My Beauty Best Teacher

Kenyan Entrepreneur reacts to a David Brooks Haiti Op-Ed about "Progress-Resistant Cultures"

...culture has a lot to do with a country’s progress. I’ve said before that Africa’s poverty can be attributed to the fact that Africa does not have a culture of production. If something cannot be extracted from the ground (e.g. oil, gold, etc, etc) – we simply will not create or make it and this culture of non-production is the main cause of Africa’s poverty. That’s why foreign aid hasn’t worked. It’s because the do-gooder’s of the world have refused (out of fears of being labeled “racist” – have refused to confront this underlying question of culture).

Kwesi Kwaa Prah writes "...Africa represents today the only major historical and cultural area of the world where despite their indigenous socio-cultural majorities, countries prefer to use the languages of their erstwhile masters in their attempts to develop and make social progress. The result of this neo-colonial approach to culture and democracy is that the scientific and technological culture of Africans is hardly advancing.Actually, Africa, by and large, is retrogressing or stagnating. Mass society and its culture is shut off, and condemned to cultural backwardness and alienation from the life of the elite. The elite in turn is bent on what many social critics regard as mindless imitation of the colonial and metropolitan cultures of the west. This is an orientation, which in effect integrates the elite more into the culture of the former colonial masters than the indigenous cultures from where this elite historically and socially derives..."

African Review interviews Mukoma wa Ngugi.Answering a question on the funding of culture he states:

National cultures cannot be undergirded by foreign funding. The problem with the African elite is that they have no sense of culture and no ambition beyond the stomach. Western capitalists understood that a nation with culture makes better business decisions – the Rockefellers and Carnegies. A nation with a sense of culture has a sense of what it is worth. It can take pride in what is locally manufactured and at same time be weary of outside exploitation.The African elite, and they are the ones with the money have no notion of legacy building, or being remembered through endowments – it’s the politics of the stomach, of immediate money-making and spending, usually abroad.

Image via WikipediaEthan Zuckerman writes about the Global version of the Afropolitan-Xenophiles:

Xenophiles are people who are fascinated by the whole world, by things other than their ordinary experience. They’re people who want to connect with people who see the world very differently. Some of these people are born this way, lots more are made - a good recipe for xenophilia is to raise a child in a culture deeply different from that of her parents - people call these kids “third culture kids”. Third culture kids have one foot in each of two cultures - the culture of the country they grew up and the culture of their parents, and as a result they don’t really live in either, but a little bit in both. Some kids hate this - many love it, and they end up bridge figures, natural xenophiles who can help translate cultures for other people. Barack Obama’s one of them...[continue reading]

In Pambazuka Ronald Elly Wanda makes a case for re-instituting the indigenous institution of traditional jurisprudence:

Ronald Elly Wanda

Since flag independence in the 1960s, African governments have been in a rush to normalise authoritarian rule and human rights abuses under the auspices of maendeleo (development) and economic growth. A short stroll in any African village today confirms that the globalised Western culture of justice delivery or innovation that most African leaders seem to trust has not improved the well-being of our local communities or delivered justice for them. On the contrary, it has often blocked viable indigenous innovation of cultures and suffocated African justice. Here in East Africa, cultures of innovation have largely accrued from the jua kali (informal), and not the formal sector. Indigenous cultural innovations have also been at the centre of development in most highly indebted poor countries (HIPC), such as in Uganda or its slightly richer sister Kenya, notably because of wanainchi (citizens) exceptionally limited access to capital.
As such, when it comes to delivering justice in Africa, we ought to revise our priorities by doing away with existing preconceived ideas that might have worked within the European cultural setting. They have clearly not worked in the face of the socio-cultural heritages of African societies, and neither has the opposite, the Africanisation of Western concepts of justice delivery.

