Thursday, 29 October 2009


In has much i wish to avoid focusing on the style the foroyya newspaper adopted in reporting the UDP rally and subsiquent events, one cannot but comment on their strategic ploy to make the issue down bit. The Foroyaa reportage culled from higligthed serious opportunism on the part of Foroyaa, the arm of PDOIS. They claim that,whatever was mention on the UDP rally was reported by their paper. As if rallies are the same as news paper items. If it is trust and mutual cooperation we are all advocating, the Foroyaa should change its stance and see to it that, their views or way is not the only way.
We want to respect the persons and agendas of all the opposition, try to bridge the gabs, therefore, Foroyaa activitiues on this issue isunprofessional and politically bias.

In an earlier coverage on the episode, Foroyya went as far as quote anumber to the people that attended the rally. Were they guessing ordid they actually count the number of people that attended the rally?Foroyaa should do its best to always be seen to be independent ofPDOIS, if not their side of stories like this will be rejected and/ortaken with a pinch of salt.

A complete Disgrace: Colonial laws use against Gambian/Africans

The Gambia gain its independence some 40 years ago, yet to this day, ancient colonial laws which were legislated to slow down or derails Africans quest for independence is still being use in the tiny republic of the Gambia. The country's so call patriotic Pan-Africanist president never hesitate to launch at western powers, yet he two time with their old fashion, outdated draconian laws.
No wonder some people always go on praising the high intelligence of African dictators. This is no compliment but open and arrogant selfishness. After independence, all laws which are inherently against human rights and the progress of society should be eliminated. It is a disgrace for the Gambian president to still continue allowing unfit and unsuitable laws to exist in an independent African country. What an irony!!. Alas, we are doomed.:
The APRC government is using colonial laws to deny Gambians a constitutional right to assemble. Who would thought, just few weeks ago, Jammeh was ranting against former colonial powers for unfairness and what have you at the U.N, yet he is conveniently using their outdated laws against the Gambian/African people he was patronising. A dead bit president, dictator of highest excellence.The behaviour of the APRC government clearly shows their cowardice and lack of confidence. If you believe to be strong and wise, patriotic, then allow your opponent to challenge you on equal terms. Jammeh has always use poor souls to fight his battles, whenever he comes to the realisation that, he is no longer a baby, let him stand up and allow decent people to exercise their rights.
Any day he allow the state own TV and Radio to broadcast freely to Gambian people the views of civil society, that day Jammeh can claim to be man enough to rule the Gambia. All of Africas murderers were found to be terrible scared little souls, they use poor soldiers, sycophants, and half-baked loyalist to intimidate and harass defenceless people.
This will not go away, The UDP will continue to stand firm from now on, whatever happens, good or bad, Yahya Jammeh is to blame. Because of decency, we as Gambians don't want to spill the blood of our brothers and sisters. Evil dictators drove Africans into committing bloodshed, there are many ways to get even.

Wednesday, 28 October 2009

Jaliba Part two

Part two:

Ebrahima Kamara, a Gambian ethnologist in Sweden expose to us the coloration between the music that Jaliba plays and that of his predecessors: the full analysis is stated below:
“Lalo Kebba Dramé and Jali Nyama Suso were well known for taking “KAANO” out of the moral closet of the Mandingka”. But they did not come as long as Jaliba and one reason could be a generational difference. “The question is; does that affect their skills or understanding of the kora and the uniqueness of the instrument? NO, they did all they could to understand the instrument and its ability.
Is Jaliba a better Kora player than them? NO! On the other hand we are in an era of renegotiating positions hence the old positions are ineffective. The renegotiation of the position of the kora to give it its right position in this era starts with its tuning system. Before it was tuned according to traditional tuning system but today it is tuned according to the 440A note, a western tuning system. There are arguments that tuning the Kora according to the western note system does not only reduce it to an ordinary piano but also reduces its tonal range, melodic spectrum and richness of harmony. So in that sense Jalibas have already given up a basic principle of the uniqueness of the Kora as a traditional Mandingka instrument.
Secondly, culture is dynamic it influences and is influenced; culture is constantly on the move from the original local environment to new localities where it is reconceptualised and redefined to fit in and to serve new purposes. An example of such a redefinition is the new form(s) of Mandingka ceremonial dance(s) and drumming existing in Sweden today. Swedes dance lengengo not for the same reason as the Mandingkas from whom it originated rather they dance it for recreational purposes and other reasons that fit the new context (Sweden) different from kullio or manjótaa contexts
My personal reason of not listening to Jaliba as I use to is because he has left the path of Afro-Manding, which made him what he is, for something that he did not fully understand, making his renegotiated style of music uncertain and fragile; but that is just my hang-up. Am not saying he is wrong in renegotiating his position to enable him to bring his music and the kora into our times, but he should not loose himself on the way, after all the market looks for something unique and the Afro-Manding sound is unique.”
From the comments of Mr Kamara, we can deduce that, Jaliba disembark on the typical Mandingo base kora territory to invent a new dynamics for himself. Whether this is good or bad is up to fans of Kora and Manden culture to determine.

