Slumdogs rule and I made a fim about India

February 16, 2009 by kennymann

I

loved the movie, especially the riveting music and was fascinated to hear that the composer, who most of us have probably never heard of, much to our shame, is such an enormous blockbusting success in India yet also understands the synthesis between Indian and western music enough to create exactly the right score for Slumdog. I traveled through southern India alone a few years ago and loved every minute of it. I had wonderful adventures in Mumbai, much to my surprise, because I thought I would really hate the city and had planned to get out of it as fast as possible. But I wandered around, went to the incredible cloth market, stayed in an old and lovely guest house down in Colaba, on Mumbai’s southernmost tip and yes – I was shocked and angered at the incredible poverty, the beggars selling their children (yes!), the filth, the pollution, the unbelievable numbers of people – just as you see in Slumdog. But I loved the energy, the kindness of people, the colors, the street food and the general mayhem. In fact, I loved India altogether and can’t wait to go back and visit the northern provinces.
To learn more about India and maybe follow my route, watch the trailer to my film INDIA – AND OTHER THOUGHTS – at http://www.amazon.com/s/ref=nb_ss_d?url=search-alias%3Ddvd&field-keywords=india+-+and+other+thoughts&x=0&y=0 You can purchase the DVD or an instant download on this site.

Filming in Africa – tips for newbies

February 16, 2009 by kennymann
I come from Kenya and have spent my life writing about Africa (see my website at www.rafikiproductions.com for information on my books and films).  In the past two years, I’ve completed two documentaries on African topics. The first, THE SWAHILI BEAT, outlines the fascinating history of East Africa’s Swahili coast through the music and dance of its indigenous people.  The second film, WALKING WITH LIFE – HUMAN RIGHTS, ISLAM AND REVOLUTION IN SENEGAL, documents the profound impact of Tostan, an organization teaching human rights in Senegal and other African countries.
In both East Africa and Senegal, Africans are generally suspicious of white people with movie cameras.  It is not only their governments that tend to frown upon such activities – in Kenya, you must have a permit to even be seen with a movie camera – but also individuals who are rightly fed up with being exploited for their exotic images with no return to themselves.  For this reason, I always travel and work alone.  It’s just me – a single woman – and my two cameras.  One is an ancient Sony TRV30,

a prosumer product that does a truly excellent job and is small enough to fit into my purse.  I have often used it secretly, when I feared arrest or attack.  The other is the wonderful Sony VX2100 which cannot be so easily hidden.  Unfortunately for me, both these cameras use only miniDV and HD is the required format today.  Nevertheless, they both produced excellent color, especially in low-light situations, and the VX2100 allows an operator to switch lens filters at the touch of a button – very useful in tropical, blazing sunlight conditions.

In making THE SWAHILI BEAT, my working knowledge of the Swahili language was most helpful.  I simply wandered about and acted like a tourist, smiling nicely and telling people that I was filming an educational film that would help audiences abroad to more fully understand the area.  Most people were eager to participate, and I always paid musicians as much as I could.  In Nairobi, however, I was almost arrested as I attempted to film activities on the street outside the main Post Office. A policeman tried to grab my camera and threatened to arrest me.  I wished him a good day and walked quietly away.  That taught me to do most of my filming off the streets – from the roof of a parking garage, for example, or through an office window where I could not be seen by authorities.  I had already learned from other film makers there that doing it “right” and trying to get a proper permit to film was such a drawn-out, unpredictable nightmare that it is not worth the trouble.
In Senegal, I was almost always accompanied by someone from Tostan, the organization whose work I was documenting, and as long as they were with me, I had the full cooperation of everyone we met.  As soon as I tried to film on my own, though, for example, in the streets and markets of Dakar, people yelled at me, shook their fists and warned me to stop.  Even when I was filming through the window of a moving car, anyone who noticed became extremely aggressive.
For this film, I wanted to document Senegalese in Paris.  Innocently, I tried to shoot at the African Market at Chateau Rouge and within three minutes, was surrounded by an angry mob of Senegalese and other West Africans.  I finally understood that they thought I might be an undercover agent filming illegal immigrants and I had to move away fast.
Another major issue on both films was NOISE.  In African villages, there is a constant hum of chatter between people, punctuated by sheep bleating, cows mooing, camels farting, children screaming, women banging pots as they cook, chickens screaching….it is extremely difficult to find a quiet corner anywhere if, say, you want to conduct an interview.  In Senegal, I had to recruit people to try and keep the curious children away from the open windows of houses where I was filming – usually a bag of sweets did the trick – and even indoors, doors were always slamming, someone was singing, a radio or TV was on, people bustled in and out. AAfrican life is not like ours – they do not live alone and isolated, but surrounded by extensive family and hospitality is de rigeur.  In addition, on the flat plains where I worked there was always wind – sometimes stronger, sometimes just a breeze, but a real detriment to good sound quality recording.  While filming in Senegal, I had brought along a huge fuzzy windshield for my shotgun microphone, only to find when I used it for the first time that some kind of worm had got into the fuzz and eaten most of it away!  It just dropped off in ugly wormy chunks when I pulled it over my mic.  So out in the field, I was left with only the foam protector that came with the mic, my socks and my shirt.  No need to go any further – I borrowed someone’s blue turban, took off every piece of my clothing that was decent to remove and wrapped my mic in 8 inches of cloth.  It helped – but made the mic cumbersome, lopsided and heavy.  Finally, I paid a few tall young men to stand around me holding up the stiff posters that the organization used for teaching human rights.  They actually formed the best windshield of all, and so, like a Roman battle formation, we moved in unison across the plains and through the villages.  I used the same technique when interviewing people who were sitting or standing in one place.  I got excellent results!
The main thing to remember when filming in Africa or any foreign country is to respect the people and their beliefs and fears.  If someone doesn’t want to be filmed, don’t film them.  Should you get arrested or have your equipment confiscated, don’t expect the same legal rights and help that you would get in the USA or Europe.   Most of all, people want to feel that they are not being merely exploited but are helping their own people in a good cause. I made WALKING WITH LIFE over a period of three years, visiting Senegal three times.  The first time, I rarely had to pay anyone for permission to film. The last time, in 2008,  I was forking out money left, right and center.  Tostan, the organization I was filming, had won two major humanitarian awards earlier that year that brought many foreign journalists to the country.  People were tired of being filmed and interviewed ad nauseum and receiving no money for their time and efforts, nor ever seeing the results of their cooperation.  I made them a promise that no matter what, I would donate a finished copy of the film to Tostan and ask that it be shown in their regional centers around the country.  So if you’re filming an NGO,make sure that the people who help you get credit and that the people you filmed are given an opportunity to see your work and themselves in it.

a prosumer product that does a truly excellent job and is small enough to fit into my purse.  I have often used it secretly, when I feared arrest or attack.  The other is the wonderful Sony VX2100 which cannot be so easily hidden.  Unfortunately for me, both these cameras use only miniDV and HD is the required format today.  Nevertheless, they both produced excellent color, especially in low-light situations, and the VX2100 allows an operator to switch lens filters at the touch of a button – very useful in tropical, blazing sunlight conditions.

