Culture and the Search for National Ethos

Posted on June 30, 2020 by kimaniwawanjiru

“We lack shared beliefs, ideals and aspirations about what Kenya can become if we all subscribed to a national ethos that builds and reinforces our unity,” states the Building Bridges Initiative (BBI) report when tackling the burning question of ethos.

President Uhuru Kenyatta going through the BBI Report after it was launched

In simpler terms, the Task force found out that fifty-seven years after independence, we don’t have a”character” to describe the guiding beliefs or ideals that characterize our community, nation or ideology.”

And this is no surprise. We are country that doesn’t still have a clear cultural policy. Well, maybe not true because in 2009, the late Hon William ole Ntimama launched the first of its kind National Policy on Culture and Heritage. This was 46-years late. I am of the opinion that we still don’t have a sound national policy on culture and heritage because in 2010, we gave ourselves a new Constitution that “recognized culture as the foundation of the nation and as the cumulative civilization of the Kenyan people and nation” but the policy is not aligned to the new constitutional realities.

The Constitution’s philosophy, vision, design and architecture and many other related articles spoke to culture and the reawakening that should have in essence informed the revision of the 2009 Policy. A process to do this was initiated by cultural workers but to date, the process has never moved beyond the Cabinet Secretary’s desk after it got stuck there during the infamous Hassan Wario’s era. We will not even mention his successor because there was zero attempt to deal with matters culture.

For once in the country’s 57-years history as an independent state, the Ministry of Culture has been extensively cited and recognized. The BBI report places a lot of responsibility on harnessing and nurturing of the national ethos to this Ministry. The report recommends the strengthening of “the Ministry of Culture and Heritage to build and promote cultural policies that are linked to the Counties’ promotion of cultural activities. The Ministry should also be able to do more to document, protect, and promote ancient and historical monuments of national importance.”

It also adds: “The Ministry of Culture and Heritage should use public participation and input from experts to codify an official pantheon of Kenyan heroes who reflect Kenya’s values and ethos, our fight for democracy and freedom, our aspirations and our outstanding achievements. These heroes should be included in museum displays, curriculums and displays.”

The BBI report now makes these and a raft of other recommendations that will help shape the national culture but fails to look at the opportunities that the Constitution offers in redefining our national ethos. It is now increasingly becoming clear that a clamour to change the Constitution is going to be part of the intended process to fix the national ethos. However, would satisfactory and honest implementation of the Constitution have helped in curing the maladies that the BBI now wants to cure? The Constitution as an instrument for change is not duly recognized.

The preamble lays the foundation of what is expected of us in nation building and setting national ethos. It speaks about the past, honouring “those who heroically struggled to bring freedom and justice to our land”; ethnic, cultural and religious diversity; environmental concerns and our aspirations. The things that we need to honour like the sovereignty of the people, the supremacy of the constitution, what each citizen is expected to do in defence of the constitution. It speaks to our expected language—national and official, the national values and principles. It was envisaged that sincere implementation of the Constitution, entrenching Constitutionalism would have helped shape the national ethos.

There is no doubt that an honest look at what the Constitution sort to achieve is at the very center of everything that the BBI hopes to achieve. The BBI is therefore not seeking to cure anything that we don’t know or have not tried to put a mechanism to correct. The BBI simply echoes the long-held belief that there is a dire need to deliberately positively shape our national character but will to do this never there.

President Uhuru Kenyatta during the Launch of the BBI Report at Bomas of Kenya

This is sad but real. If the noise, name calling, trading of accusations, suspicions, manipulation and all other vices that have characterized the rallies, meetings and engagements of the BBI process is anything to go by, then this assertion is true. No sooner had this announcement been made during its dramatic launch at Bomas, than the country moved back to its default mode of behaving badly.

And therein lies the challenge of the task ahead of implementing some of the recommendations that have been suggested in the report and those that will be presented in the second round of gathering views. We have very good proposals on paper on what needs to be done to change things. There is clarity of what needs to be done to reengineer our society. However, “kwa ground” on implementation, “mambo ni different.”

