tag:blogger.com,1999:blog-75606513256192595532024-03-23T17:42:22.894+00:00On Arts & Visual Cultures in (Northern) Nigeria- an art historical scrapbook -Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.comBlogger347125tag:blogger.com,1999:blog-7560651325619259553.post-61972604445981920252018-09-14T13:23:00.001+01:002018-09-14T13:25:38.976+01:00Raphia Toy Areoplanes, Cars and Lorries<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">I don’t really get around to posting a log on the blog anymore – and I realised with a shock that my last post dates from the beginning of the year! That tells you all you’d ever want to know about what happens to my annual New Years resolutions. Oh, well. What can I say, if I’m pressed for time, I’d rather share things I stumble upon on Facebook – shoutout to the Nigerian Nostalgia Project! – and Twitter where I do not need to research and write a little something to offer you some analysis and context. Still, this little find lends itself to blogging:</span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">In the good old spirit of thinking and writing about decorated cars and lorries, its interesting to find another reference to toy cars, lorries and, indeed, aeroplanes in mid-20th century Nigeria. This one is, curiously, found in a (colonial) government publication listing the ‘Colony’s Effort’ during World War II – a surprisingly fascinating publication. I mean, did you now that British airforce parachutes were, among others, made from Nigerian silk (p. 12), that Nigeria raphia bristles were ‘used by the artillery for scouring gun-barrels’ (p. 18) or that two ‘enterprising ladies’ set up the <i>Windcheater Fund</i> in Nigeria; buying Nigerian skins to be ‘made into leather jerkins or <i>windcheaters</i>, and [sending] thouands of them to seaman’ (p. 19)? Anyway, here’s what the report has to say about toy aeroplanes, cars and lorries: </span></div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">‘An amusing side industry from the [raphia] palm is the making of small models of motor-cars, motor-lorries and aeroplanes, which are made by the children and sold on the markets. The workmanship of these is very crude, but the ingenuity and skill are great and some of the details are very clever.’</span></span></div>
<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"></span><br /></span>
<br />
<div style="text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">(<a href="http://www.worldcat.org/title/colonys-effort-compiled-by-the-nigerian-government-on-nigerias-contribution-to-the-second-world-war-with-illustrations/oclc/562661972&referer=brief_results">The Nigerian Government 1945: A Colony’s Effort</a>, p. 18)</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">
</span></blockquote>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Note that these toys were made by children probably still learning their craft and that there seems to have been a local market for them; suggesting a wide(r)spread childhood fascination with automobiles. </span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">The publication does not, unfortunately, include a photograph of one of these models. So, if anyone still reads this blog and knows where I may find one: Do let me know, pls.! </span></div>
<div>
<br /></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-76600447367531068432018-01-09T12:31:00.000+00:002018-01-09T16:07:49.532+00:00Mark Webster (1979): How to Survive Lagos <span style="font-family: arial, helvetica, sans-serif; text-align: justify;">I'm slowly catching up with my notes on the various issues
of </span><a href="https://en.wikipedia.org/wiki/West_Africa_(magazine)" style="font-family: arial, helvetica, sans-serif; text-align: justify;"><i>West Africa</i> magazine</a><span style="font-family: arial, helvetica, sans-serif; text-align: justify;"> that I'm flicking through between writing sessions.
Here's a short commentary on life in Lagos by </span><a href="https://en.wikipedia.org/wiki/Mark_Webster_(journalist)" style="font-family: arial, helvetica, sans-serif; text-align: justify;">Mark Webster</a><span style="font-family: arial, helvetica, sans-serif; text-align: justify;">, then of the </span><i style="font-family: arial, helvetica, sans-serif; text-align: justify;">Financial
Times</i><span style="font-family: arial, helvetica, sans-serif; text-align: justify;">, where the piece had first been published 1 October 1979 – in a
special issue on Nigeria that I still have to get my hands on.</span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In the spirit of all things lorries and lorry art, here's
the bit of the piece that laments the city's road maintenance.</span></span><br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'… Take, for instance, the roads. f it is true that certain forms
of vibration are beneficial to the liver, then Lagos drivers should be in
excellent health. Whether or not someone is looking into the holes in the roads
is academic. The fact is that they come into being because of the principle
division of labour. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Any self-respecting contractor laying a pipe or a wire
across a road would not dream of fillin gin the hole he dug – that's a
hole-fillers' job. Instead, the trench is filled with sand or earth so that initially
it looks as though someone was buried in a shallow grave. Then when the rains
come it turns into a slight hollow, then it becomes a biggish ditch and finally
a gaping chasm best tackled with a team of wily sherpas or a bailey bridge. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">However, if the hole was caused by inadequate drainage of
rain water there is a solution. A time of ditch-diggers can come and construct
concrete canals along each side of the road. Unfortunately, the canals aren't connected
to drains but you will have the satisfaction of watching rain water pour round the
corner and flood your neighbour's yard. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">[…]</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There are other problems, of course. There are the
"go-slows" (traffic jams), the fact that the man you are looking for
never seems to be "on seat" (in his office), the telephone sitting
smugly decorative on the table. But the city has a vitally which it is
impossible to ignore, however, hard you try. … '</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: right;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(West Africa, 8 October 1979, p. 1841)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I admit I thought Webster's piece rather tongue-in-cheek
entertaining. Still, I think it's worthwhile to note that not all readers
shared my view. – In the 22 October issue, the magazine published one highly
critical letter to the editors.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Sir: After reading Mark Webster's article … I was very apprehensive,
not because he pointed out some ills of Lagos, but because most Western
journalists do not report these things as part of their duty but to tell their
people here in the West that Nigeria, which has been threatening them,
particularly with her oil, cannot even boast a decent capital city. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">From the tone of the article, anybody who has never been to
Lagos, particularly those here in London, living on past glory, would easily
conclude that there are no transport facilities in Lagos let alone modern facilities.
But this is not only false but absolutely mischievous on part of the Financial
Times reporter.'</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: right;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(Diwa Ihediwa, Letter to the Editors, West Africa, 22
October 1979, p. 1950)</span></span></div>
</blockquote>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-68878254542892296112017-12-29T15:17:00.000+00:002018-01-09T16:08:55.249+00:00Questions: History and Reception of (Japanese) Anime in Nigeria<span style="font-family: arial, helvetica, sans-serif; text-align: justify;">On a completely
different note. – I have recently stumbled on an </span><a href="https://muftah.org/anime-in-arabic-transforming-arab-millennial-identity/" style="font-family: arial, helvetica, sans-serif; text-align: justify;">article/blog
post about (Japanese) anime in Arabic</a><span style="font-family: arial, helvetica, sans-serif; text-align: justify;"> over at </span><a href="https://muftah.org/" style="font-family: arial, helvetica, sans-serif; text-align: justify;">Muftah</a><span style="font-family: arial, helvetica, sans-serif; text-align: justify;">.
Written by Razan Idriss, an avid fan of anime as a child, the article notes
that</span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div style="text-align: justify;">
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'by the late 1990s
and early 2000s, many Arabic speaking children watched dubbed anime daily,
featuring then-contemporary shows such as <i>Detective Conan</i>, <i>Slam Dunk</i>,
and <i>Ana wa Akhi</i> (<i>Aka-chan to Boku</i>). […] Yet, anime in the
Arabic-speaking world has gone unresearched by academics and pundits alike.'</span></span><br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></div>
</blockquote>
</div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Idriss observed that </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'The way in which
anime was dubbed from the '70s until the contemporary day often reflected the
politics of the Arab world. For example, producers often chose shows that would
encourage popular 20<sup>th</sup> century nationalist ideals of
pan-Arab-Islamic unity. There was also a focus on family, personal honor, and
good morals. … Romance, swearing, off-color humor, short skirts, alcohol,
blood, references to magic, or references to non-Muslim beliefs about afterlife
found in the original Japanese were quietly censored out … [T]his same
censorship meant to keep shows sanitary and polite, often led to children being
exposed to complex and intriguing narratives focused on the perspective of
marginalized people.'</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'It was no
co-incidence that in the 1970s, <i>Grendizer </i>– featuring a tiny band of
humans fighting against alien invaders – was idolized by children living
through the Lebanese Civil War [and] is now becoming a symbol for children in
the Syrian war … Other anime shows highlighted the experiences of everyday
people in the face of violence, underlined the sacredness of peace and
childhood, and championed individual bravery in the face of overwhelming social
darkness.'</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: right;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Razan
Idriss(12/12/2017): 'Anime in Arabic: Transforming Arab Millenial Identity.'
(Retrieved: <a href="https://muftah.org/anime-in-arabic-transforming-arab-millennial-identity/#.WjfUKDf_rIV">https://muftah.org/anime-in-arabic-transforming-arab-millennial-identity/#.WjfUKDf_rIV</a>,
acc. 18/12/2-17)</span></span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Now while I am
genuinely curious, I am not particularly interested in the reception of anime
in Arabic-speaking countries – although I could have imagine that anime in
Arabic may have resonated with some audiences in northern Nigeria for the very
same reasons that Idriss outlined: thematic relevance of some of anime's themes
and the fact that anime were dubbed in Modern Standard Arabic, enabling
children and other students of the langue to better learn MS-Arabic. According
to a good friend on Facebook, however, they did not. Only recently has <a href="https://arewa24.com/">Arewa24</a> been trying to promote them (Caveat:
Going by the <a href="https://www.youtube.com/watch?v=UxpBQGssYTk">Arewa24 Trailer
on YouTube</a>, I suspect my friend was talking about animated films more
generally, rather than anime in the Japanese tradition.)</span></span><span style="font-size: 10.0pt;"></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzv6zOe3TdO52sGrdcbi2pojk1Y8qO-DIkPvH2O0MdYzxHCPhv4I4e7eutLzl9N92mKt6wnTVdlPuOA4PzOp2F0SNnvL6ayJgv4Xftdcea4AtUFbTyu5oRlPiGpJRYJaHW3cxsH35fSOeE/s1600/Arewa+24+Trailer.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="542" data-original-width="881" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzv6zOe3TdO52sGrdcbi2pojk1Y8qO-DIkPvH2O0MdYzxHCPhv4I4e7eutLzl9N92mKt6wnTVdlPuOA4PzOp2F0SNnvL6ayJgv4Xftdcea4AtUFbTyu5oRlPiGpJRYJaHW3cxsH35fSOeE/s320/Arewa+24+Trailer.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Screenshot of Arewa24 Trailer on <a href="https://www.youtube.com/watch?v=UxpBQGssYTk">Youtube</a></span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">But, even before anime was dubbed into Arabic, there were
English-language dubs of some shows – Wikipedia, for example, suggests that <i>Astroboy</i>
ran on NBC between 1963 and 1965, already. Anime certainly made inroads into
European children's programmes in the 1970s. It certainly featured prominently
during my childhood, in particularly the late 1980s/early 1990s when we started
watching West [German] TV. Now, what about Nigeria?</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Japanese anime have certainly made an impression on recent
generations of Nigerian youths (well, at least those who had access to TV and
DVDs). As <i>Smartgeek</i>'s Lordsurh noted: 'Anime fans are everywhere, even
in Nigeria.'</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'The number of anime fans in Nigeria has grown as young
teenagers & adults continue to embrace the awesomeness and intriguing
nature of these Japanese animations. From sports, action, comedy, romance and
so on finding the right anime … Initially watching anime in Nigeria might seem
like a playful and 'kiddish' idea to those who find it hard to understand the
excitement and joy it brings to fans across the country. Thousands of anime
with awesomely heart-pumping action, nail-biting suspense & thriller,
busty and trigger-happy female characters, not to mention wonderfully psychotic
villains – The sky is the limit for every Nigerian Anime Fan out there.'</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-size: x-small;">Lordsurh (28/1/2017): 'Top 5 Anime Every Nigerian Anime-Fan
Needs to Watch.' (Retrieved:
smartgeek.com.ng/2017/01/28/watch-anime-series-nigerian/, acc. 18/12/2017)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Discussion threads on<i> Nairaland</i> and other forums also
bear witness to anime's popularity (and that of animated films in general). </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'I first started with western cartoons but once I got
introduced to [J]apanese anime by my cousins in the mid 90s, shiii. … The
storylines seemed more complex, action was more engaging and the art style was more
appealing. I still saw my western toons, only they were gradually being
replaced by anime.'</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-size: x-small;">Wordsmith (5/10/2012): 'Re: Japanese Animation (anime) vs.
