30 Mar 2012 | Middle East and North Africa
“Our theatre is the street,” said Nasreddine Ben Maâti, President of Eich el-Fan (“live the art” in English), a young association dedicated to street art. “Tunisian citizens are boycotting theaters and cinemas so we decided to go for the people instead of them coming to us,” he added.
Their goal is to tour Tunisia and perform in the streets of the interior and marginalised regions, where the wave of protests that toppled the 23 year rule of President Zeine el-Abidin Ben Ali began.
On 22 March, the association organized an artistic event named Occupy Bourguib Art Street on the capital’s main avenue (Habib Bourguiba Avenue). It was not long before police intervened to disperse the young artists playing music, dancing and drawing graffiti. “Two police officers came toward us and asked us to leave, they were saying what we are doing was prohibited, and told us to go home”, Nasreddine told Index. “They only know two expressions: it is prohibited, and go home”, he added.
The artists refused to leave, and police used to tear gas to disperse them. A photographer who was filming police physically abusing an artist drawing graffiti on the floor was arrested and held for one hour. In the police station, he was beaten by four police officers, according to the association.
On the same day, Wissem Khemiri, a graffiti artist and member of the association Live the Art was taken to a police station when a general in the army spotted him drawing graffiti on the wall of a Tunis art school. The content of the graffiti seems to have irritated this general and opened some old wounds: Khemiri’s drawing was dedicated to Abd el-Aziz Skik, an army general who is believed to have been murdered following an order from former President Ben Ali. Khemiri was suggesting that some figures in the army collaborated with the former regime to kill Skik — on the graffiti, he wrote “the betrayed general”. He was freed the same day of his arrest, but the army general who arrested him accused him of “assaulting the dignity of the national army”.
The struggle of artists who choose to perform in the streets did not end there. On 25 March the Tunisian Association for Art Graduates, in collaboration with Live the Art and many more associations organised a cultural manifestation named “the People Want Theatre”, to celebrate World Theatre Day.
Tunisian artists and actors who gathered outside the capital’s main theater to take part in the event were assaulted. This time, however, the assaulters were right wing extremists, and the events occurred under the eyes of police.
“Police officers were watching, they only intervened four hours later,” said Lobna Noomene, a singer who witnessed the incident .
A Salafi extremist hit her on her head while she was rushing to get inside the theatre. “It is not the physical assault that hurts, but what really hurts is how someone has the courage to unfairly assault someone else ,” she told Index.
Artists in Tunisia have fears about the rise of ultra-conservative forces that seek to ban art works that they deem insulting to the values of Islam. On 26 June 2011, ultra-conservative protesters attacked a movie theatre that was airing Neither God nor Master, a film by Tunisian director Nadia el-Fani. The film’s name was later on changed to Secularism by God’s Willing. Meanwhile, the CEO of Nessma TV is currently on trial over the airing of the French-Iranian film Persepolis.
For Noomene, the ministries of interior and culture are to blame too. She explains:
For Salafists, everything is haram [forbidden]. But, the Interior Ministry should take responsibility for what happened, it should not have allowed for two events that are ideologically antagonist to take place in the same location on the same time. Meanwhile, the Ministry of Culture is out of touch with the artist, it does not have a real project to ensure the safety of artists, and it did not take a real position for what happened. But we will not put an end to our shows, and our manifestations. We will not stop living.
27 Mar 2012 | Africa, Malawi
President Bingu wa Mutharika in Malawai is facing growing criticism for authoritarianism, from both internal and external critics. He has been accused of trampling on democratic freedoms, human rights abuses and presiding over the collapse of Malawi’s economy by the donor community. On 15 March 2012 the Public Affairs Committee (PAC), a Malawian religious rights group, called for the resignation of the president, or for a referendum for the president. Unless the president complies within 90 days he will face ‘civil disobedience’ charges.
