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Default African,
Yes I am,
And a disgrace for that matter,
Yet African with Katekism,  
I am supposed to be,
Come rain, sunshine or high waters,
I have betrayed you Africa,
I have 'back-stabbed' you in the face,
And spit rotten phlegm in the wound,
Giant mother,
With this badge of slavery I now proudly wear,
**** me.  

Never have I washed my father, Or mother,
Never have I washed my grandfather or grandmother,
Neither of these have I ever dared looking after,
Yet today,
I assume total custodianship and curator-ship,
I take care of some grandfather and grandmother,
Somebody's father,
Somebody's mother,
Somebody's grandfather,
Somebody's grandmother.  

Only yesterday I was told,
Your father and mother passed away last year,
And so did your brothers and sisters,
And they were all buried like dogs,
Their burials were the talk of town,
How could you let that happen,
How could you,
And I am these enermies' comfortable door mate.  

My grandfathers were colonised,
Because of our rich land,
And now I have been extensively colonised,
Because of their pound,
Because of wanting to be a Westerner – overseas,
Away from you,
Continent of respect and dignity,
Continent of dance and song,
A continent pregnant with untold tales.  

My sick mind has been colonised,
Graduating me into a nefarious modern commercial slave,
Just but an echo of an old tune,
A worse slave than my ancestor,
The Kunta Kintes,
I am a cheap voluntary slave,
Who has been gratuitously deserted by his values,
The African values.  

I stand accused before myself,
I am a cumbrous culpable default African,
An African who has lost his ebullient Africanness,
A charlatan ******* African on a detour,
A dismantled, shameless self destroyed pimple,
A nauseating counterfeit second hand African,
An extraneous stain on Africa's underwear,
I am of as much value to Africa,
As is an over- used ****** to a  filthy growth point *******,
Regrettably, that is the African I have become.  

How I wish I washed my father and mother,
How I wish I washed my grandparents,
How I wish I took care of them,
The wish is killing me badly,
I may as I have  run away from you Africa,
But never from Africanness,
Litres of your blood flows in body pipes,
I am because you are,
I am a default African.

I know what I am,
I know who I am,
But I am not sure who I am,
Or what I am,
They call me Black,
I do not know if I am Black,
They call me African,
But am I African,
Where these names came from,
I wonder,
Maybe they are just nicknames,
Yes,
Fom those historical enermies who were up to degrade me,
I do not know who I am,
But I know for sure I'm just a poor millionaire,
Poor in Western materialistic classification,
I know I am Umuntu,
A millionaire Umuntu,
Rich in Ubuntu,
But that's not all,
I'm in search of my identity,
I need to know who the hell I am,
For I am black and African,
But I'm neither Black
Nor African.

Alexander K Opicho
(Eldoret, Kenya;aopicho@yahoo.com)
The Al shabab on 22 day of September 2013   attacked Kenya again. It has attacked and lynched siege on the Nairobi’s biggest mall known as the West Gate. This is one of the severest after other similar attack in 1998.The people who are averagely assumed to be killed are  one hundred.Al shabab is a regional east African arm of Arabo-islamic global terrorist group known as the Algaeda.But something notable about all the terrorist groups in the world, inclusive of Alshabab, is that they all have an Arabic, communist and Islamic bias with overt expression of anti-American movements.
The Lynching of the Mall in Nairobi has affected all the Kenyan communities. Asian and African, Europeans and Americans. However the survivors of the West Gate mall attack has narrated out that the attackers were discriminately asking for ones religion before they shoot. Thus Muslims were not shot but non Muslims were shot and then held hostage. The military sources on the site shared out that the terrorists were foreigners but they perfectly worked through their plan through co-operation of locals and citizens of a victim countries; Kenya and America.
Immediately after this terror attack in Nairobi, a group of social researchers in Kenya carried out an electronic survey on the social media to find out why the Alshabab has easily recruited the followers and why an African youth can easily accept recruitment in to the membership of terror groups like Boko haram, Al shabab, and Al gaeda.The responses gathered from diverse digital socialites  skews into one  modal direction which  shows that America alone with its ostentatious international relations  will not win the war on global terrorism.
The motivation for easy recruitment into membership of the terror groups was established by the social media survey as diverse factors but most august among them are ; extreme conditions of poverty among the youths in contrast to the rich and wealthy elderly echelons of the most African societies. Also, sharp contrast in the economic conditions between America and Africa where American societies wallow in extreme riches whereas the African societies contemporaneously are stark deep in idyllic poverty perpetually wallowing in the mire of need and economic challenges. Some respondents cited the crooked way through which the state of Israel was formed as well as the atrocious nature of American foreign policy towards the Arab world through which there was perpetration of killing of Muamar Al Gadaffi and regular Military bombardment of Arab countries like Syria and Afghanistan.
Also the current American presidency and the preceding one of George Bush provoke distasteful responses on the social media. Especially in relation to the Prison maintained at quatanamo bay which basically was established as a basic torture facility used by the American government to torture terrorist suscepects from North Africa, Arab emirates and Europe. But the prison at Quatanamo bay is composed of a large number of North African as detainees. A respondent on the social media quoted Pravda, the Russian Newspaper in English version which had a revelation about the Quatanamo prison. The Pravda projected number of North Africans in the Quatamo prison to be currently standing at one hundred and thirty seven. The Newsweek also concurs with this position by narrating in its july 2013 edition that, there are very many prisoners of North African descend in quatanamo prison who began a hunger strike sometimes ago but they are forcefully fed through a tube.