Western Animation' [Nairaland comment]. (Retrieved from <a href="http://www.nairaland.com/982722/japanese-animation-anime-vs-western">www.nairaland.com/982722/japanese-animation-anime-vs-western</a>,
acc. 18/12/2017)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">And, in <a href="https://books.google.de/books?id=cHUpDQAAQBAJ&dq=john+haynes++nollywood&hl=de&source=gbs_navlinks_s">his recent publication on Nollywood,</a>
Jonathan Haynes (2016: 307) noticed that 'young Nigerians have grown up with a
lot of Japanese animation;' some of the Nigerian animation films he sampled
reminding him of the style of Japanese manga. – <i><a href="https://www.youtube.com/watch?v=9tI8RfN2iTA">Chicken Core: The Rise of the Kings</a></i> (2012)
by Spore Dust (the company's CEO Shina Ajulo was featured on <a href="https://www.youtube.com/watch?v=14kFLyfcdhw">TYN's Young Nigerians</a>). </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ynhxP6rCjnzVzwYHsRjd6AqXlVW61vW4Piu0tK9Ym7nzcCrzXMHsiFt5iLD6NgAfCuMzB75Dgtpjl4KPsRREcVE0BCffNWSnWkyRpUCxBKHsbRCTE105L5slFUNEq_usrr1soNOleeLd/s1600/Chicken+Core.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="542" data-original-width="876" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ynhxP6rCjnzVzwYHsRjd6AqXlVW61vW4Piu0tK9Ym7nzcCrzXMHsiFt5iLD6NgAfCuMzB75Dgtpjl4KPsRREcVE0BCffNWSnWkyRpUCxBKHsbRCTE105L5slFUNEq_usrr1soNOleeLd/s320/Chicken+Core.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Screenshot of <i>Chicken Core: Rise of the Kings</i> (2012) by Spore Dust (<a href="https://www.youtube.com/watch?v=9tI8RfN2iTA">Youtube</a>)</td></tr>
</tbody></table>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">All of that has me sufficiently intrigued to wonder about
anime's history in Nigeria. A quick look around the internet suggests that in
2013 Taiyo Industry Africa Inc. and Nigeria's Channels Inc. collaborated to
launch an anime TV channel in Nigeria, according to <i><a href="http://japandailypress.com/nigeria-to-launch-free-japanese-anime-tv-channel-this-year-1930899/">Japan Daily Press</a></i> and <i><a href="http://www.crunchyroll.com/anime-news/2013/06/19-1/free-japanese-anime-channel-planned-for-nigeria">Crunchyroll</a></i>. In 2014
Japanese animation studio <i><a href="https://en.wikipedia.org/wiki/Tezuka_Productions">Tezuka Productions</a></i> announced a joint
animation project with the Nigerian TV network Chanel TV called <i>Robot Atom</i>,
reported <a href="https://otakumode.com/news/52d230eed045f90613000a98/A-Joint-International-Project-with-Nigeria-Tezuka-Productions-Takes-its-Newest-Anime-Robot-Atom-to-Africa">Otakumode</a>. And, in 217 the <a href="https://www.vanguardngr.com/2016/07/fg-welcomes-japanese-offer-develop-nigeria-animation-children-films/">Vanguard</a> announced that the
Nigerian Federal Government 'accepted offer by Japanese Government to assist
Nigeria to develop capacity in production of anime and children films.' </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">But, I would love to learn more about the genre's earlier
history and reception in Nigeria. When did the first dubbed anime feature on
Nigerian TV? When did anime start gaining a greater fan base? How did/do
Nigerian contexts affect the ways anime was/is received? Etc. – And, here's my
question to you, dear reader, and any other denizen of the world-wide-web
passing by: Is there any article, book, or blogpost that you could recommend?</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">All of that has me sufficiently intrigued to wonder about
anime's history in Nigeria. A quick look around the internet suggests that in
2013 Taiyo Industry Africa Inc. and Nigeria's Channels Inc. collaborated to
launch an anime TV channel in Nigeria, according to <i><a href="http://japandailypress.com/nigeria-to-launch-free-japanese-anime-tv-channel-this-year-1930899/">Japan Daily Press</a></i> and <i><a href="http://www.crunchyroll.com/anime-news/2013/06/19-1/free-japanese-anime-channel-planned-for-nigeria">Crunchyroll</a></i>. In 2014
Japanese animation studio <i><a href="https://en.wikipedia.org/wiki/Tezuka_Productions">Tezuka Productions</a></i> announced a joint
animation project with the Nigerian TV network Chanel TV called <i>Robot Atom</i>,
reported <a href="https://otakumode.com/news/52d230eed045f90613000a98/A-Joint-International-Project-with-Nigeria-Tezuka-Productions-Takes-its-Newest-Anime-Robot-Atom-to-Africa">Otakumode</a>. And, in 217 the <a href="https://www.vanguardngr.com/2016/07/fg-welcomes-japanese-offer-develop-nigeria-animation-children-films/">Vanguard</a> announced that the
Nigerian Federal Government 'accepted offer by Japanese Government to assist
Nigeria to develop capacity in production of anime and children films.' </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">But, I would love to learn more about the genre's earlier
history and reception in Nigeria. When did the first dubbed anime feature on
Nigerian TV? When did anime start gaining a greater fan base? How did/do
Nigerian contexts affect the ways anime was/is received? Etc. – And, here's my
question to you, dear reader, and any other denizen of the world-wide-web
passing by: Is there any article, book, or blogpost that you could recommend?</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
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<![endif]-->Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-47941470262636712472017-12-24T19:00:00.000+00:002017-12-24T19:00:54.742+00:00Buchi Emecheta: What Christmas Carol Singers are Missing<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">I admit, I haven't really been in a Christmas mood for the last few
years – by all means, let's celebrate the solstice, the birth of Jesus and New
Year! But, this is not (yet) the time of the year that I need a break to
settle down and succumb to festive stodge, hibernation and SAD. I need that break later in winter, well into the new year. If you're based in the northern hemisphere you
probably know when I am talking about – that time in February/March when cold
days of sunshine, crisp air and snowfall give way to grey clouds of ice-cold
rain; when formerly white snow has turned into wet-grey mush without any
hope for another white shower re-freshening the scenery; when snow and ice melt
but the ground is still frozen turning the upper layers into no less grey mud; when melting snow and ice reveal grey dead grass without
the fresh green tips of new spring growth emerging yet and when the lights and greens of spring still are but a
distant hope. – That's when I'd need lights all over the place,
cheesy-soothing songs, stories of hope (religious and otherwise), time in the kitchen fiddling with the receipes of Christmas cookies and pies and a lazy break with friends; and family and heaps
of the last of good winter stodge to look forward to </span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">(Thank God, <a href="https://www.theguardian.com/commentisfree/2017/dec/21/winter-solstice-marks-months-dashed-hopes-january-endurance-test">I'm
not alone in that!)</a></span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"> - rather than <a href="https://en.wikipedia.org/wiki/Carnival_in_Germany,_Switzerland_and_Austria">carnival season</a> (Where do people get the energy THAT time of the year?!). </span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">But, hey, let's celebrate those holidays as they come! And,
in that spirit, let me share with you a rather lovely article about Christmas
by <a href="https://en.wikipedia.org/wiki/Buchi_Emecheta#Early_life_and_education">Buchi
Emecheta</a> I stumbled on in <i><a href="https://en.wikipedia.org/wiki/West_Africa_(magazine)">West Africa<span style="font-style: normal;"> magazine</span></a></i>. -<i> What Christmas Carol Singers
are Missing: Buchi Emecheta Recalls the Christmas of her Nigerian Childhood. </i>(This
is one of a series of articles Emecheta's published in the magazine. Did I
share the one where she writes about her expectation to see cowboys? - Oh, <a href="http://katrinschulze.blogspot.de/2017/11/bits-and-pieces-from-west-africa.html">yes,
I did</a>!)</span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">'I was busy debating with myself and a few friends the other
day, when my door bell rang. I went reluctantly towards the front door because
I was well aware I was not expecting anyone, but since one can't tell with
one's relatives from home in Nigeria, one had to have an open mind and a ready
smile for any unannounced visitor. One's relatives and home friends are wont to
spring such pleasant surprises by announcing cheerfully, "I want to surprise
you with a visit. I left Lagos six hours ago." But this time, I was lucky.
For as I opened my door, a group of young people burst into "<a href="https://de.wikipedia.org/wiki/Adeste_Fideles">Adeste Fidelis</a>". I
stood there smiling from ear to ear, enjoying my first listen to this year's
carols. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">[…]</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">As I looked at [the carol singers'] run chubby read faces,
and their mischievous eyes my mind went back to the village carol I sang in my
parents home town in <a href="https://en.wikipedia.org/wiki/Igbuzo">Ibusa</a>,
a long time ago. The carols were sun in the real African style. We collected
empty bottles, on which we hit tin spoons; we had empty cigarette tins and used
their covers to make rattling musical sounds. There was an old man – Okonkwo was
his name, I think – who my mother told me was a retired dock man. This man had
a mouth organ which he played only on Christmas Eve. With the old man as our
leader, followed by the vicar, and many young members of the church, we would
set out, after an elaborate prayer, from our mud church with thatched roof visiting
all the important members of the church and the rich people in town. We usually
sang classic carols, or tried to sing them, but with so many unorthodox
embellishments that usually come out, was a kind of Africanised classical
version. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Any listener could tell from the words that we were singing
the carols, but it was hopeless trying to guess what we were on about from the
tune. You see, our kind of carol was not the type one hears where the Salvation
Army sing their carols to near rigid military beat; our kind was not churchy
type in which people sing to order. Our kind was our kind of carol, Ibo-Ibusa
type. You could pull the chorus the way you felt like, you could invent your own
second part, or your Alto or Bass or even Soprano. Strongly enough they usually
went down well, so much so, that I used to remember my mother saying that she
could<span> </span>not stand the rigid church carol
singing we had in Lagos. She preferred the village type where it was the norm
to sing to one's heart content. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">We did not sing for money, but gifts and little eats were
plentiful. The older men were given "esimesi" (our local gin). It was
not surprising then, that by midnight a great proportion of the townspeople
would be dancing to the carols as the esimesi grew. I remember that the last
year I was there, old Okonkwo lost his mouth organ. He made do with his cupped
hands, and only just managed to get back to his hut, but was still able to come
to the church the following morning.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">As I gave a few coins to the white children singing by door,
I said to myself, "Oh poor kids, you don't know what you're
missing."'</span></span></div>
<div class="MsoNormal" style="text-align: right;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">(West Africa, 24/31 December 1979, 2385-86)</span></span></div>
</blockquote>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Merry Christmas!</span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-26063548943530849762017-12-18T10:19:00.000+00:002017-12-18T10:30:42.740+00:00Vehicle Decorations: 1961 Photograph from the Harrison Forman Collection<!--[if gte mso 9]><xml>
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<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">I know, I know, I have once again
neglected the blog. What can I say? Well, I can apologise: So, yes, I am sorry.
