France Returns Sword of Senegalese Hero Omar Tall … Temporarily

Omar Tall
Mural in Dakar showing Omar Tall (Source: Wikipedia)

At first I was thrilled by the news that France had returned the sword of the Senegalese hero Omar Tall, … until I read the fine prints! Then I read that this was a temporary return, more like a 5-year loan to Senegal, until the French parliament approves whether to permanently return it or not. Moreover, the sword was already on loan at a Museum in Senegal. Nevertheless, you will notice like me that the media titled it a ‘return.‘ In reality, this is more like a publicity campaign for the French who seemingly appear to be returning looted treasures.

Before delving into the excerpt below from the BBC article, it is good to say a few words about Omar Saidou Tall or Umar Tall, and why he is so venered by Senegalese. Omar Saidou Tall was a religious, political, and military leader who fought against French colonization in the region then known as French Sudan which encompassed Senegal, Mali, and Guinea. He opposed a fierce resistance to the French from 1857 to 1859. Senegalese tend to remember him as a hero of anti-French resistance, while Malian sources tend to describe him as an invader who paved the way for the French by weakening West Africa. We will go deeper into his life and legacy in the next post.

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France has restored to Senegal a sabre that belonged to a 19th Century Islamic scholar and ruler.

It is part of a commitment to return to its former West African colonies key items of their cultural heritage.

The artefact originally belonged to the revered west African leader Omar Saidou Tall, who led an anti-colonial struggle against the French.

… Mr Philippe [France’s prime minister] said it was “the first step” in a project aimed at returning more Senegalese artefacts currently in French museums, which hold at least 90,000 artefacts from sub-Saharan Africa.

Last year a group of experts commissioned by France’s President Emmanuel Macron recommended that African treasures in French museums be returned to their countries of origin.

sabre_0
Omar Tall’s Sword (Source: RFI)

Their official report states that most of the Africa collection in Paris’ Quai Branly museum – approximately 46,000 pieces – was acquired with some degree of duress [not sure that they will return all these artefacts and leave their museums empty].

It’s symbolic. It had been lent to us before, but now it is being restored to us,” the head of Dakar’s Museum of Black Civilisations Hamady Bocoum told AFP news agency about the sabre.

The curved iron, brass and wood sword has been kept in its leather sheath in the museum in Senegal’s capital on loan from France. But Sunday’s ceremony saw the item formally returned for a period of five years.

The next stage will be for French MPs to vote on whether to permanently return this and other artefacts.

Proverbe sur l’Avarice / Proverb on Greediness

dog_4
Chien / Dog

Le chien s’est dechiré la gueule en mangeant de trop grands morceaux (Proverbe Azande – République Centrafricaine, République Démocratique du Congo (RDC), Sud Soudan). – Ne pas avoir les yeux plus grands que le ventre.

The dog tore its mouth while eating very big pieces (Azande proverb – Central African Republic, Democratic Republic of Congo (DRC), South Sudan). Do not have eyes bigger than the stomach.

The Sahara was Home to World’s Largest Sea Creatures

Sahara_ancient sea creatures
Some of the sea creatures that lived underwater in the location where the Sahara desert is today. (Source: American Museum of Natural History 2019)

Given that Africa is the cradle of humanity, it totally makes sense that it would also be the place where some the world’s largest sea creatures hail from. The excerpt below from the Guardian reveals that the Sahara was home to some of the world’s largest sea creatures. Enjoy!

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Scientists reconstruct extinct species using fossils found in northern Mali from ancient seaway

Some of the biggest catfish and sea snakes to ever exist lived in what is today the Sahara desert, according to a new paper that contains the first reconstructions of extinct aquatic species from the ancient Trans-Saharan Seaway.

Mali4
Map of Mali with its capital Bamako

The sea was 50 metres deep and once covered 3,000 sq km of what is now the world’s biggest sand desert. The marine sediment it left behind is filled with fossils, which allowed the scientists who published the study to build up a picture of a region that teemed with life.