Mutharika, a former World Bank economist, is seen as becoming increasingly autocratic and his disagreements with the West over politics and economic policy have left the country without critical external aid from donors and the International Monetary Fund. Several major donors, including the UK, cut their aid in 2011 over concerns about the infringement of democratic freedoms, economic management and governance. Nearly three-quarters of Malawi’s population of 15.4 million people live on less than $1 (60 pence) a day. Mutharika has accused Western donors of funding an opposition protest movement that is challenging his regime.
This recent criticism comes from the powerful Church lobby, The Public Affairs Committee. The PAC’s call is the latest in a series of ultimatums for Mutharika to step down. The leaders of Malawi’s main churches, which have considerable standing and influence in the country, dominate the 20-year-old PAC. The PAC was instrumental in forcing the Malawi Congress Party to move Malawi from a one-party dictatorship to plural politics in the 1990s.
Mutharika’s regime has in the past demonstrated eagerness to use country’s security forces to thwart popular demonstrations and disrupt opposition rallies. Newspapers are being targeted and articles deemed “contrary to public interest” are being censored by Mr Mutharika’s government. Famously in May last year, when he sacked government minister Joyce Banda, Mutharika pronounced: “When God noted that Lucifer was being big-headed, he did not hesitate to evict him from the heavenly government. I am not the first to fire someone, it started in heaven. So before you start faulting me for being intolerant because I have sacked Joyce Banda from DPP, fault God for sacking Lucifer from heaven.”
On Sunday (March 18 2012) the police tear-gassed and assaulted opposition supporters as opposition presidential aspirant Atupele Muluzi, tried to address a gathering. He was later arrested, and riots continued in Lilongwe. Angry Malawians responded by attacking a police station, beating up officers and looting their houses.
In July last year, 19 people were killed in a police crackdown to quell protests over deteriorating political and economic conditions. There has been arbitrary arrest of prominent anti-government activists such as John Kapito, chairs of the state-funded Malawi Human Rights Commission (MHRC) and former attorney general, lawyer cum human rights campaigner, Ralph Kasambara.
Students in May 2011 were tear gassed and several lecturers at Chancellor College in Zomba were dismissed following an unsavoury stand-off between academics and the police. The row started because Peter Mukhito, the Inspector General of the Police, quizzed a political studies lecturer, Blessings Chitinga over his discussions of the Arab Springs Revolts. “
8 Mar 2012 | Sub-Saharan Africa
Inspired by Tupac, Public Enemy and others in the USA around 2004, a new tsunami of music crashed over hit Tanzania. Bongo Flavah: raw, real, Swahili. It spoke to people, particularly the disenfranchised 3 million who live in slums and suburbs like Temeke and Mobibo of Dar Es Salaam. Kicking out the popular Congolese Rumba, Sebene (sung mostly in Lingala, a Bantu language spoken in some areas of Africa); Bongo Flavah was R & B mixed with pop, mixed with Puff Daddy, with a dollop of gangsta speak. Young men (and a few young women) performed live. Artists such as Lady Jay Dee, Professor J, Ray C, Fid Q and Juma Nature, shook, shimmied and got down in small local beer halls. The whole business was expressive, chaotic and random, like the streets it came from. Songs were about debt, jealousy, lunacy, power failures, teen pregnancy, corruption, albino body part trafficking. Dancing was lewd, grinding, obvious, as well as highly original, eclectic and thrilling. Critics called them “tsotsi”, hooligans, vandals.
Bongo Flavah. Bongo is the Kiswahili slang word for “brain” street smart, savvy, nous — what you need to hustle a living in the sprawling capital Dar es Salaam. Bongo music is edgy, swaggering, improvised to a CD backing track, spontaneous, aspirational and above all Swahili. It is Tanzania’s wild track, it is everywhere: daladalas (cramped rickety public minivans) shops, homes, cafes and bars.
Then came Mchiriku, it’s even more rowdy sister. Its roots are in Uswahilini, the less prestigious parts of Dar-es salaam, where residents are generally considered loud and uncultured, the music cacophonous. Read poor and voiceless. When it’s recorded, it gets massive airplay, and thousands of listeners.