– I have stumbled across a few interesting things in the meantime but I haven't
get got around to writing about them. Here, is a first attempt to do just that,
sharing a photograph with you that I found thanks to the industrious Kehinde
Thompson at the Nigeria Nostalgia Project (<a href="https://www.facebook.com/NigerianNostalgiaProject/">Facebook</a>, <a href="http://nigerianostalgia.tumblr.com/">TumblR</a>, <a href="https://twitter.com/nnptweets?lang=de">Twitter</a>) - which is a really
great group to follow if you're interested in anything regarding Nigerian
history!</span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">The photograph is part of at the <a href="https://uwm.edu/lib-collections/africa/">University of Wisconsin's
Digital Photo Archive</a>, in particular the <a href="http://collections.lib.uwm.edu/digital/collection/forman/id/17">Harrison
Forman Collection</a>. There's a number of beautiful and interesting
photographs in the collection that are accessible from the comfort of your
local library or home office. - Including this wonderful photograph, depicting
a bright blue mammy wagon with an inscription in white on its left side, 'Asaba
Do Exelsior.' The photograph was taken in 1961, documenting early developments
of vehicle decoration.</span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia1Kk9CKL6vk05jl-hpe-vGG7L2qjy_J4oBY3zRlK4PGbDVPzXjR0wy5J93hWnQfCNoJkIqzfzCvNyKGJmbGYjwNcvFQ3M94wVHGbxHOy0NNoayUZbHRedpCsgSG4p_n7HWOKfqJLHxJtz/s1600/Mammy+Wagon+Igbo+Street+Scene+1961+Harrison+Forman+Collection+Uni+Wisconsin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1075" data-original-width="1600" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia1Kk9CKL6vk05jl-hpe-vGG7L2qjy_J4oBY3zRlK4PGbDVPzXjR0wy5J93hWnQfCNoJkIqzfzCvNyKGJmbGYjwNcvFQ3M94wVHGbxHOy0NNoayUZbHRedpCsgSG4p_n7HWOKfqJLHxJtz/s320/Mammy+Wagon+Igbo+Street+Scene+1961+Harrison+Forman+Collection+Uni+Wisconsin.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">(Nigeria, Street Scene in Igbo
Village, 1961, <a href="http://collections.lib.uwm.edu/digital/collection/agsafrica">AGSL Digital
Photo Archive - Africa</a>, acc. 18/12/2017)</span></td></tr>
</tbody></table>
</span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;"></span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">The photograph – and, in fact,
others in this particular collection – has been subject to heated debate among
members of the Facebook group (see <a href="https://www.facebook.com/groups/nigeriannostalgiaproject/?ref=bookmarks">here
for the original photograph</a> and <a href="https://www.facebook.com/photo.php?fbid=10210561825513159&set=gm.1931008640273242&type=3&theater">here
for a second photograph taken at the same location</a>) . It's titled 'Nigeria,
Street Scene in Igbo Village' but many commentators seem rather convinced – on
the basis of the fashion of passers-by that the scene was actually recorded in
southwestern Nigeria, prompting a debate. Suggestions included Benin and Ilorin
in the Southwest but also Asaba, Onitsha and Sapele in the Southeast. I
wouldn't want to weigh into this debate – I do not know these regions well nor
the fashions of the time and places suggested. But, do note that the vehicle's
inscription refers to Asaba, a south-eastern town in today's Delta State. </span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">I am, anyway, much more interested
in some of the recollections of life and transport at the time that the
photograph prompted. Here's a particularly beautiful comment by Olabunmu Sadiq:</span></div>
<br />
<blockquote class="tr_bq">
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">'This looks like the southwest
version called "boolekaja" translated "come down and
fight". The conductors were always rude and riotous and would always crave
for a fight, inviting any stubborn passenger to come down and fight.</span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">The seats were made of long
benches, double sitter in the middle where passengers back each other, while
single seaters were directly behind the driver, and the other behind the front
passenger seat. </span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">The conductor or drive wold most
often want to park the passengers like sardines which the passengers most often
want[ed] to resist. The driver would should "e sun" meaning
"compact yourself" and at the second prompting without compliance,
the driver would step sharply on the break and the momentum would shift the
passengers forward involuntarily. </span></div>
<div style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">Very interesting era in our
transportation history.'</span></div>
<div align="right" style="line-height: 16.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; mso-line-height-rule: exactly; text-align: right;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 10.0pt;">(17/12/2017,
Re: 'Street Scene in Igbo Village 1961, Harrison Forman Collection, American
Geographical Society Library © UWM Libraries' [Facebook Comment]. Retrieved: <a href="https://www.facebook.com/photo.php?fbid=10210555241868572&set=gm.1929447913762648&type=3&theater&ifg=1">Nigerian
Nostalgia Project</a>, acc. 18/12/2017).</span></div>
</blockquote>
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Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-77986505429060591752017-11-14T14:38:00.000+00:002017-11-14T14:38:05.879+00:00'He was nicknamed Gary Cooper' (A.O. Uzokwe 2003 Surviving Biafra)<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">There's another reference to the movies – and possibly
Westerns – penetrating popular culture in Nigeria. This time the reference is
to Western actor Gary Cooper (1901-61) in a biography of the Nigerian Civil
War/Biafra War by <a href="https://www.goodreads.com/book/show/1045946.Surviving_in_Biafra">Alfred
Obiora Uzokwe (2003).</a></span></span></div>
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Here we go (The excerpt is a little longer today because I
thought a little context may be useful here):</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Boys company was a youth program put together by the Biafran
army for young boys between ages eight to fourteen. According to story, the
boys were trained in intelligence gathering for Biafrans. … The Biafran army
figured, according to the story, that the federal<span> </span>troops would not kill the boys, so the
younger the boys were, the better. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I envied the Biafran boys who were said to be in the Boys
Company. There was this particular boy from my village called George Orji. H
ewas said to be in the Boys Company and usually followed his uncle, Arthur
Ngwube, a Biafran army officer, to the warfront. We heard that George had a
complete army uniform and had actually seen action on many occasions! I never
personally saw him in uniform, but we kept hearing all those stories about his bravery,
and we believed every bit of it. At a point, the story was that he owned a
helmet, which he got directly from the head of a dead Nigerian soldier! Like
most kids then, I always wished I could be in his shoes. In 1973, I got into
the same secondary school that he was already in two classes ahead of me. He
was nicknamed <i>Gary Cooper</i>. Each time I saw him, all those incredulous
stories about the war, and his supposed exploits, would come back to mind. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: right;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(Uzokwe 2003: 66-67)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I wonder whether he earned the nickname Gary Cooper because
of his looks or maybe even because of the purportedly (in the imagination of
other children) adventurous live as a member of the Boys Company during the
war?</span></span></div>
<div class="MsoNormal">
<br /></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-2882040118839512072017-11-10T12:53:00.000+00:002017-11-10T12:53:00.655+00:00A 'common salute to the Americans is "Hello, cowboy!"'<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Here's another reference to the Cowboy that I stumbled upon
while looking for something else. This one comes from American foreign and war correspondent <a href="https://en.wikipedia.org/wiki/Archibald_Steele">Archibald.T. Steele</a> of the <i><a href="https://en.wikipedia.org/wiki/Chicago_Daily_News">Chicago Daily News</a></i> and mentions the
Cowboy and American movies in relation to French colony adjacent to Ghana. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">In the Gold Coast every American soldier is "Joe"
to every African. In an adjacent French colony, a common salute to the
Americans is "Hello, cowboy!" The trouble with those people is that they've
seen too many American movies. </span></span></div>
<div style="text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
('Land
of Slave Trade,' In: Negro Digest, Vol. 1(7), 28, originally published by
Chicago Daily News, 17 March 1943)</span></span></div>
</blockquote>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-2258537580215646842017-11-02T12:03:00.000+00:002017-11-02T12:03:09.239+00:00Bits and Pieces from West Africa Magazine (Again)<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I've been flicking through <i><a href="https://en.wikipedia.org/wiki/West_Africa_(magazine)">West Africa<span style="font-style: normal;"> magazine</span></a></i> in my breaks again. It's
quite a useful exercise a change of pace when I'm stuck, a source that improves
my grasp on Nigerian history, some of the developments that hadn't quite made
my history lessons and at various times plenty of references (sadly) to the
state of roads, accidents and (roadside) robberies in Nigeria. There is also
this story of a manufacturer in Ogun State starting a business recycling motor
scraps based 'entirely on motor scraps in its production.' </span></span></div>
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>A manufacturing
company, Wehrhahn (Nigeria) Limited, based at Otta in Ogun State has begun
reprocessing and manufacture of vehicle spare parts as well as cast iron parts
for man-hole and gulley covers. The company's chairman, Chief Mobalaji Smith,
said his new company was going to depend entirely on motor scraps in its
production. The military administrator for the state, Brigadier Harris Eghagha,
has commended the adventurous move by the company, which, he said, would help
in the clean-up of accident vehicles from the cities of the state.</span></span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: right;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>(West Africa, 2
April 1979, page 819)</span></span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">'[D]epend entirely on motor scraps,' 'clean-up of accident
vehicles' – I have read plenty of statistics but that paints a rather stark
picture of the state and dangers of Nigerian roads!</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal">
<br /></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">There are, of course, more uplifting stories too. Including
a series of articles that trace author <a href="https://en.wikipedia.org/wiki/Buchi_Emecheta#Early_life_and_education">Buchi
Emecheta</a>'s steps during a publicity tour in the United States. Here's the
bit that I liked best, for obvious reasons.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>They put me down at
this place called Cincinnati. I found this place really fascinating. The
streets are not as wide as the ones I saw in Philadelphia, and the most
wonderful thing I saw there were real Americans dressed in cowboy outfits,
walking like ducks. I was happy about his, so I bought cards and sent to my
family and said that now I feel that I am in American because I have now seen
real John-Wayne-looking cowboys. </span></span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: right;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">('US longing for roasted yams,' West Africa, 27 August 1979,
page 1562)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">To my mind, the quote illustrates the extent to which the
image of 'the American West' that Western novels and movies exported around the
world shaped the perception of the United States including in Nigeria. That is,
until I remembered that Buchi Emecheta lived in the UK for much of her life,
rather than Nigeria itself. Her ideas about the US and the Cowboy would thus
have been at least as much – most certainly more profoundly – shaped by the
media in the UK, including of course some of the same Westerns that were also
screened in Nigeria. It's a very charming passage nevertheless - 'walking like
ducks' had me smiling and remembering my first pair of cowboy boots
(incidentally, a present from an acquaintance in Nigeria who couldn't bear
seeing me in flipflops during the rainy season).</span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-80398150291040647262017-10-25T10:41:00.000+01:002017-10-25T10:41:26.200+01:00Cyprian Ekwensi (1973): 'Well, if you look at the North, you find that it actually is wild west country' <!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">So, I've spent the second half of what passed for summer
this year and the first half of autumn focused on my own health (and even though
the mother of all colds still hangs on), that of my dad (thank God for the
German health care system and the gifted surgeons at the hospital in Potsdam)
and the (re-) construction of my parent's kitchen (yes, cowboy builders do
exist in Germany as well!). That's not all I've done. Something had to give
though – and as always it’s my personal writing including the blog that does
give first. So, dear reader, forgive me for another period of neglect. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Nevertheless, I've still been reading (not as much as I
usually do, but hey) and I've come across some quotes and references that I
thought worth sharing with you, even with some delay. So, here goes one.</span></span></div>
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I'm still playing around with ideas about cowboy films and
serials, cowboy clubs, gangs and societies and lorry decorations in Nigeria.
Anyway, here's a lovely little quote that I should have included somewhere
already. But such is research, I guess. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">This one is from an interview that Bernth Lindfors conducted
with author Cyprian Ekwensi in Enugu in February 1973. In it, Lindfors touches
upon the influence of (American) frontier mythology and Westerns on Ekwensi's
fiction. This is the response.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Ekwensi: Well, if you look at the
North, you find that it actually is wild west country. There is cactus in the
North; there is rock. It's like Texas. And, the Northerner is a horse rider
herding cattle. There is this same fever for grass, although the herdsmen don't
have ranches. The difference between pasturing cattle in the North and
pasturing cattle in Texas is that the American cowboy has defined a territory,
but the Fulani herdsman has the whole of West Africa. Wherever the grass is
green he moves his cattle rather than remain in one spot. So this is what makes
for the similarities. Also, you have a lot of action. Northern Nigeria is
action country. Wide open spaces, prairies, the savannah – it's like the
prairies of America.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Lindfors: But in shaping these stories,
were you at all influenced by your reading of wild west stories.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Ekwensi: Not only by my reading
but by films – I'm a great cinema fan. I used to know all the actors by name –
people like Robert Taylor, Randolph Scott, Gary Cooper and Bill Boyd – you know,
all those stories about Wyoming and the ranches and the trails and so on. I
loved that kind of thing, just for the joy of it. It's not meant to be anything
serious. Nobody takes it seriously or really believes that one cowboy holding a
revolver with a range of fifty yards can kill a whole tribe of Indians. It's
not true.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Lindfors: But were there a lot of
western films available at the time? It seems like there are mainly Indian
films in Nigeria today.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Ekwensi: The Indian films are a post-independence
innovation. In those days there were really serious films – Humphrey Bogart and
so forth, mainly American films – but at independence the film distributors
suddenly discovered that they didn't need to work their brains going through
lists of best films in different countries – they didn't need to make the
effort. Provided they got an Indian film full of fantasy, this was enough to
earn them their money, so why work, why worry? … </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: right;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(Lindfors,
2002: <i><a href="http://africaworldpressbooks.com/africa-talks-back-interviews-with-anglophone-african-authors-edited-by-bernth-lindfors-hardcover/">Africa
Talks Back: Interviews with Anglophone African Authors</a></i>. Trenton, NJ et
al: Africa World Press. 121-22)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">That I rather love these
little snippets of Ekwensi's conversation with Lindfors shouldn't come as a
surprise to you, dear reader. They provide further evidence of the impact of
Hollywood – and probably, later, Italian – Westerns on the imagination of some
in colonial Nigeria, including as influential a writer as Ekwensi. Personally,
I think that the influence of the Western genre in, say, <a href="https://en.wikipedia.org/wiki/Burning_Grass">Ekwensi's <i>Burning Grass </i>(1962)</a>
is rather palpable, but it's useful to have the author confirm it here. It's
also great that somebody else felt that there are indeed similarities between
the landscapes of (parts of) northern Nigeria and some movies' American West.