In making THE SWAHILI BEAT, my working knowledge of the Swahili language was most helpful.  I simply wandered about and acted like a tourist, smiling nicely and telling people that I was filming an educational film that would help audiences abroad to more fully understand the area.  Most people were eager to participate, and I always paid musicians as much as I could.  In Nairobi, however, I was almost arrested as I attempted to film activities on the street outside the main Post Office. A policeman tried to grab my camera and threatened to arrest me.  I wished him a good day and walked quietly away.  That taught me to do most of my filming off the streets – from the roof of a parking garage, for example, or through an office window where I could not be seen by authorities.  I had already learned from other film makers there that doing it “right” and trying to get a proper permit to film was such a drawn-out, unpredictable nightmare that it is not worth the trouble.
In Senegal, I was almost always accompanied by someone from Tostan, the organization whose work I was documenting, and as long as they were with me, I had the full cooperation of everyone we met.  As soon as I tried to film on my own, though, for example, in the streets and markets of Dakar, people yelled at me, shook their fists and warned me to stop.  Even when I was filming through the window of a moving car, anyone who noticed became extremely aggressive.
For this film, I wanted to document Senegalese in Paris.  Innocently, I tried to shoot at the African Market at Chateau Rouge and within three minutes, was surrounded by an angry mob of Senegalese and other West Africans.  I finally understood that they thought I might be an undercover agent filming illegal immigrants and I had to move away fast.
Another major issue on both films was NOISE.  In African villages, there is a constant hum of chatter between people, punctuated by sheep bleating, cows mooing, camels farting, children screaming, women banging pots as they cook, chickens screaching….it is extremely difficult to find a quiet corner anywhere if, say, you want to conduct an interview.  In Senegal, I had to recruit people to try and keep the curious children away from the open windows of houses where I was filming – usually a bag of sweets did the trick – and even indoors, doors were always slamming, someone was singing, a radio or TV was on, people bustled in and out. AAfrican life is not like ours – they do not live alone and isolated, but surrounded by extensive family and hospitality is de rigeur.  In addition, on the flat plains where I worked there was always wind – sometimes stronger, sometimes just a breeze, but a real detriment to good sound quality recording.  While filming in Senegal, I had brought along a huge fuzzy windshield for my shotgun microphone, only to find when I used it for the first time that some kind of worm had got into the fuzz and eaten most of it away!  It just dropped off in ugly wormy chunks when I pulled it over my mic.  So out in the field, I was left with only the foam protector that came with the mic, my socks and my shirt.  No need to go any further – I borrowed someone’s blue turban, took off every piece of my clothing that was decent to remove and wrapped my mic in 8 inches of cloth.  It helped – but made the mic cumbersome, lopsided and heavy.  Finally, I paid a few tall young men to stand around me holding up the stiff posters that the organization used for teaching human rights.  They actually formed the best windshield of all, and so, like a Roman battle formation, we moved in unison across the plains and through the villages.  I used the same technique when interviewing people who were sitting or standing in one place.  I got excellent results!
The main thing to remember when filming in Africa or any foreign country is to respect the people and their beliefs and fears.  If someone doesn’t want to be filmed, don’t film them.  Should you get arrested or have your equipment confiscated, don’t expect the same legal rights and help that you would get in the USA or Europe.   Most of all, people want to feel that they are not being merely exploited but are helping their own people in a good cause. I made WALKING WITH LIFE over a period of three years, visiting Senegal three times.  The first time, I rarely had to pay anyone for permission to film. The last time, in 2008,  I was forking out money left, right and center.  Tostan, the organization I was filming, had won two major humanitarian awards earlier that year that brought many foreign journalists to the country.  People were tired of being filmed and interviewed ad nauseum and receiving no money for their time and efforts, nor ever seeing the results of their cooperation.  I made them a promise that no matter what, I would donate a finished copy of the film to Tostan and ask that it be shown in their regional centers around the country.  So if you’re filming an NGO,make sure that the people who help you get credit and that the people you filmed are given an opportunity to see your work and themselves in it.
In making THE SWAHILI BEAT, my working knowledge of the Swahili language was most helpful.  I simply wandered about and acted like a tourist, smiling nicely and telling people that I was filming an educational film that would help audiences abroad to more fully understand the area.  Most people were eager to participate, and I always paid musicians as much as I could.  In Nairobi, however, I was almost arrested as I attempted to film activities on the street outside the main Post Office. A policeman tried to grab my camera and threatened to arrest me.  I wished him a good day and walked quietly away.  That taught me to do most of my filming off the streets – from the roof of a parking garage, for example, or through an office window where I could not be seen by authorities.  I had already learned from other film makers there that doing it “right” and trying to get a proper permit to film was such a drawn-out, unpredictable nightmare that it is not worth the trouble.
In Senegal, I was almost always accompanied by someone from Tostan, the organization whose work I was documenting, and as long as they were with me, I had the full cooperation of everyone we met.  As soon as I tried to film on my own, though, for example, in the streets and markets of Dakar, people yelled at me, shook their fists and warned me to stop.  Even when I was filming through the window of a moving car, anyone who noticed became extremely aggressive.
For this film, I wanted to document Senegalese in Paris.  Innocently, I tried to shoot at the African Market at Chateau Rouge and within three minutes, was surrounded by an angry mob of Senegalese and other West Africans.  I finally understood that they thought I might be an undercover agent filming illegal immigrants and I had to move away fast.
Another major issue on both films was NOISE.  In African villages, there is a constant hum of chatter between people, punctuated by sheep bleating, cows mooing, camels farting, children screaming, women banging pots as they cook, chickens screaching….it is extremely difficult to find a quiet corner anywhere if, say, you want to conduct an interview.  In Senegal, I had to recruit people to try and keep the curious children away from the open windows of houses where I was filming – usually a bag of sweets did the trick – and even indoors, doors were always slamming, someone was singing, a radio or TV was on, people bustled in and out. AAfrican life is not like ours – they do not live alone and isolated, but surrounded by extensive family and hospitality is de rigeur.  In addition, on the flat plains where I worked there was always wind – sometimes stronger, sometimes just a breeze, but a real detriment to good sound quality recording.  While filming in Senegal, I had brought along a huge fuzzy windshield for my shotgun microphone, only to find when I used it for the first time that some kind of worm had got into the fuzz and eaten most of it away!  It just dropped off in ugly wormy chunks when I pulled it over my mic.  So out in the field, I was left with only the foam protector that came with the mic, my socks and my shirt.  No need to go any further – I borrowed someone’s blue turban, took off every piece of my clothing that was decent to remove and wrapped my mic in 8 inches of cloth.  It helped – but made the mic cumbersome, lopsided and heavy.  Finally, I paid a few tall young men to stand around me holding up the stiff posters that the organization used for teaching human rights.  They actually formed the best windshield of all, and so, like a Roman battle formation, we moved in unison across the plains and through the villages.  I used the same technique when interviewing people who were sitting or standing in one place.  I got excellent results!
The main thing to remember when filming in Africa or any foreign country is to respect the people and their beliefs and fears.  If someone doesn’t want to be filmed, don’t film them.  Should you get arrested or have your equipment confiscated, don’t expect the same legal rights and help that you would get in the USA or Europe.   Most of all, people want to feel that they are not being merely exploited but are helping their own people in a good cause. I made WALKING WITH LIFE over a period of three years, visiting Senegal three times.  The first time, I rarely had to pay anyone for permission to film. The last time, in 2008,  I was forking out money left, right and center.  Tostan, the organization I was filming, had won two major humanitarian awards earlier that year that brought many foreign journalists to the country.  People were tired of being filmed and interviewed ad nauseum and receiving no money for their time and efforts, nor ever seeing the results of their cooperation.  I made them a promise that no matter what, I would donate a finished copy of the film to Tostan and ask that it be shown in their regional centers around the country.  So if you’re filming an NGO,make sure that the people who help you get credit and that the people you filmed are given an opportunity to see your work and themselves in it.

