships and women’s situations in Zimbabwean society with candour and sharpness. Dangarembga’s novel Nervous Conditions (1988) and her films Neria (1993) and Everyone’s Child (1996) have blazed a trail in Zimbabwean literature and cinema.

I had the opportunity to see Everyone’s Child in Harare shortly after it was released. The film tells the difficult story of four children whose parents have died of AIDS, and underlines the value of community support.



Tsitsi Dangarembga continues to make films and her novel The Book of Not came out in 2006. She founded the International Images Film Festival for Women in Harare in 2002. In early 2010 Dangarembga was appointed portfolio Secretary for Education for the Movement for Democratic Change - Mutambara in Zimbabwe.

Statistics? Stories? I could tell you that the UN’s just-released figures on HIV/AIDS say that 22.5 million people in Sub-Saharan Africa are living with HIV, including 2.3 million children under 15 years old. Or that although new infections are declining in many countries, 1.8 million people were newly infected last year, or that 1.3 million people in Africa died of AIDS in 2009.

Or, I could suggest that you listen to their stories.

The Stephen Lewis Foundation has information about the organisations it supports that are working to strengthen communities dealing with HIV/AIDS. (They can tell you the stories better than I can.)

One more story before I go. This one is a real-life story about how one community in Kenya is supporting its members coping with HIV/AIDS. (The video features Francis Muiruri, the Nyeri District Coordinator of the Kenya Network of Women with AIDS, and was written, filmed and edited by a Canadian, the multi-talented Jasmine Osiowy, and narrated by educator extraordinaire Rod Osiowy, for the College of the Rockies in Cranbrook, Canada.)

"Bonga story yako"

Thanks to Ory Okolloh’s blog Kenyan Pundit, which I referred to in yesterday’s post, I found out about Voice of Kibera.

Kibera is an informal settlement within Nairobi, Kenya. Kibera is often billed as "Africa’s largest slum." Several hundred thousand people are estimated to reside there. Kibera is frequently associated with poverty, overcrowding and violence. We tend to see images like this:


Kibera, Kenya / Photo by Valter Campanato/ABr [CC-BY-2.5-br (www.creativecommons.org/licenses/by/2.5/br/deed.en)],
via Wikimedia Commons

and this: 

Children and open sewer in Kibera / Photo by hris1johnson (Kibera)
[CC-BY-2.0 (www.creativecommons.org/licenses/by/2.0)],
via Wikimedia Commons


Voice of Kibera presents an alternative perspective. On the Voice of Kibera site, ordinary citizens collect and post news and information about their community. People can add events, information about local businesses and organisations, problems they’re having, and where to find health and other services. They can do so using SMS or text messaging, or on the web. Voice of Kibera includes media reports from community sources such as Kibera Journal and Pamoja FM community radio. People can also add photos and video. They contribute information that is relevant to them, and what is posted is public, open and shared.

Voice of Kibera uses the Ushahidi platform that Ory Okolloh and others developed and that has been used around the world (in the wake of the Haiti earthquake and Pakistan flooding, for example) to aggregrate and map crucial information for residents.

Voice of Kibera is run by an editorial board with representatives from several community organisations along with technical advisors. Members include Douglas Namale, a journalist and editor at the Kibera Journal and a mapper with Map Kibera; Sande Wycliffe, a community leader; Fredrick Bary, member of a community youth group; Josphat Keya, program coordinator at the Hot Sun Foundation, a charitable trust based in Kibera; and Gerry Omondi, deputy administrator with a women's organisation called Mchanganyiko.

Voice of Kibera is an initiative of Map Kibera, a project begun by Erica Hagen and Mikel Maron of GroundTruth Initiative in 2009. Their rationale was that although Kibera has been frequently studied and many development projects have been undertaken there, the information collected by outside organisations rarely makes it back to the community. Kibera, moreover, appeared on government maps as a forest, or as empty space on other public maps.

Young people residing in Kibera initially mapped the area, then entered the information into open-source software called OpenStreetMap, a global map to which anyone can contribute geographic data. Map Kibera mapped locations of roads, health clinics, schools, latrines, water sources, shops, and then began to include other data such as locations of flooding, or information about the quality of health services.

Voice of Kibera acknowledges the challenges of reaching and meeting the needs of the community through its initiative. But it’s already replacing images of poverty and helplessness with alternatives such as these:

Photo courtesy mapkibera
http://www.flickr.com/photos/mapkibera/4763273154/in/photostream/



Photo courtesy mapkibera
http://www.flickr.com/photos/mapkibera/4762640019/ mapkibera photostream



Shimalasha Self-help Group
Photo courtesy mapkibera
http://www.flickr.com/photos/mapkibera/4760112768/in/photostream/

Voice of Kibera is one example of people taking control of how they are portrayed, and defining their own identities. In other informal settlements in sub-Saharan Africa, people are organising themselves to create and tell their own stories.

Nairobi_Kibera / Photo by Schreibkraft (Own work) [CC-BY-SA-3.0
(www.creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

Africa paradise

Scene from Africa paradis
Photo courtesy http://www.africaparadis.com/

One of the themes of this blog is people who are challenging common perceptions of "Africa".

Filmmaker Sylvestre Amoussou did just that, in his 2006 feature film Africa paradis ("Africa Paradise").

Africa paradis turns our view of the world on its head. In the film, Africa of the future is a world economic power, prosperous and united. Europe, on the other hand, has gone through economic and political crisis and Europeans are clamouring to immigrate to the "United States of Africa." The film centres on the story of an unemployed French couple whose immigration applications are unsuccessful and so they enter Africa illegally to find work. The film depicts their experiences as illegal immigrants and the politics of racism and tolerance.

Scene from Africa paradis
Photo courtesy http://www.africaparadis.com/

The tone of Africa paradis is often humourous, but Amoussou has a serious point to make. Observing prejudice in Europe made him want to encourage tolerance, as well as challenge African leaders to take responsibility for the continent's future. He has said that he wanted to portray Africa differently, and to encourage people to have pride in themselves.

Amoussou initially had trouble obtaining support for the film, so he made a short version to show what it would look like. He also found distributing the film a challenge, because it didn’t fit what distributors thought would sell. Yet it has been popular.

Amoussou was born in Benin. He trained as an economist, then became an actor. Living in France, he decided he wanted to tell stories that appealed to him, so began to make his own films. He made several short films before making Africa paradis, his first feature film. His film Un pas en avant, les dessous de la corruption about humanitarian aid, democracy and corruption was released in 2009. He continues to act and produce as well.

The trailer for Africa paradis (in French) is available at the Africa paradis website and on Youtube. It's worth a look.

I learned about Africa paradis and Sylvestre Amoussou through Aboubakar Sanogo, a film studies professor at Carleton University in Ottawa. Sanogo showed the trailer for Africa paradis during a conference at Carleton’s Institute of African Studies. Sanogo used it as an example of how African film can contribute to envisioning Africa’s future, by presenting alternatives that are something other than crisis, underdevelopment or poverty. In Africa paradis, Amoussou suggests one alternative vision that might not be so unrealistic.

"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.