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Showing posts with label nuruddin farah. Show all posts
Showing posts with label nuruddin farah. Show all posts

Wednesday, 11 June 2014

This is what it's like to be British



rip Rik Mayall

There's a furore in the UK at the moment about British-ness and the 'Trojan Horse' of Islam destroying Britain through religious schools. Michael Gove came up with this idea of the 'Trojan Horse.'

To be perfectly honest, I am quite hostile to the idea of religious schools. By their nature, they are religious and so promote certain beliefs and values. I know because my daughter has been to a couple of religious schools. Not too religious, but it creeps in around the edges. I prefer secular education. Halloween should be Halloween, not Hallelujah-een ( I'm not kidding you). Keep Ned Flanders out of Britain.

Michael Gove (who is also a bit Ned Flanders) is hostile to the idea of religious education too, or at least Muslim education. That puzzles me. A few years back he was supporting them, saying how fantastic they are. What did he think would happen when people starting building Muslim or Jewish or Hindu or Christian schools? That they wouldn't be religious?

It's the same when the government in Britain says immigrants should 'integrate' and learn English. And then cut funding to the very places that do exactly that, removing the possibilities that so many people are trying to make happen.

It's quite something to see a classroom filled with Somali, Polish, Kurdish and Brazilian immigrants all getting on and sharing their lives, integrating and learning both a language and a whole host of different cultures. And to know that when they go home at night, they will be able to help their kids with their homework, they will be better able to navigate the school system, or the medical system, and get a job and get on and become good, honest hard-working members of society - you know the rhetoric.

And then to see the funding for those same programmes cut, to see the possibilities they provide ripped away from communities who need them most, who value them most, who do want to learn English and 'integrate'. That's heartbreaking.

Or to see smart 11-year-old kids who have just arrived in the country and never been to primary school, who are desperate to learn but don't even know how to hold a pair of scissors or write their name, struggle and flounder and sink because the schools don't have the funding or the skills to teach these kids. Instead they are slowly shuffled to the back of the class and put on a virtual scrapheap because that's what 'integration' means. It means ignoring the problem, pretending it doesn't exist, making it even worse. That's heartbreaking. I used to teach them when they were spat out at the other end. It was our job to turn them round in some way and we did that by addressing the problems and teaching towards it.

I don't think Michael Gove is remotely interested in any of that though. He is interested in the empty rhetoric of Britishness and integration and he is happy to sacrifice others for his ambition. And the idea of having so many more faith schools was still his idea in the first place. Here's an article where he praises faith schools from a few years back.

I originally had something else up here and it connected to the great Somali writer, Nuruddin Farah, but I was asked to take it down so I did.

But Nuruddin Farah is great so here's a link to what he wrote about the complexities of life (and Somalia is very complex)  in this article

In a hotel beside a Norwegian fjord, encircled by snow-streaked mountains, the novelist and playwright Nuruddin Farah has his mind on warmer waters."Are they pirates?" he says of the Somalis who hold ships hostage off the Horn of Africa, where he was born. "What they do has the characteristics of piracy. But that wasn't how it started." He fixes his eye on the Arctic trawlers in the harbour. "The majority were fishermen who lost their livelihoods to Korean and Japanese and European fishing vessels, fishing illegally in Somali waters. I'm not condoning the things they're doing. But there are unanswered questions. Someone is not telling us the truth."

...

"Somalia is no longer what it was. It's past reconstruction. How can you reconstruct a country that's self-destructing continuously?"

....

 He was once attacked online for insisting the "Afghan-type body tent is not culturally Somali. I said: 'My mother never wore a veil, nor my sisters.' They said my mother was not a Muslim." In the diaspora, he argues, "the majority could not articulate their Somali culture. The less you know about Islam, the more conservative people become."

...