The facebooking ,tweetering and charting thematically show one modal position that American discriminatory foreign policy towards Israel and Persia, American extreme capital amid critical world poverty, poverty in Africa especially among the youth, presence of weapons of mass destruction in Israel to which America is oblivious or nonchalant  ,Russian technological casuistry and Chinese economic dominance combine into a blend of extensive anti-American feelings that  make the world youths not reliable when it comes to the moral duty of desisting from joining the terrorist groups. American hard politics and hard diplomacy will make America not to win war on global terrorism.

African woman
She is the strongest woman
The cradle of all human

She tends softly her man
As well as all her children
She aint seeking for equity
She is seeking for prosperity
Growth, of all her generations
She knows well her traditions
Not to be in combatant competitions

Not to fight the physical equal wars
But to strengthen the spiritual-mental walls
And they call her in tough titles-submissive and foolish
All she does is, a sit-home mum, bear and then perish
But she knows well all she wants-her family to flourish
In the hearts of the matters there you will find her
Strong and willed to build and leave her legacy
Moral men and wise women-humans of substance
She is a pillar to her home

African woman
She is the strongest woman
The cradle of all human

She sits on her sack, in her arms
A giant club to clobber her farms-
Her fields fat yields of yams
And she beats their pulps till powders
They are all ground refined white dusts

Pu! Pu! Pu! Goes her game's rhythms
Pu! Pu! Pu! Shakes her shoulders
Pu! Pu! Pu! Her biceps fats dances with each fast beatings
Pu! Pu! Pu! Strong, on, urges her throbbing breast chest
Pu! Pu! Pu! Comes back the hard works echoes
Like her man in mines and farms and fields she, too, salty sweats

African woman
She is the strongest woman
The cradle of all human

On her back is a bundle of woods
On her head balanced, is a load of loads
On her back is a can of waters
On her back is a baggage of belongings
On her back is her children
On her bent back she is a farmer weeding her fields
All in a day’s daily work without complains
African woman, who stronger woman, than you?

She is the backbone of her family
She is the umbilical cord of her folks
She is their heart and soul and spirit
She doesn’t retire until she expires
Early she is up-late she is asleep, O Mama-African woman!  
Even with all gone, she still as a mother chicken them all broods
She still them all remembers as my dear little children
Mama, African woman! Mama, who there be like you?

African woman
You are the strongest woman
The cradle of all human

When they all walk naked-liberal
She has a wrapper for her *****
A cloak to guard her gold-her fertile groins
She knows, good honey is deeply hidden in hives
And inside these hidden hives are strong stings
Bad eyes are a sight for witches-evil ruins

Her petals plains she must by all means protect
Until right comes the most suitable honeybee
Until right comes the sweetest singing hummingbird
Until moral comes the most beautiful butterfly
Until then, her nectar is not for every eye-tongue
Gathered she covers her fine curves
For she is the most beautiful of the divines-African Woman!
The strongest woman-the cradle of all human!  

© Kìùra Kabiri. All rights reserved.