Njok Malick a young Wolof music promoter who occasionally brings Jaliba to Europe sees the adaption as part of marketing ploy on making Kora relevant. He said “the incorporation of mblax into the Kora tradition is meant to increase fan base.”
That statement made a lot sense, but Jaliba in his interview claim, the inclusion of wider instruments in meant to be inclusive. Njok Malick further mention that, “Jaliba still has the ability of playing in two settings. Traditional and contemporary. In the traditional settings, Jaliba plays only the kora and sings old time songs, whilst in contemporary settings the shows are more or less to entertain diverse fans who belongs to all the tribes in the Gambia”.
That being said, Jaliba don’t seem to play any instrument associated with second larges tribe in the Gambia, the Fulbe. Although, i will hasten to say that, Jaliba has composed brilliant songs for the likes of Morro Baldeh, my own neibour from Wulli Sare Pendeh in “Fulo be nyakoi” Barry Sukuta in “meen kadi ko mi pulo niamina”, and now few Sarahuleh money men are praise in Kissingma Bachilley “sarahuleh yeeh banah yaa le lon”.
Njok who brought Jaliba to England in 2008, indicates that “Jaliba is in a tough industry, were moral values are a smaller part of the music industry.” When i asked Njok about the extent Jaliba’s wives appear provocative in his shows with mblax dance and Mandingo lengen, Njok said “you are looking at Jaliba’s wives in wrong context. The women are musician in their own rights. When the show is on, they are not Jaliba’s wives butt musical companions or band mates were the mix most be to perfection. Whatever it takes to please the punters is what the women will do, including provocative dance.”
Njok’s observation demonstrated that of an experience man in the entertainment industry. Jaliba himself can be seen motioning his wives to dance to the ‘kajo or lengen’ with the hard hands of Bakary Kamara aka General (the traditional drummer), whilst Nyaw or Momodou Niang tear the show apart with his double Wollof drums.

Pa Modou Njie aka Gainde, proprietor of the famous on the other hand sees Jaliba has a star attempting increasing the fan base and income generating capacity by his relax songs . He said “One thing that is obvious is that Jaliba has taken a totally different line from the traditional ´Jaliya´. Not only did he incorporate modern electric instruments like guitars, keyboards etc, even his songs have somehow shifted from the traditional ‘praise-singing’ style earning him an audience within the younger generation. To say if it is for the good or the worse is a question of taste in my opinion. Jaliba himself describes his music as kora pop.
Gainde solve the puzzle in the kind of Kora music jaliba plays. I believe Kora pop is a good definition. This will appeal to younger fans. Gainde further indicates that he Personally, “...enjoy kora most in an acoustic setup (with other traditional instruments like the fula flute, xalam(kontingo), calabash, dundungo(local drums) and maybe an acoustis guitar.” Jaliba by all accounts has dive in for the wider audience than the traditionalist who are unhappy with his transformation.
Is the Manden Kora tradition a casualty in the Jaliba experience? The answer is no, since Jaliba may be Gambia base but there are other Kora performers who still plays to historical traditional styles. Toumani Jibateh is one such person. Jali Foday Suso is also another traditionalist, although lived in Chicago U.S for many years.