Surviving the digital learning curve

December 14, 2008 by kennymann


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I studied film making at Bristol University in England back in 1968. It was a period of time when every young person wanted to be making films – just as they do now – but we did not have the digital technology prevalent today. So I learned to use a 16mm Arriflex camera and a Beaulieu, and learned to edit sound on the cutting table, with a razor and tape! In 1972, when I was 26 years old and living in Hamburg, Germany, I made a short experimental film called PowerPlay which was screened for the public in Hamburg. This 16mm black-and-white film uses the amazing hand movements of Czechoslovakian puppeteer Dragan Todorovic to create an allegorical visual poem illustrating the relationship of suppressor to suppressed, and was inspired by the invasion of Czechoslovakia by the Russians in 1968.

After that, I produced and directed a feature-length documentary in a small village near Lake Zwai in Ethiopia, which was broadcast on German TV in 1974. We used an Arriflex so old that it was literally held together with hairpins. The making of that film would have made a fascinating little documentary in itself, as one catastrophe followed another. Our VW bus broke down, for example, and Roby, the sound guy, took it back to Adis Ababa for repairs. After three days, there was no sight or sound of him so Michael, the camera man, decided to try and find out what had happened. Remember – we were in deep bush and had no cell phones in those days. So Michael – who had never ridden a horse before in his life – borrowed the chief’s horse, took along a bottle of gin, and set off into the sunset. Now I was left alone with nothing to do but play with the kids and wait for Michael and Roby to return. After three days of waiting, I’d had enough. So I borrowed the chief’s second best horse, and off I went, headed for the main road about 10 miles away. Half way there, the horse just stopped and refused to go any further. I dismounted, took the rope around its neck over my shoulder and pulled that bloody horse all the way to the main road. There was a little hotel there and on the veranda sat Michael and Roby, drinking beer. Ah yes – the joys of being a film producer with no budget! Anyway – I joined them, had an ice-cold coke, and we continued with the filming.

Over the years, I’ve made several films, including the short called SURRENDER, which was broadcast on the Independent Film Channel for three years. That was shot by Samuel Henriquez on 16mm, but unfortunately, the lab doing the negative cutting managed to scratch the negative all the way through and the whole thing had to be digitized at great cost. I was devastated, but decided that from then on, I would confront the new digital technology and learn how to use it – myself.

The first digital “film” I made was INDIA – AND OTHER THOUGHTS. This began life as a personal travelogue of my journey through southern India, and it can hardly be called a film, although that is what it has become! It consists mostly of still shots, manipulated for color and contrast in the simple Zoombrowser program of my Canon digital camera. Half way through my trip, I discovered that the camera could take 15-second digital movies, so I began to play around with that. Along the way, I kept a travel journal on a tiny cassette tape recorder. When I got home, I thought I would put together something to show my friends – you know, the usual boring slide show – but then I started working with Windows Movie Maker and managed to fashion a credible film compiled of still shots, 15-second video clips, the very rough and raw original voice recordings on the cassettes, and a voice-over narration that I recorded on a mic plugged into my computer. Talk about do-it-yourself home movies!! I transferred it to DVD and held a public screening, along with some great Indian musicians and an Indian banquet at my house – and it was a great success! That film is now distributed by RenewMedia on Amazon.com and there’s a trailer on my website.

So now that I had mastered these simple processes of learning how to use a digital still camera and a photo editing program and Windows Movie Maker – which all seem like child’s play now, but at the time required quite a learning curve on my part – I decided to try my hand with a digital film camera.

The first film that I shot myself was THE SWAHILI BEAT, using a small Sony prosumer camera that did a fantastic job with color and even with sound. I didn’t even have an extra mic, but simply marched out onto the beaches and into the towns along East Africa’s coast and began. I hadn’t really even intended to make a film – I started off just shooting tape to show to my daughter, Sophie, since I wished that she was with me. But my mother had just died, and I was remembering the many family vacations we took at the coast – in Mombasa, Malindi, Lamu and Zanzibar – where we lived on the beach and in the warm Indian Ocean. In those days, my parents often took us to ancient ruins along the coast, like Gedi. All I remember is being incredibly hot and sweaty and hungry and annoyed by flies and wishing we could just go to the beach and wondering why we had to visit these forlorn places in the first place. All these years later, I discovered a fascination with this history and its ruined sites, and I thank my mother for having given me the gift of curiosity about them. So as I meandered along on my little self-made trip, I began to realize that I was, in fact, making a film about the history of the Swahili people. Somehow, I discovered that I have a very steady hand with the camera, and I learned to create wind breaks with palm leaves, bits of cardboard, anything I could find, since I had come so unprepared. That film was picked up for distribution by Documentary Educational Resources (DER).

WALKING WITH LIFE was a different story altogether. I have always been interested in human rights and I had learned about an organization called Tostan that works in Senegal and many other African countries to bring human rights education to ordinary people, most of whom are illiterate. this is an African program run by African people. It’s had amazing results, and in Senegal, has triggered a re-examination of ancient beliefs and practices through the lens of human rights. The title of the film comes from a Senegalese proverb: “You must walk with life, or you get left behind.” My film documents how the program works and tells the stories of various individuals whose lives have been dramatically changed by their new knowledge. For example, women from over 2000 villages have publicly declared that they are abandoning the ancient practices of female genital cutting and forced early marriage. That movement is spreading across West Africa like wildfire. Other issues that are changing because of human rights are girls’ education, health and hygiene, citizenship and a spreading understanding of democracy and how it works.

I shot this film on a Sony VX2100 on miniDV. What a fabulous camera! It’s much larger than the first camera I used, but lightweight and easy to operate. It does a great job in poor light and has two built-in filters, interchangeable with the flick of a switch, which is really important when filming in Africa as one always has such stark contrasts between sunlight and dark skins. This time, I really paid attention not only to capturing whatever was going on, which ranged from a dramatic traditional wrestling match with thousands of spectators to a quiet interview in someone’s home, but also to my cinematography. I tried to find moments of poetry and beauty, to let my camera dwell on unexpected moments and to capture the tiny details – like a lady’s decorated finger-tips – that would bring the film to life. At the same time, I was using a shotgun mic and a HUGE mic sock to protect against wind. In fact, that was always the main problem: The wind. It is always blowing across the plains in Senegal! Also, African households and villages are not quiet. They are filled with the sounds of sheep, goats, chickens, donkeys, children, cooking, radios, TV’s, people chatting – it’s extremely difficult to find a quiet spot for an interview!

Having got the hang of digital filming, I thought I would try my hand at Final Cut Pro and I took an intensive 2-week training course in Manhattan. When I was a film student, I had a talent for editing, especially sound editing, and I found that that talent was still there, although it had been latent all these years. I loved learning Final Cut Pro, but I decided that after all, good editing is really a job for a pro, and that the learning curve I would have to undergo to become a pro would be long and difficult and at my age, it wasn’t worth it. So I always hire an editor – for the last two films on

Africa, it was Perry Finkelstein, of ProVideo Productions in Smithtown, New York. We had great fun working together, and a lot of laughs – and finished two respectable films. If you go to my website and watch the little video called KENNY MANN TALKS ABOUT FILMING IN AFRICA, you will hear someone starting the film by saying “Action!” and you’ll see me giggling. That was Perry.

My next project is a documentary about my parents’ extraordinary life and work in Kenya. It’s called RIDING THE EQUATOR. Shooting is more or less completed – I’ve been collecting material for more than 10 years, and I am in the fund-raising process to start post-production. Unfortunately, though, this film was shot on miniDV and now everything has to be High Def!!! I haven’t learned yet, whether I should give up on this project or not, or whether miniDV can be converted to High Def – no it can’t, that’s for sure. So that’s going to be a giant hurdle to deal with. Any suggestions?? I don’t even like High Def. At least, what I know of it. And I’m told that digital films will be shot on memory cards and of course, they can be shot direct to DVD now. So I’m sure that the remaining 30 years of my life will be dedicated to mastering once again the skills of digital film production.