Ekhafu ya kamevele niyo ekamayanka elurende!
It goes a Bukusu saying, from Kenya,
It has it English equivalence as;
The most productive Milch- cow
is the one that often dies at the creek,
And truly Proffessor Ali A.  Mazrui
Africa’s global intellectual Milch-cow
Has died today from his drinking creek,
At Birmingham hospital in New-York,
His death is a deep wound
To the world of knowledge,
An impeachment to the voices
Subscribing to classical reasons,
An old wine skin to the new wine
Of nothing but global democracy,
I mourn you Mazrui in this solemn dirge,
I grieve for you deeply from my heart
I grieve for you as you grieved Okigbo,
When the bullet took his youthful life
at Nzuka battle front during the Biafra,
My mind’s eye is seeing you,
Like my Mr. Giraffe the driver
In your political epic
That tried Christopher Okigbo,
Mazrui the global son
Sired in the neoclassical times
We shall miss you,
As there is no whence
That cometh another Mazrui
From all the four corners of the earth
Rarely will he come one more Mazrui,

You failed your O’level exams at Mombasa Sec School
As you humbly basked in Muslim poverty, in 1943
Not because you were a stooge
But a genius of cultural radicalism,
Refusing to answer a history question;
Who is the Archduke of Canterbury?
Dismissing it as academic sham,
For what value has Archduke of Canterbury
to an African, Asian or Mexican boy?

You were denied a chance to study
At the then colonial Makerere University,
You sublimated to Edinburg and Oxford,
You come back into its deanry of political science
You met Milton Obote face to face,
When he was an African-English song bird of Gulu
You shouted loud when Id Amin plotted to **** Okello Oculli
You were then detained for this noise of humanity
You voice was heard,
And you were exported to southern Tundra
As an exhibit for non-white intellectual
Mazrui let me mourn you for the efforts
That sired intellectual democracy in Uganda,

When I reminisce of you Mazrui,
Pages of African Conditions open
Widely before my mind’s eye,
I see your intellectual pilgrimage
From Rudyard Kipling to Julius Nyerere
As you made your Al Hajji stone
at the graveyard of  Shakespeare the bard,

You met Daniel Moi face to face
Daniel Moi the Kalenjin Cow of Dictatorship
And black Maestro of ethnic terror
You took this despotic Moi cow to the well,
You pleaded for it to drink politics of reason
But Mazrui I pity, you were unlucky;
Kalenjin cows never drink whatsoever
From the democratic wells of political reasons,

Mazrui Maalim the star of Islam,
I envy your for your elonguence
I envy you for the unique power of ideas,
I envy you for unique intellectual bravery,
I envy you for constant intellectual dynamism
For your firm stand against utopian socialism
For your intuition into Nkrumah’s Leninist czarism,
And Senghorean cultural despair in paradoxical negritude,
For your firm stand against Ngugi’s literary tribalism,

Mazrui the stellar saint of Swahili Nation
I remember your glowing tribute
In eulogy of Julius Nyerere the swahilist,
When you held the world stand-still
With your cadence in tribute to Mandela
You have used every English word in your scholarship,
Indeed Mazrui you are the African sky
that cannot be vilified by any  ***** mouth,


Mazrui the angel of good thought
You cautioned Wole Soyinka in 1988,
When he embarked on his racist mission
That made him to call you a white African
Or a non- African African, An African Arab
In his blurred thoughts in dint of bigotry
Emanating from your Jekyll and Hide
Vintageously Serialized at Albert Schweitzer,
You sang to him ballads of the scholar
On the African of the soil and African of the blood,

Rest in peace Mazrui at the Fort Jesus
Let your glorious name and teachings
Remain permanent to the future people
As the stubborn stones of the Fort Jesus,
As your name takes the official knighthood
Of the leopard skin on death of the leopard,

Dear Poet Friends, I had posted Part One of the Story of Jazz Music in Verse few months back on this Site. Today I am posting Part Two of this Story in continuation. Even if you had not read part one of this true story, this one will still be an interesting portion to read especially for all lovers of music, and for knowing about America's rich cultural heritage. I love smooth & cool jazz mainly, not the hard & acid kind! Kindly do read the ‘Foot Notes’ at the end to know how the word ‘Jass’ became ‘Jazz’ way back in History. Hope to bring out a book later with photographs. Thanks, - Raj Nandy, New Delhi.