Thursday, 22 October 2009

Why Yahya can never change

Below is an excerpt from that Independence Stadium rant: 1994
"The enemies of African progress, the illegitimate sons of this country disguise themselves in the form of journalists, in the form of freedom fighters, in the form of human rights activists BUT they are all illegitimate sons of Africa – Get rid of them! The so called journalists, they are very vulnerable. You can send them into the streets begging when you don’t buy their newspapers – they won’t function! "So they depend on you. Don’t allow the mosquito to suck your blood, father! I tell you no lie! One day I was looking at a … something you call newspaper, and I saw a big headline – ‘DETAINEES STILL DETAINED HERE.’ When I looked at the headline I said ‘Yeah, they are still detained here – what can you do about it?’
"They talk about Human Rights, an issue they don’t even understand. And I will tell you what Human Rights stand for: It is an illusion, a fallacy that is non existent anywhere in this world; It is a western machination to manipulate Africa, and I will tell you each letter of Human Rights what it stands for.
"The ‘H’ stands for Hoodwink – You all know what hoodwink is, to blindfold people!
The ‘U’ stands for the Universe!
‘M’ stands for Manipulate!
‘A’ stands for Africa, And
‘N’ stands for African Nations!
"They hoodwink the universe, manipulate the African nations! When they hoodwink the universe, manipulate African nations,
the ‘R’ stands for – to rip you off, they rip you off of your gold. After hoodwinking the universe and manipulating African nations, they rip you off of ideals, so that Africans will have no ideals but will follow their exported ideology that is meant to create wars in Africa, famine and starvation. We will never accept that! To turn some Africans into stooges so that they can always continue to manipulate us… We the AFPRC are saying that we will die but we will never let them suck our blood again.
"Tell me any country where there is so called human rights and people are not executed – tell me! In most of the so-called western types of human rights, those who uphold the so called principle of Democracy – When you go to their jails, Africans form the majority of all the inmates. What types of rights are they talking about? So you see the fallacy in human rights? We will never accept it! "I told you I will not talk about traitors because they continue to hang themselves. They will run but they will never hide. Their days are numbered and they know about it. Anybody under the AFPRC who steals even a single dime, you can go to wherever you think you can be free, you will never sleep, and you will come home either dead or alive – but you will never enjoy this world and in the next world you will burn! "And I will tell you, this is what the so called champions of human rights, of course they are champions of human rights, because they are enemies of Africa. But I will tell you what your rights are: Your rights are to live in peace, equality and prosperity. Anything that belongs to the nation, belongs to all of us. We have a right to development! As far as we are concerned, you are free as long as your freedom does not encroach upon the rights of others. If you encroach upon the rights of others, you can never be free and we can never respect you. The law is to deal with you! We are running a state! We are not running a financial company! We are not running a cowboy camp! We are not running a hippy camp! What we are running is a nation of human beings, where people are equal. If you think that you are going to use outside ideology to disturb us, what you are going to face will be worst than death.
"Gambians! This is a warning to all Gambians! We are Africans, we are Gambians, we are soldiers! Any patriotic Gambian is a soldier because you defend this country against injustice. We have passed the stage of appealing to people. If you want to be a donkey, we will treat you like a double donkey. If you want to be a human being, we will treat you like a human being. There is no compromise, and no nation outside The Gambia can do anything about it! "If you want to be free, don’t steal! If you want to be free don’t be a crook! If you want to be a free man don’t advocate for violence. Because when violence comes your bones would be in the air. People think they can use pressure to force us into elections?
We can tell you, if we don’t want election in the next thousand years there will be no election. And those who want election, we will make sure that you go six feet deep, and there is nothing anybody can do about it!" This piece was deep out by Baba Galleh. A good piece of history.

Wednesday, 21 October 2009


Let Gambians voice their opinion against the unjust plan to remove the African human right commission from the Gambia. The Gambia is not own by Yahya neither he is going to be the head of state forever. There moval will cost lots of people their jobs and livelihood. In as much we detest the APRC government and its dictator, we shouldn't support the plan to remove that structure from our country.Yahya can die today, tomorrow or may even be remove from power. Those that mean, the commission will be relocate back to the Gambia? Let the African humaN right commission stay!!!.

Lot of people express support for the commission's removal, but they are failing to see the big picture.
here is my reason for advancing the commission msut stay:

This is just a sample of how complicated our continent is. Now for us as Gambians, our national affairs takes precedence, but which African country is better than the other on the human right front?The African human right commission knows full well, Jammeh was referring to us Gambians with his usual threat of murder. Jammeh will never kill foriegn diplomats. We all know he is a coward par-excellence, therefore, he targets soft touch defenseless Gambians.The commissoin remained in the Gambian after 14 students were murdered, the commission remained in the Gambia after the hero of Pa Samba and many others here was reppeatedly arrested for no just reason, the commission remained in the Gambia whilst Jammeh made several comments of burying Gambians six feet deep. Why now?The jobs i was sympathising over are that of the ordinary cleaners, messengers, clerks and jobs handled by Gambians without any political attachment.The APRC employees are by and large dependable on the politics of Yahya and his band of thugs. The African human right commission must stay in the Gambia and expose human rights abuses left right and centre. Activate the civil society, distribute leaf lets, organise symposiums by inviting a cross section of politicians and student bodies.They can either stay and fight for a just Gambia or run away to another African country with questionable human rights records.Jammah can be put under intense pressure by the commission in providing legal aid and advice to victims of the Jammeh administration witch hunt against its opponent. It is too late in the day for the commission to run away.... But if majority of you folks feel the commission's removal will serve a political lesson, then i go along with your noted observations. But as Yero and LJD commented, it is early days, lets wait and see.

Tuesday, 20 October 2009

Jaliba Kuyateh

Jaliba Kuyateh
- An ambassador for Manden culture and Music
By Suntou Bolonba Touray U.K
Jaliba kuyateh a Mandingka kora superstar has mesmerised his audience both within and outside the borders of the Gambia for years. Jaliba a former teacher, choose music as his soul career at a very early part of his adult life. That decision made him a very influential and well known Kora player. His style of Music is rooted in the Mandingko griot tradition. The fact that the Kuyatehs are a respected griot family line is unmistakable in Manden (all Mandingka countries). The kora is said to have originated from Gambia. For a more comprehensive history of the Kora check
OneGambia. Even though that narrative of the origin of the kora is subjective and Gambian-centric it however relay an interesting dialogue about the myth of the instrument.
I am by all accounts the most unqualified person to conduct this enquiry as I am completely lacking a deeper knowledge of current trends in Mandingka music or music in general. My position is more of an abridger in identifying Jaliba’s role in negotiating Mandingka griot tradition towards the outside world or outside its original context. The commentary here will be a brief analysis of Jaliba’s export and promotion of the Mandingka culture and how he may have modified the original understanding of tradition. I will also show the opinions of Gambian music promoters, who may not be Mandingkas but recognise the evolution of Mandingka music tradition.
Jaliba became the most famous Kora player in Gambia after the eras of Lalo keba Drammeh, Bamba Suso, Amadou Bansang, Banna Kanuteh, Alh. Bai Konteh, Jali Madi Wullen etc. This doesn’t mean Jaliba is a greater Gambian kora export than the likes of Jali Foday Musa Suso who toured the globe with different renowned western musicians. Traditionally musical instruments are linked to specific cultures. Jaliba, the name and the instrument he plays identifies him with the Mandingka music, culture and tradition. Jaliba followed the path of the Manden Jali/musician tradition of seeking out batufas, patrons of the Gambian society.
Why Jaliba is considered a promoter of the Mandingka culture is a question that needs looking into. To answer that question one has to start with some simple examples from Jaliba’s repertoire and how they relate to Mandingka culture and tradition. For example songs like ‘kuntuman dinnah, alin ngha sera’ , this is a song attributed to the custom of making a bride smell with traditionally made fragrance known as kutuman. The use of Mandingka proverbs like ‘jusubo moo adama jawbaleti’ , anger is the biggest enemy of mankind, Kuu tan fan naah bata tije, departing from ones personal experience is less problematic, Nghata nyo yaa, kano kano, Kingtanba and many of his songs are standard models of Mandingka tradition. The examples given are just amongst the numerous proverbial phrases Jaliba uses in entertaining his fans and followers.
The use of proverbs is typical of all customs and traditions, hence each phrase has a unique signature which traces it back to a particular cultural instance or context. For more on Mandingka phrases check the blog

Jaliba’s Transformation
Jaliba began his career by upholding the old tradition of playing for batufas, patrons on a personal level with a personal touch of playing and singing styles. His songs were sombre and cultural; even those having a limited interest in music enjoyed his traditionally styled kora playing and songs.
The dynamics of culture, the drift for modernisation and the need to generate wider audiences became driving factors for Jaliba´s transformation and internationalisation. This new team was materialised by adding, a bass guitar, electric guitar, saxophone, drum set, traditional Mandingka drums, traditional Wolof drums, dancers and backing vocals to the entourage. Thus was Jaliba´s transformation from a traditional ensemble consisting of the kora and singing to the modern Jaliba & Kumareh Band. Jaliba now has expert musicians from four different regions in Senegambia and two from Guinea Conakry. Jaliba therefore blended the Kora with all the instruments at his disposal.

