Kenya – Kibera Feature

 


I’m starting to get used to the eccentricities of everyday life in these parts, peculiarities that once were rather normal phenomena in the course of the daily workings of my life.

Nairobi remains as vibrant, active, and electric as she’s always been, a bustling hub of activities under the equatorial sun. It’s heartening to note the progress that has been made here in terms of infrastructure and architecture as I stated yesterday. Similarly, it’s rather disquieting to note the exacerbation of several fundamental factors that are central to the long term development of Kenya.

My focus in this article is on one of the most controversial housing projects in the history of the African continent, the slum settlement of Kibera, home to over 250’000 people who live in or close to abject poverty. I drove past Kibera yesterday around rush hour, confronted on both sides by the rush of pedestrians on their way home to the slum back from work. The road was teeming with one swank SUV after another, a colourful parade of the toys of the wealthy in the faces of the poorest of the poor. On either side of the car expressions of desperation and suffering were the order of the day, etched irrefutably candidly on the fatigued faces of the masses of oncoming pedestrians as they trekked home to their misery after slaving away for the interests of the rich. One has to be extraordinarily inhuman or blind not to have sensed the tremendously potent undertone of untold suffering in the air, and this was merely on the outskirts of Kibera.

The History of Kibera

Kibera is Africa’s second largest slum settlement after South Africa’s Soweto and was originally created by the colonialist British government as a settlement for Nubian soldiers returning from the first world war. The status of these ex war soldiers as former servants of the British crown coupled with the fact that they laid no claim to “native reserves” by virtue of the fact that they were “detribalized natives” meant that the British government of the time negated to interfere in the development of the settlement. This punctuated the commencement of the sprawl of Kibera, as local tribes migrated to the area to rent affordable housing from the resident Nubian population. Kenya’s attainment of independence in 1963 saw Kibera declared an illegal settlement by the new government. Notwithstanding, migration to the settlement continued relatively unabated such that by 1974 the Nubian population’s status as the dominant ethnic group in Kibera was ousted by the influx of members of the Kikuyu tribe who took over administrative control via political patronage.

The ethnic makeup of the slum has altered over time such that most ethnic groups in Kenya are numerically represented to one extent or another the way things stand at present, though the Luo and Luya tribes constitute the dominant population. The implications of this dominion in the context of the fact that the prime minister of Kenya, (Raila Odinga) is himself both a Luo and a member of parliament for the area that Kibera is situated in have had worrying undertones for ethnic conflict in the nation inasmuch by providing him with access to a sizeable demonstration force from within the Kibera community. The aforesaid force has been used frequently as a tool to upset harmony in the nation via violent expressions of the political agendas of the prime minister. It has to be said that the political agendas of the president (Mwai Kibaki) have also been represented in similar fashion albeit from within support groups within other slum areas such as Kibera’s neighbouring slum quarter, Mathare Valley where the dominant population is of the Kikuyu tribe, just like the president himself. In both cases, the political and ideological conflicts of both leaders have been wrongfullly translated into a conflict based on ethnic grounds, as controversial and as ironic as such a misconception may be, reflecting a tragic, prevalent cancer that has hacked away at Africa’s spinal chord for centuries.

The Dynamics of Kibera

Kibera lies approximately 5 km’s from Nairobi’s city centre in the southwest of the city. The southern fringe of the settlement borders the Nairobi Dam, and the Nairobi river. The affordable housing prices in the slum area attract Kenya’s poor from far and wide many of whom migrate from rural areas plagued by chronic underdevelopment and lack of opportunities. Tragically however, the hell they leave is not replaced by the heaven they seek in any way. Living conditions in Kibera are some of the harshest in the world, characterised by a lack of sewage systems, the use of flying toilets (paper bags containing fecal material that are deposited or hurled onto rooftops, garbage heaps or simply as far away from ones home as possible) poor access to safe driking water and abject impoverishment. Crime typically thrives under such fertile conditions. Kibera is rife with incidents of both violent and petty crime, exacerbated by the lack of any form of police presence in the area implying that law and order, like any other government-provided services are completely and totally non existent and based on power inequalities that exploit the powerless and furnish the powerful.