What does Cultural Reengineering Really Entail?

Developing a national ethos calls for a deliberate, well-planned, well-resourced, widely supported and soundly executed process to reengineer our cultural psyche. It calls for change. However, change is not always easily embraced and welcomed. It is even harder if those expected to lead in the charge for change are the greatest beneficiaries of the current system that favours them.

The BBI report as it stands has made this call. It notes: “This report is a historic opportunity for us to begin willingly defining, developing and subscribing to an enduring collective vision that would lead to a united Kenya equal to all its major challenges. It would appreciate and honour excellence in leadership, in the civic practices of citizenship, and in our care and consideration of one another. Such an ethos would be deeply respectful of differences in culture, heritage, beliefs and religions. Its character would guide and constrict the planning and actions of the State to the benefit of the people of Kenya. The journey to developing such a national ethos begins by accepting the desperate need for it. That is the most important recommendation made in this report.”

“This report is a historic opportunity for us to begin willingly defining, developing and subscribing to an enduring collective vision that would lead to a united Kenya equal to all its major challenges. It would appreciate and honour excellence in leadership, in the civic practices of citizenship, and in our care and consideration of one another. Such an ethos would be deeply respectful of differences in culture, heritage, beliefs and religions. Its character would guide and constrict the planning and actions of the State to the benefit of the people of Kenya. The journey to developing such a national ethos begins by accepting the desperate need for it. That is the most important recommendation made in this report.”

Cultural reengineering as suggested in the report will require that we disembark from the bus we are currently travelling in. The BBI report as it stands currently, is clear that this bus that we have boarded is full of bad things. It is full of con men. It is full dishonest men and women. We are intolerant of each other. We week to exploit others. We would not feel anything if we are sitting on two seats and others are standing on the aisles. To attain change, a lot needs to change too.

With this reality in mind, how easy can the recommendations that the BBI makes be embraced by all considering that they stand a chance of throwing things upside down? If honestly implemented, the out will probably alter some long-held truths?

For instance, the BBI notes that we should give ourselves a definitive, evolving, and inclusive official historyi.e. an official and inclusive history. The report says: “H.E. President Uhuru Kenyatta should commission an Official History of Kenya whose production will be led by an Office of the Historian resident in the National Archives. This history should go back 1000 years and provide an accurate and definitive account of the settlement of Kenya by the present inhabitants; the political, economic, and cultural histories of all ethnic groups in Kenya; the role of women throughout this history; an account of the international slave trade and colonialism; the anti-colonial struggles; the post-colonial history of every part of the country; and contemporary histories including those of urban areas and newly formed communities in Kenya.”

The Front view of the Kenya National Archives where Kenya’s historical documents have been preserved

A noble idea. However, how would the history of those who betrayed the country and the the people’s cause during the struggle for independence be treated? Would we have the courage to tell the truth about people who sold out the country and the ideals of the struggle but later on became glorified as the founding fathers and mothers of the nation? Would this be revisionist history or factual even if it hurts and debunks some myths that have been perpetuated over time?

Brutally Honest

Would we be brutally honest with historical facts? The way out requires that the reengineering is guided by honesty and the truth therein sets us free. It should not be limited to our communities and people alone. We should also revisit the values or vices that shaped the country’s colonial era and later on adopted and perpetuated in the independent state. In revisiting and rewriting history as the BBI recommends, we must also revisit and discuss the foundation, architecture and design of the modern-day state of Kenya.

A new national ethos cannot be realized if we don’t also address the country’s political economy. The political-economy that has shaped every sphere of our nation’s building effort was by and large designed during the colonial era and later perpetuated by the New Kenya Group as described by Colin Leys in his book Underdevelopment in Kenya— The Political Economy of Neo-Colonialism.

The ideas and ideals that went into shaping how land would be managed, involvement in commerce and industry, leadership, agriculture, running of government, the government’s responsiveness to the citizens, etc. were based on a colonial fallacy.