Jaliba & the Kumareh Band consists of the following musicians:
Jaliba Kuyateh lead-singer and master Kora player (Gambia)
Tafa Njie … (Senegal)
Wuyeh Jassey, Balafon (Gambia)
Kalu Sunbumdou gaiter (Gambia)
Babading Kuyateh drums. Jaliba’s younger brother (Gambia)
Momodou Niang Wolof drum, his father was a musician and master of ceremonies in Jawara’s time (Gambia)
Omar Camara Mandingo drums (Gambia)
Solo dancer (Gambian)
Tuti Sansany and Madam Suso backing vocals and dancers, Jaliba’s wives (Senegal & Gambia)
Bubacarr Sisoco, electric Guitar (Senegal)

Discography of Kumareh Band: (albums)
Radio Kankan 1993
Tissoli 1994
Dajukah 1994
Live In America 1995
Hera Banku 1995
Gambia third day 1996
Njai Kunda 1998
Fankanta 1999
Best of Jaliba Kuyateh 2000
Sosolaso and Sabarla 2009
For a taste of Jaliba’s music check this youtube link:
The finnaa, bard tradition dictates that Jalis should seek out what is referred to as ‘kandalu’, the powerful and outstanding members of society and not only sing someone’s praise for money. With advancement Jaliba did not abandon the kora tradition of batufaya, patronage and praise-singing; in fact he took it to another level. Before, the kora player plays for their patrons in their home environment amongst family members and close friends. Now Jaliba Kuyateh targets his patrons in a much more grandiose manner. He created a network of patrons which include the best of Gambian society. Businessmen, high ranking civil servants, local rulers, famous women, rich folks, senior government employees, head of states, lawyers, diriyankees i.e. able bodied women who crave for the limelight etc.

Jaliba on the other hand, sings the praise of those who want him to and can pay for it and those belonging to the traditional power structure. Some examples of such traditionally influential families are the Bojang kunda of Brikama, the Touray kunda of Gunjure, the Darbo kunda of Kombo, the Cham kunda of Kombo, the Jawla Kunda in Sandou, the Marong and Jammeh kunda in Badibou, Bandeh Kunda in Basse, Bandeh Kunda in Fuladou, Cham and Manneh kunda in Sukuta, and many others. Jaliba sings the praise of these families and their progeny wherever he meets them.
But the shows are more profitable, where the attendees are of mixed background and of varying status. Jaliba´s usual strategy on such occasions is that, he commences with generalising songs about ‘generosity’ or a song with a word of warning (cleanliness or personal hygiene). Thereafter he turns his attention to one batufa after the other. Each song deals with a specific patron, then another and another until the show ends. The method is, as soon as your name is mention you make your presence known by throwing your gifts at him. Friends and loved ones join in to lend a supporting hand in throwing gifts and one does the same when the praises of others are sung as well.

Three worrying scenarios imaged during the study of Jaliba. The trend of praise seeking and bluffing beyond norms falling short of outrage.
At an album release occasion held at the Kairaba Hotel, one Mr Jobe gave Jaliba a bundle of money in the region of ten thousand dalasis at one go. In all the videos I watched, that was the only time a patron throw such amount of money in one bundle and at one go and not the customary note by note or one note after the other. This was scary as he overshadowed all other patrons who had changed big notes to smaller denomination notes to extend duration of throwing gifts to Jaliba.
In Britain for instance, the changing of pounds into one dollar notes is a common currency among Jaliba’s U.K fans. On another video from a London show one Mr Jabbi (aka Jabbi Dollar) dishes out so much dollar notes that Jaliba himself had to stop him. The man was like in trance and could not think clearly.
The showman of them all was at a Paris show in September 2008. Jaliba had composed a song for One Mr Saidy call Kano merin Baanw mandiya meaning a long lasted relationship is not easy to dissolve. This man walked like a tortoise as soon his song started. He was encircled by a group of women dancing around him and two men in suits. He was dress in a long kaftan with a Palestinian scarf round his neck whiles he inhaled all the praise and adoration. The Marabou man walks slowly up to the donation bowl. I have never seen anything like it. Grandstanding at its best!

