Nairobi(Kenya) – One of the best things to happen in East Africa lately is the huge popularity of local drama and films on TV.
In Kenya, Citizen TV, which smelled this change in taste earlier than most and exploited it, has been catapulted to the very top of the tree in the ratings. And, in a bid to broaden its appeal, dramas like the Kenyan-produced Makutano Junction are sprinkling some of their episodes with actors from Uganda.
So it was that a few months ago, I was with Ugandan visitors at a Nairobi mall when there was a lot of excitement in my party. It had been caused by the sighting of a popular character in Makutano Junction, which shows in Uganda.
The popularity of these local dramas derives partly from the fact that the stars are men and women you run into on the streets, so they are more real than Angelina Jolie or Denzel Washington. In addition, together with the Nigerian Nollywood films, which are probably more popular, they are successful for two other reasons.
They capture the cruelties, betrayals, and tensions of most African households; but mostly the duality of many urban Africans. By day, a minister, chief executive or local celebrity is a modern fellow, but at night he or she will be consulting a witchdoctor. A fire-breathing and future-focused feminist by day will hang upside down from a banana tree in the night because the juju man has told her it will help her bear the elusive child she is seeking.
It used to be said that you can take the African out of the village, but you can’t take the village out of the African. Nonsense. You can take the village out of us, of course. Only that the village doesn’t go away. It hangs around at the gate.
In the booming of Nollywood and local drama, however, there is something fundamentally amiss. There are stories about bosses who are sex pests, husbands who are serial adulterers, and evil stepmothers, but there has been no dramatisation of important moments in our history or the Africans who have shaped the continent over the past 50 years.
The evil stepmother, conniving witchdoctor, jealous girlfriend and lecherous tycoon have all had their stories told by our new homegrown producers, but not Julius Nyerere, Kwame Nkrumah, Chinua Achebe, or the Mau Mau rebellion. No African producer has been inspired to do a notable film on the Rwanda genocide, Nelson Mandela or Shaka Zulu. It is mostly Western movie and documentary makers that have done such films.
One reason for this is that there isn’t much writing on our history and its main actors that is designed to appeal to a mass audience. Nearly all of it is stiff academic stuff that tells you that the authors are clever and studied a lot of English, but does not shed much light on their subjects.
Producers and directors, therefore, have very little to work with, except material that they generate themselves. And they are too busy minting money from the juju tale for that.
The other category of writing is bitter partisan diatribes. Not many people who are not from the tribe of a great author or a good leader, will accept that he was or is good. The result is that we are in the strange position that in 20 years, if you wanted to understand what Africa was some years back from studying dramas by our own producers, you will learn more about the workings of witchdoctors than Wole Soyinka’s contribution to African literature.
Still, it’s far better to have our own witchdoctors on TV than Mexican ones.
Source.The East African (Kenya), by Charles Onyango-Abbo – February 2, 2009.