A VERY LOUD NOISE – (written two years ago)

January 30, 2008 by kennymann

NAIROBI, February 2, 2006

 

By Kenny Mann

 

Stepping out of Nairobi airport at 5am on Saturday, January 28, 2006, everything feels at once entirely familiar and entirely strange. It’s pleasantly cool and to the west, a narrow band of fiery red light marks the curved horizon, a rising sun well guarded by a crystal clear sickle moon and a blazing North Star in a flawless night sky. We’re in my sister’s old Susuki jeep, rattling down the Mombasa Road, where childhood memory recalls always stopping to let huge herds of zebra pass by – then on to Uhuru Highway, past all the ugly cement block buildings of the Industrial Area, by-passing the city center and all the way past the comfortable old suburb of Westlands – now its own small city – and onward to the bucolic green estates of Kitisuru.

 

My sister has been driving since 4am and never drives alone at night. Her Samburu guard Silvano sits silently in the back of the jeep – she’s brought him along as extra security and he carries his long spear, which sticks out of the back window, and a bunduki – or wooden club. “Just in case,” she says. Arriving finally at her house, we have to honk twice at the padlocked iron gate. Siakoi, the Samburu night watchman, sleepily opens it, while Cesar, my sister’s guard dog who never barks, noses curiously around. She parks the car in front of her house, and spends a good five minutes unlocking the heavy double padlocks on her front door before we can get in. A few feet away, in a cottage of her own, our 88-year-old mother sleeps soundly, similarly barricaded against the outside world.

 

A year ago, robbers broke into my sister’s bedroom and threatened her with knives and guns. They took her computer, TV set and cameras before rushing out of the front gate, where the night watchman stood helplessly. She called Securitex, the local police force, but they loitered outside the gate, unarmed and too afraid to confront the gang of thieves. Probably, everyone agrees, they were accomplices in the crime. Now my sister has installed a thick steel door to her bedroom, double iron grids on her windows, a secret escape hatch and two extra armed watchmen for 24-hour security. But she is traumatized – afraid to go anywhere alone, saddened at the loss of the great freedom that always epitomized our life in Kenya.

 

Just a few days ago, our old friend Joan Root was murdered in her Naivasha home. She was an avid conservationist who fought constantly against the government-sponsored introduction into Lake Naivasha of Nile Perch – a species that rapidly took over the habitat, destroying the natural environment of the indigenous Tilapia – long a stable food supply for local people. In addition, newcomers had been dragging finely sewn nets through the lake, thus removing precious algae and other links in the vital food chain. Rumor has it that the murder was ordered from “high up” – heads nod, people shrug their shoulders. Kenya is number one on the list of the most corrupt countries in the world. A friend of my sister’s claims to have personally known twelve people who have been murdered here over the past 20 years. I know two of them. My sister knows six. One of them was a young English girl living on the Laikipia plains, north of Mount Kenya. The government never launched an investigation, but her wealthy father hired an expert British detective who, after ten years of investigation, has still been unable to discover the culprits.

 

On my first day in Nairobi, there is no running water in the house. The drought has continued for months, and while December and January are traditionally the hottest months of the year, the dry season began long before it was due. Nomads have driven their huge herds of livestock down from the northern semi-desert onto the slopes of Mount Kenya to find water and grazing. Their huge encampments cause conflict with the local Kikuyu, who have their many shambas, or vegetable gardens, carefully planted on this fertile soul. The nomads are used to the harsh desert climes near Lake Turkana and the Somalia border; but at seven or nine thousand feet altitude on Mount Kenya, they are freezing and starving to death. Government-ordered logging projects have denuded the mountain slopes of its rich forests. With them have gone the mountain leopard, the elephant, buffalo, monkeys, many antelope species and smaller creatures that inhabited the forests. When it does rain, there is no longer anything left to hold down the soil, and terrifying mud slides plunge down to the villages below, swallowing the flimsy huts without leaving a trace.

 

On Peponi Road, leading to my sister’s house, she points out two empty mansions that seem to have been partly demolished. Weeds and thorn bushes straggle over the rubble of their once-handsome facades. Apparently, they had belonged to government officials who had not received permits to build them on what was supposed to be land set aside for a ring road around Nairobi – one of newly elected President Moi Kibake’s plans to improve traffic congestion in the capitol city. Two years later, the houses are still there, the road has never been built and Kibake’s early promises of true democracy and progress have vanished in a smoke-screen of corruption.

 

All of this I absorb within the first few hours. Everything is different. Yet everything is the same. My sister’s garden is a riot of yellow mimosa, deep red hibiscus and purple bougainvillea. In a bush near the veranda, iridescent blue humming birds dart around a feeding tray, their mirrored wings causing the leaves to rustle faintly. A spider over there in the corner, twisting its silken threads methodically around a captured wasp. A rooster crows from a neighbor’s yard. Distant dogs bark. Every now and then a car rattles by on the pitted road in front of the house. African voices chatter from the servants’ quarters in several different languages …Kishuali, Samburu, Kikuyu, English. The morning dove trills its distinctive five-note descending scale at regular intervals. As noon approaches, insects hum in the mid-day heat. Flies. African sounds so familiar that I have to listen hard to really hear them.

 

I’m rattled from my doze by the jangle of a cell phone. Everyone has cell phones. Frances, the cook, answers in Kikuyu and there follows a long dialogue with his first wife, 100 miles away near Nakuru. Njere, the second wife and my mother’s maid, slaps around her dust-cloth in irritation. Frances giggles nervously. Another harsh cell phone melody jars my reverie. This time it’s for Esther, my mother’s day nurse. A 31-year-old single mother, she tells me that her child’s father is “like all Kenya men.” “They are useless,” she says. “They do not want a commitment, or any responsibility. If you have a job, a house, a car – then maybe you can find a man who will live with you if you take care of him. Otherwise, forget it. It is better to live alone or with a girlfriend. All Kenya women feel this. We are a nation of single mothers and useless men.” Esther desperately wants to go to nursing school for proper training, but the government will not allow her to register for school because she received poor grades 12 years ago when her father went bankrupt and could not pay school fees, forcing Esther to miss months of classes and do poorly in the final exams. There is no second chance for her in Kenya.

 

There is no second chance for anyone in Kenya today. Disappointment, anger, hopelessness…this is the prevalent mood.

 

Everything seems the same. The roads are so familiar, I fall into driving on the left side without a second thought, find my way around with no difficulty at all. There is Muthaiga Club, proud bastion of Colonial power. We take Mama there for Sunday lunch – a rich buffet of cold salmon and various salads, English deserts like trifle, brandy snaps, strawberries and cream. The elegant dining room is filled with mostly middle-aged white people with a sprinkling of African and Asian families. We are served by slim African waiters. At the swimming pool, we laze on the same wooden chaise lounges that were there when I was 16, but now children of all ages and races frolic in the pool. I hear mostly British-Kenya accents. A baby boy crawls away from his family encampment on the lawn. “Toby?” his mother calls. “Are you leaving home?” He stops to consider, then crawls back.

 

Everything is the same. I am a stranger here, yet I speak Kishuaeli and know my way around. I know no one, yet I know everyone. I see the same ex-patriot faces in the Nenaki Café where we sit under large umbrellas and sip our mango smoothies. Thirty years ago, they sipped coffee at the Thorn Tree Café. They are young, enthusiastic, thrilled to be doing good works in Africa. I see the same multi-national faces at an art opening that were common here before I left in 1968. Nairobi has always been cosmopolitan, the headquarters for most of the United Nations offices in Africa, head offices for most foreign correspondents in Africa, headquarters for many Africa-oriented non-governmental organizations. People love to live in Kenya. You can have a good life in Kenya if you are paid a salary by a foreign organization. You can have a lovely old colonial house with servants. Spend Sunday at the club, take your kids for a swim, drive out into the bush. It is magnificent – without parallel. It is fun. It is exciting. It is always the same.