In his 2006 piece The Case for Contamination, Kwame Anthony Appiah wrote:

The ideal of contamination has few exponents more eloquent than Salman Rushdie, who has insisted that the novel that occasioned his fatwa "celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelisation and fears the absolutism of the Pure. Mélange, hotch-potch, a bit of this and a bit of that is how newness enters the world." No doubt there can be an easy and spurious utopianism of "mixture," as there is of "purity" or "authenticity." And yet the larger human truth is on the side of contamination - that endless process of imitation and revision.

Last week on TV I watched for the uncountable time The Lord of the Rings: The Two Towers. This movie was my favorite out of the three (although The Bridge of Khazad-dûm in one and the Battle of the Pelennor Fields in three rival it). Although I love the movies, just like I loved the original Star Wars, there are some parts of the movie I don't like, and so I was glad to find a LOTR companion to match the excellent piece that the Weekly Standard's Jonathan V. Last put out on the Star Wars called The Case for the Empire. It is high time that the LOTR was analyzed in a similar manner, and I think that this piece by Salon's David Brin does just that. Do I really believe this stuff? Probably not, but it is fun reading. Enjoy!

J.R.R. Tolkien -- enemy of progress: "The Lord of the Rings" is lovingly crafted, seductive -- and profoundly backward-looking. Why not look at things through the Dark Lord's eye for a change? Here are the best parts (only about 1/3 of the whole article)- I highly suggest you read the whole thing here:

Of course there is much more to this work than mere fantasy escapism. J.R.R. Tolkien wrote his epic -- including its prequel, "The Hobbit" -- during the dark middle decades of the 20th century, a time when modernity appeared to have failed in one spectacle of technologically amplified bloodshed after another.

LOTR clearly reflected this era. Only, in contrast to the real world, Tolkien's portrayal of "good" resisting a darkly threatening "evil" offered something sadly lacking in the real struggles against Nazi or Communist tyrannies -- a role for individual champions. His elves and hobbits and über-human warriors performed the same role that Lancelot and Merlin and Odysseus did in older fables, and that superheroes still do in comic books. Through doughty Frodo, noble Aragorn and the ethereal Galadriel, he proclaimed the paramount importance -- above nations and civilizations -- of the indomitable Romantic hero.

Millions of people who live in a time of genuine miracles -- in which the great-grandchildren of illiterate peasants may routinely fly through the sky, roam the Internet, view far-off worlds and elect their own leaders -- slip into delighted wonder at the notion of a wizard hitchhiking a ride from an eagle. Many even find themselves yearning for a society of towering lords and loyal, kowtowing vassals.

Wouldn't life seem richer, finer if we still had kings? If the guardians of wisdom kept their wonders locked up in high wizard towers, instead of rushing onto PBS the way our unseemly "scientists" do today? Weren't miracles more exciting when they were doled out by a precious few, instead of being commercialized, bottled and marketed to the masses for $1.95?

Putting aside cultural superficialities, on every continent society quickly shaped itself into a pyramid with a few well-armed bullies at the top -- accompanied by some fast-talking guys with painted faces or spangled cloaks, who curried favor by weaving stories to explain why the bullies should remain on top.

Only something exceptional started happening. Bit by bit, the elements began taking shape for a new social and intellectual movement, one finally capable of challenging the alliance of warrior lords, priests, bards and secretive magicians.

In this conflict, J.R.R. Tolkien stood firmly for the past. Calling the scientific worldview "soul-less," he joined Keats and Shelley, Sir Walter Scott, Henry James and many European-trained philosophers in spurning the modern emphasis on pragmatic experimentation, production, universal literacy, progress, cooperative enterprise, democracy, city life and flattened social orders.

In contrast to these "sterile" pursuits, Romantics extolled the traditional, the personal, the particular, the subjective, the rural, the hierarchical and the metaphorical.

By the turn of the century, Romanticism was fast losing all vestige of its initial empathy for the concerns of common folk. One solitary artist -- or entertainer or lost prince or angry poet -- loomed larger in importance, by far, than a thousand craft workers, teachers or engineers (a value system shared today by the mythic engine of Hollywood). Just as in Homer's time, 10,000 foot soldiers mattered less than Achilles' heel.

