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The truth about being African versus dressing African

In the age of hypersensitive social media wokeness, we are quick to shout “cultural appropriation” every time an international fashion house reimagines African aesthetics and bill it as “a modern high-fashion interpretation of ABC”

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In the age of hypersensitive social media wokeness, we are quick to shout “cultural appropriation” every time an international fashion house reimagines African aesthetics and bill it as “a modern high-fashion interpretation of ABC”.

Artists from various fields have since the beginning of time been inspired by someone else’s work. “Good artists copy, great artists steal,” renowned painter Pablo Picasso once said.

At the other end of the table, someone is screaming stop making narrow-minded views about Africa and trivialising sacred parts of our culture.

This is a multiplex debate that needs a roundtable discussion with industry pundits and perhaps moderated by social activist Lebo Mashile.

Landing me to my next pit stop. In rocking African traditional clothing there is a blurry line between fashion and costume.

Fashion is about freedom of self expression, thought-provoking drama and nodding your uniqueness. Society doesn’t always have to agree with it, because sometimes bold fashion statements can shock the eye.

Costume, on the other hand is monotonous, lacks imagination and is boring.

Two South African rappers proudly showed off their South African stripes last weekend at the BET Awards in Hollywood and created polarising views on fashion.

One kept it all the way African (Sjava), while the other tried a more modern approach (Cassper Nyovest).

Whether you cringed or ululated with joy as a barefooted Sjava accepted his gong in his Zulu regalia, we can all agree the moment was an unapologetic blast of African pride. Without opening his mouth, he had told a story with his look.

You cannot accuse Sjava of being gimmicky in order to hog headlines. He simply kept it real, the world just happened to have its eyes on him.

Fashion commentator Felipe Mazibuko reiterates why this was a historic fashion moment. “We get different inspirations from different places depending on where our mind is.

“If you feel like tapping into your own culture and making that your career path, there is absolutely nothing wrong with it. As long as it’s done in a proper way,” he adds.

“[Sjava] has always dressed in that kind of regalia and we are used to him representing his aesthetic that way. When I saw him he looked like himself and didn’t get lost in regalia. Kudos to him.”

But if there is anyone who had us lost in translation, it was Nyovest in his monochrome leopard print layers. If fashion is about making a bold statement, then what statement was he uttering? I’m a cartoonish version of Eddie Murphy’s character in 1988 urban cult film Coming to America.

He completely lost many and fashion designer Paledi Segapo paints a picture of why it’s so. “With Cassper I feel like it’s an attempt that almost worked, but it was kind of missing an element that made it outstanding.

“As a creative I looked at it and I saw where the concept was going, but I think it failed to reach there,” he said.

“It kind of translated into a hurried costume made at the eleventh hour. I suppose they were trying to reference Africa.”

TV personality Nandi Madida is a perfect example of how when given a fashion theme such as Wakanda Forever, you can interpret it without looking like you just stepped off the set of Black Panther.

At the awards, Madida donned a midriff-baring ensemble from her label Colour inspired by African beadwork. Ahead of her appearance, we had an insightful chat on keeping it simple.

“It’s always great to see people’s take on a theme like Wakanda, but hopefully they don’t take it literal. So I’m hoping to see more than tribal prints,” Madida said.

Commentator….Emmanuel Tjiya

Strictly Personal

In 64 years, how has IDA reduced poverty in Africa? By Tee Ngugi

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The name of the organisation is as opaque as a name can get: World Bank’s International Development Association (IDA).

I had never heard of it. And suppose I, who follows socioeconomic developments that affect Africa, had never heard of it until last week when it convened in Nairobi. In that case, likely, only a handful of people outside those who serve its bureaucracy had ever heard of it.

Maybe IDA intends to remain shadowy like magicians, emerging occasionally to perform illusions that give hope to Africa’s impoverished masses that deliverance from poverty and despair is around the corner.

So, I had to research to find out who the new illusionist in town was. IDA was founded in 1960. Thirty-nine African countries, including Kenya, are members. Its mission is “to combat poverty by providing grants and low-interest loans to support programmes that foster economic growth, reduce inequalities, and enhance living standards for people in developing nations”.