The current coronavirus pandemic might have slowed the action around BBI and especially the rallies but when it resumes, the hard questions on the way the national ethos will be realized, should be asked. A practical way that will answer this national question should be outlined during the rallies and in the final report that will be developed.

Past BBI Rallies: When the rallies resume, the hard questions on the way the national ethos will be realized, should be asked. A practical way that will answer this national question should be outlined during the rallies and in the final report that will be developed.

Using the Arts for Peace and Peace-building in Somalia

Posted on June 23, 2020 by kimaniwawanjiru

“Djibouti touts herself as the capitale culturelle and the eventful Fest’horn Festival has, without doubt, been one of the instruments that is used to claim the centrality of culture in national matters. “Fest’Horn Festival is a regional festival of music from the horn of Africa that was created with the intention of bringing attention to this part of Africa, often tarnished by wars, famines and other calamities. For six days this annual artistic meeting happens in the capital of Djibouti with artists from various African countries and the rest of the world. The event not only serves to promote the culture of Africa, but to provide a platform for the promotion of the values of peace and development.”

A few days after my editor asked me to think about this piece, I thought about a popular Somali comedian, the late Absi Jailani Malaq alias Marshale, who was shot and killed in Mogadishu a year or so ago by two pistol-wielding assailants. The journalists who rushed to the scene of the violence reported that the attack was carried out by unknown assailants, who appeared to have specifically targeted Marshale. He was shot in the chest and head outside his home in Waberi district in Mogadishu and was then rushed to Madina hospital but died after an hour of doctors trying to save his life. The killing of Marshalle, a top Somali artist, seemed to be part of an onslaught against professionals, especially in the arts in the troubled Horn of Africa country.

Indeed, one cannot also fail to see the incident as an attack on the broader creative industry considering that several other similar attacks have happened in Mogadishu and other parts of Somalia. The attack on Marshale came a few months after a grenade attack at a packed video showroom near Tarbunka square in Mogadishu in which four people were killed and nine others seriously injured.

The attackers hurled two hand grenades into a packed video showroom in which teenagers were watching films. Most of the victims were said to be teenagers from nearby Internally Displaced Persons’ camps who came to the place for entertainment. All these attacks on the arts and related institutions were executed by Somalia’s al Qaeda-linked Al Shabaab rebels, making it clear how they detest the arts.

A few months before the 2012 Olympic games opened in London, two top sports officials in Somalia were killed in a blast at Mogadishu’s national theatre in an attack by Islamist insurgents aimed at killing senior government figures. The theatre had been reopened for the first time in two decades on March 19 2012, raising hopes the country had turned a corner after being plagued by violence. While the two people killed were sports officials, it was not lost to observers that the choice of the theatre signified their desire to use culture, in its broadest sense, to preach peace.

The National Theatre that was attacked by the militants

As I mulled over all these sad events, I couldn’t help thinking how the militants’ abhorrence of the arts and culture is far removed from the way the arts have been embraced by their brothers and sisters in Djibouti. The Somali Republic was created in 1960 by merging the protectorate of British Somaliland with the colony of Italian Somaliland. Despite these colonial boundaries, the Somali community spreads from what was previously described as the northern frontier in Kenya, Ogaden in eastern Ethiopia to Djibouti up north at the Horn of Africa coast.

Djibouti is a former French Somali colony/province and while they share the same language and religion with the militants, they are diametrically apart with Djiboutians who proudly flaunt arts and culture. I found myself thinking about an earlier trip I had made to Djibouti.

Djibouti touts herself as the capitale culturelle and the eventful Fest’horn Festival has, without doubt, been one of the instruments that is used to drive this point home and claim the centrality of culture in national matters.

Fest’horn Festival

Fest’horn Festival is, mainly, a music festival that draws established and budding musicians from Djibouti and other African countries to celebrate peace. Countries at the horn of Africa have been beleaguered by prolonged armed conflicts that were set off by intolerance of one or the other aspect of a person or their culture.