Personally, I think that is particularly true for the later Italian Westerns
that were filmed around Almeria, Spain, which reminded me of the landscapes of the
Jos plateau. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">That said, there is
something else going on in the interview that interests me, vis-à-vis imported
movies and Westerns in particular: I have read a lot of commentary from the 1950s
and 1960s in which Nigerian elites criticise the members of Nigerian cowboy
clubs, gangs and societies for fashioning themselves after the Cowboy and
attributing incidences of delinquency and criminal activities by Nigerian
cowboys to the influence of Westerns. Ekwensi, here, does seem to implicitly
distance himself from such views – only to continue to make a similar argument
about the social impact of more recent films, including <i>The</i> <i>Godfather</i>
(1972). Thus, he argued, that Westerns were not intended to be taken seriously –
and, indeed, nobody did take them seriously – but he considered <i>The
Godfather</i> 'corrupting film.' Ekwensi continued, </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">We live
now in an age of violence, and I don't think that there should be this
dramatization of the techniques of violence. There are incidents in that film
(and I know the censor must have cut a lot) which are suggestive of killing,
which would make one try to kill. If I were the censor, I wouldn't have passed
that film.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="margin: 6pt 14.2pt 0.0001pt; text-align: right;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(Lindfors,
2002: 122)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Ekwensi's different views on
the cowboy movies of his youth – which, in turn, had been heavily criticised by
an elder generation – and the more recently imported gangster films including <i>The
Godfather</i> suggest that these discourses are steeped in intergenerational
tensions - one generation of youths growing up, joining the ranks of the
establishment it once may have despised and in the process, possibly
inevitably, growing ever more estranged to contemporary youth culture and
youthful rebellion against the status quo. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Obviously, I will have to
think that through more thoroughly before I can convincingly make that argument
– or abandon it. But, let me leave it at that for today and return to the things
I really need to be doing. </span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><div class="MsoNormal" style="text-align: justify;">
<br /></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-61604462745235431202017-07-20T14:40:00.000+01:002017-07-23T21:09:41.659+01:00'Boom, Phuff.' - An Anecdote from Rex Niven's Nigerian Kaleidoscope<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I admit that I currently lack the inspiration for a blog
post worth your time, dear reader. I am currently struggling to organise my
thoughts and put together an argument to the satisfaction of my collaborator in
the lorry art project. And, while I suggested I'd use this blog to organise my
thoughts I find that I am not quite at that stage right now. So, in the
meantime I keep flicking through various books including, still, colonial and
postcolonial memoirs. That may be part of the problem, you say? However, I
usually do find it helpful to read widely – even if there is little direct
relation to what I am working on at any one point. And, indeed, I do keep
stumbling upon potentially useful paragraphs and views while I do that. </span></span><br />
<a name='more'></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Still, today
is not one the days I offer you one of those. Instead, there is this rather humorous
anecdote in the otherwise rather dry memoirs of <a href="http://www.oxforddnb.com/index/52/101052417/">Rex Niven's</a> colonial
service in Nigeria that I share with you below. It doesn't quite relate to any
of the topics I am currently working on but those children rather brightened an
otherwise not very entertaining read. So, if nothing else, I hope they make you smile as well.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The scene in question is set during his posting in Maiduguri
in 1940, hence during World War II. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">In Maiduguri itself, we set up a Defence Force and an air
raid service. Air raids seemed more than likely, but mercifully they did not
happen. An airborne attack was also not unlikely and for that we could only
make tentative plans. So we had first aid classes and rescue squads, and motor
transport, demolition and rescue squads. Rehearsals were unconvincing, because
no one in the African town had the least idea what the reality might be like. We
felt that we should demonstrate an actual explosion to the various units before
they met a hostile one. The Engineer laid a good charge under some mud buildings
which we wanted to demolish. The fuse was lit, and everyone retired behind
various bits of cover. We held our breaths and said our prayers. Then there was
a little 'boom' and a small cloud of dusty smoke drifted across the Dandal. It
was unimpressive, but the children who had been watching loved it. They rushed
about shouting 'Boom, Phuff', then falling down flat with shrieks of delighted
laughter. Whenever they saw the Engineer afterwards they would shout 'Boom,
Phuff' and fall to the ground. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Rex Niven (1982): <u><a href="https://books.google.de/books/about/Nigerian_Kaleidoscope.html?id=MIB0AAAAMAAJ&redir_esc=y">Nigerian
Kaleidscope: Memoirs of a Colonial Servant</a></u>. London: C. Hurst. 178.</span></span></div>
</blockquote>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-92002448851582221802017-07-12T11:21:00.000+01:002017-07-23T21:10:10.021+01:00An Aside: Western Clubs in Germany<!--[if !mso]>
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<br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I have joined a non-fiction writing class to get
feedback on my writing, mostly stylistically rather than content wise. And,
it's proven to be helpful to have a bunch of native speakers point out when I
inadvertently slipped into what we call Denglish – broken English, the German
version.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The wonderful <a href="https://www.blogger.com/susannaforrest.com"><span style="color: blue;">Susanna
Forrest</span></a> who runs the group also pointed me to a helpful volume on <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674064485"><span style="color: blue;">'stylish' academic writing by Helen Sword</span></a>. Last
week I tried out one of Sword's advices. She suggested that academic writers
include anecdotes into their articles that make the subject more relatable
and/or illuminate the author's relationship with the subject. I included a
throwaway remark about Western clubs in my native Germany. And, the more I
thought about it the more I feel that it’s the intellectually honest thing to
do. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">See, I have read a number of criticisms of young
Nigerians adopting cowboy fashion and appropriating the 'Cowboy's behavioural
repertoire. As I mentioned <a href="http://katrinschulze.blogspot.de/2017/06/cowboy-snippets-biodun-olamosu-2000.html"><span style="color: blue;">here before</span></a>, my instinct has always been to
reject this criticism. And, this last week has had me wondering whether that
instinct isn't at least partially due to the fact that 'Cowboys and Indians'<a href="https://www.blogger.com/null" name="_ftnref1"></a><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" title=""><span style="color: blue;">[1]</span></a>
have played such a huge role in my childhood and, indeed, continue to play in
various pop culture niches in Germany. For example, <a href="http://www.westernbund.de/"><span style="color: blue;">Western Bund e.V.</span></a>,
one umbrella organisation of Western clubs, lists over a hundred such
associations in Baden-Wuerttemberg, Bavaria, Berlin, Hesse, Lower Saxony, North
Rhine-Westphalia, Rhineland-Palatinate, and Schleswig-Holstein (that's only 8
out the 16 German states) alone. </span></span></div>
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">My to-be-read pile is rather high at the moment (and I
just added a recently published <a href="http://press.uchicago.edu/ucp/books/book/chicago/M/bo17847525.html"><span style="color: blue;">book on <i>Matatus</i> in Nairobi</span></a> to it), so I
didn't really dig into the issue but I found two (short-ish) rather poignant
articles in the New Yorker on 'our' (as in 'us' Germans) obsession with the
American Wild West. And, interestingly I think they illustrate (with examples
taken from Germany) some of the points I am making with regard to cowboy clubs,
gangs and societies Nigeria. So, allow me to briefly recap their main points as
a reminder that these arguments do not only concern appropriations of
'Western,' i.e. Euro-American culture in Africa.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://en.wikipedia.org/wiki/Zane_Grey"><span style="color: blue;">Zane Grey</span></a> and <a href="https://en.wikipedia.org/wiki/Louis_L%27Amour"><span style="color: blue;">Louis
L'Amour</span></a> were probably the most influential American authors of
Western novels. The German author <a href="https://en.wikipedia.org/wiki/Karl_May"><span style="color: blue;">Karl May
(1842-1912)</span></a> was their German equivalent. And, although his works are
hardly read in the United States, they continue to be popular in Germany (just
last year, one of them has been filmed, again – <a href="https://www.youtube.com/watch?v=jPCb8fBaTow"><span style="color: blue;">link
to Youtube trailer</span></a>) and have been translated into 33 languages if I
am not mistaken. In other words, May's work has been hugely influential in
Germany and probably shaped 'our' image of the American West more than any
other author before or after him. May started writing his Western novels after
William Frederick Cody's (aka Buffalo Bill) Wild West show had come to Munich.
In this sense, he was not dissimilar to African youths in Nigeria, the Belgian
Congo (see <a href="http://www.iupress.indiana.edu/product_info.php?products_id=807931"><span style="color: blue;">Didier Gondola's recent volume</span></a>) and elsewhere who
were inspired by Buffalo Bill - the <a href="https://en.wikipedia.org/wiki/Buffalo_Bill_%28film%29"><span style="color: blue;">1944 technicolour film <i>Buffalo Bill</i></span></a> was probably
also screened in Nigerian cinemas but certainly later featured on TV (see <a href="https://books.google.de/books?id=cKegBgAAQBAJ&dq=buffalo+bill+nigeria&source=gbs_navlinks_s"><span style="color: blue;">Falola & Bukola Adeyemi Oyeniyi 2015</span></a>:
246) – and other cowboy films and serials. Nevertheless, <a href="http://www.newyorker.com/magazine/2012/04/09/wild-west-germany"><span style="color: blue;">Rivka Galchen (9 April 2012)</span></a> argued in the <i>New
Yorker</i>, May's Western fiction is best understood within the contexts of 19<sup>th</sup>
century German literature and its concerns. </span></span></div>
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</span></span><br />
<blockquote class="tr_bq">
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Nineteenth-century German literature often explores
the extreme. While the English were thinking about upper-middle-class Dorothea
at home in a middling marriage in Middlemarch, and the Americans were grounded
in the naturalism of country folk drifting into city life, German writers
thought about Kaspar Hauser, a man raised in dungeon-like isolation, almost
completely unexposed to human language … It's as if the German character is revealed
only in extreme situations; only there do you find out who you really are. In
Karl May's work, that extreme situation is the American West.'</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In other words, writers like Karl May adopted the
idiom of the American Wild West in order to speak of and to particularly local
ideas and practices. Or, as historian <a href="https://clas.uiowa.edu/history/people/h-glenn-penny"><span style="color: blue;">H. Glenn Penny</span></a> put in <a href="http://www.newyorker.com/magazine/2012/04/09/wild-west-germany"><span style="color: blue;">Galchen's article</span></a>.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'When Germans think through certain problems, they
also think about those problems through and in terms of Indians. So in the
nineteen-sixties this thinking had a lot to do with political protest, with the
image of Indians as resisters. In the anti-nuclear protests of the
nineteen-seventies, they flew in a lot of Indians from the Pine Ridge
Reservation. Then, in the nineteen-eighties, the esoteric Indian was hot – the
idea of a medicine man, of a deep knowledge of nature. Now it's Green
politics.' </span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In a related article, <a href="http://www.newyorker.com/culture/culture-desk/socialist-cowboys"><span style="color: blue;">Anna Altman (12 April 2012, </span></a>also <i>New Yorker</i>)
argued that the American Wild West acquired yet still different significances
in the GDR (where I spend formative years of my life). Based upon research by
historians <a href="http://www.suhrkamp.de/buecher/sozialistische_cowboys-friedrich_von_borries_12528.html"><span style="color: blue;">Friedrich von Borries and Jens-Uwe Fisher</span></a>,
Altmann noted that communist values and Cold War enmities were projected onto
the American Wild West. From this perspective, Indians were 'victims of U.S.
imperialism' and 'the destruction of their communities and natural environment
was attributed to unchecked American expansion and aggression.' Cowboys,
meanwhile, 'were American class enemies [and] Fascists.' </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Since the decline of the GDR and German
re-unification, Altman found, the American Wild West had acquired yet further
significances.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Though Germans from the east can join their western
counterparts at the Karl May festivals and commemorations, members of <i>Indianistikklubs</i>
[Indian clubs] formed in the east still convene and decamp to the countryside
to spend summer weeks in tepees. … Like so much else in the former East
Germany, a trip to Indian Week is now an act of nostalgia for the old days of
socialism: it’s a return to a simpler time – both of Native American tepee
living and of East Germans pretending to be Native Americans living in tepees –
when community and nature were prized.'</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Thus, the trajectory of the American Wild West in
Germany illustrates some of the points that I think are worth making with
regard to Nigerian cowboy clubs, gangs and societies in order to put the (often
justified) criticism of these youths and their practices into context. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">And, bear in mind that – as least as far as I can tell
– Nigerian youths never took their obsession with the American Wild West quite
as far as (some) Germans did and, to an extent, still do. Thus, observed a
slightly bewildered <a href="http://www.newyorker.com/magazine/2012/04/09/wild-west-germany"><span style="color: blue;">Rivka Galchen</span></a> in the <i>New Yorker</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'In the summer, you can ride a diesel
"steam" train from Bad Segeberg's central square to the Karl May <i>Festspiele
</i>[festival] grounds … There are faux log cabins labelled Pony Express, Sheriff's
Office, Barber Shop, Saloon. One sign reads, in English, "Cold Drinks, Hot
Food, and Pretty Girls." You can buy buffalo burger, hang out in a tepee,
and watch children play panning for gold. Antique handcuffs and at least five
kinds of toy gun are for sale, as are tomahawks, feathered headdresses, and all
of Karl May's novels and stories … There are thousands of children in the
audience, many in face paint and feathers – most come as Indians, though a
small number dress as cowboys'</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Taking it another step further, the East German
hobbyists that <a href="http://www.newyorker.com/culture/culture-desk/socialist-cowboys"><span style="color: blue;">Altman</span></a> discussed </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'drove their <i>Trabant</i> [a popular East German
brand of cars] out into the country, where they set up tepee camps in the
warmer months. They slaved for hours on costumes made from creatively
repurposed materials, like red <i>Arbeiter</i> [workers'] flags; they smoked
peace pipes, sparked fires with flint, and performed ritualistic dances to the
bang of drums. […] Blond children frolic in fringed ponchos; men covered only
by loincloths drink beer on picnic blankets and get a sunburn.' </span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Of course, Galchen's observations in Bad Segeberg (and
there are other festivals that she could have attended) and Altman's in East
Germany suggest that 'Cowboys and Indians' inspired a much broader spectrum of
society in Germany than they ever did in NIgeria. Whereas the references to
'the Cowboy' in Nigeria that I have found, by and large, locate him at the
margins of society, in Germany 'he' has arrived at the middle-class centre of
mainstream society. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Which brings us straight back to the intellectual
honesty I mentioned above: 'He' also had a place on my book shelf and in my
heart and was only outshone by 'his' fellow citizen of 'the American Wild
West,' 'the American Indian.' How does that affect my approach to 'the Cowboy'
in Nigeria? As I mentioned above, my instinctive rejection of blanket
denunciations of all youths that appropriated cowboy fashion and some of 'his'
behavioural repertoires may be informed by this. I mean, they could as well
have been talking about 10 year old me. And, of course, I recognise parallels
between the appropriations of 'the American Wild West' in Germany and Nigeria.
Or, at the very least, realise that 'the American Indian' in the novels
(especially those of <a href="https://en.wikipedia.org/wiki/Liselotte_Welskopf-Henrich"><span style="color: blue;">Liselotte Welskopf-Henrich</span></a>) and films that I
watched as a child fulfilled an ideological functions well beyond the imagined
Wild West just, as I want to argue, 'the Cowboy' did in Nigeria. 'The American
Indian' was a victim of imperialist expansion and genocide but also a
representative of a more 'natural' and environmentally friendly way of life.