It’s amazing how these kinds of organisations have developed a language that distorts reality. In George Orwell’s dystopian novel, Nineteen Eighty-Four, the totalitarian state of Oceania devises a new language. “Newspeak” limits the thoughts of citizens of Oceania so that they are incapable of questioning whatever the regime does.

Let’s juxtapose the reality in Africa against IDA’s mission. Africa has some of the poorest people in the world. It contributes a paltry two percent of international trade. It contributes less than one per cent of patents globally.

The continent has the largest wealth disparities in the world. Millions of people across Africa are food insecure, needing food aid. A study has indicated that Africa is among the most hostile regions in the world for women and girls, because of residual cultural attitudes and the failure of governments to implement gender equality policies.

Africa has the largest youth unemployment rate in the world. Africa’s political class is the wealthiest in the world. Africa remains unsustainably indebted. The people who live in Africa’s slums and unplanned urban sprawls have limited opportunities and are susceptible to violent crime and natural and manmade disasters.

As speeches in “Newspeak” were being made at the IDA conference, dozens of poor Kenyans were being killed by floods. These rains had been forecast, yet the government, not surprisingly, was caught flatfooted.

So in its 64-year existence, how has IDA reduced poverty and inequality in Africa? How has its work enhanced living standards when so many Africans are drowning in the Mediterranean Sea trying to escape grinding poverty and hopelessness?

As one watched the theatre of leaders of the poorest continent arriving at the IDA illusionists’ conference in multimillion-dollar vehicles, wearing designer suits and wristwatches, with men in dark suits and glasses acting a pantomime of intimidation, and then listened to their “Newspeak,” one felt like weeping for the continent. The illusionists had performed their sleight of hand.

Tee Ngugi is a Nairobi-based political commentator

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Strictly Personal

This Sudan war is too senseless; time we ended it, By Tee Ngugi

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Why are the Sudanese Armed Forces (SAF) and the paramilitary Rapid Support Forces (RPF) engaged in a vicious struggle? It is not that they have ideological, religious or cultural differences.

Not that people should fight because of these kinds of differences, but we live in a world where social constructions often lead to war and genocide. It is not that either side is fighting to protect democracy. Both sides were instruments of the rapacious dictatorship of Omar el-Bashir, who was overthrown in 2019.

 

Both are linked to the massacres in Darfur during Bashir’s rule that led to his indictment by the International Criminal Court for crimes against humanity. They both stood by as ordinary, unarmed people took to the streets and forced the removal of the Bashir regime.

 

None of these entities now fighting to the last Sudanese citizen has any moral authority or constitutional legitimacy to claim power. They both should have been disbanded or fundamentally reformed after the ouster of Bashir.

 

The SAF and the RSF are fighting to take over power and resources and continue the repression and plunder of the regime they had supported for so long. And, as you can see from news broadcasts, they are both well-versed in violence and plunder.

 

Since the fighting began in 2023, both sides have been accused of massacres that have left more than 30,000 people dead. Their fighting has displaced close to 10 million people. Their scramble for power has created Sudan’s worst hunger crisis in decades. Millions of refugees have fled into Chad, Ethiopia and South Sudan.

 

The three countries are dubious places of refuge. Chad is a poor country because of misrule. It also experiences jihadist violence. Ethiopia is still simmering with tensions after a deadly inter-ethnic war.

 

And South Sudan has never recovered from a deadly ethnic competition for power and resources. African refugees fleeing to countries from which refugees recently fled or continue to flee sums up Africa’s unending crisis of governance.

 

Africa will continue to suffer these kinds of power struggles, state failure and breakdown of constitutional order until we take strengthening and depersonalising our institutions as a life and death issue. These institutions anchor constitutional order and democratic process.

 

Strong independent institutions would ensure the continuity of the constitutional order after the president leaves office. As it is, presidents systematically weaken institutions by putting sycophants and incompetent morons in charge. Thus when he leaves office by way of death, ouster or retirement, there is institutional collapse leading to chaos, power struggles and violence. The African Union pretends crises such as the one in Sudan are unfortunate abnormally. However, they are systemic and predictable. Corrupt dictatorships end in chaos and violence.

 

Tee Ngugi is a Nairobi-based political commentator.

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