Ethiopia and Eritrea were united as one state when they were fighting against the Haile Mengistu regime but when they toppled him, they turned their guns against on each other. Sudan also had a prolonged conflict that resulted in the creation of Southern Sudan. Even that has not silenced the guns. The war drums have also rung out in Rwanda, eastern Congo and Burundi. Djibouti, festival host, has its own share of history of armed conflict, which fact prompted them to initiate this festival.

Musicians at Fest’Horn

Its promoters note: “Fest’Horn Festival is a regional festival of music from the horn of Africa that was created with the intention of bringing attention to this part of Africa, often tarnished by wars, famines and other calamities. For six days this annual artistic meeting happens in the capital of Djibouti with artists from various African countries and the rest of the world. The event not only serves to promote the culture of Africa, but to provide a platform for the promotion of the values of peace and development.”

It is here that I met K’Naan, a Somali then living in Canada, who was wildly cheered when he performed. Then he was little known (at least in many parts of Africa) but when Africa hosted the FIFA world cup extravaganza for the first time, K’Naan became a household name across Africa with his hit song Wavin’ Flag.

His lyrics, “Give me freedom, give me fire, give me reason, take me higher; See the champions, take the field now, you define us, make us feel proud,” and chorus “When I get older; I will be stronger; They’ll call me ‘Freedom’; just like a wavin’ flag………,”-were catchy and memorable. Several years after the world extravaganza, kids in playing fields around the continent are still chanting these words animatedly.

K’Naan electrified the entire continent with this song in the same way he thrilled the crowds in Djibouti. For the several hours that he was on stage, Djiboutians forgot about their worries, Somalis living in Djibouti forgot about the conflict back home as they enjoyed themselves and also paid homage to one of their own shining lights.

Born Keinan Abdi Warsame in 1978, K’Naan is the grandson of Haji Mohamed, one of Somalia’s most famous poets; he is also a nephew of famed Somali singer Magool .”If you’re going to make music I think it should contribute in some way,” he said in an interview with Africa Success website. “It doesn’t have to change the world, it could just be a good melody. My experiences aren’t just mine, it’s just that I can articulate them in English, it is also about the lives of people who have suffered,” as he and his family have.

In Djibouti, where he told this story in English and Somali, he reminded the excited listeners that they can be agents of peace and positive change back home. His scintillating performance reminded Djibouti and others that Somalia, inspite of all the problems she was experiencing, has great men and women. The country has a great history and people committed to a great future.

As I thought about K’Naan in Djibouti, I wondered if he could have survived as an artist in his homeland. A self taught artist, his determination would have seen him practice his art but the risks would be similar to those that menaced the comedian Marshale. In his most famous song Nagala soo baxa “Come out with it,” K’Naan directly challenged the Somali warlords: “Come out of my country; You’ve spilled enough blood; You’ve killed too many people; You’ve caused a ton of trouble.”

In another song K’naan expresses his outrage against the brutalities of the warmongers: “See they rack bodies not grain; Chop limbs not trees; Spend lives not wealth; Seek vengeance not truth; Moisten pain not plants; Sharpen feuds not minds.” These songs would definitely not have won him any favours. Perhaps some young men armed with pistols or with hand held grenades would have been sent his way.

The Cultural Grain

The arts, and particularly poetry, have been a way of life in the Somali community which spreads from northern Kenya, Ogaden in eastern Ethiopia, Djibouti and into the diaspora in Europe, America, Australia etc. Richard Burton, an early 19th-century English explorer, famously described Somalis as a “nation of poets,” an assertion echoed by other scholars.

In a 1969 coup, Siyaad Barre took control of Somalia and declared it a socialist state. Military misadventure into Ethiopia over the Ogaden area and corruption led to resentment of his regime. Soon clan wars erupted, resulting in his toppling in 1991. However, the clan-based militias that overthrew Barre descended into infighting and lawlessness, triggering famine and a massive refugee problem.