STORY OF JAZZ MUSIC  IN VERSE PART – II

    NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND:
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
Founded in the year 1718, as a part of French Louisiana
colony.
New Orleans* gets its name from Phillippe II, Duc d’ Orleans,
the Regent of France;
A city well known for its music, and fondness for dance!
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish Colony.
But in 1800, those Spanish through a secret pact,
To France had once again ceded the colony back!
Finally in the year 1803, the historic ‘Louisiana Purchase’
had taken place, -
When Napoleon First of France sold New Orleans and the
entire Louisiana State,
To President Thomas Jefferson of the United States!
(See Notes below)

THE CONGO SQUARE:
The French New Orleans was a rather liberal place,
Where slaves were permitted to congregate,
To worship and for trading in a market place, on
Sabbath Days, their day of rest.
They had chosen a grassy place at the edge of the
old city ,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street;
Which came to be known as the Congo Square,
Where you could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying dance
forms, -
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant colonies of the British,
Had found a freedom of expression in the Congo Square
by the natives, -
Through their Bamboula, Calanda, and Congo dance forms
to the drum beats of their native music.
The Wolof and Bambara people from Senegal River of West
Africa, -
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the string banjo.
And during the Spanish Era slaves from the Central African
forest culture of Congo, -
Who with their hand-drummed poly-rhythmic beats,  
Made people from Havana to Harlem to rise up and dance
on their feet!   * (see notes below)

CULTURAL MIX:
After the Louisiana Purchase, English-speaking Anglo and
African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-comers
settled ‘Uptown’,
Creating an American sector separate from older Creole
‘Downtown’.
This black American influx ‘Uptown’ brought in the elements
of the blues, spirituals, and rural dances into New Orleans’
musical scene.
These African cultural expressions had gradually diversified,
into Mardi Gras tradition and the ‘Second Line’. ^^ (notes below)
And finally blossomed into New Orleans’ jazz and blues;
As New Orleans became a cauldron of a rich cultural milieu!

THE CREOLES:
The Creoles were not immigrants but were home-bred.
They were the bi-racial children of their French masters
and their African women slaves!
Creole subculture was centred in New Orleans after the
Louisiana Purchase of 1803,
When the Creoles rose to the highest rung of society!
They lived on the east of Canal Street in the French
Sector of the city.   @ (see notes below)
Many Creole musicians were formally trained in Paris.
Played in opera houses there, and later led Brass Bands
in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet were
famous Creoles,
About whom I shall write as this Story unfolds.
In sharp contrast on the west of Canal Street lived the
***** musicians;
But they lacked the economic advantages the Creoles
already had!
They were schooled in the Blues, Work songs, and Gospel
music .
And played by the ear with improvisation as their unique
characteristic,
As most of them were uneducated and could not read.
Now in 1894, when Jim Crow’s racial segregation laws
came into force,       # (see notes below)
The Creoles were forced to move west of Canal Street to
live with the Negroes!
This racial mingling lighted a ‘musical spark’ creating a
lightening flash, -
Igniting the flames of a ‘new music’ which was later came
to be known as JAZZ !