Between 100 m and 50 m years ago, today’s arid, boulder-strewn northern Mali “looked more like modern Puerto Rico”; the sun shone on some of the earliest mangroves, and molluscs lined the shallow seabed, according to Maureen O’Leary, the palaeontologist who led the study.

Sahara_ancient sea creatures_1
Reconstruction of sharks feeding on a dyrosaurid crocodily form. (Source: American Museum of Natural History 2019)

The study also formally named the geological units, literally putting the area on the geological map for the first time, showing how the sea ebbed and flowed over its 50 m years of existence, and building up information about the K-Pg boundary, the geophysical marker of one of Earth’s five major extinction events, in which the non-avian dinosaurs became extinct.

With 1.6 m catfish, 12.3 m sea snakes and 1.2 m pycnodonts – a type of bony fish – O’Leary and the other scientists developed the idea that in the late Cretaceous and early Paleogene period, the animals were experiencing gigantism.

Evolutionary biologists have long talked about the phenomenon of island gigantism, where species that live on small islands can sometimes develop very large bodies, possibly because they have more resources or there are few predators, or both.

… 

Proverbe sur le Corbeau au Col Blanc / Proverb on the White-Collared Crow

Nike Crow_1
Le corbeau au col blanc / White Collared Crow

Le corbeau au col blanc évite la saleté (Proverbe Kiswahili – Kenya, Tanzanie, RDC). – Un homme intelligent fuit les palabres.

The white-collared crow avoids dirt (Kiswahili proverb – Kenya, Tanzania, Democratic Republic of Congo (DRC)). An intelligent man runs away from trouble.

The African Crow: The Crow with a Nike Collar

Nike Crow_1
A crow snacking on some bread

A few years back, my father was visiting Melbourne in Australia, when he heard a bird crowing around. So he asked an Australian lady nearby what bird that was, and she answered the crow… and my dad went on to tell her that in his country, the crow had a white collar, and sounded just like that… so the lady chuckled and said, “so you have a Nike-collar crow in your country.” So meet the Nike-collared Crow.

Nike Crow_Rwanda_1
Crows in Rwanda

When I first moved to the West, I never understood why people taught of the crow as a bad bird, or rather a bird of bad omen. When I asked, they told me because of its black coat, and black feathers, and because of its cry. This sounded totally weird to me… why? Because in African culture, the crow is not a bad bird, or a bird bringing ominous news. It is actually a good bird. Not only that, but the crow is not an all-black bird, but it has a white collar. I was surprised to find this white-collared bird in Cameroon, in Rwanda, and in other places, thus telling me that the white-collared crow is indigenous to Africa.

With the white collar, isn’t your perception of the crow changed?

Nike Crow_Cameroon_2
Crows in Cameroon

When A Nigerian Movie gets Disqualified from the Oscars for having … too much English in it!

Lionheart_(2018_film)_poster
Lionheart (2018 film)

I was quite stunned when I heard the reason why the Nigerian movie Lionheart (2018 film) had been disqualified from the Best International Film section of the Oscars: because of … too much English in it! Can you imagine that? Isn’t English the official language of Nigeria? So no movies made in English by Nigerians should be accepted? But an Algerian movie with French in it (French the language of the colonizer) gets accepted in that section? In other words, a Jamaican movie sent to the academy cannot be in English, a Ghanaian, Ugandan, Canadian, or Australian one should not be in English, etc… even though English is the official language in these countries? But an Algerian movie could be in French, an Ivorian or Comoros movie in French, and these would be qualified as ‘international’ enough! This does not even take into account that Lionheart (2018 film) does have sections in Igbo, one of the languages spoken in Nigeria. I think, as always the oscars academy has shown why they are really not inclusive at all, and above all, quite narrow-minded!

Below is the article from The Guardian.