Repeated attempts at peace and political transition failed during the 1990s and early 2000s. In 2004, an interim Transitional Federal Government (TFG) led by President Abdullahi Yusuf was formed but this did not lead to normalcy. The TFG paved way to the current Federal Government of Somalia (FGS) but it is still beleaguered by war.

The search for long lasting peace in Somalia persists. The voices of the proponents of using arts in this search for peace and prosperity have also not gone silent. Somalia’s own son, Maxamed Daahir Afrax, a writer and literary scholar based in the UK, underscored the importance of poetry in a paper, Towards a Culture of Peace, presented at a gathering at the Conciliation Resources, an independent organisation working with people in conflict to prevent violence and build peace.

In the entire presentation, he was unequivocal that poetry has traditionally been the principal medium through which Somalis define their identity, record their history, express their innermost feelings and communicate their views.

He added: “Poetry has been the basis on which other forms of oral cultural expression have developed, such as Somali theatre which emerged in post-independence Somalia as an important art form in Somali urban life. Somali theatre, which incorporates drama, music, dance, visual arts and short-lined modern poetry, became the main medium of expression for artists prior to the civil war and played an important political role.”

The link between art and politics is often expressed in the staging of a play called Gaaraabidhaan (Glow Worm) in 1968. The production, by the late playwright Xasan Sheikh Muumin, is believed to have inspired the military coup led by Siyaad Barre in 1969.

Twenty years later, in 1989, a play titled the Landcruiser by the late poet-playwright Cabdi Muxumed Amiin was staged at the National Theatre in Mogadishu. The production attacked the deeds of the Siyaad Barre regime and is popularly believed to have hastened its downfall. After the playwright was arrested, a song of the same name articulating the play’s central idea became an instant hit, catching the growing mood of popular opposition to the government.

“In Somali society poetry, oratory, theatre and song, are the dominant forms of cultural expression,” Maxamed told the gathering. “Somalis’ thoughts about the last two catastrophic decades have been recorded in poems, drama and song, as well as written literature. Somali oral culture is a very powerful tool to promote peace and conflict resolution.”

“In Somali society poetry, oratory, theatre and song, are the dominant forms of cultural expression,” Maxamed told the gathering. “Somalis’ thoughts about the last two catastrophic decades have been recorded in poems, drama and song, as well as written literature. Somali oral culture is a very powerful tool to promote peace and conflict resolution.”

Tool to Promote Peace and Conflict Resolution

The arts – poems, drama and song, orally-presented, as well as written literature – are in the Somali genetic make up and this is why targeting of the artists is confounding. Well, but what do you expect from islamists who only want one book, the Koran? It is so strongly rooted in their cultural grain that even with the threats and killings, the Somalis have not abandoned the arts. It is a tool that has been employed in the country’s long search for peace and normalcy.

In his analysis, Maxamed pointed out that poetry, drama, music and oratory have been major factors in the success of important political movements and events in Somali history: the nationalist movements that led to independence in 1960; the early years of the military revolution of 1969; the overthrow of that military regime; or the Peace and Reconciliation Conference in Arta, Djibouti, in 2000, which led to the formation of the first Somali Transitional National Government.

He said: “During the Arta Conference, for instance, many poets and performing artists were mobilised, including from the Djibouti artistic community and the diaspora. During the six months of the conference they engaged in artistic productions that promoted peace and reconciliation, which were broadcast on Somali-speaking media channels in Somalia and around the world. The effectiveness of these cultural forms as tools for promoting peace is underscored by two important factors: that Somalis are united by a single language; and Somalis’ renowned love of oral literature. Over the past two decades Somali artists have proved their commitment to promoting peace in their country, producing a huge body of literature on the theme.”

Musicians at the peace conference

The Peace Conference

This is why it is odd that cultural workers and artists are being targeted by the insurgents. In places where they control, any works of art is banned. But then again, it can be argued that they do this because they, the insurgents, realize the power and influence that the arts wield.