But there’s a less savoury side to this very male, undoubtedly anarchic and truly democratic medium: blatant misogyny, and sexual favours for access. “It’s a kind of open secret in the music business” says Ayesha*, 19, a trainee journalist at a private radio station on Zanzibar “you have to sleep with radio producers, or station owners if you want to get airplay, basically sexual favours for airtime.”
Part of the reason for this is that women — dressed in tiny tops and lycra leggings — in Bongo Flavah and Mchiriku make much of their pelvic flexibility and suppleness: there’s not much doubt what they’re showing off. The versions of female sexuality are fairly standard rap stuff.
Maya Van Lekow, an established Kenyan blues and jazz singer has been in the music business for seven years: “Yes, absolutely, the music business for women is dreadful. It’s not even challenged, it’s blatant: of course you sleep with the whomever, for a record deal, for radio play, to get an interview. It’s unquestioned. A younger singer approached me recently, she said for two years she’d not been able to get airplay, at local stations for over two years, and was forced to sleep with older station managers. She was tearful and desperate.”
Male rapper and record promoter Mzungu K’Chaa concurs: “Bongo flavah started as hip hop; it’s definitely for men only, the music industry generally is very discriminatory to women, and yes, women do have to sleep with the music producers and radio station owners to get airplay. It does need to change.”
Khadija Othman, a sexual health worker on Zanzibar works with young people. “There are two issues here, the first is that women are kept in complete ignorance about their bodies, and their rights. Even to mention a condom a woman will get beaten. The second is that men here think it’s normal for young DJ’s and radio producers to expect sex. And for women to provide sex if the man wants it. Sex is extremely secretive in our society, and until we open up, confront it, we’re going to see more problems. We really really need to talk about these things.”
Her views are shared by young journalists, Salouma* and Carla* who work in the capital, Dar. For women music journalists, or aspirant journalists, the music industry is considered a den of vice. “Our parents literally think we are whores because we work in journalism. Things are very backward here. We don’t tell them about the music bit, it would literally terrify them, and yes, we do see young women coming in off the street, with their tapes, and maybe they get a ‘boyfriend’ for a night. We just try and ignore it. We’re not senior here, we’re female, there’s nothing we can do. It’s shameful really.”
Things are slowly changing. Music creation and production was once dominated by men in Tanzania, Kenya and Zanzibar, and women rarely got actively promoted or showcased. Research is probing into the hidden, and unspoken culture of teen pregnancy and gender based violence against women and girls in Tanzania and Zanzibar. The idea that “you need to sleep with your boss” to get anywhere if you are female is being questioned. Recent figures from local NGO Tanzania Media Women’s Association (TAMWA) and United Nations Development Programme (UNDP) indicates that more that 39 per cent of women aged 15-49 have experienced physical violence in the last 12 months, One in five women have ever experienced sexual violence, and 10 per cent of women had their first sexual intercourse forced against their will.
The last year has seen a marked change in discussion and debate. These issues are finally in the public sphere. Yusuf Mahmoud, Festival Director for the Busara Festival, and President of the Indian Oceans Festival Association: “When we started in 2004, it was difficult to programme women musicians as there were so few in the region. However, looking back, it’s the women who have provided many of the highlights. We have showcased some of the best from the continent including Thandiswa (South Africa), Chiwoniso (Zimbabwe), Nyota Ndogo and Muthoni the Drummer Queen(Kenya) and Tausi Taarab (Zanzibar) — the first all-women orchestra ever in East Africa made their debut at Sauti za Busara.”
Maya Von Lekow says: “I do see myself first as a musician, an artist, but I can also be an advocate, whether for women’s rights generally: in society, in refugee camps, and in the music industry, the two are not incompatible. I can sing, and I also can talk! We’re moving on, talking about our pasts, things are changing, we’re speaking freely, it’s inspiring really!”