The definition of anarchy could not possibly be epitomised in a more quintessential capacity than by the tragedy of Kibera, a tragedy that has not been tackled in any tangible manner by any government or ruling power in the history of Kenya. Ironically however, many of Kibera’s residents constitute the working class majority that slaves away selflessly for the interests of the upper echelons of Kenyan society, to whom their political rights and liberties are trusted needless to say to to imminent avail and with no sustainable effect. The dire plight of Africa’s second largest slum area has been wrongfully and sadistically exploited by Kenya’s politicians who have used its problems as a fertile breeding ground for their ideological ethos , exploiting ethnic differences to champion their political statuses and dividing an entire city and nation in the process. And hence, as another day comes to pass, Kibera’s problems get a little bit more grave, a little more pronounced and far more tragic. Invariably, Kibera’s tragedy is not its own alone, but that of an entire nation and indeed of an entire continent. The repression of the lowest of the low in the social system for the benefit of upper society who continue to wallow away in their materialistic grandiloquence is no stranger to Africa. The question is when will it ever end ? Will it ever end ?

The Gust In Shadows

A poem written in the wake of the Deepwater horizon disaster. Makind, you’ve screwed up yet again. I’d say this ought to be a wake up call, but it’s more like a defeaning shriek falling upon deaf ears.

Homo vitae commodatus non donatus es

(Man has been lent to life, not given)

The ripples on the water shimmer with a riveting blue brilliance

Misaligned and mangled from their symmetrical sojourns

The dolphins of the sea, shriek in subtle agony

Discombobulated, devastated…dreary of the desolation ahead

The crystalline sparkles of the coruscating sands dim their brilliance

Dampened, darkened…destroyed by the vicissitudes of greed

Plumes of pitch invade the purlieus, and the silence shrieks…

A deafening roar falling on deaf ears

Gents in high quarters tell tales of illusions to conceal their deed

And to this end, the ocean’s porous pores continue to bleed.

Homo vitae commodatus non donatus es

(Man has been lent to life, not given)

Inundated

This is a poem I wrote inspired by the floods that ravaged Copenhagen on the 15th Of August 2010. I found myself caught in the downpour on the day, and had to wade through the inundated Ryparken train station to get home. The station resembled a sinking ship, as the flood waters came rushing in. I stayed long enough to see the lights go out, snapping away with my primitive camera, desperate to linger in the decadent abyss of destruction before my eyes for as long as I could before catching the train home. Once at my station, I trekked down the hill to my abode barefoot and soaked to the skin, as the rain continued to hammer down. The sheer force of everything that was happening all around, and the panic it induced was breathtaking. The streets before me were clear and lonely, left to their decadence by the fleeing world and the sounds of the rushing waters were like a symphony to my needy ears. There was a certain cleanliness in the air, a juxtaposition of destructiveness and sheer beauty that kissed my soul. This was the foundation for “Inundated”

I’m inundated with love for this mise en scène

The trickles, so clear, so simple so clean.

The heavens have burst the banks of affection

And unleashed their content with sullen dejection

There’s a stream beneath my expectant feet

Soft, slippery…smooth as sleet

My heart flutters in tune with the falling drops

Tamed, charmed and seduced by their delicate hops

There’s a symphony in motion, whispered and delicate

An overture, morose and sedate

Amidst bleak and unperturbed winds I slide

Shocked, inspired and mystified by the tide

I’m inundated with love for this mise en scène

The decadence, the loneliness… the clarity of the unseen

The blackened skies churn with a venomous disposition

And here I stand, inundated with love for this juxtaposition.

 

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Caspa, Lille Vega (Nov 2009)

For this experience you may need:

  • A pair of Technics vinly decks, a mixer and a CDJ player,
  • A record bag crammed with tasty chops from one of the most rapidly expanding forms of musical expression at the minute, dubstep
  • A frontline purveyor of the scene, in the form of a certain West Londoner, Gary Mcann a.k.a Caspa
  • Denmark’s foremost music venue, Vega.

The trilogy of major dubstep events at Vega over the past year came to a climaxing halt last night, as the last installation of the series graced the dimly lit concert hall at Little Vega. And who better to sign things off than Gary Mcann himself, one of the pioneers of the dubstep scene that’s taken the world by storm in 2009.