Beyond that, I am not quite sure. But, from this moment, dear reader, you have
been warned. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/null" name="_ftn1"></a><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" title=""><span style="color: blue;">[1]</span></a> My use of
inverted commas here is intended to indicate that what influenced my youthful
imagination and, of course, that of many other Germans whose practices the New
Yorker authors Rivka Galchen and Anna Altman described were stereotypes of
'Cowboys' and 'Indians' that probably had little in common with the historical
realities in 19<sup>th</sup> century America and that, as in Nigeria, had
instead been shaped by Wild West shows, dime novels and films in cinema and TV.
</span></span></div>
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<![endif]-->Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-56898042226595688722017-07-06T16:07:00.000+01:002017-07-23T21:10:59.961+01:00History Snippet: Padmore (1944) Black Cloud Over Berlin<!--[if !mso]>
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<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I think
I mentioned in a <a href="http://katrinschulze.blogspot.de/2017/06/the-wildness-of-color-and-fantasy-of.html"><span style="color: blue;">recent post</span></a> that I scrolled through several
volumes of the <i>Negro Digest</i> on microfiche the other day. I may also have
mentioned that that technology rather frustrated me and that I therefore
welcomed the distraction of any article that had even a tangential relation to
arts, culture and – I realised flicking through my notes – the history of
Nigeria or West Africa. One of them was George Padmore's (1944): 'Black Cloud
over Berlin.' (<i>Negro Digest.</i> Vol. 2(12). 75-76.)<a href="https://www.blogger.com/null" name="_ftnref1"></a><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" title=""><span style="color: blue;">[1]</span></a></span></span><br />
<a name='more'></a></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Now,
I sit in the cafeteria of one of Berlin's larger libraries as I write this.
And, it was in this library that I scrolled through the microfiche edition of
the magazine. And, it was in Potsdam and in the surrounding countryside that my
father and my mother, respectively, were raised in the aftermath of the war.
Therefore, there are additional, more personal reasons that I stopped at this
particular article, read through it and, in the end, took some notes. - And, of
course, that description of a city I love as a 'citadel of racism' stung even
though, of course, it was historically correct. Nevertheless, do bear with me
for a moment here, dear reader. There is a connection with African and indeed
Nigerian history. Indeed, it is the very same connection that is usually
marginalised in discussions of this particular chapter of German history and
the ways in which we talk about it. Therefore, even though it may be only of
tangential relevance to the themes of this blog, let me share some excerpts
from this article with you. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'When
Berlin, that citadel of racism, is finally stormed from East, West and South,
Negroes from all over the world will be in on the kill. From South under the
command of General Alexander in Italy will be soldiers from Southern Nigeria
and the Cameroons, the former German West African colonies. From the West will
march American Negro troops and famous Senegalese warriors serving with the
French Army of Liberation, as well as Congolese forces from the Belgian Congo. These
so-called inferior races are today helping to tear the guts out of the
Herrenvolk of "super-men" of Nazi Germany. Such is the irony of
history. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">[…]</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The
West Africans have been bombed by German planes and shelled by Nazi big guns.
The first party of Africans to arrive went ashore at Augusta on the east coast
of Sicily. Scarcely where they on land when the air raid warning went off and
German bombs began to drop. Every man had to set and dig his own slit trench at
once. … Thus did West Africans get their baptism of fire in Europe. Later they
had to face the enemy's concentration of fire on the beaches at Salerno. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The
military spokesman stated that there are four West African medical units in
Italy. Each of these units comprise eleven to seventeen trained nursing
orderlies of the West African Army Medical Corps, and a similar number of
pioneers of the Royal West African Frontier Force as general duty man. Each
unit is attached to a British General hospital and is under the charge of a
British medical officer.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The
Africans assist the British military surgeons in the field operation theatre,
take temperature and keep the charts, renew dressings, give medicines and help
in the X-ray department at base hospitals. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">[…]</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Many
of the Cameroon natives that come into contact with Germans speak to them in
good German, a language they learned from German plantation owners in the
Cameroons before the war. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Most
interesting of all says the officer is the deep friendship between American
Negro troops and the Africans. The West Africans get on famously with the
Afro-Americans and to quote his exact words: 'They indeed find them very like
themselves and invariably friendly. As almost all of the West African orderlies
speak good English the Africans find no difficulty in talking to the Americans
though the American accent sounds strange to them.'</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">"For
their part the American Negroes love to tell the West Africans all about their
lives in the great United States. Some have exchanged addresses and photos and
promised to visit one another after the war."</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Asked
what Africans need most, the British military spokesman said:</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">"Like
their English and American comrades, the West Africans never forget their homes
and families. Mail and newspapers from Nigeria and the Cameroons are most
eagerly welcomed"</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">They
also delight in reading the colored American newspapers and like especially the
pictures of Afro-American girls which they cut out to decorate their billets.'</span></span></div>
</blockquote>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">P.S.:
Apologies for the formatting of the quotation. I don't like the centred-style
for long quotations either. I just haven't yet figured out how to get rid of
it. (And, yes, before you ask: I use the 'justified' setting for these areas as
well. Only, within this new blog them the 'quote' formatting seems to override
it and centre the whole she-bang.)</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<hr size="1" style="margin-left: 0px; margin-right: 0px;" width="33%" />
</div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="https://www.blogger.com/null" name="_ftn1"></a><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" title=""><span style="color: blue;">[1]</span></a> The original article was
published in the <i>Chicago Defender</i> on 19 August 1944.</span></span></div>
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<![endif]-->Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-47650734456434496472017-06-28T15:49:00.000+01:002017-06-28T15:49:12.054+01:00'The wildness of color and fantasy of design of these cotton prints is the most striking thing' - Ernie Pyle (1943) on Ghanian Fashion<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">A while back I came across an incomplete reference to
an article in the US American </span><i style="font-family: arial, helvetica, sans-serif; text-align: justify;">Negro Digest</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"> about, allegedly, a Nigerian
student in that country being astonished that not all Americans are cowboys. Of
course, I had to follow up on that. The other day, the relevant volumes of the
magazine finally arrived at my local library. Unfortunately, they came on
microfiche.</span><br />
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I admit I abhor that technology. I don't know if it's the
technology as such, the particular reading machines here at the library or my inaptness
in fiddling with the film and operating machines. Most likely the latter, I
admit. Nevertheless, the fact remains that the technology combines the worst of
both worlds – like digitised editions of books and journals you cannot
purposefully flick through pages as you can with an old fashioned paper book
nor can you search a microfiche copy for relevant key words the way you can
most digitised editions; instead, you have to dutifully scroll through from one
end to the other – in this case 4 volumes of 12 issues each. That rather annoys
me. So, I may have been more prone towards distractions than I usually am when
I look for relevant bits and pieces in books, book chapters or articles. In this
case, my distractions took the form of the jokes on under the heading <i>African
Ways</i>, which unfortunately were mostly not to my taste, and any article that
promised to discuss any aspect of African or Nigerian arts and cultures. There
weren't many (fair enough, this was after all an American journal). But, among
those there were some gems. To improve my mood I took more copious notes on
them than they strictly warranted. </span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">So, let me put those to some use by sharing
some of them with you. Today, let's start with this one: <i>Pajamas A La Gold
Coast</i> by Ernie Pyle (<i>Negro Digest</i>, 1943, Vol. 1(10), 19-20)<a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1] </span></span></a>Pyle, it seems, was equally impressed and shocked by Ghanaian
fashion. On the one hand, he seems to
have delighted in the multi-coloured palette of
Ghanaian textiles. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'As soon as a coast Negro gets home from work he
changes form the ordinary shorts and undershirts in which he usually works into
native dress. That consists of nothing but yards and yards of wildly bright
cotton print, thrown over one should and draped around the body. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The wildness of color and fantasy of design of these
cotton prints is the most striking thing about the Central African natives to me.
To see a village street full of Negroes late in the afternoon is to see
something so beautifully colored you can't believe it's true.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">From babies to old men, everybody is garbed in some
vivid hue. They aren't' in stripes or in checks or even in solid colors; they
give the appearance of being a million colors thrown onto a piece of cloth willy-nilly.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The riotous colors sort of get in your blood …'</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">On the other hand, having been raised on a more muted
fashion palette, he felt overwhelmed by them. This is what he wrote about the pyjamas
he had made from textiles he had bought on the market. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Three days later my monstrosities were ready. They were
really wonderful. … Personally, I haven't slept well since I got [my new
pyjamas]. They are louder than a London air-raid siren, and have everything in
them except the Battle of Gettysburg. They are a screaming explosion of birds,
flowers, castles, snakes, palm trees, the great earthquake of 1934, elephants,
boats, pointing fingers and evil eyes. I hope they last till I get back home
again. Then I can say I'm shell-shocked – and prove it.'</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I am not particularly interested in the history of
textiles in Nigeria, Ghana or anywhere else in Africa – beyond occasionally
acquiring them for sowing projects. So, there is very little that I can add to
these paragraphs. I simply liked them and in particular that sentence that
described the variety of pattern that Pyle encountered and hinted that they –
even then – took inspiration from history and the news (not that this will
surprise serious historians of African textiles, I suspect). And, after I bored
you with my frustrations about microfiche I thought I may as well leave you
with some lovely description of some beautiful Ghanaian textiles. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div style="mso-element: footnote-list;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span><br clear="all" />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<hr align="left" size="1" width="33%" />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div id="ftn1" style="mso-element: footnote;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoFootnoteText" style="line-height: 16pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a> These are, as the magazine's title suggest, 'digested'
i.e. abbreviated reports. This one was originally published by the <i>Chicago
Sun</i> on 13 June 1943.</span></span></div>
</div>
</div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-60397761394844735212017-06-25T08:25:00.000+01:002017-06-28T19:08:26.992+01:00 '[H]undred miles an hour ... only speed a self-respecting Nigerian considers worthy of him' - Theodore Dalrymple on his Travels in West Africa<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>I can't focus today. So, I have abandoned the more
academic literature I was to read today and, instead, settled down with a
travelogue. This one was written by <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiykbP83sLUAhUHKVAKHcpbCtwQFggoMAA&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FTheodore_Dalrymple&usg=AFQjCNE1Y8Kn8jFoeDISXqcZRZ_nDvwRyw&sig2=OddSiFTS26YUYHWXCPzVLw"><span style="color: blue;">Anthony Daniels</span></a> under his alias Theodore
Dalrymple (no relation of that other travel writer, William Dalrymple, as far
as I can gather), a doctor, psychiatrist and journalist. After two years of
working in Tanzania, Dalrymple decided to cross Africa from Zanzibar to Mali by
public transport, by bus, lorry, train, boat and canoe. His account lacks the
historical and analytical depths of William Dalrymple's <i><a href="http://www.goodreads.com/book/show/104039.From_the_Holy_Mountain"><span style="color: blue;">From the Holy Mountain</span></a></i>, another travelogue I
have recently read and enjoyed. Nevertheless, the book contains some gems –
and, indeed, some rather lovely accounts of busses and lorries. </span></span></span></div>
<a name='more'></a><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Take his account of Nigerian drivers. </span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>'Within a very few seconds we were doing a hundred
miles an hour. It is, as I discovered, the only speed a self-respecting
Nigerian considers worthy of him, whatever the condition or situation of the
road. This driver, dressed in Hausa robes and a colourful embroidered hat,
peered imperiously, with his head thrown back and his eyelids half-closed, at
the road ahead – except when speaking to me, when he turned to face me,
disregarding the road altogether. Of course, he did not slow down at such
times: he was a man of uncompromising principle, with fine aristocratic
features and mien. Before long I had the same disdain of death as he.'</span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div align="right" class="MsoNormal" style="line-height: 16pt; text-align: right;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>(Dalrymple 1988 Chapter 10: Nigeria.)<a href="https://www.blogger.com/null" name="_ftnref1"></a><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" title=""><span style="color: blue;">[1]</span></a></span></span></span></div>
</blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>And, of some of the taxies he rode.</span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>'To Kano from Maiduguri is 370 miles, and I went in a
taxi with the cryptic words <i>Sea Never Dry</i> across the rear window. […]
[Another] car, a golden Peugeot, had tinted electric windows and curtains,
arctic air-conditioning, a silvered nymph diving from the bonnet and quotations
from the Koran to ensure safe arrival.'</span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div align="right" class="MsoNormal" style="line-height: 16pt; text-align: right;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>(Dalrymple 1988 Chapter 10: Nigeria.)</span></span></span></div>
</blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>And, here's his account of getting onto a bus in
Niamey.</span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>'The bus that was bound for Gao in eastern Mali was
called <i>Lover Boy</i>. It was parked between buses called <i>It’s Not
Wonderful</i> and <i>Oh Don’t Worry</i>. Others nearby – all with Ghanaian
registrations, presumably here to earn francs rather than near-useless cedis –
were called <i>Good Father, To Be a Man Is Hard </i>and <i>If There Is Life
There Is Hope. Lover Boy</i> also had a couple of slogans emblazoned on its
bonnet: <i>Good God</i> and <i>All Shall Pass</i>, the latter a prediction, it
transpired, of some accuracy. […] When I woke an hour-and-a-half later, there
was a distinct stir of activity. Baggage ten feet high was being tied on to <i>Lover
Boy</i>’s roof; and the crowd round it had grown ominously large for so small a
bus. An enormously fat boy – an unusual sight in Africa, where most children
are thin – had taken up position in the doorway of the bus, and though the
passengers had already paid the full fare he would not let them board without a
further payment. A few of the passengers objected and tried to pull him from
his position; he shouted at them, struggled, and then defeated them utterly by
bursting into tears. I was the only one allowed on the bus without the fifty
francs he demanded. […] A kilometre out of the gare came the first roadblock.