In areas al-Shabaab controls, says Farah, they have "forbidden song and dance because they're closer to Wahhabism than most Somalis". Theatre that is verse-based, and sung to music, "challenges everything such groups represent. They say it's evil, Satan's work, and that a woman's place is not on the stage." Yet visiting Mogadishu in the spring, he found people "playing music and singing in tea houses and at parties. Women have created their own space."



Tuesday, 3 December 2013

Somali Cartoons and Egyptian rappers


Mayam Mahmoud is a female rapper from Egypt. She's in the news because she's got into the semi-finals of Arabs Got Talent in Egypt. She raps about being judged on her appearance and sexual harrassment, things that are difficult to talk about.

This  below is from an article in the Guardian.

'Mahmoud's fans find her inspiring not just because she is a woman but because her work centres on sexual harassment, a local taboo. Harassment is an endemic problem in Egypt: 99.3% of Egyptian women reported being sexually harassed, with 91% saying they felt insecure in the street as a result, according to a UN survey published in April.

For her part, Mahmoud carries a sharp nail to protect herself in a worst-case scenario. But many women feel afraid to discuss the issue publicly because they fear they will be stigmatised. Women who speak out are often assumed to have somehow provoked the attention. "It's happening to everyone," says Mahmoud. "But everyone is scared to talk about it."'

I looked at this and then thought about this series of cartoons that appeared on the Open Society website. The cartoons tell the stories of Somali migrants to a series of European countries; the financial problems they face, the trauma of war, the racism they face.



But it feels that though some things are touched upon, there are too many things that are not mentioned, that 'everyone is scared to talk about.' And that means much, much more than the Somali staples of FGM and radical Islam.

Until earlier in the year, I worked with young Somalis who had recently migrated to the UK. I loved them for their energy, their humour, their resilience, their dynamism and their vivacity. But the vast majority of them didn't have easy lives and had problems that in any other community would have been classified from severe to life-threatening But I don't recognise the major problems they had in these cartoons, problems that as often as not came from within their community.

In this earlier blog post, I wrote about how the great Somali writer, Nuruddin Farah described the way that trauma was passed down from the parents to the children. This is from the article

 He once challenged fellow Somalis to "study the structure of the Somali family and you will find mini-dictators imposing their will … We become replicas of the tyrant whom we hate. When you rid yourself of a monster, you become a monster."

I think this is touched upon in places in the Open Society cartoons, but the cartoons also give the feeling that elements have been cut out - the Somali communities have been sanitised into passive victims. Or maybe they have self-censored their stories. Some things shouldn't be talked about.

So the Somalis have been Disnified when they should have been Studio Ghibblied. And the pity is there is the sense that, underneath the layers, you can see the more complex version struggling to get out. But it can't because, as the Egyptian rapper, Mayam Mahmoud put it, "Everyone is scared to talk about it" and it's easier to present a two-dimensional point of view than something a bit more nuanced. And in any case, that two-dimensional view might be a dimension ahead of most representations of the Somali community and actually add to understanding.

Have I just come full circle there? I think I have. Oh well, time to read more Nuruddin Farah. 





Wednesday, 12 October 2011

James Mollison and Nuruddin Farah



I enjoyed seeing James Mollison talking about his Dadaab refugee camp (population 370,000 and rising) pictures and the portraits he made of Somalis in the camp - all with an Avedonesque white backdrop to isolate the figures. Which reminds me of Paul Close's fabulous Snakebox Odyssey - even if that is completely different.

Mollison touches on why he has a white backdrop and raises questions of if we should show the normality, show the horror, show the backdrop, don't show the backdrop? Which way should it go? Or should it go all ways?

Show the complexity maybe? I liked seeing the camp best of all in the video, the shops, the restaurant and the guy who was getting married. What is his story I wonder? What happens at night, what are the politics of the camp? Does anyone ever leave?

And at the same time I'm enjoying Nuruddin Farah's tremendous From a Crooked Rib, a Somali man's eye view of a Somali woman's eye view.