This fits the very plot of "Lord of the Rings," in which the good guys strive to preserve and restore as much as they can of an older, graceful and "natural" hierarchy, against the disturbing, quasi-industrial and vaguely technological ambience of Mordor, with its smokestack imagery and manufactured power rings that can be used by anybody, not just an elite few. (Recall the scene where Saruman turns away from the "good" side and immediately starts ripping up trees, replacing them with mining pits and smoky forges. The anti-industrial imagery could not be more explicit.)

Consider the rings. Those man-made wonders are deemed cursed, damning anyone who dares to use them, especially those nine normal humans who tried to rise up, using tools to equalize and then usurp the rightful powers of their betters -- the High Elves.

The nine Ringwraiths aren't just evil henchmen and cardboard monsters. In my opinion, they are among the most important figures of the epic. Tolkien himself calls them tragic figures and dwells on their background. These fallen mortals -- men who were hauled into service to the "dark side" -- can be looked upon as cautionary figures, conveying the universal lesson that "power corrupts."

On that much we can all agree. But I think there's more to the Ringwraiths. To me, they distill the classical Greek notion of hubris -- a concept that Romantics often embrace -- the idea that pain and damnation await any mortal whose ambition aims too high. Don't try putting on the trappings or emblems or powers that rightfully belong to your betters. Above all, don't try to decipher and redistribute mysteries. In other words, exactly the same morality tale preached in "Star Wars." Romanticism has come full circle, now unctuously praising the very same lords -- the über-men -- that it started out bravely opposing.

Were any orcs or "dark men" offered coalition positions in King Aragorn's cabinet, at the end of the War of the Ring? Was Mordor given a benign Marshall Plan? I think not.

In fact, J.R.R. Tolkien was himself far more critical of the situation portrayed in his universe than any but a few of his myriad readers ever chose to notice. Certainly more self-critical than most of his contemporary readers or those watching the new film trilogy.

In several places, Tolkien openly stated his authorial judgment that the elves who made the Three Rings were ultimately to blame, having set the stage for tragedy in Middle Earth. They made their own rings (preceding Sauron's One Ring) in order to control the world, stopping time and preventing change, forbidding anything to die and decay and thus blocking the potential for new growth. In an oft-quoted letter, Tolkien wrote:

"They wanted to have their cake and eat it: to live in the mortal historical Middle Earth because they had become fond of it ... and so tried to stop its change and history, stop its growth, keep it as a pleasaunce." There are moments scattered throughout LOTR when Tolkien seems to be warning that Romanticism can lead one down the road to genocide. He was disturbed to see the Nazis, for example, embrace many of the same Nordic mythic stories and symbols that he used as source material.

In other books, like "The Silmarillion," Tolkien went deeper into this self-exploration, even going so far as to cast an analytical eye upon the elvish hierarchs of Middle Earth, in much the same way that Isaac Asimov reevaluated his Second Foundation and the meddlesome-patronizing robots of his famed science fictional universe. (This is the kind of self-examination the "Star Wars" cosmos desperately needs, alas, while there's still time.)

Indeed, many academics have cited the obvious parallel between the retreat of the High Elves in LOTR -- who abandon Middle Earth to return "west across the sea" -- and the dissolution of the British Empire that began with the emancipation of India about the same time that Tolkien was writing his epic. In fairness, J.R.R.T. did not rail against this change: He saw it as regrettable but inevitable -- like the end of his mythical Third Age, an approaching time of iron, when aloofly noble figures like Elrond and Galadriel must go back whence they came.

But those self-critiques never had the widespread readership or influence of the original LOTR. And ultimately, Tolkien could never bring himself to cross the gap that another Oxbridge don was writing about at roughly the same time -- the infamous "two cultures" gulf that C.P. Snow mapped between the world of science and the world of the arts.