A purist in many senses, Caspa kept things cool, collected and old school as he showcased a selection of some of the finest numbers tainting today’s musical soundscapes, pushing a pair of Technics to their limits with some gallant mixing skills fused with a colourful ensemble of eye catching tricks and ear-appeasing scratches.

And whilst the music on show was no less than phenomenal, the reaction to it was arguably a tad dank and dim, much like the weather outside at the moment. Given it was the last weekend of the month, turnout wasn’t as good as it may otherwise have been and it showed.

Swap last night’s venue with London’s Fabric, however and one would definitely have had one scorcher of a show on their hands, as it was last night was decent, even a lot of fun, yet ultimately lacked a key detail or two.

Keen on battling the monotony, The dub police label boss churned out wave upon wave of commercial dubstep, sticking to certified, tried and tested floor fillers that rattled the walls of little Vega with a demonic vengeance as his MC pranced about on stage cutting into the music every now and again with a stream of hastily assembled lyrics.

The Highlights:

“I remember” Capsa dubstep remix”: The tune that put Caspa on the dubstep map with a bang. A top tune given a top touch-up albeit in a completely different format to the original.

“Caspa & Rusko – Bread Get Bun”: One of Capas many alliances with fellow dubstep manciple, Rusko the end result being a vulgar, cockney-punctuated screamer

Caspa and rusko terminator”: Another by-product of the Caspa-Rusko alliance, teeming with the same vulgar ferocity and cockney stabs as “Bread Get Bun”

Lucy Love, Lille Vega Nov 2009

“Lucy Love” is in the air

 Everyone that turned up at Little Vega on Friday must have done so with high expectations of the highly hyped Lucy Love. They weren’t disappointed.

Denmark’s de facto first lady of all things grunge and grime put on a scintillating performance that rocked the rafters off the concert hall, as she churned out one rough tune after another, stabbing away at the fleshy beats her on-scene Dj conjured with her sharp, high-pitched attitude-infested vocals.

Love started on an easy, conservative tone, mc-ing away in her grime element. It wasn’t long before she tweaked things up a tad though, working the crowd into something of a frenzy with a more raunchier, synth-tinged ensemble of tunes.

With the crowd in her grasp, the likes of the commercially lauded “Daddy was a dj” and “V.I.P” were served, shaken and stirred, with plenty of input from her Dj, who was as much a star of the show as the chequered hoodie clad Love herself. The duo of dancers /vocalists accompanying her every move were just as impressive, nonchalantly moving along to the proceedings, seemingly in their own beat-riddled paradise in a land far far away.

If things were hot and sweaty mid-way through the show, they got sizzling and steamy towards the end, as several unreleased numbers (such as “Poison” and “We’ve only hit the ground”) found their way onto the stage, several of which contained weighty measures of drum & bass influences whilst others came in the form of chunky electro-driven symphonies, each accompanied by one wave of shrill South London vocal after another.

The loco Lucy Love left the building with a wry smile on her face at the end of the show amidst a series of cheers and shouts for more. She came, she saw and she conquered.

Turboweekend, Lille Vega, November 2009

4 out of 6 stars, Lille Vega

The crowds poured in to Lille Vega thick and fast on Saturday, drawn from afar by the prospect of being able to listen to some of the hottest electronic music in the country at the minute. It was always going to be a biggie, what with the likes of erstwhile purveyors Kjeld Tolstrup and Le Gammeltoft headlining the show.

And whilst the aforementioned duo did indeed deliver the wares throughout the course of the night, ultimately, few would dispute that the true heroes of the night were none other than a certain Turboweekend, who stole the audience’s hearts and minds with a veritably consistent and charming performance.

Having missed out on Tolstrup and Le Gammeltoft’s opening set, I managed to rock up just in time to catch the band of the moment, “Turboweekend” doing their thing.

There’s a reason why this quartet is as highly venerated as they are at the moment. Brimming with confidence from the word go, Martin Petersen (Drums), Silas Bjerregaard (Vocals) and Morten Køie (Bass), and Anders Møller (synths) took the already warmed up ground on a voyage through some of the most eclectic rock for miles, touring through a quirky mix of dark synth-singed rock with an electronic / soulful tweak.