Then the sun went down and it was time for prayers by the roadside. In any
case, <i>Lover Boy</i> needed frequent rests: no longer in the first flush of
youth, and terribly overburdened, even an incline of a few degrees produced horrible
grindings and judders. The road was dust and rubble, a treacherous surface for
bald tyres; the male passengers had frequently to get out and push, while the
female passengers stayed modestly where they were. The plan, insofar as there
was one, appeared to be to travel by day and night. But <i>Lover Boy</i> had
other ideas. On the stroke of ten, a breakdown occurred beyond hope of
nocturnal repair. There was only one torch on board, and the batteries were
soon dead; <i>Lover Boy</i>’s lights, never the strongest, were soon reduced to
a barely perceptible glimmer. There was nothing for it but to sleep where we
had stopped. </span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div align="right" class="MsoNormal" style="line-height: 16pt; text-align: right;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>(Dalrymple 1988 Chapter 11: Niger.)</span></span></span></div>
</blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>There are many more well-captured scenes in
Dalrymple's account of his travels; not all of which I can or should reproduce
here. So, while I am really not up to writing a proper review for this book
[for that see <i><a href="https://www.goodreads.com/book/show/1596062.Zanzibar_to_Timbuktu"><span style="color: blue;">Goodreads</span></a></i>] – If you're looking for some
light-hearted and well written reading material for a lazy Sunday afternoon,
Dalrymple's book is worth a shot. Just don't expect it to live up to the
writing of his more famous namesake. </span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Theodore Dalrymple (1988): <u>Zanzibar to Timbuktu</u>.
London: John Murray. [E-Book, published by Monday Books, Cheltenham, 2012]</span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div align="left" class="MsoNormal" style="line-height: 16pt; text-align: left;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>
<hr align="left" size="1" width="33%" />
</span></span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="https://www.blogger.com/null" name="_ftn1"></a><span><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" title=""><span style="color: blue;">[1]</span></a> Apolgogies. Mine is the ebook
edition of the book, therefore I cannot provide page numbers here. That said,
Dalrymple's chapters are rather short. Skimming them in search for these
paragraphs shouldn't be all too taxing. </span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Edited, 26 June 2017: Faulty formatting corrected
(font size). Hope its easier to read now.</span></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="line-height: 16.0pt; mso-line-height-rule: exactly;">
<br /></div>
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<![endif]-->Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-41111665948281591902017-06-20T13:05:00.000+01:002017-06-20T13:05:05.109+01:00Cowboy Snippets: Biodun Olamosu (2000) Crisis of Education in Nigeria<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">Another day, another mug of tea - and another reference to
cowboys in Nigeria.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Now, in recent months I've read plenty of literature that
discusses the impact of Hollywood and Italian Westerns and their notoriously ambiguous
heroe, 'the Cowboy,' in Nigeria. I have recently found a reference to these
films in an interesting context, Biodun Olamosu's (2000) book <i>Crisis of
Education in Nigeria</i>. Olamosu shares with many other Nigerian commentators
that I have come across a disdain for cowboy movies and in particular their
alleged subversive effects on Nigerian youths. – I say 'alleged' because I am
instinctively doubtful of argument that claim to identify singular causes of
what may be described as anti-social or disorderly behaviour or, indeed, crime among
young people, in fact, among any social group. And, this response is even more
pronounced if the blame is almost exclusively put on any one medium (video
games, music, films, books – over here it's currently fashionable to blame the
Qur'an-, social media), foreign or otherwise. I can't
help it. From where I stand that looks like a suspiciously convenient argument
to absolve oneself and one's own society of all blame and to instead scapegoat
someone or something else. Preferably something that wasn't around when 'we' were their age so that we can conviently blame 'today's youths.'</span></span><br />
<a name='more'></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">But, I digress. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Olamosu briefly mentions what he labels 'cowboy-Yankee type
of films' in his chapter on the 'Crisis of Education' in Nigeria and in the
context of his discussion of 'Neo-Colonial Education and Cultural Imperialism.'
- I'd do Olamosu a disservice if I didn't mention at this point that he does
very much not restrict his discussion to the effects of (neo-) colonialism on
the Nigerian educational system. Instead, he does consider a great variety of
factors some of which originate in the British colonial system and others that
lay the blame firmly at the feet of post-independence Nigerian governments.
Nevertheless, I do think the fact that he mentions 'cowboy movies' in the
context of cultural imperialism is interesting. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Here's an excerpt of his argument in the chapter that, I
hope, doesn't distort is argument more than brevity (*ahem*) makes necessary.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'With the attainment of political independence in October
1960 the general belief of most Nigerians was that the country will be free
from the clutches of Western imperialism. But in reality the contrary has been
the case. The economy is still largely dominated by the capitalist
multinational corporations that are rooted in the metropolitan cities of Paris,
London, New York, Washington, Soule [sic], Berlin, etc. However, education and
other superstructures like, politics, arts, philosophy, ideology, law etc. are
largely influenced by the exploitative economic structure. […] And this accounted
for why forty years after independence, we still adopt the language of the
coloniser as a means of instruction at all levels of our educational institutions.
[…] The advantage of indigenous language to enhance originality cannot be
overemphasised. […] The neo-colonial tendency in vogue is responsible for the practice
of limiting school texts and recommended books to authors from the western
world or their agents among the indigenes that have been so schooled to adopt
their mentality and could never see any area of disagreement in their
intellectual output. This practice will further impair our self-reliance,
ambition and foster dependency syndrome.[…] [O]ur best brains are not
correspondingly valued … Journals published in Zaria, Ife, Nsukka, Makerere
University tec. are rated as second class journals when compared with Journals
from Britain, United State of America, Germany, France, Japan and other
industrially advance countries […] The other ways of transmitting and carrying
out cultural imperialism across the world are through the information
technology like radio, television and the latest information technology, the
computer. […] Since such less privileged stations are far from being well
equipped in information accessories, they have no alternative than to accept
and make use of what are at their disposal. <i>This is how cowboy-Yankee type
of films found its ways to our culture and our youths are being indoctrinated
to imbibe this "violent" culture which is alien to Africa.</i>'</span></span></div>
<div class="MsoNormal" style="text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">(Olamosu 2000: 11-13, my emphasis)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I do understand that the reference to cowboy movies here is
firmly embedded in the final paragraphs that are concerned with various kinds
of information technology from the radio to the internet. And, in this context,
there's nothing remarkable about Olamosu identifying in cowboy movies a form of
Western imperialism. And, there is nothing particularly new about his
suggestion that these films 'indoctrinate' Nigerian youths 'to imbibe this "violent"
culture which is alien to Africa.'</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Still, Olamosu included that paragraph in a chapter that,
for the most part, concerns itself with 'cultural imperialism'<a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a>
within the Nigerian system of education and, if I correctly understand his
argument (and, do correct me if I am wrong), its negative effects on
originality and creativity (in the widest sense of the word). English as a
primary language of instruction, the use of teaching materials produced abroad
and the overt privileging of academic literature published outside of Nigeria,
all, he argued, hampered 'self-confidence, initiative, resourcefulness,
creative reading and adaptability' among Nigerian students. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Is Olamosu, then, arguing that an educational system that neglected
Nigerian languages, teaching materials that reflected Nigerian contexts of
ideas and practices, and the contributions of Nigerian scholars and researchers
left a gap? And, that this gap is filled by undesirable foreign media including
'cowboy-Yankee type of films'? </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Look, dear reader, I do not (yet) quite know where I want to
go with this argument. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">All I can say at this point is that there's something about
the connection Olamosu seems to suggest between the Nigerian educational system
(not known, I'd argue, for fostering creativity), originality and the interest
of a generation or two of Nigerian youths in Westerns that makes me curious. Curious
about what exactly, I can't quite put into words yet. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">And, of course, once again 'cowboy movies' are made to stand in for foreign cultural influences that a Nigerian intellectual has identified as undesirable - and, in that sense, acquire importance well beyond the cinema and the concrete ideas and practices of Nigerian youths that joined cowboy clubs, gangs and societies.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">So, once again, as I finish my tea, I'll leave you with some
ill thought out rumblings, dear reader, rather than any kind of coherent
argument. But that, in my defence, is one of the purposes of this blog. It gets
me writing and through writing – to badly paraphrase Don DeLillo – I realise what
I do and what I don't know and, with a little luck, where I want to go with
that. So, bear with me until the next mug of tea comes my way. Or even a little
longer. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div style="mso-element: footnote-list;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br clear="all" />
</span></span><br />
<hr align="left" size="1" width="33%" />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div id="ftn1" style="mso-element: footnote;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a>
Inverted commas because this is originally Edward Said's term and therefore
carries a range of significations that are tied to academic and non-academic
debates about his work – and that I don't think I can unpack here. </span></span></div>
</div>
</div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-10135662646907511702017-06-19T14:26:00.001+01:002017-06-19T14:27:38.908+01:00New Blog Design (With Apologies for Formatting Blips)<!--[if gte mso 9]><xml>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The other day I was talking with my writing group.
Somehow we drifted onto the topic of blogs and took a close look at a few of
them. This was when I realised that by comparison mine was rather cluttered.
So, I resolved to change its design. </span></span><br />
<a name='more'></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">As of today the blog appears in one of Blogger's contemporary
or 'modern' designs. I am not fully convinced yet. Especially because the
'theme' messed around with some of the formatting of the posts. – I do want to
decide where I insert paragraph breaks. I want to design how my writing aligns on
the page. And, in particular, I do not like it when lyrics or the poems are
centred. - But, that may just be the price I need to pay for a proper layout
for mobile devices that comes with the new themes.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I've tried to tinker with the 'theme' a bit today and
I tried to adjust the formatting of the posts. However, my time is limited and
I haven't gone back further than the beginning of this year – so, that's the
last 15 or so posts. I do not know whether or when I find time to dig deeper
into these formatting issues. In the meantime, I apologise for any 'unique'
formatting you may encounter while perusing the blog. </span></span></div>
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<![endif]-->Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-4861726188588938062017-06-10T14:55:00.002+01:002017-06-21T14:12:52.924+01:00Wanlov: Tribute to Ghanaian Trotros<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">It's finally summer here in Germany and I am enjoying the sun in my parents' backyard a train ride outside Berlin. So, let's have some music! And its even topical, well, kind off.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2630599745/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=654528355/transparent=true/" style="border: 0px none; height: 120px; width: 100%;"><a href="http://wanlov.bandcamp.com/album/orange-card-fruitopian-raps">Orange Card - Fruitopian Raps by Wanlov The Kubolor</a></iframe></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Do you, dear reader, know of any musical tributes to Nigerian motivator bikes, tricycles, cars and lorries transporting passengers or goods? Or their drivers for that matter? - Other than Bobby Benson's <i><a href="https://www.google.de/url?sa=t&source=web&rct=j&url=https://www.youtube.com/watch%3Fv%3DHu5Bav_ySW0&ved=0ahUKEwiG7aKMtLPUAhXOEVAKHUyoDjoQwqsBCCQwAA&usg=AFQjCNE22JaESSsOP6ErQyuOYLGvnp4AGA&sig2=Zofr2_QsGtt-UbrHojzezQ">Taxi Driver</a></i> that is. Even I already knew this one.</span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-65056909341346176742017-06-08T11:26:00.002+01:002017-06-21T13:56:59.037+01:00Ken Saro-Wiwa's (1985) Sozaboy: 'I can buy my own lorry and then I will be big man like any lawyer or doctor'<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I am currently reading/re-reading some classics of
Nigerian literature in the search for references to lorries, lorry art and
possibly cowboys. – I have to confess that I enjoy plenty of them better the
second time around now that I am reading at my own pace rather than to the schedule
of a university course. The latest I have read was <a href="http://www.goodreads.com/book/show/880196.Sozaboy">Ken Saro-Wiwa's <i>Sozaboy</i></a>
(and, for once, I actually do like the German translation I accidentally
ordered). The book's strangely topical with the anniversary of Biafra last
week, the pro-Biafra rallies in recent months and the proclamations of certain
self-proclaimed (and <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0ahUKEwi1taDUgq7UAhUG1xoKHX-VDx4QFgg6MAM&url=http%3A%2F%2Fpunchng.com%2Fbreaking-el-rufai-orders-arrest-of-northern-youths-for-threatening-igbos%2F&usg=AFQjCNGOw1jsfF5_yKDF4k85X7IU4KGtNw&sig2=0v8-_tFtUfhMlXAvmVUE2g">promptly</a>
and <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwi1taDUgq7UAhUG1xoKHX-VDx4QqUMIKjAA&url=http%3A%2F%2Fwww.premiumtimesng.com%2Fnews%2Ftop-news%2F233337-northern-governors-react-to-arewa-groups-ultimatum-to-igbos.html&usg=AFQjCNGxaqzIIvTMNjKSh9lPF4a0TBflIQ&sig2=kncIsbB3u64JEFudZGozHg">widely</a>
disowned) northern youth leaders. For my own purpose, however, the fact that
the novel's protagonist, the eponymous Sozaboy, starts out as an apprentice
driver is of greater interest at the moment. This was one of the details that
didn't mean much to me back at university but that get me excited now. </span></span><br />
<a name='more'></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I am sure you, dear reader, have been much more
attentive already in your first reading of the novel. Nevertheless, let me
remind you of the beauty of Saro-Wiwa's writing and the ways in which he may
well have contributed to this research project. Take for example the following
scene. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'I am very clever boy in school and I like to work
hard always. It was very hard for my mama to pay my school fees but she tried
hard to make me finish in that school. When I passed the elementary six exam, I
wanted to go to secondary school but my mama told me that she cannot pay the
fees. …</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">So my mama told me that I should learn to be driver.