Jaliba’s researcher:
Although the patrons are not oblivious to the fact that their praise would be sung in a show, they may be informed in advance. One thing that struck me in understanding Jaliba’s music and his approach to patrons was the extensive research his band manager conducts before he begins to praising his patrons. The band manager finds out the lineage, friends, associates, wives, sisters, family members of the patron in question. Since shows bring in unexpected friends or associates of patrons, the band manager is always on the lookout. As soon as he spots an unexpected face, he will quickly find out about the person and debrief Jaliba whilst a song is in progress. The band manager usually stands behind Jaliba whispering in his ears the names and titles of unexpected patrons, their friends and associates.

Trends and fashion on Jaliba’s Shows:
Jaliba is not just a kora player. His shows inspire dress trends amongst the women attendees. One can see all sorts of African dresses in all kinds of styles. These dresses are later copied and become trends that influence fashion. The hairstyles and facial beautification, varieties of gold chains, hand purses, dance styles are all major activities for the womenfolk in their preparations for the Jaliba Show. Jaliba is a mover!

Jaliba’s controversial songs:
Several years ago when the zone two album was published, Jaliba sang a love song from the album at a show in Kombo Gunjure. During the show Jaliba could be heard saying iminina ifan yeh iminin ilah, embrace me and let me embrace you. In resent shows Jaliba took this phrase a bit further by requesting of his fans to physically embrace each other, whilst he cuddles his kora to demonstrate to the audience how to embrace. That behaviour triggered a bitter outburst from one fire brand preacher. Sheik Bakawsu Fofana a young scholar from Jarra attacked Jaliba for urging the public to commit a sinful act. Bakawsu at a Gamo said Jaliba is sinning and promoting indecency. That inspired Jaliba to urge his fans to embrace each other even more at every single one of his shows. One then has to question the rationale for Bakawsu’s outburst.
Listen to the lecture at the link below:
Was it because he felt Jaliba went too far in negotiating Manden kora culture or was it simply in defence of religious teachings? I sent questions to three Gambians who follow Jaliba’s music and the art of African music in general to express their opinions about Jaliba’s musical transformation.
The responses and that of Jaliba’s interview will relay in the part two of the study. Jaliba was contacted and he expresses happiness at my attempt to explain certain aspect of his Music and roles in the Gambian musical traditions. Efforts are also on the way to get the reaction of the Sheik Bakausu Fofana.
In part two I will labour to get the facts behind the misunderstanding between Jaliba and Bakausu, his own opinion on the place of art in the evolution of Mandingo culture. Is his music modern for the cultural rigidity of Mandingos, has he gone too far in being an all-inclusive entertainer?
Till then, wasalam. Ala Baraka.

Sunday, 11 October 2009

The Sarahulehs: It is not just about the money

The Sarahuleh community has a tag that hardly changes from people’s consciousness whenever they are discussed. The tag or cliché is that, they are mainly interested in money hunting all their lives and that money is more important to them than many other life requirements.
Well, this is not wholly true. The ethnicity like others does marvel and take pride in material gains and successes. However, the community’s quest for wealth is for beneficial purposes mainly and also prestige. This is the same for all other tribes. We all want to be wealthy and comfortable. Wealth is a measure of success and power. It generates respect and command.
The Sarahulehs like others also have time for pleasures and entertainment. In fact Sarahuleh men are among the best dancers in the West African traditional cultural arena. A few selected videos from youtube will clarify that point. I place this in the public domain to mainly show the other side of the Sarahuleh people in order that the money money stigma can be balanced and refocus.
The musicians are mainly from Mali, the ancestral home for the Marakah (sarahuleh) people.
Lassana Hawa
Dalla Diallo
Bintu Soukho
Halima Toure
Ganda Fadiqa (poet and genealogist)
These five famous Sarahuleh musicians are only the few I came across, there are many more available. Although not a Sarahuleh personally, I have lived and attended primary school with them and know the culture and people quiet well. I hope the contribution is not seen in a patronising manner or in a negative light, should that be the case, I sincerely apologise in advance.

Monday, 5 October 2009

Making Sense of Binneh's article on Yahya's U.N drama: scholarship or a Change of heart

"...Yahya Failed short to use the occasion in building his image as a champion of justice and the rule of law.” Binneh
Fail to build his image. Is this coming from Lt Binneh? A man who after Ramadan threaten to kill, what more evidence those Binneh requires in arriving at a more tangible scholarly conclusion? No one will be mistaken if Binneh is accuses of cosying-up to Yahya.