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Oscars_1
The Oscars

[…] The Academy was considering a Nigerian movie called Lionheart in its best international feature film category. I watched Lionheart when it came out last year, partly because of the novelty of seeing a movie from Nigeria’s burgeoning Nollywood film industry on Netflix.

Directed by and starring the Nollywood titan Genevieve Nnaji, it is a captivating look at family, class, sexism, politics and the texture of life in the Niger delta. It’s both very Nigerian and very relatable for audiences who know nothing about Nigeria. It’s incredible that Nigeria has never had an Oscars submission before, but this is a good choice for its first. Yet Lionheart has just been disqualified because there is too much English in it.

In fact, Lionheart does feature the Igbo language, which millions of people in eastern Nigeria speak. But the film reflects the way many Nigerians – as former imperial British subjects – speak in real life. As in most of anglophone west Africa, education, politics and formal economic activity is conducted in English, which people interchange with the dozens – in Nigeria’s case, hundreds – of African languages that they also speak. This is the legacy of empire. And this legacy of empire, even though they were once part of it, is what some American institutions don’t seem able to comprehend.

Flag and map of Nigeria
Flag and map of Nigeria

So the American Academy expects films competing in its “international feature film” category to emphatically not be in English. Its rules are very clear on the matter, stating that “an international film is defined as a feature-length motion picture (defined as over 40 minutes) produced outside the United States of America with a predominantly non-English dialogue track”.

But these rules have nonsensical implications. For example, the Algerian film Papicha, which is a favourite in the category, features a good deal of French – the language Algeria inherited from its colonisers. The message seems to be that as long as your imperial power spoke what Americans regard as a “foreign” language – in other words, anything but English – you can speak it and remain authentic. But if you share an imperial past with the US to the extent that English is your nation’s lingua franca as a result, then it is somehow less authentic to speak it. …

Proverbe Zulu sur l’inséparabilité / Zulu Proverb on Inseparability

glove
Main et gant / hand and glove

Nous sommes comme salive et langue (proverbe Zulu – Afrique du Sud, Lesotho, Zimbabwe, Eswatini). – Comme main et gant, impossible de se séparer.

We are like saliva and tongue (Zulu proverb – South Africa, Lesotho, Zimbabwe, Eswatini). – Like hand and glove, impossible to be separated.

Rooibos and Recognition for the Indigenous KhoiSan People

Rooibos_1
Prepared rooibos (source: Wikipedia)

Have you ever heard of rooibos ? Have you ever tasted rooibos tea? Well, as it is named, rooibos stands for red bush in Afrikaans, as denoted by its color. It is very popular in Southern Africa and has been consumed for centuries by the local indigenous Sān and  Khoi people. It grows exclusively in South Africa, in the Cederberg mountains north of the city of Cape Town. The leaves are used in a herbal tea, whose color is red like that of hibiscus tea. Traditionally, the local Sān people would climb the mountains and cut the fine, needle-like leaves from wild rooibos plants. They then rolled the bunches of leaves and brought them down the steep slopes using donkeys. The leaves were then chopped with axes and bruised with hammers, before being left to dry in the sun. Later on, once the European settlers had taken over the trade, no recognition to the indigenous people knowledge and input was given… until last week! Check out excerpts from the article published on South Africa’s Mail and Guardian below, and do not forget to follow the link for the full article.

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San (Basarwa/Bushmen) hunters
San (Basarwa/Bushmen) hunters

Transformation in the rooibos sector has been slow. The genocide of the indigenous San people and the virtual enslavement of the Khoi people in rooibos-growing landscapes of the Cape centuries ago, coupled with a government-controlled monopoly during the apartheid years, has led to a highly skewed and fractured industry.

Today, this R300-million local enterprise remains in the hands of about 300 white commercial farmers who cultivate 93% of the planted area. About 200 small-scale coloured farmers — largely confined to the dryer, more marginal parts of the winter rainfall fynbos region — produce only 2% of all rooibos tea.