The response from those present was as manic and as heated as the on-stage fracas; which seemed to get more intense with every passing hour. Highlights from the performance include “Wash out “ “After hours” and “Into you” all of which inspired downright insanity on the dancefloor.

The end of the show culminated with a stage invasion that saw the better half of the front third of the audience auspiciously ushered onto the stage, for an impromptu orgy of chaos; icing on the cake on what was yet another tremendous showing from the rock band du jour.

Copenhagen Electronic Festival 2009 review

If last year’s strøm festival was high octane, this year’s event can only be described as something out of this world. Electronic music and artistry seems to have been embraced by a lot more people who have discovered the magic behind it and in so doing, joined forces in being a part of its vivid legacy.

This was certainly true of the free concerts at Enghave park this weekend, where the likes of “The Field”, “Flying Lotus” , “Aeroplane”, “Troels Abrahamsen” and “Mary Anne Hobbs” gotpeople in high spirits. Here’s a short recap of the highlights.

Much credit has to be given to Swedish cats “The Field” for their virtuoso antics on Friday, which got the crowd jumping with tasty cuts from their new album, the critically acclaimed “Yesterday and today” Spot-on mixing, and a real immersion on the part of the band was what sold them though; these blokes really know how to get the party started.

“Aeroplane” followed suit after “The Field” left the stage, opening with a sizzling remix of “Friendly Fires’” “Paris” tune, and building on from there. I personally think that this was the peak of the night, though many would argue that it was the ravey “Flying Lotus” and his garland of quirky arcade game sounds, trippy visualisations and jittery musical bits and bobs that took the show to its zenith. Alice Coltrane’s great nephew certainly has the musical gift, no doubt about that.

Saturday’s Enghave shenanigans featured “Olga Kouklaki” and her lively vocals overlayed by dreamy, deep musical accompaniments before Troels Abrahamsen took over the baton and delivered a rich, emotional assemblage that set the stage for the undisputed highlight of the night, Mary-Anne Hobbs.

Dubstep is something of a new revolution in the UK, and an even scarcer commodity in Denmark; bearing witness to the effect Mary- Anne Hobbs’ chunky basslines and heavy-set amalgamations had on the crowd was an experience like no other.

Radiant, charming and communicative, the radio one Dj was nothing short of a sensation, may will no doubt remember her as quite a standout as far as standouts go.

Copenhagen Electronic Festival 2008

The concept behind this novel ensemble was as radical as it was evocative. Shrouded in the sacrosanct purlieus of the Trinitatis church, revellers were treated to an alluring display of some flagrantly avant garde electro delivered by a series of adept artistes whose performances were frequently punctuated by sermons from the resident priestess endorsed by hollow background chant monotones.

Whilst the marriage of experimental electronic music and church ethics may seem highly controversial to some, its union in this case certainly came across as a very agreeable, well-measured initiative that cordially squashed any dubious presumptions one might have had beforehand.

Music wise, as aforementioned experimentalism was the order of the day as multi-layered drum loops, cacophonous synths and low-end bass riffs filled the cavernous church walls, creating a mis en scene of a most mystical and soothing nature. Background video skits either side of the alter peppered the cryptic, cabalistic feel of things, churning out a series of articulately prepared visualisations centralising primarily on scenic urban takes and daily life rituals, all fast forwarded, cut and scrambled for good measure.

Despite the setting filling all tick boxes, some performances lacked refinement and came across as slightly unvarnished therein. Unlinked tracks created several distasteful moments of silence every now and again, reflecting a distinct dearth of continuity and fluidity.

Some performances also seemed excessively dispassionate and mundane. Adding to the inconsistency were several streaks of decibel violations that left a disturbing ring in the ear, amplified as it were by the myopic church walls through which the sound percolated untethered.

Aside from the discordances, Copenhagens electronic music festival has plenty to be proud of thus far, if for nothing else than the church / electronic music alliance and the quality of the daring music on show. Whilst lacking finesse and consistency at parts, the novelty and provocation of the overall concept shone through with credible brilliance, yielding a highly stimulating, indulgent experience of memorable proportions.