 

Everything is different. I marvel at the sophisticated, locally produced TV commercials. I sigh at the huge commercial billboards all along Uhuru Highway. The Sarit Center at Westlands is only one of several enormous shopping malls, offering everything from books, clothes and groceries to computers and Kenya curios. The Speed Surf Internet Café on the third floor is jammed at all hours with Africans, Americans, Europeans, Indians – everyone frustrated with the slow dial-up service available in most residential areas that forces us to use the Internet cafes that somehow, miraculously, offer fast cable or wireless connections. You have to get your email checked before the next power cut. It’s a government plot. It has to be. Everything is.

 

Today, a young Maasai journalist and a photographer have arrived to interview our 88-year-old mother, who worked for the government Department of Town Planning for almost 30 years. He is writing an article about the history of Nairobi. After half an hour, in which Mama relates her by-now-totally familiar-to-me escape story from Bucharest in 1940, they finally get to ask the questions they have come to ask: what was the vision of the British planners in the late 1940s when they set about building Nairobi, the capitol city, on what had been a swamp in the middle of a flat plain swarming with wildlife and inhabited by the Maasai? I sense at once that they want Mama to give details about how the British used race to demark the city residential areas. Over here to the north, where the land was forested, cooler and more fertile, would be the lush dwellings of the wealthy whites, with their fabulous gardens, lily-ponds, and many servants dressed in long white kaftans or kanzus. Near the city center, housing would be provided for the large Asian population – immigrants from India who had originally come to help build the railway from the coast of Kenya to the shores of Lake Victoria in Uganda. And over there, tucked away behind the Industrial Area, would be the shanty towns of the Africans – described as “coolies” on the earliest city maps.

 

Our Mama, however, will have none of this. She has risen from her bed, dressed, put on make-up and jewelry – the huge emerald ring on her rheumatic index finder, the many ivory and gold bracelets clanging on her wrist, the Arabian silver earrings dragging down her leathery lobes. It is an occasion, and she will rise to it. After all, she must look good for the photographs , and she is still a beautiful woman, sitting carefully near an exquisite portrait of her in her late twenties.

 

The journalist skirts the issue delicately until finally, I help him out and ask her point blank. She insists, again and again, that planning had nothing to do with race, but was organized from a purely economic point of view. “If you could afford to live in a certain area, then you lived there,” she says. “And if you couldn’t, you didn’t.” “Well,” the journalist points out, “how many Africans could have afforded to live in Muthaiga, or any other white residential area?” “None,” says Mama. “So it comes to the same thing,” he says. “Yes – it does,” she agrees. “But the Africans didn’t mind having smaller plots,” she adds. “They were perfectly happy with what we gave them.”

 

The interview ends with the journalist asking to come again in a few days’ time to ask “more specific” questions. In the meantime, I have learned that the Maasai – who now number about two million – are agitating to reclaim land to the north of Mount Kenya. They say it is rightfully theirs since they were forcibly removed from it by the British government in order to make way for the English farmer/settlers who poured into Kenya during the boom years of the early twentieth century. Now they want it back, but it is heavily populated by Kikuyu agriculturalists. My sister thinks that a civil war is looming. The Maasai – familiar to tourists as those gorgeous, proud young men who stride the plains naked but for their dashing red cloaks – now hold huge political power. Their leaders do not encourage the tribal way of life, which still persists in many areas of Kenya and Tanzania. To them, their rural brothers are “primitive” and “backward” and the sooner they chop off their long braids and wear suits the better. I would like to ask the Maasai journalist some “specific questions” about this, and I have begun my list.

 

As I drive around the city, I note all the familiar landmarks. The Equator Club, not far from our former home, where my friend Robin danced balancing on his hands all those years ago. The once pink Delamere Flats – the first apartment complex in town. The circular Hilton Hotel, once the highest building in town, from whose terraces one had an almost unobstructed view of Mount Kilimanjaro, hidden now in smog and suburbs. The blue and green houses of Indian families. The teeming bus station. Everything is the same, yes. But it is also totally different. It smells the same – roasting corn cobs on charcoal braziers; poor quality gas; the roses sold at many corner stands; musty red earth. But there is more of everything. More and more. More ugly concrete buildings; more endless lunar roads, impossible to drive on with sanity; more people on foot and on bikes; more roadside shacks selling cigarettes, matches and gum; more traffic; more dogs; more shit in the street. More poverty. More shopping malls. More wealth. More crime. More and more.

 

In 1963, when Kenya became independent from Great Britain and was known as the “Green City In The Sun”, the population of Nairobi numbered 350,000. Now four million people crowd the city’s endlessly expanding frontiers. Nairobi feels like a smelly relic of its former self. No green to be seen anywhere. No parks. No attractive roundabouts, carefully planted with palm trees, cacti and bougainvillea. No respite from noise, fumes, traffic.

 

And yet….and yet….

 

There is that persistent African energy. You can feel the city’s pulse at all times. Enterprise and entrepreneurship are evident everywhere. You can find just about anything you need in this city – at a price. You can eat at world-class restaurants, or find the best curry in the world for a few cents down near Biashara Street. You can stay at the Norfolk, listed among the world’s top 300 hotels, or down at the River Road Lodge, an African hotel, for less than two dollars a night. You can get anything fixed – Kenyans are master mechanics, skilled at repairing car engines, refrigerators or even computers with string or chewing gum –whatever is available. Kenyans are master crafts people. Everywhere, from the sides of the roads to the more glamorous shops, you see excellent rattan or wooden furniture, gorgeous black or red clay pots, first rate wooden carvings, fabulous cotton cloth in fashionable colors, irresistible basket ware, jewelry, household accessories, ingenious toys made of wire and bottle caps, gaily painted tin trunks, even interesting contemporary sculpture. At the street stalls, and at the huge City Market, there is the widest variety of fruit and vegetables I have ever seen anywhere in the world. You can get your posh leather handbag exactly copied for one-tenth its price. You can get your shoes repaired to look like new.

 

You can wonder who has the money to buy all this stuff.

 

You could give your shoes away to any one of the countless children begging in the streets.

 

And yet….and yet….

 

I meet Philip M., a 27-year-old film editor who charges American day rates and has worked on several Hollywood films, including “The Constant Gardener”, that were not only shot in Kenya, but edited and finished here. Philip is intelligent, educated, reliable, cute, responsible, and supports two orphaned nephews through school. My sister had tried to introduce him to sweet Esther, but Philip does not want a girl friend or wife – yet. “This is Kenya,” he says. “This is my time of life to work and earn money. I don’t want to be distracted. I don’t want to go out. I am lucky, and I will never leave Kenya. Who knows what the future might bring? All men my age feel the same way. If we are lucky enough to have a job and some income, we are focusing on that only. We will build a new Kenya. Somehow.”

What Price Freedom?

December 16, 2007 by kennymann


in-manhattan-november-2007.jpgEvery day, I spend several hours at the YooKay Internet Café in Nairobi, which has now become my “office”. The day comes when I cannot find my very expensive and much treasured little Sony flash drive. Could I have left it at the Café? I drive all the way back there, hoping to recover it but feeling unreasonably despondent. Of course, I will never see it again, someone will have picked it up and kept it – after all, this is Kenya, where the gap between rich and poor is considered the widest in the world and the black market for electronic gadgets lives and dies on stolen goods.

When I ask the manager – a pretty young Kenyan with long, braided hair – if anyone has handed in a USB flash-drive, she raises her eyebrows. “Sony?” she asks. My heart leaps. “Yes!”

I thank her profusely. It is a moment of triumph. After all, we are bludgeoned daily by one scandal after another – government corruption more treacherous with each passing day, daylight robbery an accepted fact of life – so I greet this simple, honest act with elation.

As I climb the stairs to my favorite place at the bar, where I can plug in my own computer and order a fresh passion fruit juice and a delicious vegetable samosa, I am nagged by a troubling thought. Should I have given the manager a baksheesh? It would certainly have been expected. I am about to go downstairs with a five hundred shilling note clutched in my hand (about $7.00) when I stop myself. Why should I pay someone for being honest? Why should this normal act of human kindness be rewarded with money?

I turn around and walk back upstairs. I need to think about this a little more.

Two days later, my sister and I are driving through Nairobi’s notoriously crime-ridden center. We are headed for the Skylite Hotel – a four-story backstreet building in which a maze of tiny, cell-like rooms has been converted into illegal shops where West African traders sell beads, carvings and curios. In the passenger seat, I swelter in the mid-day heat, but can only open the broken window a crack.

My sister’s window is open about three inches. “Is your door locked?” she asks.

“Yes,” I sigh, weary of all the precautions one must take before braving these

teeming lanes. I have stowed my purse on the floor below my seat, but my sister wears a tiny pouch to hold her cell phone and watch. The pouch itself hangs well below sight, but its narrow strap hugs her shoulder, visible through her window.

As traffic slows to a crawl, we both leap in fright when a young man pounds his fist against my door and points down to the front tire. As our attention is thus diverted, a little boy thrusts his skinny arm through my sister’s window, snatches at the tell-tale shoulder strap and darts off with the pouch. In seconds, the accomplices have vanished in the crowd. “Goddamn!” my sister yells. “Goddamn it! That’s the third time! Bloody hell!”

In my mind’s eye, I see only the frantic, white-rimmed eyes of the older youth; the flashing black arm of the child, muscled, snake-like, the practiced strength with which he ripped the strap from my sister’s shoulder.

“That really stinks,” I offer.

“Oh well,” my sister says,“ already putting the experience behind her. “The mobile and the watch were both old and cheap – worthless, really – what’s gone is gone.”

She has already forgiven the thieves, for they are poorer than we and therefore their crime can be anticipated. In any case, we are wazungu (whites) in a black country – as Mama sometimes says, “the only drop of milk in the coffee” – so what else can we expect?

We are invited to a South African brei – a Sunday barbecue that traditionally starts at lunch time and continues until all hours. The hosts are F, a Danish woman, and E, her South African friend. R, a Kenya-born Hindi lady arrives, along with K, an American journalist.

We sit outdoors around the large wooden table. The air is fresh from the new rains, thick with the scent of Franji Pani. Pink petals from a soaring Bombax tree waltz down into our Shandies. We lounge about, languidly waiting for lamb and corn and sausages and butternut pumpkin to roast slowly over F’s perfect coals. “I just can’t get my cook to learn anything new,” she complains. “She does everything I tell her beautifully, but she has no initiative at all! I say, ‘Here’s the recipe book – now find all the recipes for pork and choose one that you would like to cook and tell me what I need to buy for it.’ She looks at me blankly and it’s just hopeless.”

“I know!” exclaims R. “We have the same problem at home. Mother has to do all the cooking because Joseph only knows posho (corn meal) and sukuma weeki (kale). It’s not just that they won’t learn new dishes – they won’t even try any new foods. What kind of mentality is that, I ask you?”

“Maybe a form of rebellion?” I suggest. “Or maybe they are content with a very limited diet and think we are crazy – always worrying about new foods.”

“Oh, nonsense!” R shouts. “Come on! They are employed like anyone else – they should have more pride and interest in their jobs.”

“Absolutely,” my sister agrees. “They’re lucky to have those jobs – we take care of them as though they were our own children. Without us, they would be starving on their shambas or living in some Nairobi slum on ten shillings a day, or losing their goats to the drought in the north.”

“Yes,” I agree. “We have worked out a perfect system of bondage.”

I am uncomfortable in this exchange, containing its own truth yet rife with echoes of old Colonialism in every sentence. K has been listening quietly all the while. “I was recently in Mali,” she says, “being shown around a new development project. We were in a small village and invited to remain until dark. With great pomp and ceremony, the village chief plugged a cable into an electric socket and one naked bulb lit up. Everyone applauded madly and drank beer in celebration and made endless speeches about this wonderful achievement.” K runs her hand through her short, grey-blonde hair. “But I was disgusted!” she continues. “’What do you mean, great achievement?’ I asked. ‘You’re raving over one light bulb? You should be ashamed of yourselves! Come on! You’ve had forty years of development aid – you should have had the whole village lit up by now.”

There is general agreement. “You know,” E muses, her chunky body hunched over the table to emphasize her words, “In Denmark, we have to give 1.7% of our gross national product to aid for developing countries.”

“Why?” I ask.

“Because we feel guilty, and we feel that we are obligated to help these poorer countries,” she replies.

“But isn’t that the root of the problem?” I ask. “Why do you feel obligated?

Especially Danes – you hardly had any colonies – what do Danes have to do with African

development?”

“Well, we are altruistic,” E replies, “and we can afford it. And of course, there are pay-offs in trade relations.” However, she points out, the Kenya government recently passed a new law. The country is swarming with NGO’s (non-governmental organizations) for everything from AIDS education to drought relief. Whereas such NGO’s could previously administer and allocate their own funds, the new law dictates that such funds must first pass through a government agency, which also controls their allocation. Needless to say, very little money is actually passed on to the intended recipients and the Danish government has drastically reduced its funding to Kenya.

“Maybe that’s a good thing,” F says. “Let all these people just clear out and let Kenyans get on with it. They don’t need us any more! It’s been forty-three years since Independence!”

“Ah no – we Hindis who live here need this!” R exclaims. “You see, we are totally involved in developing our karma and gaining good points for darma – so we give, but it is totally selfish. I am telling you, worrying about our karmic points really keeps us on the straight and narrow!”

In India, R explains, the thriving economy is fueled by young Indians who have been educated abroad – primarily in Silicone Valley – and who return much richer than when they left. “They pour their money into schools, community projects, micro-finance – they come back and want to give to their country and also to do good darma. . Here in Kenya, the Africans do not have a sense of country – it is all about the self, and the family – it never goes beyond that. “And of course,” she adds, “there are powerful interests that have no intention of allowing Kenya to ‘develop.’ “

My sister relates her newest chunk of gossip. The film The Constant Gardener, which was shot in Kenya, has just been released here. The English musician who composed the score for it and happens to live in Kenya has been given twenty-four hours to leave the country. “The government didn’t like the film,” my sister says. “It came too close to the bone, so they are deporting anyone who was associated with it. This composer is married to a Kenyan, has three children and supports umpteen others,” she says, “but the government wants him out.”

“No, that’s not it,” R says. “You can bet that some politician covets that bit of business, wants to buy into it, so they have to remove the competition. Look – they tried to shut down the Nakumat chain of supermarkets, which are Indian-owned, for the same reason. Somebody wants that chunk of the pie, that’s all.”

Overhead, the sky has clouded over. A brisk breeze sets up a susurrus rustle in a pepper tree. Any moment now, it will pour. The party is over. On the way home, my sister and I drive along Spring Valley Road. Tall acacia trees lean forward, their yellow trunks forming a luminous tunnel through which we pass. As the first heavy drops fall, red dust spatters up in tiny ferrous discs.

