The challenges of building community based on a common identity that also respects differences has two different kinds of chasms to cross. There is the division of ethnic groups, and there is also the generational gap. Given recent problems of ethnic violence that broke out during the December 2007 elections, can contemporary Kenyans build community, coming to common understanding with others on issues such as value and identity? This is not a new problem. It has often been expressed as the (...) need to develop a common Kenyan “national culture.” After a survey including Okot p’Bitek, Frantz Fanon, Bethwell Ogot and Ngugi wa Thiong’o’s contribution to the topic in the context of the 1960s and 70s, I will then go on to discuss the contribution of Kenyan Philosophy professor Henry Odera Oruka, who was greatly influenced by the ongoing discussions regarding national culture when he began his sage philosophy project – a project he clearly described as being able to play a role in the creation of Kenyan national culture. I explore some of Odera Oruka’s unpublished work on this topic. Chaungo Barasa has continued this project. I move on to survey how current academics in Kenya are working to describe and forge national values as a meaningful alternative to Kenyan government ongoing endeavors to promote culture as a tourist commodity. (shrink)

National unity is important in Kenya, since ethnic divisions have sometimes become deadly. The imposed Coalition government and the recent new Constitution in 2010 were attempts to overcome division. But cultural divisions among the generations are just as much of a challenge as ethnic divisions, as the youth sometimes sideline the practices and worldviews of their elders, leaving people to wonder what binds people to each other as Kenyans? The idea of “national culture” has its pitfalls, bit seems necessary nevertheless, (...) as explained by Frantz Fanon, Ngugi wa Thiong’o, Okot ‘Bitek, and H. Odera Oruka. This article explores how ideas of “Kenyanness” have developed since Kenyan independence and the rejection of colonized mentality and education. Odera Oruka’s advocacy of “Sage Philosophy” as a project to pull Kenyans together, and more recent academics’ attempts to encourage civic education by articulating core Kenyan values are explored in depth. These scholarly and artistic efforts at describing or encouraging common identity are contrasted to efforts by the Ministry of Culture to construct (and “sell”) Kenya culture to tourists as a commodity. (shrink)

In this essay, I offer an epistemological accounting of Pauli Murray’s idea of Jane Crow dynamics. Jane Crow, in my estimation, refers to clashing supremacy systems that provide targets for subordination while removing grounds to demand recourse for said subordination. As a description of an oppressive state, it is an idea of subordination with an epistemological engine. Here, I offer an epistemological reading of Jane Crow dynamics by theorizing three imbricated conditions for Jane Crow, i.e. the occupation of negative, socio-epistemic (...) space, reduced epistemic confidence, and heightened epistemic disavowal. To this end, Jane Crow seems to require routine epistemic failings. In the end, I propose that an epistemological narrative of Jane Crow may also shed light on why invisibility frames figure so prominently in US Black feminist thought. (shrink)

The challenges of building community based on a common identity that also respects differences has two different kinds of chasms to cross. There is the division of ethnic groups, and there is also the generational gap. Given recent problems of ethnic violence that broke out during the December 2007 elections, can contemporary Kenyans build community, coming to common understanding with others on issues such as value and identity? This is not a new problem. It has often been expressed as the (...) need to develop a common Kenyan “national culture.” After a survey including Okot p’Bitek, Frantz Fanon, Bethwell Ogot and Ngugi wa Thiong’o’s contribution to the topic in the context of the 1960s and 70s, I will then go on to discuss the contribution of Kenyan Philosophy professor Henry Odera Oruka, who was greatly influenced by the ongoing discussions regarding national culture when he began his sage philosophy project – a project he clearly described as being able to play a role in the creation of Kenyan national culture. I explore some of Odera Oruka’s unpublished work on this topic. Chaungo Barasa has continued this project. I move on to survey how current academics in Kenya are working to describe and forge national values as a meaningful alternative to Kenyan government ongoing endeavors to promote culture as a tourist commodity. (shrink)

Pour édifier une communauté à partir d’une identité commune qui respecte aussi les différences, il faut traverser deux gouffres différents. Le premier est la division entre groupes ethniques, dont j’ai parlé plus haut ; le deuxième, la rupture entre les générations. Les jeunes Kényans d’aujourd’hui peuvent-ils bâtir une communauté avec leurs aïeux et parvenir à se comprendre mutuellement sur des questions telles que la valeur et l’identité ? Le problème n’est pas nouveau. C’est en fait un thème majeur qui revient (...) constamment depuis les années soixante, début de l’indépendance du Kenya. On y a souvent vu le besoin de développer une « culture nationale » kényane partagée. Ce thème a été étudié par de nombreux auteurs au Kenya. Je commencerai par brosser un tableau d’ensemble en étudiant les contributions d’Okot p’Bitek, Frantz Fanon, Bethwell Ogot et Ngugi wa Thiong’o à ce sujet dans le contexte des années soixante et soixante-dix. J’étudierai par la suite la contribution du philosophe kényan Henry Odera Oruka. Ce dernier a été profondément influencé par les débats sur la culture nationale quand il a lancé son projet de « philosophie sage » – une approche qu’il a cru à même de jouer un rôle dans la création d’une culture nationale kényane et qui s’est prolongée dans l’oeuvre de Chaungo Barasa. J’analyserai enfin comment les universitaires kényans travaillent à décrire et forger des valeurs nationales, offrant une autre perspective que celle du gouvernement kényan, qui tend à considérer la culture comme une attraction touristique. (shrink)