A benefit-sharing agreement announced today by the minister of environmental affairs — between the rooibos industry and representatives of San and Khoi organisations — could signal the beginning of a change. 
More than R10-million a year — depending on weather, volumes and the price of rooibos — is likely to be distributed to trusts set up by San and Khoi organisations.

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Rooibos region in South Africa (source: rooibosltd.co.za)

If implemented judiciously and strategically, this could well change the face of rooibos in South Africa.

[…] At the agreement’s core is an annual traditional knowledge levy of 1.5% of the price that is paid by processors to farmers per kilogram of harvested rooibos. After being deposited into the government’s bioprospecting trust fund, the levy will be paid in equal parts to the San Council and National  KhoiSan Council. “Rooibos indigenous farming communities” — defined as “rural farming communities in rooibos growing areas who consist of descendants of original Khoi-Khoi peoples” — are to receive a portion from the trust set up for the Khoi people although the exact proportion has not yet been determined.

Non-monetary benefits will also be “explored” and could include the creation of employment opportunities, bursaries, development schemes, mentoring and the facilitation of livelihoods.

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A cup of rooibos tea (source: MedicalNewsToday)

The agreement is a landmark, not only because it acknowledges the indisputable contribution made by traditional knowledge holders towards the establishment of the industry, but also because it could bring significant material benefits to indigenous San and Khoi people, many of whom remain marginalised and poverty stricken.

That the agreement offers restorative justice is undeniable, but the road ahead is far from smooth. Questions of how exactly benefits will be shared at a local level remain unresolved, and could result in conflicts. The long and troubled history of these oppressed communities has included dislocation, fracturing of family and community structures, and the undermining of people’s own initiatives.

The presence of strong, effective and transparent governance structures and sound external support will be essential to manage conflicting priorities proactively and ethically so that real benefits can be derived by all of the intended beneficiaries. …

“Ils sont venus ce soir” / “They Came Tonight” by Leon Gontran Damas

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Léon-Gontran Damas

They Came Tonight” is a poem by the celebrated French Guyanese author Léon-Gontran Damas. He is renowned as one of the founders of the Négritude movement, along Aimé Césaire and Leopold Senghor. In 1935, the three men published the first issue of the literary review L’Étudiant Noir (The Black Student), which provided the foundation for what is now known as the Négritude Movement, a literary and ideological movement of French-speaking black intellectuals, writers, and politicians of the African diaspora during the 1930s, aimed at raising and cultivating “Black consciousness” across Africa and its diaspora; this movement rejected the political, social and moral domination of the West.

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Slaves on board a ship

They Came Tonight” is a poem similar to ‘Ils Sont Venus’ de François Sengat-Kuo / ‘They Came’ by François Sengat-Kuo. In this case, it talks about when the Europeans came during slavery time, one night as the drums were thundering, and after that many Africans were taken away from their homes, from their loved ones, many were captured, and the day was never the same, history was never the same, families were destroyed, kingdoms destroyed, and to this day, Africa has not recovered for 400 years of slavery. This poem was first published in Pigments 1937, and later in Présence africaine, 1962.

 

Ils sont venus ce soir (Pour Léopold-Sedar Senghor)

ils sont venus ce soir où le
tam
tam
roulait de
rythme en
rythme
la frénésie

des yeux
la frénésie des mains
la frénésie
des pieds de statues
DEPUIS
combien de MOI MOI MOI
sont morts
depuis qu’ils sont venus ce soir où le
tam
tam
roulait de
rythme en
rythme
la frénésie
des yeux
la frénésie
des mains
la frénésie
des pieds de statues

They Came Tonight
for Léopold-Sedar Senghor

They came the night the
drums
spun from
rhythm
to
rhythm
the frenzy

of eyes
the frenzy of hands
the frenzy
of the feet of statues
SINCE
how many of ME ME ME
are dead
since they came that night when the
drums
spun from
rhythm
to
rhythm
frenzy
of eyes
frenzy
of hands
frenzy
of the feet of statues