My sister’s cell phone rings. It is Lkaitasian, a Samburu friend who has helped her with her safaris in the north. His fourteen-year-old niece is desperately ill and lies in Kenyatta Hospital, awaiting heart surgery, and he needs more money from my sister to buy food for her, since the hospital does not provide any. My sister agrees to meet him the next day, but as she ends the conversation, her shoulders sink and she is almost in tears. “I just can’t handle it any more,” she says. She has already given Lkaitasian some forty thousand shillings (about $500) – a vast fortune in this country, and spent hours on the phone trying to raise funds for the surgery. Last week, her maid’s mother died and she had to provide the bus fare and part of the funeral expenses. In the same week, her gardener had to attend a court case involving a dispute over his land. My sister pays his bus fare every time he travels the five hundred miles home, and gives him money for food. She pays the lawyer. She bribes the authorities for him. And because she has helped these members of her staff, she will have to help her Samburu watchman whose goats were stolen by the Pokot. Meanwhile, the 14-year-old Samburu girl has died on the operating table in the hospital.

At home, slightly bored, we spin through Kenya’s five TV channels, hoping perhaps for a bad movie - or even a good one. The hot news today is that about four billion dollars worth of cocaine – which had been captured as it was smuggled into Kenya – have been officially destroyed. We see shots of the flames leaping from an iron furnace, masked men throwing in the half-pound plastic bags, happy politicians. Thick clouds of black smoke escape the incinerator’s chimney. The newscaster announces that a judge has officially declared the removal of the cocaine to be complete – but that incidentally, half of the stash, which had been in storage for about four years, seems to be missing. “Of course!” we crow in unison. We have been following the decidedly weird story of two Armenians who were recently arrested in Kenya. They appeared on television, wearing sunglasses and prominent gold crosses around their necks, and were at first accused of being mercenaries, but their story was that they were “just the accountants” in a business deal for the wife of a very prominent government official. They had no idea, they claimed, what was being traded – they simply handled the money. According to my sister’s undisclosed sources, the Armenians were indeed the conduits for the drug deal, and the missing half had been secretly collected by none other than the politician’s wife. A week after their arrest, the Armenians were spirited out of the country, never to be seen again. Could it be that there was a pay-off somewhere in this story?

It seems that anyone can be bought.

The next time I go to the YooKay Internet Café, a young man approaches me. “Me, it is I who found your flash drive,” he says. He smiles disarmingly, clearly waiting for his baksheesh.

“Thank you so much!” I say. “That was such a kind thing to do. I really appreciate it. Thank you, thank you!”

I turn back to my work. No baksheesh. It’s time to say no.

Nusu-Nusu

December 15, 2007 by kennymann

Nusu-Nusu – Growing Up in Nairobi During the 1950’s

   Nairobi is right at the heart of East AfricaNairobi is right at the heart of East Africa

By Kenny Mann

a.k.a. Iki Mann

        On a pleasant evening in February, 1954, my father, the late Dr. Igor Mann, called me into the dining room.

“Come, Iki,” he commanded in his thick Polish accent. “You will see something you must never forget.” My eccentric father loved to dress up for parties as a “witch doctor”.My eccentric father loved to dress up for parties as a “witch doctor”.

What could it be? I wondered. A liver fluke? A two-headed baby? He had said must never forget not will never forget. An important lesson, then.
A family reunion in Nairobi, 1974: together with the staff and some of our major pieces of African sculpture - also part of the family! From left to right:  My mother, Erica; Mahenzere, the gardener; my sister Rhodia; Matefu; Malcolm; Daniel; myself; my brother OscarA family reunion in Nairobi, 1974: together with the staff and some of our major pieces of African sculpture – also part of the family! From left to right: My mother, Erica; Mahenzere, the gardener; my sister Rhodia; Matefu; Malcolm; Daniel; myself; my brother OscarA family reunion in Nairobi, 1974: together with the staff and some of our major pieces of African sculpture – also part of the family! From left to right: My other, Ercia; Mahenzere, the gardener; my sister Rhodia; Matefu; Malcolm; Daniel; myself; my brother Oscar

        Two years earlier, we had moved to Nairobi from our modest cattle ranch at Athi River, where my siblings and I sniffed like baby antelope at the great African beyond. Now, with Papa’s new appointment as Director of Veterinary Services at Kabete, we had been transported to the great city where Mama had designed a large, Spanish style house on Crawford Road (now Milimani Road). Here, my imagination ran riot in the eucalyptus forest in our back yard, where my brother and I played imaginary games involving Sleeping Beauty, Queen Guenevere and blood-thirsty wolves. We could have been in the Dark Ages in England – hardly in Africa.

By the time I was ten, I was allowed on Saturday mornings to walk the mile-and-a-half past the pink Delamere Flats to “town,” or even to catch the Number 12 bus right outside our house which dropped me off at the Stanley Hotel, opposite the statue of Lord Delamere that commanded the view down his very own avenue. From there, I could cross the road to gloat over the cotton dresses displayed in the window of Deacons – the most fashionable store in the world, as far as I was concerned. Around the corner, I could order a strawberry ice-cream Parfait at the Penguin Café. Or I could spend my pocket money at the fabulous Woolworths on the corner of Delamere (Kenyatta) Avenue and …….. Oh, the delights of that store! Miniature sewing kits! Tiny pocket mirrors! Paper tubes of Sherbert, to be sucked up through a black liqourice straw!

If I crossed the road to the old Torr’s Hotel, I could visit my grandmother who was the head baker at the Café Vienna. Granny had survived the Holocaust in Bucharest and had arrived in Kenya a few years earlier. It was worth suffering her fussing over me to be treated to a heavenly slice of Dobosztorte a nutty, multi-layered cake with a caramel icing. The café was often filled with granny’s cronies – Germans, Austrians, Poles – refugees, drifters or business people who had settled in Kenya. Often, I met my friends at the Odeon Cinema, opposite the bus depot near the present-day Hilton Hotel, where they showed Disney cartoons, Doris Day comedies, or cowboy and pirate flicks. During the school term, I rode my bike a few miles to St. George’s Primary School, proudly wearing my navy blue uniform and carrying my lunch in a little brown suitcase dangling from the handle-bars.

I had even been to Europe. So what could my father possibly show me on this day in February, 1954, that I had not already seen?

I followed him into the dining room. On the table lay a rifle, as alien in our house as fish and chips. He picked it up and opened it, pointing out the empty cartridge case.

“There are no bullets,” he said.

Yes, I could see that with my own eyes.

“I will be patrolling Crawford Road from 6pm until 9pm.. You are not to leave the house for any reason because we have curfew. But I want you to know that I will never shoot anyone. Not a thief, not a murderer and not even a bloody Mau Mau! I am a pacifist! Understand?”

Curfew? Pacifist? I had no idea what he was talking about. But a cold chill traveled down my spine and fear entered my soul. Mau Mau. I had heard about them. Wild men who lived in the forest around Mount Kenya and wore animal bones through their cheeks and made people take terrible oaths that had to do with blood and raw goat meat and things I did not understand. They killed white people and wanted to take the country away from us. Now, I was sure, they had come to Nairobi to plunder our home and kill us. And if they did, Papa would not defend us! Mau Mau were Kikuyu. Our cook, Duncan, was Kikuyu.

For two or three years, fear of Mau Mau was a tangible entity for me, even though I came to understand their struggle better and to realize that my parents supported the battle for Kenya’s independence. One evening, left alone in the house, I could not find the key to the upstairs veranda door. Influenced by our neighbors, the Seventh Day Adventists, I prayed fervently to God for the first and only time in my life. Dear God, Please let me find the key so the Mau Mau don’t get me. Please don’t let them get me! I promptly found the key on the play-room floor, locked the veranda door and rushed into to bed. For the moment, I had been saved. But I did not feel safer. Rumours abounded at school of the “up-country” sisters whose parents had been buried alive by Mau Mau. The girls were sent off to England and never seen again. Duncan, the cook, was arrested on suspicion of being a Mau Mau collaborator. Papa promptly paid bail for him and he was cooking dinner as usual the very next day. Was he a Mau Mau spy? Would he poison our food?

By 1956, the Mau Mau “Emergency” was almost over. The British army had bombed the forest hide-outs and in 1957, Dedan Kimathi was hanged. Papa had thrown out his rifle and life in Nairobi was on a tremulous upswing. Our house had become a veritable salon where coffee and cake were served at 4.30pm every day to a marvelous collection of people from all over the world and the conversation flowed in several languages at once. I met Joy Adamson, the young Tom Mboya, Miriam Makeba, as well as all manner of foreign aid individuals, diplomats, artists, writers, politicians, African and Asian friends, famous and infamous, known and unknown. In our house there was no color bar and everyone was welcomed to a meal and a bed, if necessary.

Mama was a red-haired beauty in her early forties and she and Papa made a charismatic couple, always plotting the next fun event. It might be a picnic on Mount Longonot or a costumed ball on the theme of “Dr. Dolittle”, which required weeks of preparation and attracted hundreds of guests to the rented hall. It might be a fund-raising walk for Freedom From Hunger, of which Papa was Chairman, and skilled at persuading the prettiest young women in Nairobi to volunteer for his pet cause. Or Mama would be upstairs at the sewing machine, fashioning exquisite miniature costumes for the puppets used in opera performances at the Nairobi Arboretum.

An unsuccessful attempt had been made to curb my unruly hair!By the time I was 14, I was fully immersed in Nairobi’s rich cultural life myself. I saw foreign movies at the Alliance Francaise and the Goethe Institute, and watched lengthy Indian movies at the Shan Cinema, at the Thika Road junction. I was deeply involved in school theatrical productions, sometimes worked as props lady for the Donovan Maule Theatre, and performed in amateur theatricals at the National Theatre. I took piano and ballet lessons, participated in national competitions and sat for the English examinations. I spent hours at the MacMillan Memorial Library, reading or doing my homework, and spent many Saturday afternoons at the Nairobi Museum, poring over the insect collection and slightly revolted at the dusty stuffed animals.

Along with my sister, I now attended the all-white Kenya Girls High School, affectionately known as the “Heffer Boma” and ruled with an iron hand by the English head mistress, Ms. Stott. Our rigorous schedule of classes ended at 4pm, after which there was “tea” and then obligatory sports. Dressed in cumbersome grey knee-length “shorts” I flailed my way around the hocky pitch or never shot a goal in netball. No, I was not athletic at all. My real interest was in boys.

My best friend Avril and I were always on the look-out for potential “boyfriends” whom we called tutsoncs – a distorted version of the word conquest spelled backwards. So, in the search for tutsoncs, and unbeknownst to our parents, we spent our weekends riding all over Nairobi on our bikes. We thought nothing of pedaling the 20 miles past the Drive-In Movie Theatre on the Mombasa Road to the farm at Athi River, which my father still maintained. I could easily ride the ten miles to Avril’s house on Brookside Drive, and together, we would set out for Nairobi Dam, off Ngong Road, where I had a canoe and we could eye the school boys showing off their water skiing.

Up until then, our lives had been more or less restricted to Nairobi’s “white” urban areas. Now we roamed down River Road, through Eastleigh and Mathari Valley, streaking through African slums with fear and amazement. This was how they lived? We free-wheeled through Parklands, staring into windows to glimpse Asian families at their meals. We circled the Khoja Mosque, lit up every night with thousands of bulbs. Amazing! Nairobi had Muslims! And we rode slowly along Muthaiga Road, marveling at the mansions and lush gardens that bespoke the untold wealth of their white inhabitants.

We never did find any tutsoncs, but while we were familiar with various areas of Nairobi, we had taken for granted the strange triad of Europeans, Asians and Africans living parallel but largely separate lives in this City in the Sun, as it was called. Our awakening was slow and confused. Why was it that the only Africans we “knew” were our servants, and even then, only by their first names? Why was it whispered that Harriet, a school-mate, was a “tramp” because she had been seen with an African boy? Why did we avoid the glances of Asian boys on the streets? Why was I so afraid of Victor, the “half-caste” boy who actually talked to me at the bus-stop – broke the unspoken taboo that divided us all?

These were vague questions in my otherwise untroubled life. I was an avid reader and loved the outdoor news stand near the Post Office, where one could buy almost any magazine or newspaper from almost anywhere in the world. Time, Life, Better Homes and Gardens, The London Times – the world was at my finger-tips and I was hungry to explore it. I was a “beatnik” wearing full skirts and sloppy sweaters, my eyes ringed with black eye shadow. I thrilled to the delights of Bazaar Road, where I bought silk stockings and fabrics that Vera Brablik tailored into pretty dresses. Mama bought me my first high-heeled shoes at the Italian shoe-store near the New Stanley Hotel. I soaked my net petticoats in starch to make them even fuller.

I was mad for the BBC radio dramas that were broadcast from London at 2:00am. I was mad for the British Top Ten Pop Charts, broadcast by the British Forces Broadcasting Network in Nairobi every Friday night. And on Saturdays, I could rush down to Assanand’s, the music store near the Kenya Cinema, to buy the latest hit by Connie Frances, the Everly Brothers, Helen Shapiro or Cliff Richard and the Shadows. And when – oh amazing bliss – The Shadows actually performed in Nairobi, my friends and I thought that the three guitarists, singing their bland harmonies with a step forward, a step back, were the sexiest thing on this planet. From then on, our frequent Saturday night dances became raucous with rock ‘n roll, the hand-jive, and the twist, our minds always tuned to the latest fad in England or America.

We spent our weekend afternoons flirting at the Nairobi Club swimming pool – unaware that this bastion of anti-Semitic British colonialism had refused my own father membership some years earlier. We went on safaris, camping in the bush where we were more familiar with the picturesque tribal people than with our African urban neighbors. But racial barriers in Nairobi were slowly crumbling. With some older boys, I began to frequent the forbidden Sombrero Club, near the Nairobi Market, where African and Asian youths hung about drinking Tusker Lager. We eyed each other curiously.

As a teenager I was oblivious to local politics, but even I could feel the rumblings that rocked Nairobi’s party atmosphere in the years before Independence. Tom Mboya and Oginga Odinga led rival political parties. Jomo Kenyatta had been released from prison. Duncan, our cook, told me that after Independence, my little Fiat 600 would be his. Every week, friends – including Avril – left Kenya for good, their families terrified of what they believed would be a blood-bath. Now our parties were to say farewell as boys and girls from the Duke Of York, the Prince Of Wales, St. Mary’s , Loreto Convent , The Boma and other local high schools flew off from Embakasi Airport or boarded the train for Mombasa at Nairobi Station, heading for the ships that would take them back “home” to England or away to South Africa and Australia. My parents – Jewish refugees from Eastern Europe – had firmly made Kenya their home and had no intention of leaving. I studied hard for my “O”-levels and passed in 1962 with flying colors. Only two more years to the “A”-Levels, I thought, and I too would leave Kenya for good.

On December 12, 1963, my family attended the Independence celebrations in an outdoor arena. There were very few other whites present. At midnight, the Duke of Edinburgh lowered the British flag and the Kenya flag was raised to a triumphant roar from a hundred thousand African throats. Just when we thought it was over, the last Mau Mau appeared in the floodlit arena – gaunt men with matted hair and ravaged bodies who had been living in the Mount Kenya forest for some ten years. They laid down their arms before President Jomo Kenyatta. And with that gesture, I knew that I, too, was liberated. There was nothing more to fear. The Freedom Fighters had won and I was free to stay or to go, to leave or return. Kenya would find its own path, as I would mine.

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