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century, when Las Vegas
was just a farming community,
The actual ‘sin city’ lay 1,700 miles East, in the heart of
New Orleans!
By Alderman Story’s Ordinance of 1897,  a 20-block area
had got legalised and confined, -
To the French Quarters on the North Eastern side called
‘Storyville’,   - a name which was acquired after him.
This red light area resounded with a new seductive music
‘jassing up’ one and all;
Which played in its bordellos, saloons, and dance halls!
The best of bordellos hired a House Pianist who greeted
guests and was also a musical organizer;
Whom the girls addressed respectfully as ‘The Professor’!
Jelly Roll Morton++, Tony Jackson author of  ‘Pretty Baby’,
and Frank ‘Dude’ Amacher, -
Were all well known Storyville’s  ‘Professors’!
Early jazz men who played in Storyville’s Orchestras and Bands
now form a part of Jazz Legend;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk Johnson,
and Sydney Bechet.    ++ (see notes below)
Louis Armstrong who was born in New Orleans, as a boy had
supplied coal to the ‘cribs’ of Storyville!   ^ (see notes)
He had also played in the bar for $1.25 a night,
Surely the contribution of Storyville to Jazz cannot be denied!
But when America joined the First World War in 1917,
A Naval Order was issued to close down Storyville!   % (notes)
Since waging war was more important than making love,
this Order had said;
And from the port of New Orleans the US Warships had
set sail!
Here I pause my friends to take a break, will continue
the Story of Jazz in part three, at a later date.
                                               -Raj Nandy, New Delhi
FOOT NOTES :-
NEW ORLEANS one of the oldest cosmopolitan city of Louisiana,
the 18th State of US , & a  major port city.
LOUISIANA was sold by France for $15 million, which was later
realised to be a great achievement of President Jefferson.
*Many African strands of Folk music and dance had merged at the
Congo Square!
^^ ‘SECOND LINE MUSIC’ = Bands playing during Funerals & Marches evoked voluntary crowd participation, with songs & dances as appropriate forming a ‘Second Line’ from behind.
@ =THOSE LIBERAL FRENCH MASTERS OFFERED THE CREOLES THE BEST OF EDUCATION WITH ACCESS TO WHITE SOCIETY!
#’JIM CROW’= between 1892&1895, blacks gained political prominence in Southern States. In 1896 LAND-RICH WHITES DISENFRANCHISED THE BLACK COMPLETELY! A 25 YRS LONG HATRED &RACIAL SEGREGATION BEGAN. TENNESSEE LED BY PASSING ‘JIM CROW LAW’. IN 1896, THE SUPREME COURT UPHELD THIS LAW WITH ITS ‘’SEPARATE BUT EQUAL’’ STATUS FOR THE BLACKS ! THUS SEGREGATION BECAME A NATIONAL INSTITUTION. THIS SEGREGATION DIVIDED THE BLACK & WHITE MUSICIANS ALSO.
+ BIRTH OF JAZZ WAS A SLOW AND EVOLVING PROCESS, WITH BLUES AND RAGTIME AS ITS PRECURSORS . “JAZZ WAS QUINTESSENCE OF AFRO-AMERICAN MUSIC BORN ON EUROPEAN INSTRUMENTS.”  See my ‘Part One’ for definitions.
++ JELLY ‘Roll’ Morton (1885-1941): At 17 yrs played piano in the brothels, applying swinging syncopation to a variety of music; a great Transitional Figure- between Ragtime & Jazz Piano-style.  ++ BUDDY BOLDEN (1877-1931): His cornet improvised by adding ‘Blues’ to Ragtime in Orleans; which between the years 1900 & 1907 transformed into  Jazz! BUNK JOHNSON (1879-1849): pioneering jazz trumpeter, inspired Louis Armstrong; lost all teeth & played with his dentures! KING OLIVER(1885-1938): Cornet player & bandleader, mentor& teacher of Louis Armstrong; pioneered use of ‘mute’ in music. KID ORY(1886-1973): a pioneering Trombonist, he developed the ‘tailgate style’ playing rhythmic lines underneath the trumpet & the cornet, propagating early Jazz !
SYDNEY BECHET (1897-1959): pioneered the use of SAX; a composer & a soloist, he inspired Louis Armstrong. His pioneering style got his name in the Down Beat Jazz Hall of Fame!
Louis Armstrong(1890-1971): was a trumpeter, singer and a great
improviser. Also as the First International Soloist took New Orleans music to the World!
% = After  America joined WW-I in 1917,  a Naval Order was issued to shutdown Storyville in order to check the spread of VD amongst sailors.
^ ’cribs”= cheap residential buildings where prostitutes rented rooms.
# "JASS" = originally an Africa-American slang meaning ‘***’ ! Born in the brothels of Storyville (New Orleans)  & the Jasmine perfumes used by the girls there; one visiting them was  said to be 'jassed-up' . Mischievous boys rubbed out the letter ‘J’ from posters outside announcing  "Live Jass Shows'', making it to read as ‘'Live *** Shows'’! So finally ‘ss’ of ‘jass’ got replaced by 'zz' of JAZZ .
DURING THE 1940s  STORYVILLE  WAS RAISED TO THE GROUND TO MAKE WAY FOR ‘IBERVILLE FEDERAL HOUSING PROJECT’ .
  * ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY