Tag: Africa

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News

Pro-democracy protests turn deadly in the Kingdom of Eswatini

At least 29 killed, hundreds wounded in the nation’s fight against monarchy

Since June 2021, the southern African nation of Eswatini has been fighting for democracy and economic justice while King Mswati III deploys lethal force against protesters. Having been in power since 1986, the king refuses to step down as the country experiences one of the most violent unrests in its history.

Officially known as Swaziland until 2018, the citizens of Africa’s last absolute monarchy are rallying for major government reforms. These include a democratic selection process of Eswatini’s prime minister and the release of two members of Parliament, Mduduzi Bacede Mabuza and Mthandeni Dube, who were detained when the protests began.

The Swazi police have fatally shot over 29 demonstrators this year, seized personal belongings, and brutally interrogated journalists in an attempt to silence the pro-democratic movement, according to Swazi journalist Cebelihle Mbuyisa. The protesters also responded with violence, looting grocery stores and committing arson in the country’s two largest cities.

Tracey Dlamini, a 19-year-old university student in the capital Mbabane, described the gravity of the unrest to The Concordian, having witnessed these events unfold first-hand.

“I was really shocked, I’ve never seen anything like this in Swaziland in my entire life,” she explained. “The police were shooting the whole night, using tear gas, throwing protesters in vans like they were animals. I couldn’t even sleep hearing those gunshots. […] They shot even those who didn’t carry a weapon: small kids, mothers, fathers — everyone. All because we want one man to step down.”

On Oct. 21, the kingdom shut down internet access nationwide amid the new wave of protests, while also restricting movement under the current curfew from 9 p.m. to 4 a.m. Mswati III continues to rule with an iron grip, attempting to monopolize Eswatini’s economy for the royalty.

“King Mswati is the law himself, he can’t be arrested. People are dying of hunger, some regions have no water, […] and if you start a business and it’s successful, then the king will take it from you. He sees you as competition if you try to become rich,” Dlamini added.

In 2019, the Swazi monarch purchased 19 luxury Rolls-Royce cars for his 15 wives, which amounted to $30 million. While Mswati III continues his lavish lifestyle, 63 per cent of Swazis live under the poverty line with an alarming 41 percent of the population being unemployed.

The king himself referred to the protests as “satanic,” saying they are turning the country backwards. Still, the manifestations show no signs of slowing down, notably among high school and university students, while the path towards democracy remains complex for Eswatini.

“We’re fighting for a democracy that has been deemed futile in so many African countries, like the neighbouring Lesotho,” said Georgia*, a Concordia student who grew up in Swaziland. “We need a system for ourselves which encompasses both the current system and a somewhat democratic one, and it’s intangible right now since emotions are high.”

The student added that Eswatini’s humanitarian crises have often been overlooked by the United Nations and the West, causing the landlocked country of 1.2 million people to deal with rampant poverty on its own.

“We need external forces to help, we need more awareness from the western world. They are the only ones who can actually bring democracy to reality in a country such as ours,” said Georgia.

Earlier in June, Canada expressed its commitment to strengthen democratic institutions throughout the world at the G7 Summit in Cornwall, England. However, the Trudeau government has yet to address Eswatini’s ongoing violence or provide support for the fellow Commonwealth member.

*To protect the subject’s identity, we are using their preferred pseudonym.

 

Graphic by Lily Cowper

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News

Swept Under the Rug: the cost of the Renaissance Dam

The construction of the biggest dam in Africa is creating friction

The Nile River’s water flow will soon be dominated by human hands as Ethiopia is constructing the biggest dam in Africa on one of its core arteries: the Blue Nile.

The Nile is vital for the survival of the countries down its path. Now that Ethiopia has the power to cut one of its flows, this conflict specifically targets Egypt and Sudan, who historically rely on the Nile’s yearly water cycles to sustain themselves.

The Grand Ethiopian Renaissance Dam (GERD) is a nation-defining opening for Ethiopia. The opportunities that it will bring to this poverty-stricken country is immeasurable as it will produce a reliable source of income and jobs for Ethiopians.

Also, according to the World Bank, only 45 percent of Ethiopians have access to electricity. This dam will be able to offer service for all Ethiopians with enough leftover energy to offer surrounding countries. So, for Ethiopian Prime Minister Abiy Ahmed, this strengthens his resolve to complete the construction of the dam.

For Egypt and Sudan, the consequences of Ethiopia’s control over the Blue Nile are dire. According to Al-Jazeera, Egypt gets about 90 per cent of its fresh water from the river, and the Blue Nile contributes to 85 per cent of the Nile’s water flow.

Even partially cutting water supply from the Blue Nile could have catastrophic effects for the over 140 million Egyptian and Sudanese people.

Since 2011, negotiations have been ongoing between the three countries to reach a consensus, but Ethiopia has been shrewd throughout. For Ahmed, keeping up with a bigger country like Egypt is a show of strength for the Ethiopians. According to The Week, Ahmed has the intention to mobilize troops if push comes to shove.

Even with the mediation of the African Union, currently led by South Africa, the negotiations have not progressed.

Ethiopia is still proceeding forward with the dam’s construction, disregarding Egypt and Sudan’s fragile water supply.

Recently, Ethiopia has banned flight activities over the dam’s construction site for security reasons, according to The Ethiopian Civil Aviation Authority. Ethiopia’s reluctance to give further details will put yet another dent in the everlasting negotiations.

Ahmed said last month at the United Nations that Ethiopia has no intention to harm Egypt and Sudan, but the targeted countries have continued to voice their concerns.

However, the Ethiopian government officially announced that it has every intention to start generating power with GERD’s two established turbines this year.

They are committed to completing this project, even if agreements have not yet been met. This leaves Egypt and Sudan in suspense; will there be a way for them to reach an agreement, or will the dam be completed beforehand?

 

Graphic by @the.beta.lab

Categories
Quickspins

QUICKSPINS: Jidenna – 85 to Africa

Nigerian-American rapper Jidenna’s second studio album 85 to Africa is an expertly-produced body of work, with each track significantly different than the next. A listen of the album is a journey – one that includes creative sounds with influences from all over the globe, including Africa and the Caribbean.

85 to Africa discusses many themes surrounding Pan-Africanism, as the title suggests. From the origins of black people around the world, to the description of his ideal woman, Jidenna’s ability to balance controversial political themes with ones of lust, love, and tenderness throughout a short 11-track album, is exactly why it’s worth a listen. Its creative musicality and lyrical content are what you look for in a body of work, regardless of the few lackluster tracks sprinkled throughout.

8/10

Trial Track: “Babouche” ft. Goldlink

Star Bar:

“Travel wide, travel wide

I and I, by and by, that my tribe

They tryna conquer all the tribe

We laugh and multiply, divide”

Categories
Student Life

Slice of Life: Letter from Morocco

Graphic by @spooky_soda

A student on exchange writes to their loved ones in Montreal

Feb. 25: Dear Katy,

I arrived in Morocco one month ago today. Time seems to go by so quickly sometimes. The weeks I’ve spent here have been so far from the reality I was expecting. I can still see the anxiety in my friends’ and family’s eyes and feel the tension in their embraces as we said goodbye just a few weeks ago. Africa. That single word—the entire continent carries so many misconceptions and prejudices. I was starting to feel so trapped in my own occidental perspective—and in other people’s ideas—that I embarked on this journey for many reasons. But in the end, I really just wanted to see for myself. And dear, the past few weeks have already shown me such an eclectic, extraordinary place.

I flew to Rabat and automatically wandered into the labyrinthine marketplace of the Medina. I’ve found myself in situations where I am literally the only woman present. It’s a man’s world, but one that is fast-changing. I was expecting to feel consistently repressed, but in reality, I feel empowered by witnessing such a sense of solidarity between women. I am not welcomed with judgmental looks, but with warm smiles. I don’t think I’ve ever entirely comprehended the power of my freedom as a western woman or questioned it until now. Here, I walk the streets and I feel privileged. Call me naive, but Rabat has been so good to me.

The Moroccans’ kindness is so special. I’m finding such a strong sense of community—from the way people share their meals, consistently offer their help, laugh together, and greet you with “Salaam Aleikum,” or “peace be upon you.” I know this is just a first impression, but it’s such a contrast from back home, on such a deep level, that I sometimes fear I’ll never want to come back. And while everyone does stare at me, sometimes calling me “la gazelle,” “fromage,” or even “la blanche,” I’ve been responding with an open mind and my boundless sense of humour.

You know, most people think of Marrakech or Casablanca as the capital of Morocco, but it’s actually Rabat that holds the title since the country’s independence in 1912, and it has become so internationally accessible. We are barely one hour away from Casablanca, where I’ve heard life is chaotic and loud—even overwhelming—and yet, it’s so calm here. As I sit on the roof of the house I now call “home,” beautiful Rabat is alive and well before my eyes. I can’t resist glimpsing over my neighbours’ rooftops, where mixed colours of hanging clothes and blooming flowers add to the diversity of the scenery.

In front of me, the Bou Regreg river—which separates the neighbouring city Salé from Rabat—is circling the old, fortified neighbourhood of Kasbah des Oudayas like a thick knife cutting into butter. I have to squint as I write to you, as the reflection of the sun on the water is bouncing onto my white pages. I am in awe as I sit before the imposing, bright blue Atlantic’s work, and deeply wish I could teleport you here to show you. Montreal seems so far from me now. I’ll send you another letter soon. I can’t wait to tell you about my luck finding the gorgeous house I now live in with cats (yes, I am still very allergic, but I like to believe constant sneezing is now part of my charm), as well as the wild feasts and the musical nights I’ve been sharing with locals.

Beslama my dear friend!

Virginie

Feature graphic by @spooky_soda

Categories
Music

World Music Review : Africa

Ladysmith Black Mambazo (South Africa) – Arguably one of the most prolific South African bands in existence, this a capella all-male singing troupe has been around for more than 40 years. Their fusion of traditional South African sounds with Christian gospel and even pop has set them apart and brought them to centre stage. Founded by lead singer, director and composer Joseph Shabalala, they’ve collaborated with Paul Simon and Melissa Etheridge, provided soundtrack material for The Lion King II, and have been invited to perform for Nelson Mandela, Queen Elizabeth II and the late Pope John Paul II. Oh, and they don’t mind getting recognition from the Grammys either, having been nominated 13 times since 1988, and winning three of those nominations, including most recently in 2009 in the “Best Traditional World Music Album” category for Ilembe: Honoring Shaka Zulu.
Most recent album: Songs From a Zulu Farm (Razor & Tie; 2011)

Razia Said (Madagascar) – Not just another beautiful, exotic voice, Razia Said combines the traditional sounds of the small, ecologically isolated island of Madagascar with socially, environmentally and spiritually conscious messages. Despite having relocated to New York City to pursue her musical career, her love of Madagascar holds fast and shines through in her music. Zebu Nation, her latest release, is a collection of Malagasy songs with a new-age edge, written about her longing for her country in spite of the poverty, tribal dissonance and environmental suffering experienced there. The album serves as her way of raising awareness of the troubles of her homeland, which is being destroyed by slash-and-burn agriculture, climate change and industrial development.
Most recent album: Zebu Nation (Cumbancha; 2009)

Tamikrest (Mali) – After being referred to as “the future of Tuareg music,” Tamikrest has a lot to live up to. But after listening to their psychedelic, desert-inspired synthesis of Tuareg, rock ‘n’ roll, electric blues and pop, you’ll understand why. Singing entirely in Tamashek, the language of the Tuareg people, they use traditional sounds such as youyous, djembés, as well as electric guitar, bass, drums and vocals to bring you on your own personal hallucinogenic desert oasis trip. The nine band members, all in their early ‘20s, received musical training at a small desert oasis school, but didn’t move beyond playing traditional songs until the Internet became available and they were able to discover iconic Western musical heroes Jimi Hendrix, Pink Floyd and Bob Marley. Although you might not associate their sound with a heavy message, the Tuareg people have endured great suffering, including a five-year-long civil war in the early ‘90s which shaped the music and philosophies of these young musicians.
Most recent album: Toumastin (Glitterhouse Records; 2011)

Burkina Electric (Burkina Faso) – In a wild cohesion of electronic and African sounds, Burkina Electric pulls out all the right stops to have you moving and grooving. The group is actually led by Lukas Ligeti, an extremely talented, Austrian-born drummer and composer who happens to be the son of the famous film and classical composer Gyorgy Ligeti. Burkina Electric is more than just a band—think The Mighty Mighty Bosstones—they also have two dancers, tying together the long-held tradition of music and dance for the African people. By seeking out rare and unknown African rhythms, this sextet is spearheading electronic world music with ancient rhythms and instruments, such as those of the Sahel, combined with their own original beats and sounds. Lead singer Maï Lingani sings in four languages, including French, and alongside guitarist Wende K. Blass, electronicist/VJ Pyrolator, Ligeti, and dancers/choreographers Vicky and Zoko Zoko, this Burkina Faso band is sure to impress.
Most recent album: Raem Tekra (Listenable Records; 2007)
Upcoming album: Not yet named, no official release date.

King Sunny Adé (Nigeria) –  At 65 years of age, King Sunny Adé is still pumping out the high energy traditional African rhythms that most people would associate with the widely diverse continent. He and his band, the African Beats, deliver Yoruba Nigerian Jùjú music and are widely considered to have popularized the genre in the world music scene. To say he’s accomplished is an understatement—he’s been nominated for two Grammys, collaborated with Stevie Wonder, released well over 100 albums, and he has even graced the silver screen three times. And don’t think that you’ll have to miss out on a wild performance when it comes to this veteran performer. With anywhere from 23 to 50 band members on stage at any given time, a concert by Adé is probably a bigger party than anything you might have seen during frosh week.
Most recent album: Morning Joy (Master Disc; 2010)

Die Antwoord (South Africa) – If Nicki Minaj’s latest schizophrenic Grammy awards show offering has left a stale Lady Gaga-esque taste in your mouth, turn to Die Antwoord for an even filthier take on grunge hip hop. Die Antwoord, “The Answer” in Afrikaans, is weeding Zef style into mainstream rave electronica with the help of the Pitchfork and Coachella obsessed. Its three members, Ninja, Yo-Landi Vi$$er, and DJ Hi -Tek are at the forefront of the South African Zef movement, and boast the dirt-poor yet flashy lifestyle. They fuse fashion with music, drawing on the clash between rich and poor in the wake of South African apartheid. Their music video for “Enter the Ninja” went viral in 2009, leading to a deal with Interscope Records and an international tour. In keeping with the Zef lifestyle, Die Antwoord left their major label and started their own, Zef Records, in 2011.
Most recent album: Ten$ion (Zef Records; 2012)

Michael Kiwanuka (Uganda) – Fresh off backing Adele’s 2011 tour, Michael Kiwanuka is bound to bask in his tour mate’s glorious 2012 Grammy shutdown. The London-born 23-year-old is the offspring of two Ugandan refugees who fled the Amin regime, escaping political repression and mass killings that resulted in the deaths of up to 500,000 people in the 1970s. Kiwanuka lived quietly as a session guitarist until going solo in 2011 with his debut solo EP, Tell Me a Tale. Always with a guitar in hand, Kiwanuka is a wholesome, soulful crooner, reminiscent of Otis Redding and Bill Withers. Though he has yet to release an album, he beat out the much hyped Azealia Banks and Skrillex for the BBC’s Sound of 2012 poll. Past winners of the award include Jessie J, Adele and Ellie Goulding, so Kiwanuka is destined for stardom.
Most recent album: I’m Getting Ready [EP] (Communion Records; 2011)
Upcoming album: Home Again (Polydor; 2012)

The Parlotones (South Africa) – Africa isn’t all drum circles and pan flutes, and even The Parlotones are proof that the continent didn’t escape the britpop epidemic of the ‘90s. Hailing from Johannesburg, The Parlotones is a traditional four-piece rock band known for churning out stadium anthems and harmonious ballads à la Coldplay. The band was signed to Universal Records, the world’s largest record company, but has failed to catch on in North America despite achieving moderate success in Europe. The band members won’t walk the streets of Cape Town or Johannesburg unnoticed, however, for they have achieved multi-platinum status in South Africa. The Parlotones performed alongside Shakira and The Black Eyed Peas at the FIFA World Cup Kick-Off Celebration Concert in 2010, and band members are also spokespersons for Live Earth and Earth Hour.
Most recent album: Eavesdropping on the Songs of Whales (Sovereign Entertainment; 2011)
Upcoming album: Journey Through the Shadows (Sovereign Entertainment; 2012)

Freshlyground (South Africa) – This seven-piece Cape Town outfit has achieved international recognition for its ability to blend traditional African music with social commentary, yet simultaneously attract a mainstream pop appeal that defies demographics. Zolani Mahola, Freshlyground’s lyricist and energetic vocalist, always seems to sing through a smile. Mahola’s silky voice sails through piano, violin, guitar, mbira, saxophone and percussion instrumentals provided by her musical compadres who gather from Zimbabwe, Mozambique and South Africa to perform together. The band draws on kwela, the skiffling street dance music of South Africa, as well as African folk music, alternative rock and tin pan alley harmonies. Freshlyground became the first South African group to win the MTV Europe Award for Best African Act in 2006 and performed the official anthem for the 2010 FIFA World Cup with Shakira.
Most recent album: Radio Africa (Sony BMG Africa; 2010)

D’Banj (Nigeria) – In a world where rap and hip hop is dominated by glock-happy, gold-toothed, ganja-bragging criminals, D’Banj’s harmonica is a full breath of fresh air. After signing with Kanye’s label, G.O.O.D. MUSIC, in 2011, the Nigerian native will bring a slightly less hard face to American R&B. D’Banj was born into a conservative family and was expected to follow his father’s footsteps into the military, but he found himself drawn to drums rather than guns. In tribute to his deceased brother and the harmonica instruction he received from him, D’Banj continues to stick with the instrument, playing it on stage and in studio. His reggae-Afrobeat tales of chasing kokelets (beautiful women) and struggling for acceptance bring youthful humour to hip hop.
Most recent album: The Entertainer (Mo Hits Records; 2008)
Upcoming album: Mr. Endowed (G.O.O.D. Music; 2012)

 

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