The militants even targeted the president of the current Federal Government of Somalia (FGS) with an attempted assassination staged a day or two after he was elected, signifying that the power of the bullet and barrel would continue to be used. The Somali Armed Forces and the African Union Mission in Somalia have supported the FGS and huge territorial gains have been made. This is very important because the FGS has now been able to extend its administrative reach, which is a critical it the government were to meet its long term state-building objective that would result in holding of a country-wide elections by 2016.

The military gains are important and as they brace for the coming election, they should probably look into the cultural grain for answers to counter the extremists’ messages. They are still faced with a tough battle for the hearts and minds that the arts communicate and hold critical conversations on nation building and reforms. The country has a long history of using the arts to win this kind of battle.

As the country maps her long term road to stability and prosperity through elections and the constitutional process, it is also time to tap into the undying power of the arts that is in every gene of the Somali people to show that the country can reclaim its place amongst nations.

As the country maps her long term road to stability and prosperity through elections and the constitutional process, it is also time to tap into the undying power of the arts that is in every gene of the Somali people to show that the country can reclaim its place amongst nations.

A legend, pioneer, master thespian, hero

Posted on July 29, 2015 by kimaniwawanjiru

“Next! Your name please,” St Peters said as he logged in the names of the evening arrivals at the Pearly Gates on Sunday 12, 2015.

“McDonald, McGregory, Ojwang’, Hatari, Ondiek, Mang’ang’a, Sibuor, Brrrrrrr! Hm Eh Otoyo, Esquire,” came the response that did not only capture St Peters’ attention but also brought a smile on his face. “How are you Sir?”

Mzee Ojwang Hatari. (courtesy of venasnews)

“That introduction brought a smile to many households back there on earth, Mzee Ojwang or shall I call you by the other unknown name Benson Wanjau,” St Peters quipped as he busied himself. “Some of your former colleagues and friends who came up here earlier have continued to be class acts. Amka Twende and Othoron’gon’go Danger never tire to remind us that “a cow boy never dies. And when he dies, he never rots. And when he rots, he never smells. And when he smells, nobody knows.”

“Those two were outstanding,” Mzee Ojwang said laughing heartily. “That phrase was always followed by their antics that endeared them to many. It earned them and our group a chance to do that Doom commercial— you remember that part where they would all shout “inaua mende wanakufa fo! fo! fooo!! and then make some really funny faces.”

This made them all laugh out loud. Mzee Ojwang continued the banter as he recalled some genius moments with his pals Masanduku arap Simiti, Wariahe bin Huu, Mzee Mombasa, Amka Twende and Othoron’gon’go. There were others like Mzee Pembe, Athumani Kipanga, Mzee Mombasa Mwambao

“How is my good brother “Lifingstone, Chonstone, Amachina, Tamaa pin Tamaa, Tiii Ti into pracket? also known as Peter Lukoye,” Mzee Ojwang inquired. “When can I meet all these guys?”

“They are all fine and today they are doing a dress rehearsals of their next act that will be opening in a few days’ time,” St Peters told Mzee Ojwang. “It looks like your coming here this evening has caused a flurry of activities back there. Just come and see these screens. I think the comments can make very good scripts. What do you think?”

Celebration

“That exchange that followed Daniel “Churchill” Ndambuki aka Mwalimu King’ang’i’s comments can make a very good crowd scene,” Mzee Ojwang pointed out to St Peters. “He is a young man who has taken the art a notch higher and while we inspired him, he has strove to give others a platform to excel. The laughter industry is sparkling.”

Paying their last respect. A generation inspired by Mzee Ojwang

“Indeed he is propping others in the same way he was offered a platform by the Redykylus Trio of KJ, Nyambane, Tony and others whom you inspired, mentored and supported,” observed St Peters. “These took the art of political satire to greater heights but they too had trailblazers like Joni Nderitu, who set Mbalamwezi Players one Saturday afternoon during the Harvest of Plays festival organised by the then vibrant Theatre Workshop Players.”

“Of course Joni Nderitu joined you up here a while back,” Ojwang observed. “He too was a pioneer of repute in the theatre scene.”