Try as he might, and even confronted with the blatant Romantic excesses of Nazism, Tolkien could not escape his own deep conviction that democratic enlightenment and modernity made up the greater evil. That hated trend, he feared, would ruin all the beauty that he found in tradition. In aristocratic-mystical hierarchies. In the ways of the past.

The urge to crush some demonized enemy resonates deeply within us, dating from ages far earlier than feudalism. Hence, the vicarious thrill we feel over the slaughter of orc foot soldiers at Helm's Deep. Then again as Ents flatten even more goblin grunts at Saruman's citadel, taking no prisoners, never sparing a thought for all the orphaned orclings and grieving widorcs. And again at Minas Tirith, and again at the Gondor Docks and again ... Well, they're only orcs, after all.

Lev Grossman made a similar point in a recent Time Magazine article, when he asked, "Where are the women? Peter Jackson filled out Liv Tyler's role for the movies (it's much less prominent in Tolkien's version), but the Fellowship is still as much a boys' club as Augusta National."

Let's not ignore but instead openly acknowledge the underlying racism and belief in aristocracy that J.R.R. Tolkien wove into the books, without even much attempt at subtlety. Nor do I much blame him. He couldn't help it, coming from the imperialist and class-ridden culture that raised him.

Moreover, the characters whom the reader comes to know best -- Frodo, Sam and even the king-in-waiting, Aragorn -- are themselves not very snooty or racist. Aragorn has an easygoing, common touch -- much like Luke Skywalker, the only unpatronizing Jedi. The snootiest and most relentlessly aristocratic characters in LOTR stand off in the wings -- for example, the preachy, secretive and patronizing elf-lords Elrond and Galadriel, coaxing maximum effort from their allies while letting others do the fighting for them. (I'd point out endless parallels with a fellow named Yoda, but that would stir up too many hornets at once!)

Obsession with either past or future can almost define a civilization. Worldwide, most cultures believed in some lost golden age when people knew more, mused loftier thoughts and were closer to the gods -- but then fell from grace. Under this dour but recurrent worldview, men and women of a later, coarser era can only look back with envy, hearkening to remnants of ancient wisdom. Recognize this motif? It drenches every page of "Lord of the Rings." It is the old classic, the eternal verity -- the worst of all human clichés.

Only a few societies ever dared to contradict this dogma of nostalgia. Our own scientific West, with its impudent notion of progress, brashly relocated any "golden age" to the future, something we might work toward, a human construct for our grandchildren to achieve with craft, sweat and good will.My point? Well, LOTR is obviously an account written after the Ring War ended, long ago. Right? An account created by the victors.

From the Nordik Africa Institute:

Courtesy of Ottawa Citizen

The struggle against corruption in Africa has come to rest partly on the initiatives of individuals of great convictions. However, the struggle for a fair, just and equitable humanity risks losing direction if it relies primarily on individual initiative at the expense of collective action and on modernizing institutions at the expense of transforming their internal work cultures for better state-society relations. John Githongo’s presentation will reflect on the essentials to transforming institutions and the role local level ideas and participation can play. He will illustrate this using the Zinduko and Twaweza initiatives that he currently co-ordinates...[watch accompanying video here]

The musicals made in Egypt and Asia form a genre that is always highly popular with audiences in Africa. Yet the continent's filmmakers seem practically to ignore this art form, which has fed their own imaginations. What with the Egyptian musicals, Asian adventure films, and American productions, little place is left on Africa's screens for its local tales. However, even if African productions still face the same distribution difficulties on the continent, their singularity has developed and become more polished since Independence. It a priori seems paradoxical, therefore, that Africa's directors only rarely go down the musical route in cultures that are impregnated with music, song, dance, humour

Toumani Diabate appears on Al Jazeera's One on One

Image courtesy of eye for talent

Malian musician Toumani Diabate's family history includes 71 generations of kora players preceding him. His father, Sidiki Diabate, recorded the first kora album in the 1970s, which became a platform for Toumani's growing success at a young age. His own recording career began in England in the 1980s with his solo album Kaira. In addition to performing traditional Malian music, he collaborates across cultures to introduce a wide range of global blends, including flamenco, American jazz, blues and classical instrumentation...[continue reading]

