Our article about Germany Returning Artifacts Stolen From a Namibian Freedom Fighter, Chief Hendrik Witbooi, has been featured on The Dr Mumbi Show this week. Enjoy!
Month: March 2019
A Quote from Bernard Dadié: “Thank You God for Making me Black”
Je vous remercie mon Dieu, de m’avoir créé Noir, Je porte le Monde depuis l’aube des temps Et mon rire sur le Monde, dans la nuit crée le jour.
I thank you God, for having created me black, I carry the world since the beginning of times And my laughter on the world, at night created the day.
Bernard Binlin Dadié. The poem below is titled “I Thank you God” or “I thank you my God,” “Je vous Remercie Mon Dieu” de Bernard B. Dadie / “I Thank You God” from Bernard Binlin Dadie
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Proverbe Bornu sur les choses invariables / Bornu Proverb on Unalterable Facts
Même la nuit le lait est blanc (Proverbe Bornu – Tchad).
Even at night, the milk is white (Bornu proverb – Chad).
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Queen Amina of Zazzau: Woman As Capable as a Man
A few years ago, I wrote about Queen Amina of Zazzau: the Great Hausa Warrior born to Rule, the woman remembered today in Nigeria as ‘Amina, rana de Yar Bakwa ta San’ (Amina, daughter of Nikatau, woman as capable as a man). Crowned queen of Zazzau in 1576, Amina expanded her kingdom’s boundaries down to the Atlantic coast; she founded several cities, and personally led an army of 20,000 soldiers to numerous battles. During her 34-year reign, she commanded the construction of a defensive mural around each military camp that she established. Later, those camps evolved into prosperous cities within those walls, and some can still be seen today in northern Nigeria. Those cities are known as walls ‘ganuwar of Amina’ or ‘Amina’s walls‘.
Queen Amina’s achievement was the closest that any ruler had come in bringing the region now known as Nigeria under a single authority. Enjoy this trailer for the movie Amina by Izu Ojukwu and the website for it: AminaQueenOfZazzau.com; the BBC also made a cartoon about her. With Hollywood’s recent lack of imagination and appropriation of other people’s culture, I would not be surprised that they copy her story to bring it onto big screen. However, Africans should put forward their own stories and value them… not wait for some imagination-hungry entity to come grab it, to all of a sudden value their own history (Black Panther).
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Germany Returns Skulls of Namibians Genocide Victims
I know this dates from last August, 2018, but I had to share. Note that out of the hundreds of skulls taken by Germany, only a bit over 25 were returned; if the German racial study has been discredited, why not return all of them? The excerpt below is from the BBC; for the full article, go to the BBC. As a reminder, the first genocide of the 20th century occurred in Namibia, on African soil. It was perpetrated by Germans on the Herero and Nama people of Namibia. It was extremely brutal and almost wiped out all Herero people. It was a campaign of racial extermination and collective punishment that the German Empire undertook in German South-West Africa (modern-day Namibia) against the Herero and Nama people. It took place between 1904 and 1907 during the Herero Wars. Today it is known as the Namibian genocide or the Herero and Namaqua genocide.
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Germany has handed back the human remains of indigenous people killed during a genocide in colonial Namibia (German South-West Africa) more than 100 years ago.
… The bones had been sent to Germany for now-discredited research to prove the racial superiority of white Europeans.
Tens of thousands of Herero and Nama people were murdered in response to an anti-colonial uprising.
Their descendants are still waiting for an apology from the German government.
The genocide began in 1904 after a Herero and Nama rebellion in response to the German expropriation of their land and cattle.
The head of the military administration in what was then known as German South West Africa, Lothar von Trotha, issued an extermination order in October 1904.
The Herero and Nama were forced into the desert and any who were found trying to return to their land were either killed or put into concentration camps.
There is no agreed figure of how many died but some estimates have put it as high as 100,000.
It is thought that 75% of the Herero population and half of the Nama population died.
… There are thought to be hundreds of Namibian skulls in Germany and on Wednesday more than 25 remains were handed back.
Skulls from Germany’s other African colonies, including modern day Cameroon, Tanzania, Rwanda and Togo, were also used in the discredited studies.