“He had a way with politicians,” added St Peters. “At the Festival, he played Mzee Jaramogi and had everyone in stitches and this same crowd almost bolted out or moved close the nearest exit when started his act of satirizing the former President arap Moi.”

“Pioneers also included Steve Muturi, Kachumbari ‘sugar n spice,’ and now he is known as Generali,” Mzee Ojwang said. “And oh yes there was also Shabbir Ansari, who “discovered” by Steve Muturi after he picked him from the audience, was quite an act.”

“Word has just come in that Churchill’s next show will be dedicated to you and the other legends. A celebration for legends,” St Peters informed Mzee Ojwang. “That young man called KJ has also made a compilation that is also very touching. Look at the exchange.”

KJ: A legend, pioneer, master thespian, hero. True legends never die.

KB: Thanks for this KJ! This guy and his crew (Othorongongo, Amka Twende) made our childhood awesome.

KJ: That elaborate signature greetings routine complete with high fives, fist bumps, leg tags and hip bump.

JW: KJ Asante. Huyu ndiye Baba yetu.

KJ: The original king of comedy. This guy and his generation of thespians opened the doors!

WAA: Awesome tribute KJ. Ojwang was our first childhood celeb actor that we knew of, together with his crew. A true legend indeed. May he RIP.

DMK: Merci beaucoup mon ami KJ for this! Singekosa vitimbi. …childhood memos. May our HERO RIP till we all meet him again!

KJ: Tulikuwa wengi maRegular kila wiki. “Artists don’t retire, they just step down” – Benson Wanjau, in an interview.

JKT: It’s unfortunate after all these year’s because I have known him since I was 4-years old; that he had to die of a treatable disease, you humour will forever remain in our heart R.I.P Mzee Ojwang.

CW: What a legend!…to make people laugh, from his stage names, to his gestures, with everything he had, he made us all happy. May the Lord keep his soul in peace.

Thespians– a generation that was inspired by Mzee Ojwang to take up acting and comedy

“The observations that have been made after you left are insightful,” St Peters remarked as he scrolled up the screen and double tapped to enlarge the messages for Mzee Ojwang, whose eyes were still recovering after the treatment several months ago. “Not so many people know or recall your real name as Benson Wanjau. People are fascinated by this. Look at what was written on twitter by Mutahi Ngunyi.”

“It is NOT a tragedy that Ojwang Hatari has DIED. It would be a TRAGEDY if we let DIE what he left ALIVE in us—a KIKUYU best known as a LUO.”

“It is called embracing and living the character,” Mzee Ojwang chuckled.

“Indeed,” St Peters remarked. “Would you consider what this oral artist called Kimingichi Wabende says? He says that when the late Okot p’Bitek wrote his book Artist the Ruler, he had you (Ojwang) in mind. “With his tongue and smiles he won people. He needed no army to enforce loyalty. Thinking…every great man needs a controversy: Ojwang is known more by his stage name, do you think he should be buried in Kisumu….just thinking.”

“That is an interesting question and observation,” Mzee Ojwang stated. “My opinion is that perhaps this can be discussed broadly and possibly look at the question of people who can be considered as national icons. People who belong to the whole nation and not just their communities.”

Mama Kayai (Mary Khabere) Mzee Ojwang’s “partner” and friend.

What Values?

“My good man, you used your talent well. You didn’t go and bury it in some corner,” St Peters remarked. “But these comments have not just been about your success. It wasn’t easy for you as a pioneer. Why did you do it? Was it for the money? The fame? The good life?”

“We loved our trade,” Mzee Ojwang answered after reflecting for a while. “As human, we have our weaknesses. We triumph over many obstacles. We sacrificed many things to remain in the trade that was our first love. And it is often said, love makes you do many crazy things.”

“There is a strong debate that has come up Mzee Ojwang,” said St Peters. “Look at this thread generated by a pioneer theatre artist, just like you.”

Njeri: Ojwang Hatari…RIP. He was not overlooked. He was a pioneer. And pioneers live a hard life. He should have won an Oscar. He did not. But he pioneered Lupita. Everything and everybody has a season. He did what he had to do and so celebrate his life’s achievements and not bemoan his not being a millionaire. I liked him just the way he was.