Because Dukana people have one lorry they call 'progress'. But they have no
driver and they have to go and get driver from another country to drive lorry.
And this driver is very rich man because he gets salary every month and every
day he must get chop money. And the lorry is his house so he does not spend
money to get house. My mama say that if I am apprentice to this driver, after
some time I will get my own licence and then I can get my own lorry to drive.
And if I save my salary and my chop money, I can buy my own lorry and then I
will be big man like any lawyer or doctor.'</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">(Saro-Wiwa (1995[1985]): 11)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">With my head deep in the books and stuck between
trucks on German highways, it is sometimes easy to forget what an aspirational profession
driving and especially long-distance driving used to be and to an extent still is – just consider the
noise around Dangote's <a href="http://dailypost.ng/2015/06/15/dangote-creates-28000-new-jobs-with-truck-ownership-scheme/">Truck
Ownership Scheme in 2015</a> (also, let's not forget his <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&cad=rja&uact=8&ved=0ahUKEwjonfjA_q3UAhVCVRoKHY0zBXsQFgg5MAQ&url=http%3A%2F%2Fwww.vanguardngr.com%2F2012%2F11%2F6-ph-d-704-masters-holders-among-applicants-for-drivers-job-in-dangote%2F&usg=AFQjCNFYv-C4-RtuHUl0XE-Qfj0dJvmH8A&sig2=qL1NHWOV4lYtuoVXQNwWww">Graduate
Driver Scheme in 2012</a>, even though, if I remember correctly most – all? –
of them were <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjonfjA_q3UAhVCVRoKHY0zBXsQFggkMAA&url=http%3A%2F%2Fwww.nairaland.com%2F1583129%2Fdangote-sacks-almost-all-graduate&usg=AFQjCNEXlN4XDCz-lmTx4TiMQvd_jOSlNA&sig2=Y82s3XN0J9nbjpFFEYiLqg">quietly
sacked in later</a> and <a href="http://saharareporters.com/2017/02/28/sacked-dangote-cement-workers-protest-non-payment-entitlements">some
may still be waiting for outstanding salaries</a>). </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">And, then there are these beautiful scenes in which
Sozaboy provides insights into his ideas of what makes the driver and the man. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">In the night, I will wash myself, comb my hair and put
powder and some small Bint-el-Sudan scent. Then I will wear better cloth too
and go to any Bar that I like. I must wear better cloth when I am going out in
the night because when I go out I can meet some fine baby and although driver
work look like dirty work, it is not so. Driver work is good work and drivers
must preserve their persy all the time. Otherwise someone can start to mess up
their senior commando. As driver, the same for apprentice driver. … </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">(Saro-Wiwa (1995[1985]): 12-13)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I admit that my Pidgin was not up to the task and I
had to look up 'persy' in the appendix: persy - dignity, composure; preserve
their persy – maintain their equanimity. I have to admit that this notion
reminded me of the ways in which the heroes of certain Westerns are portrayed.
Think Clint Eastwood's character in Sergio Leone's <i>The Good, The Bad, The Ugly</i>
or Franco Nero's eponymous hero <i>Django</i>. It’s a while since I've last seen these
films, so I'll put that very tentatively: Don't they throughout these films
make an effort to 'preserve their persy all the time'? I don't mean to read to
much into what's essential my vague memories of two Italian Westerns. Still,
maybe this points to one of the reasons that Westerns appealed to drivers?</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Anyway, with this I have come
to the end of my tea break and need return to the things that I should be doing
right now instead of blogging. Still, let me end this post on an admission: I
hadn't read much Nigerian literature in a while. In fact, I hadn't really read
much fiction at all. Instead, I limited myself to academic and non-academic
non-fiction. What a mistake that was! I've already order plenty of other
Nigerian literature (some that were on the reading lists at uni and some that
weren't) and I can't wait to dive in again. It's fun and it does seem to
improve my writing, even my non-fiction, if I may say so myself. So, with the last
drops of tea, dear reader, let me advice you: Never ever abandon fiction! </span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-55452765545046357622017-06-01T15:10:00.000+01:002017-06-21T15:13:29.117+01:00BBC Radio 4 featuring Yinka Shonibare & David Adjaye<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It's already been a while since they went online, 19
April and 26 April 2017 respectively, and that I listened to them.
Nevertheless, I think they still bear highlighting here: </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As part of its series <i><a href="http://www.bbc.co.uk/programmes/b08ltbhl">Only Artists</a></i>, BCC Radio
4 has published two interviews with (British) Nigerian artists: In the first,
double bass player <a href="http://www.chi-chinwanoku.com/meet-chi-chi/">Chi-chi
Nwanoku</a> interviews <a href="http://www.yinkashonibarembe.com/">Yinka
Shonibare</a> and, in the second, the latter interviews <a href="http://www.adjaye.com/about/team/david-adjaye/">David Adjaye</a>. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">These interviews aren't too long (28 minutes each) and
rather pleasant to listen to. They are also still available as podcasts on the <a href="http://www.bbc.co.uk/programmes/b08ltbhl/episodes/player">BBC's Iplayer</a>.
So, if you haven't yet, do go and give them a listen!</span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-74002259836277807522017-05-27T11:57:00.001+01:002017-06-19T13:52:15.898+01:00'Of all of my memories of ... Nigeria the most lasting is that of the endless roads' (Robert Collis 1970)<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I stumbled across this book with a wonderful chapter
on roads and driving in Nigeria, <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjBm-Dj9I_UAhWGWxoKHQWzDOAQFggoMAA&url=https%3A%2F%2Fbooks.google.com%2Fbooks%2Fabout%2FNigeria_in_conflict.html%3Fid%3Dg4h0AAAAMAAJ&usg=AFQjCNFTsC2NzEZ3ja0QjzYRVJ07SjlGUQ&sig2=QiXkqSEhV9XDFHd44U3BDA">Robert Collis' (1970) <i>Nigeria in Conflict</i></a>.<a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a>
Collis worked as Head of the Paediatric Department at the Medical School in
Ibadan and Professor of Paediatrics in Lagos. In many ways it is just another
account of Nigeria by an expatriate working there in the late 1950s. However,
it is well written. – There is for example a rather incriminating account of a
conversation he had with an English businessman operating in Nigeria in the
chapter on corruption: </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'One simply can't get anywhere … without bribing one's
way right down the line. These Nigerians are sharks!' </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Isn't it worse for you who imagine
yourself a Christian gentleman … to be giving bribes than it is for these
dishonest chaps to accept them?' I asked. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Look,' he said angrily, ' if I didn't
the Americans would.' </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: right;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(Collis 1970: 184)</span></span><br />
<a name='more'></a></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">But given my current interests, it was the chapter of
roads and driving that interested me the most. Let me give you a taste. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Of all of my memories of my surveys in Nigeria the
most lasting is that of the endless roads and the heat of the cruel sun. ….
These roads must be the most dangerous in the world. I cannot say that the
drivers of any one tribe are the worst offenders for in every part of the
country one continually sees wrecks piled up on and off the roads and the
injured lying about. Every driver always finds the offending driver a member of
'the other' tribe!</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Drivers in Nigeria, and this applies
also to expatriates, seem to become maddened by the long distances and the
general difficulties, so that they continually break the rules. … The drivers
more than those anywhere else seem to carry an inborn certainty that 'it can't
happen to me' or a blind recklessness. So you must always expect the worst. At
any corner you may be faced with a group of cars coming in the opposite
direction, all trying to pass each other on the corner and blocking the entire
road ahead. or on coming to a rise a car may come hurtling over the top on the
wrong side. Your only hope of survival on these occasions is to drive off the
road into the bush and hope for luck. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: right;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(Collis 1970: 78-79)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Collis worked as medical doctor and therefore probably
noticed accidents and the injured and dead that they produced more than
somebody else may have. In his short chapter on the roads in Nigeria he
describes several occasions on which his professional consciousness required
him to stop, take control of the scene of the accident and organise the
transport of the injured to the next hospital</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Anyway, this is his assessment of lorry drivers – the
bit that I'll probably at some point include in my writing.</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: 16pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Among the Nigerian population one comes to recognise
some particularly dangerous driving types. First there are the taximen. … They
are responsible for a lot of accident but at least most of them are good
drivers in control of their cars. This cannot be said of most of the
lorry-drivers from those of the single truck to those who drive immense
Mercedes lorries with trailers. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">These often come from long distances
loaded up with merchandise and all sorts of official and unofficial passengers.
Their drivers become so tired after driving all day that they tend to fall
asleep at the wheel, or to take to drugs. On one occasion one of them pushed
into the back of my stationary car. When I got out I found the driver was
hardly able to stand. He had been driving for ten hours. He said he had three
hours more before he reached his destination. His employer was the Minister of
Transport. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Perhaps the worst of the lot are the
mammy-wagon drivers. … They kill and maim more people than anybody else. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt; margin-top: 0cm; text-align: right;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(Collis 1970: 79-80)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: 16pt;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Robert Collis (1970): <u>Nigeria in Conflict</u>.
London: Secker & Warburg. [SBN 436 10560 8, <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjBm-Dj9I_UAhWGWxoKHQWzDOAQFggoMAA&url=https%3A%2F%2Fbooks.google.com%2Fbooks%2Fabout%2FNigeria_in_conflict.html%3Fid%3Dg4h0AAAAMAAJ&usg=AFQjCNFTsC2NzEZ3ja0QjzYRVJ07SjlGUQ&sig2=QiXkqSEhV9XDFHd44U3BDA">Snippet View available at Google Books</a>, <a href="https://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0ahUKEwjBm-Dj9I_UAhWGWxoKHQWzDOAQFggyMAM&url=https%3A%2F%2Fwww.goodreads.com%2Fbook%2Fshow%2F3674334-nigeria-in-conflict&usg=AFQjCNG7yfm5V0_xu1G6DgAIw-PzFSSqsw&sig2=kPQAgDilvyMab48C0fD_lQ">Goodreads Review to be found here</a>]</span></span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div id="ftn1" style="mso-element: footnote;">
<div style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></div>
<div class="KatsDraftFootnote" style="line-height: normal; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"><span class="MsoFootnoteReference"><span style="vertical-align: baseline;">[1]</span></span></span></span></a><span style="vertical-align: baseline;"> The conflict in question is the Nigerian civil
war/Biafra war to which the author dedicates three chapters, on its outbreak,
Gowon and Ojukwu, and propaganda respectively. </span></span></span></div>
</div>
</div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-19276963438310947772017-05-23T16:48:00.000+01:002017-06-19T13:52:35.905+01:00Vice Documentary on Truckers in West Africa<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I'm rather busy currently so I am (again) neglecting the blog. So, instead of a proper post let me share with you a documentary on truckers in West Africa that I recently stumbled upon on Youtube (embedded below the cut). </span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Enjoy.</span></span><br />
<a name='more'></a></div>
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KYFEoWwDvxY" width="560"></iframe>Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-91975288433300699442017-05-04T12:17:00.001+01:002017-06-19T13:53:03.847+01:00Regarding (American) Country Music in Nigeria<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The other week my writing class finished and we all had to
present a short piece of writing. Mine was the introduction of what I hope will
eventually become an article based on the research I did into cowboys in
Nigeria and my ideas about how to approach their illustrations in lorry art.<a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a>
One of the questions I received as feedback regarded the influence of country music
in Nigeria. I was already aware that there was a country music scene. I know of
at least one dedicated radio station that continues to operate out of Jos and
have read about Nigerian musicians recording their own version of US country
music. Anyway, as life tends to go … This lunch break over a cup of tea I was
idly flicking through some books and articles and stumbled across these nice
references to the genre and its history in Nigeria. Since I need a reason to
procrastinate a little longer I thought I'd share them with you.</span></span><br />
<a name='more'></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Here's the first extract from <a href="https://www.goodreads.com/book/show/8538483-highlife-music-in-west-africa">Sonny Oti's (2009) volume Highlife Music in West Africa: Down the Memory Lane</a>. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'In Nigeria, the "near vacuum", in terms of
repertoire of lyrics created by the absence of song-texts, in the early fifties
and beyond, became a stimulus to an incursion by foreign discs. … Even the country
music of Tennessee became Nigeria's early' morning, late-night and Sunday
serenades. Jim Reeves established as the fore-runner of Don Williams. The death
of Jim Reeves, following the release of his album "We Thank Thee" in
which he sang "This World is Not My Home…" was near-national grief in
Nigeria.' (Oti 2009: 22)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Regarding Jim Reeves, his popularity in Nigeria – and Kenya
and Tanzania – has merited a mention in journalist <a href="https://www.goodreads.com/book/show/19028317-jim-reeves?from_search=true">Larry Jordan's (2011) biographyof the musician</a>.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'"He's still the best-selling Western artist in Nigeria
and Kenya" … Bob Kimsey, how has done missionary work in Nigeria confirmed
that "Jim is still one of the most popular artists in that country. The
Muslims pray over their loudspeakers before dawn and then they play Jim Reeves
tapes over them all day and his voice can be heard throughout the
country."' (Jordan 2011: 3)</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Jordan does unfortunately not provide any references for
that Bob Kimsey quote. So, I cannot tell where and when Kimsey may have heard
Jim Reeves played through the loudspeakers of Nigerian mosques. I think
knowledge of time and place matters here. A quick google search has not yet
revealed that information and I cannot promise I will not forget about it once
I've officially finished lunchbreak and went back to what I should be doing.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Here's another extract, this time from Pius Adesanmi's
(2011) essay collection <a href="https://www.goodreads.com/book/show/9259389-you-re-not-a-country-africa"><i>You're Not a Country</i></a> The extract is from the
beginning of the second chapter, <i>Don Williams: Fragments of Memory </i>.<a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[2]</span></span></a></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'America invaded my formative years in Nigeria through
culture, mainly books and music. Indian (Amitabh Bachchan!) and Chinese (Bruce
Lee!) films relegated American (John Wayne) movies to a distant background. In
high school (Titcombe College), <a href="http://katrinschulze.blogspot.de/2017/02/shout-out-to-interwebs-looking-for.html">James Hadley Chase</a> was our most mesmerising
path to America. … We escaped the enchanting world of Hadley Chase's America
only to be "arrested" by American musicians. Now this is where it
gets really interesting. Of all the genres of American music that formed part
of our cultural consciousness as young Nigerian schoolkids, country music came
to acquire a significance that, years later, I would be at pains to explain to
my American friends, especially African Americans. Kenny Rodgers entered
Nigerian ears mainly with "The Gambler". Dolly Parton's "Coat of
Many Colors" resonated with us because so many of us could relate to the
lyrics. … </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">… Pastor <a href="https://www.youtube.com/watch?v=Zr3dVRg6HE0&feature=youtu.be">Kris
Okotie did a fantastic version of James Taylor's "Carolina on My Mind</a>".