In 2016, Germany said it was prepared to apologize in principle but it is still negotiating with the Namibian government over the form of the apology and how to deal with the legacy of the genocide. [Funny how, when it was time to kill, they never negotiated]
… Germany has argued that it has given Namibia millions of dollars in development aid to support all people in the country. [They forget to tell you that they are still benefiting from the mines and resources of Namibia]
… But descendants of the victims are angry that there has been no apology and no agreement of reparations. They are also unhappy that they are not part of the negotiations. …
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A Quote from Bernard Dadié from ‘The Lines of Our Hands’
“Les lignes de nos mains sont des lignes de Vie, de Destin, de Coeur, d’Amour. De douces chaînes qui nous lient les uns aux autres, Les vivants aux morts.”
“The lines of our hands Are life lines Destiny lines, Heart lines, Love lines. Soft chains Which bind us One to the other, The living to the dead.”
Bernard Dadié in ‘Les lignes de nos mains’ published in La Ronde des Jours, Edition Pierre Seghers, 1956. The English translation is by Dr. Y., Afrolegends.com. [Note: punctuation was added to write in one line the first sentence].
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So long to an African Literary Genius: Bernard Dadié
It is with great sadness that I learned of the passing of the great Ivorian writer Bernard Binlin Dadié. Bernard Dadié was a Baobab of African literature, and he was 103 years of age at the time of his passing. On his 100th-year birthday, he had complained of not being able to write as much anymore, given that he still had so much to say! Dadié was a literary virtuoso who brilliantly explored many genres from poetry, to fiction, to theater.
Many have wondered what was the secret of his longevity, and “his children always thought that Dadié was able to surmount all those obstacles and live so long because he was deeply in love with his wife,” said Serge Bilé [« Ses enfants ont toujours pensé qu’il a pu traverser toutes ces épreuves et vivre si longtemps car il était amoureux de sa femme » Jeune Afrique] writer, journalist, and whose mother was a cousin of Assamala Dadié (Dadié’s wife).
Dadié was born in Assinie, Côte d’Ivoire, and attended the local Catholic school in Grand Bassam and then the Ecole William Ponty. He worked for the French government in Dakar, Senegal. Upon returning to his homeland in 1947, he became part of its movement for independence: he denounced colonialism and neo-colonialism. Before Côte d’Ivoire‘s independence in 1960, he was detained for sixteen months for taking part in demonstrations that opposed the French colonial government.
Climbié, his most well-known novel was published in 1956, and was the first Ivorian fiction. With his theater piece The cities (Les Villes), played in Abidjan in April 1934, Dadié gave Francophone Africa its first drama piece. I am sure there were others played in the olden ancestral days, but this was the first one written in Molière’s language. He was also the first to win the great literary price of Black Africa (le grand prix littéraire de l’Afrique noire) twice in 1965 with Boss of New York (Patron de New York, Présence Africaine, 1964), and The City where No One Dies (La Ville où nul ne meurt, Présence Africaine, 1969) in 1968. His other big novels are: Le Pagne noir – Contes africains (1955), Un Nègre à Paris (Présence Africaine, 1959), Les voix dans le vent (1970), Monsieur Thôgô-Gnini (1970) ou les poèmes du recueil La rondes des jours (1956). In recent years, his poem “Dry Your Tears Afrika” (“Seche Tes Pleurs” de Bernard Binlin Dadié / “Dry your Tears Afrika” by Bernard B. Dadié) was set to music by American composer John Williams for the Steven Spielberg movie Amistad. Lastly, a street bears his name in Abidjan.
Among many other senior positions, starting in 1957, he held the post of Minister of Culture in the government of Côte d’Ivoire from 1977 to 1986. As a twist on fate, next week will come out in Côte d’Ivoire, a book titled 100 writers pay tribute to Dadié (100 écrivains rendent hommage à Dadié) in the Éburnie éditions. Bernard Dadié is the symbol of Côte d’Ivoire‘s deep and rich culture, marking a literary resistance to colonialism and neo-colonialism, and a strong love for his people, continent, and race.
I live you here with the link to his poem “I Thank you God” which we had published a while back: “Je vous Remercie Mon Dieu” de Bernard B. Dadie / “I Thank You God” from Bernard Binlin Dadie. Yes, we thank God for his son Bernard Dadié who has graced this earth and shown us the way, revived our pride, and dried our tears (“Seche Tes Pleurs” de Bernard Binlin Dadié / “Dry your Tears Afrika” by Bernard B. Dadié). I would like to tell all those who mourn him, that the fierce spirit of Bernard Dadié lives on, and we are his legacy which we should uphold.
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Proverbe Mossi sur le travail /Mossi Proverb on Work
Ce qui est dur est bon; le facile n’a pas de profit (Proverbe Mossi, Burkina Faso). – Même si le sol n’est pas fertile, il faut travailler dur.
That which is hard is good; whatever is easy brings no benefit (Mossi proverb, Burkina Faso). – Even if the soil is not fertile, you have to work hard.
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Ethiopian Emperor Tewodros II’s stolen hair to be returned by UK
Last week we talked about Germany returning artifacts stolen from a Namibian freedom fighter back to Namibia. This week, it is the UK which have decided to return the stolen hair of Emperor Tewodros II back to Ethiopia. I hope the Ethiopian government will not just take it at face value, but perform some DNA test of this hair to ensure that it is indeed that of Emperor Tewodros II (Looted Ethiopian Treasures in UK could be returned on Loan). The thing that bothered me about the article below, is that these museums say that they will return stolen artifacts only based on official specific written requests: most of the times when the British looted the different kingdoms, Benin City (Benin City: the Majestic City the British burnt to the ground) in Nigeria or Maqdala in Ethiopia, there were no survivors or very few among the locals. In the case of Maqdala in 1868, it is said that 15 elephants and 200 mules were needed to cart away all the loot from Maqdala. … How could anyone have an inventory of all the things they stole? This is just another way of keeping all the loot, and never returning it to their rightful owners. Below are parts of the article; for the full article, go to The BBC:
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A British museum [National Army Museum] is to return a lock of hair that the Ethiopian government considers a national treasure.
It was cut from the head of Emperor Tewodros II, who killed himself rather than be taken prisoner by the British during their 1868 invasion of Ethiopia. …
Strands of Emperor Tewodros II’s hair were given to the National Army Museum in London 60 years ago. …
The museum told the BBC it had decided not to make photographs of the hair public out of respect, because the matter was “too sensitive”. The remains are described as two pieces “no bigger than the size of a two-pence coin”.
The National Army Museum has now agreed to return the artefact, but says it is not returning any other items of African origin.
“It’s definitely not a precedent,” a spokesperson for the museum told the BBC.
“That’s the only one that’s been requested. They have to be formal, written requests to the director with a case“. …
The move has reignited demands for the UK to return all the looted artefacts on display in British museums. …
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FESPACO 2019: 50-year Anniversary of the African Film Festival
2019 marks the 50th year anniversary of the FESPACO. As a reminder, the FESPACO (Festival Panafricain du cinema et de la television de Ouagadougou) is the Panafrican Film and Television Festival of Ouagadougou, and is the largest African film festival, held biennally in Ouagadougou, the capital of Burkina Faso. First established in 1969, and boasting some of Africa’s greatest writers and filmmakers (like Ousmane Sembene), the FESPACO offers a chance for African filmmakers and professionals to showcase their work, exchange ideas, and meet other filmmakers, and sponsors. Filmmakers from around the continent come together in Ouagadougou which is transformed into the Hollywood or the Cannes of the continent for this 8-day celebration. This year’s FESPACO ran from February 23 to March 2nd.
To mark the 50th-year edition, a particular focus was set on reflecting on the collective memory and future of the pan-African cinema. Films from 16 African countries were vying for the Golden Stallion of Yennenga, a prize named after the story of a 12th century beautiful princess who is considered the mother of the Mossi people, Princess Yennenga.
The Golden Stallion of Yennenga 2019 was awarded to the movie “The Mercy of the Jungle” directed by Joel Karekezi of Rwanda. “The Mercy of the Jungle” shows the arduous road trip taken by foot of two soldiers lost in the jungle during the time of the Democratic Republic of Congo wars. It beat out 19 other candidates to get the Golden Stallion of Yennenga. Marc Zinga, a Belgian, also took best actor for his role in “The Mercy of the Jungle.”
Second prize went to “Karma”, a drama by Egyptian director Khaled Youssef, while third place was awarded to Tunisian Ben Hohmound, who directed “Fatwa”, another drama.
This year also, women have complained about the fact that in 50 years, not a single woman has won the top prize at FESPACO. This highlights a problem of gender equality for film directors. South African actress Xolile Tshabalala, who featured in “Miraculous Weapons”, directed by Jean-Pierre Bekolo, a Cameroonian asked, “can it be that in 50 years, there hasn’t been a single woman capable of telling a great story to win the Fespaco?” Burkinabe director Apolline Traore said that any award had to be earned, not considered a token gesture, but admitted that there is a problem in gender equality for directors. “There’s no equality for the craft of a woman director, not just in Africa, but in the world,” she said. Traore won a special prize on Friday for her film, “Desrances”.
African Heritage 