Jane: Well said Njeri

Rashid: Ata wewe Njeri Luseno ni pioneer. Whether they know it or not, Lupita and other budding stars are standing on your shoulders. Asanteni pioneer artists, no amount of money can repay what you so selflessly gave the people of Kenya. God bless you all. Amen.

Njeri: Thank you Rashid. I live for those days. Best days of my existential search and growth. Nothing passes me but for my third theater eye!

Kimani: Spot on Njeri…sadly our national psyche is based on the premise that success and a great legacy is a monetary thing…

Wanja: Well put Njeri and Kimani. Success is not always monetary, driving latest models of cars, etc. It is deep in our hearts – it is satisfaction that you are doing what you do as best as you can and in what he did, there was no one like him.

Njuguna: Words of wisdom Njeri. Lets respect his life but ensure that a policy is formulated which will take care of others.

Rosemary: Well put Njeri. And you are a pioneer too! There are many pioneers whose names should be scrolled on the National Theatre walls!

Charity: People l support fully….Njeri you are a pioneer too, all that old theatre group. Remember the late Stella Awinja ,late Anne Wanjugu or late Jerry Okungu but they are the great living ones like you Njeri wa Luseno ,Wakanyote, Odi,…All and many more….l pray God gives us a chance to celebrate this year..

Nzioka: Njeri you are spot on. Ojwang Hatari did his thing and did it very well. However we must ask some questions…now following your statement, I beg to ask…is it not Lupita’s time (As an individual) to help government to create a marshal plan for the arts in Kenya?

Maria: He may not have been a millionaire, but his popularity was 2nd to none. For years he generated so much love and laughter to generations of Kenyans….he has left behind an amazing legacy!

“These are deep reflections by my country mate,” observed a reflective Ojwang. “As artists, we played our part of entertaining the country. This debate on intrinsic values is equally important but it often seems to be ignited at times like this.”

The Judge (Lucy Wangui). Pioneers, alongside Mzee Ojwang

“Indeed,” St Peters interjected. “This debate came up when guys like Tamaa bin Tamaa, Wariahe bin Ho, Mzee Pembe, pioneer musicians like Fundi Konde, Daudi Kabaka, Fadhili Williams etc. all left. While they used their talents, they brought joy to many. They were a success. However, many didn’t have a lot of that earthly possession and have often been viewed as unsuccessful. What is the measure of success?”

Ironies of Life

“Those are the ironies that we have lived with, St Peters, those are the ironies,” said Mzee Ojwang in a rather gloomy voice that seemed to underscore these paradoxes in their lives. “St Peters, it is said that to those whom much has been given, much will be required. Many people who can change this narrative right from the President, his deputy, ministers, governors, senators, leaders in the opposition who were in government, the former President, former ministers and many other places where they can make a difference have talked glowingly about the joy me and many others like me brought. The media and many commentators have offered their advice. But much is required to make it better for those who come after us and even the talented team that is still keeping the wheel going.”

“That then puts these remarks in perspective,” St Peters said while looking at the comments on the screen that he had just opened. “Look at the comments on this screen by Suzanne and Mutisya.”

Suzanne: Forgive me if I take the Daily Nation editorial on national celebrities and stars deserving better with a pinch of salt. A national endowment fund for the arts is all very well. But coming from the establishment that has fought tooth and nail not to pay intellectual property rights to the CMO’s, let alone airing more local content on its airwaves…. Well – methinks you should take the log out of your own eye.

Mutisya: Ma artist wetu bado ni masuffara. Ojwang died a suffara! We need to do something about this especially now that everyone is talking about the youth. This is the time to have a sustainable intervention in the creative industry.

“Ah look at me now engaging you in all this discussion when we have the whole eternity ahead of us to catch up and compare notes,” St Peter quickly added. “Welcome past this gates. Let us find someone to show you to your new quarters and make you comfortable.