From Africa Rising:

When a Western charity makes an appeal for funds with the photo of a seemingly helpless African child, the Western donor is cast in the role of the strong, generous, and righteous person helping the lowly and needy. Strength, generosity, and righteousness are all good things, but I fear that an unrighteous pattern has developed. The West and Africa have become type-cast into strong and weak, resourceful and helpless, giver and receiver, parent and child.
To cast whole continents and cultures in such starkly contrasting and fixed roles is an untruth and an injustice. There is strength in Africa, and there is resourcefulness, generosity, and righteousness...[continue reading]

The award winning Tiwai African Health & Fitness Village is modern health and fitness center built around the principles and practices of West African ethnomedicine and located near the high biodiversity Tiwai Island Gola Forest. Their aim

...is to protect the high biodiversity environments of West Africa by making them relevant to sustainable livelihood activities of the people who live in or around them. West African life and customs emerged from the rich biodiversity of the Upper Guinea rainforest. Preserving the cultures that emerged from this forest could be an important unifying factor in conflict-prone West Africa, while applying traditional knowledge in a 21st Century context is potentially a rich source of revenue for rural development.

Mutumwa Mawere writing in the African Heritage Society:

Africa’s future belongs to builders. Our civilization has evolved and contemporary African civilization is dualistic with one part based on laws and other institutions underpinned by a market system and another that is based on what can be described as African norms, traditions and custom...I have come to the inescapable conclusion that business development is unsustainable without moral capital investment.This view is not only supported by my personal experiences but by the notion that markets and morals evolve together and are, therefore, aspects of the spontaneous order of any society.

In 2003 the ITDG conducted a study on traditional conflict resolution mechanisms in rural Kenya, they found that these "...structures are closely bound with socio- political and economic realities of the lifestyles of the African communities. These conflict resolution structures are rooted in the culture and history of African people, and are in one way or another unique to each community. The overriding legitimacy of indigenous conflict resolution structures amongst these communities is striking..." also"...this study has given due consideration to the unique pastoralists’ cultures that emphasise the resolution of conflicts amicably through a council of elders, dialogue, traditional rituals and common utilization of resources..."

"...The Africanhiphop.com site serves the goal of unifying everybody who's inspired by hip hop and by the cultures of Africa and of African origins. The info at Africanhiphop.com is provided mostly by the artists themselves...It is a project of the African Hip Hop Foundation, a non-profit organization registered in the Netherlands which is run by a group of young volunteers from different countries and backgrounds..."

Adaobi Tricia Nwaubani, author of  I Do Not Come to You by Chance and winner of Commonwealth Writers Prize interviewed by African Writing:

Right now, I’m more concerned about influencing young people, especially in my country and in Africa, to think differently. We must not continue with the same thought patterns that have kept our continent so far behind the rest of humanity in many ways. Preserving and projecting our cultures is wonderful, but a deeper form of love for our people and for the places we come from, is demanding change when it will move us forward.

Mo Ibrahim writes:

Sudan has been an experiment that resonated across Africa: if we, the largest country on the continent, reaching from the Sahara to the Congo, bridging religions, cultures and a multitude of ethnicities, were able to construct a prosperous and peaceful state from our diverse citizenry, so too could the rest of Africa.That we have failed should sound a warning to all Africans. Sudan, at one million square miles, is the continent’s largest country, sharing borders with nine other states. The fault lines that have divided us as a people extend from Eritrea to Nigeria. If Sudan starts to crumble, the shock waves will spread.Khartoum today projects a sense of normality, modernity and relative affluence. This is in sharp contrast to the rest of the country. Lack of investment, underdevelopment and the exclusion of populations on the periphery from the political process has resulted in alienation. It has strengthened local identities.We have not nurtured that sense of brotherhood and unity. Rather, since independence the way Sudan has been governed has undermined any potential for a common Sudanese purpose.