“He could have used the international occasion to bridge the divide by apologizing to all victims of alleged human rights violations under his regime. That would only make him a strong leader and pave a way for The Gambia to come to terms with its past.” Binneh

Apologising! Mama mia, allure what has this world come to? After friend’s of Binneh disappeared on the faithful day of November 11, apologising for that will erase everything, what a forgiven gesture. If life doesn’t mean life in the Gambia, but at least it means life imprisonment.

“Sparring on the plight of Africa and developing nations in the modern world, President Jammeh’s argument falls right on the trajectories of history. Although institutional failures in modern day African governments could take some of the brunt, post-colonial Africa has been designed as an instrument of exploitation. Africa’s relations with Multinational cooperation’s are not based on openness, trust, mutual respect and interest. The Gambian leader made a compelling argument, and ending Africa’s image as a neo-colonial exploitative unit is the first step in confronting the continents challenge. And that could only be attained by taking leadership and ownership through accountability and transparency based on mutual interest.” Binneh
An unnecessary complaint there. Africa needs to be strong enough to bargain to its interest.

“The only observation with this part of President Jammeh’s argument is the standard of diplomatic language used in his characterization of Multinational Co-operations. He therefore fell short by referring to Multi-National co-operations as “locusts,” and the United Nations as an “Animal Farm.” Such a language should be left for scholars to use, but not a Head of State. The use of diplomatic language in the international diplomatic arena is critical as it has a direct impact on the image of a leader and a nation. Hopefully, President Jammeh’s speech writers would take concrete steps to ensure that proper diplomatic language is used in all his forthcoming speeches at International Functions.” Binneh

Complaining about Jammeh’s language usage alone spells more than what Binneh hopes to pass on. I for one can’t believe this.

“On the question of deadly diseases such as HIV/AIDS, Malaria and Tuberculosis, President Jammeh must be commended for acknowledging global efforts and calling on support for International Research on the use of traditional medicine in confronting the menaces of diseases in Africa. This has indeed manifested the President dropping his previous claims of curing aids and seeking for a collective global support for traditional treatments using theories and hypothesis of modern science. By boldly using the United Nation General Assembly as a venue to do so, the Gambian leader manifested courage and commitment to the global quest of tackling the menaces of deadly diseases.” Binneh

Yeah indeed, an irresponsible claim that Binneh. How many Gambians may have relied on their leaders mystical powers? The U.N is not a place to complain, it is a place to bargain.

“Hopefully great lessons are learned from this experience. His overall Performance was encouraging for a Young African Leader of modern times. This is just a food for thought.” Binneh

Good bye Binneh. That ending remark cemented the suspicion of a change of heart. African young leaders! Leadership is much more than being a head of state.
One vital point we all need to bear in mind is that, scholarship is much more than being objective. Hiding behind objective analysis borders on massaging egos, western or all other serious scholars adopted critical minds and outlook in exploring their conditions. Pan-African, or ordinary aspirants to the ocean of scholarship must first rationally admit the guilt of our own self-inflicted harm, before praising tyrants who never hesitate to kill a (black man/woman) for their power preservation.
International bodies are aware of the self-hate inherent among us, they were once our colonial masters, lived among us and did research on us. How can some think that, a rant by one of our misguided president will make them look or think of us any different?
How many volunteers from the west do we have among us? Whatever Jammeh or all other African heads of states do, is well known to the international bodies. If we don’t respect ourselves, why should others respect us? If we help tyrants imprison and kill our people (all in the name of development) why should others think that we have moved on?
It is a positive step for Binneh to position himself in the scholarship domain, but with his experience of the man whose speech he wish us to take as commendable defies all rational thoughts.

Sunday, 4 October 2009

Every Woman Knows!

By Suntou Touray

All over the world
Women blessed in fashions
Endowment in variety
Skeleton done fashion
Every woman knows
The smile tells it allWomen in the farm
Women in the market
Women in the office
Women in uniform
Women in schools
Every woman knowsWomen in the village
Women in hamlets
Women in towns
Women in cities
Every woman knows!Older women
Younger women
Teenage women
Black women
Asian women
White women
Chinese women
Arab women
Red women
Every woman knowsRich women
Poor women
Sick women
Healthy women
Alright women

Never for once think
Beautiful women
Don’t know about their beauty
Every women knows
The image she is in!
Allright reserve.