And there were songs by Johnny Cash, Waylon Jennings, Emmylou Harris, The Judds,
and Ronnie Milsap, whose "Daydreams about Night Things" signalled the
beginning of restless adolescent explorations of forbidden warrens of pleasure
with the opposite sex that would end up in the ears of white Catholic priests
at confession.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Then there was Don William! How a country musician from Floydada,
Texas, became one of America's greatest gifts to the ears of my generation –
pre-teen schoolkids in faraway Nigeria – is a matter that should detain all
students of Africa and transnational aesthetic crossings.'</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Adesanmi's essay continues to engage with his childhood
excitement with country music and especially Don Williams – including the fact
that, 'between 100 and 200 level at university' he learned that Don Williams
may have been a racist. And, this is when he makes a point I probably should
take up with regard to my own research and engage with (oh well, one more reason to re-read that chapter properly):</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">'You see, country music came to us in Nigeria without the
baggage of America's race demons.' </span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">And at that I leave you again. The clock just turned 1 pm
and lunch break's over for good. Well, that means no links for you today. I just
quickly post this and then it's back to serious critical engagement and
writing. </span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Edit: 5 May 2017 - Added links. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span><br clear="all" />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<div style="mso-element: footnote-list;">
<hr align="left" size="1" width="33%" />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div id="ftn1">
<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a>
I may or may not post this here. I read a lot of different non-fiction during
that course and played around with some of what I liked about other writer's
work – including in this piece. I am not quite sure yet whether it works. I
have other writing though that only needs another edit and then may go up here
to fill the time between topical posts. So, be warned.</span></span></div>
</div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div id="ftn2" style="mso-element: footnote;">
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span></div>
<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="https://www.blogger.com/blogger.g?blogID=7560651325619259553#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[2]</span></span></a>
Bear with me regarding the citations, I own the ebook and this one doesn't
include pages. I am still not sure I like the whole locations business. Anyway,
this is taken from the beginning of the second chapter.</span></span></div>
</div>
</div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-85953564086044012122017-04-25T14:21:00.000+01:002017-06-19T13:53:38.504+01:00Inside Africa (BBC) on Matatus in Nairobi, Kenya<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Here's an <i>Inside Africa</i> (BBC) clip that highlights
the visual culture of matatus in Nairobi, Kenya, and particular the work of
Matwana Matatu Culture to highlight and document it. I've only recently
stumbled upon <a href="http://matatujournal.blogspot.de/">their blog</a> and <a href="https://www.youtube.com/channel/UCFhavBiv0FZbkAVhJsdh7MA">youtube site</a> but, yeah, I wish I'd see the same
enthusiasm directed towards vehicle decoration in Nigeria. – Note that the
documentary speaks of the imagery on matatus as 'window into the culure,' 'art
galleries' or 'museums on wheels' and reflections of Nairobi's urban youth
cultures. Obviously, I concur.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(clip after the break) </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span><br />
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Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-91507390072903495332017-03-31T11:51:00.000+01:002017-06-19T13:54:35.875+01:00Suddenly I find 'cowboys; in the least likely places<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It's funny how sometimes once you
take an interest in something, you suddenly start to notice that it is a range
of contexts where you never anticipated to find it. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">At least that's what happened to
me since I started to look at illustrations of cowboys in Nigerian lorry
decorations. Suddenly, cowboys spring at me from the pages of the least likely
books and magazine. </span></span><br />
<a name='more'></a></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Just the other day I finished a
completely unrelated book, Elizabeth Warnock-Fernea's account of the time she
and her husband, then a doctoral student on fieldwork, spent living in an Iraqi
village between 1957 and 1958. I am currently on a quest to improve my writing
after a friend had told me that my 'academese' was a chore to read.
Warnock-Fernea-s book was recommended to me as an example of a well-written
piece of anthropology. And, indeed, so it is. It also provides glimpses into
the secluded lives of Shi'ite women in Iraq before the revolutions,
counterrevolutions, invasions and insurgencies of the 20<sup>th</sup> and 21<sup>st</sup>
century that are fascinating enough to merit a read. </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Nevertheless, single minded as I
am, what stayed with me is a sentence in the book's post script in which the
author updated readers on developments in the village since she had left 8
years prior to its publication. There she writes</span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'Selma has had three children
since I left, one a boy. Bob saw this little son of Selma's <i>dressed up in an
American cowboy suit Sheik Hamid had brought back from Lebanon</i>.' (my
emphasis)</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">So, dear reader, if you happen to
know of any book or article that delves further into the histories and
appropriations of 'the cowboy' in the Arab or other part s of the Muslim, do
let me know. I'd like to add it to my background readings.</span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0tag:blogger.com,1999:blog-7560651325619259553.post-41351278935734734102017-02-23T14:20:00.000+00:002017-06-19T13:54:53.579+01:00On Didier Gondola's (2016) Tropical Cowboys <!--[if gte mso 9]><xml>
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<br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">One
of the books that I have recently read and that I really wanted to write a
review of for this blog is <a href="http://www.iupress.indiana.edu/product_info.php?products_id=807931">Didier
Gondola's fantastic publication on the <i>Bills</i>, a cowboy-inspired
subculture in colonial Kinshasa</a>. I have tons of notes and have started
incorporating some of his ideas and observations in my own draft (obviously
with all the appropriate referencing) but somehow I have not quite found the
time to write the kind of review this book deserves. In the meantime, I leave
you with this nice <a href="http://edition.cnn.com/2015/12/08/africa/kinshasa-cowboys-bills/">CNN
report on Gondola's research</a> that Thomas Page published 8 December 2015. </span></span></div>
<a name='more'></a><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I
can't for some reason (copyright, I suspect) share the images here with you. I
cannot seem to embed them and I really do not want to enter the grey zone that
would be reproducing screenshots of them (after all, I complained about a
Nigerian publication violating my copyright not too long ago). </span></span></div>
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilwq86UXDcCGls9Nq4BiFo5YJfZvfYDal7GtEqXYNfWnWijuzGgmt4h18FwqlrOVKz17-WUekAIAmZ_l_7zfhlFBicUbIffcwzClxs1cYm3rZh_1dTOIclPkjmmAyZnluC2U-BFijpLlXu/s1600/Screenshot+%2528127%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilwq86UXDcCGls9Nq4BiFo5YJfZvfYDal7GtEqXYNfWnWijuzGgmt4h18FwqlrOVKz17-WUekAIAmZ_l_7zfhlFBicUbIffcwzClxs1cYm3rZh_1dTOIclPkjmmAyZnluC2U-BFijpLlXu/s400/Screenshot+%2528127%2529.png" width="400" /></a></span></div>
<br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span></div>
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">So, I will leave
you with the above screenshot (which I think should be within reason) and a
short extract from Page's text. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">It
was hard being a youth in Kinshasa in the 1950s. Known as Leopoldville at the
time, the capital of Congo was under the control of Belgian colonialists.
Segregation meant there were no-go zones after nightfall and unemployment
levels were high. Most residents had no education beyond primary level.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The
city was feeling the strain from an influx of rural migrants, largely young
men, who flocked to the capital's poor neighborhoods. Away from their parents
it was a hyper-masculine environment, and yet they found themselves
infantilized by the colonial class.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Refusing
to be cowed, these young men (and in some cases women) were looking for a role
model.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">They
found one in Buffalo Bill.</span></span></div>
</blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">There
are probably many differences between colonial Kinshasa and colonial cities in
Nigeria, however, clearly Westerns and in particular the figure of the cowboy
also appealed to some Nigerian youth. – And, I'd suspect that their
circumstances wouldn't have been all too different from those of the young men
who formed the <i>Bills</i> in Kinshasa. In other words, there are some points
that Gondola makes here and in greater detail in the book that I consider worth
exploring in relation to Nigeria as well. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Gondola
credits Buffalo Bill and cowboy movies with providing young, unmarried and
underemployed young men with a basis for a collective identity and for new
ideas about what it meant to be a man in colonial Kinshasa. Thus, they provided
them with ideas about how to dress and how to behave that simultaneously
rejected the norms of the villages from which these youth had arrived and the
norms that the colonial state and the churches that supported its mission tried
to install in them. Of course, these ideas are explored in greater detail in
the book but I think they point to something that may be interesting to explore
with regard to Nigeria as well. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I
have read plenty of criticism of Nigerian youth that took ideas from the movies
and, later, TV since I started looking at appropriations of 'the cowboy' in
Nigeria. Invariably, they are criticised for abandoning tradition in favour of unsuitable
foreign ideas and, thus, criticised as victims of cultural imperialism. These
arguments are by no means without value, however, Gondola introduces nuance
into that discussion by pointing out, yes, the young men who appropriated 'the
cowboy' did rebel against so-called tradition. But, he suggests, in choosing
'the cowboy' as their hero (rather than, say, the colonial officer or the
priest) they also rebelled against the norms of the colonial state. In other
words, 'the cowboy' fed into their sense of anti-colonial rebellion. Or, let me
quote the article and Gondola here: </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<blockquote class="tr_bq">
<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">"Through
Buffalo Bill they were able to forge new standards of masculinity,"
explains Professor Didier Gondola of Indiana University… </span></span></div>
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<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">One
would expect the Congolese to identify with the Native Americans on screen, but
instead they were fascinated by the white imperialists. To Gondola, this makes
perfect sense. "Young people, when they're watching Manichean movies, will
always side with the victors," he explains. "They're never going to
side with the people who are being destroyed, being defeated; being stripped of
their masculinity."</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">For
these Congolese youths, the cowboy was a symbol of victory, of empowerment and
liberation, and many bought into the image wholeheartedly.</span></span></div>
</blockquote>
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<div class="KatsDraftFootnote" style="margin-top: 6pt; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3viBoDWuprW6YqUvcPcN7gxlIIT2ru_WD7w0KKqGlGHhdmecf1qNvWo6WB7hSIZusxwYLh_7mrkOw468AZzODaKTutMHpqllw9vs-rxW1iB4zwI6m-Wl86Ej0MellhVb5kEJHNTuRLz43/s1600/Gondola+Tropical+Cowboys.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3viBoDWuprW6YqUvcPcN7gxlIIT2ru_WD7w0KKqGlGHhdmecf1qNvWo6WB7hSIZusxwYLh_7mrkOw468AZzODaKTutMHpqllw9vs-rxW1iB4zwI6m-Wl86Ej0MellhVb5kEJHNTuRLz43/s200/Gondola+Tropical+Cowboys.jpg" width="133" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">One
of the things that I have been trying to do in the last few weeks writing was
to look at Gondola's ideas and observations and wonder whether and in which ways
they could be applied to the cowboy-inspired subcultures that appeared in
Nigeria in the late 1940s. – And, what I have found so far is that I do lack
the evidence to do more than speculate in many regards. So, I will have to do
some more digging before I get back to you about that. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">In
the meantime, do check out the <a href="http://edition.cnn.com/2015/12/08/africa/kinshasa-cowboys-bills/">full
article on CNN</a> including the photographs and if you can get your hands on <a href="http://www.iupress.indiana.edu/product_info.php?products_id=807931">his
book</a> do give it a read. It's worth it. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
Katrin Schulzehttp://www.blogger.com/profile/07690836401268657862noreply@blogger.com0