DMKW

When Women Meet 2*

2012-01-20T15:22:00.002+03:00

Public Object #2:Kenya Arts Diary 2012

A 'meeting' can be a gathering, a consulation or a convergence. Coincidental or planned, serendipitous, an ambush, a joyful space, a clash. “When women meet” is alsothe title of an oils-on-canvas painting by Fred Abuga,a visual artist at KuonaTrust. A photograph of thispainting is the artwork for the week of January 16 to the 22^nd inthe Kenya Arts Diary 2012, which I use to ordermy life. I had last year’s Kenya ArtsDiary too. I enjoy seeing the accidental propinquities betweenthe scattered details of my daily life and the works of art that Kenyan artistsmake: meetings which are sometimes discordant, sometimes cacophonous, sometimes absurd, sometimes strangely related.

I keep my diary in my bag next to the Constitution, close at hand so that I can check my schedule before I make a new commitment for my time. Without my diary the experience of my dailylife becomes disordered, disoriented and helplessly vague. Where am I supposed to be, with whom, whenand doing what, who am I supposed to meet? Sometimes, my scrawled texts andthe featured images seem to be a riff on a theme, to connect in some odd andquirky ways. Abuga's work now illustrates at least three meetings between women in addition to the one he painted, because this week I was meeting "S.N, C.O. and B.M.' Those meetings have now met the women meeting in Abuga's image. I wonder what other meetings are occurring in other people's diaries, what accidents of intent and society, artistry and banality will wind and twine around each other in these ways.

Abuga's “When women meet” is an exquisitework. His delicate downwardbrushstrokes make slender rainbow panels that seem to be inmotion. They stream down the canvas,below the bottom edge and out of sight, small plaques looking likeelongated, exaggerated pixels. Theyresolve themselves at the right distance and perspective into a small housewith a sloping roof surrounded by greenery. In front and to the side of the house, three women in pastel wrapsstand talking under a tree. Two of them are in profile to us: one's hand is on her hip, the other one might have her arms folded under her breasts.

In theforeground, a line of earth-fire coloured strokes of paint-- reds and orangesand yellow-pinks-- suggest an enclosure-line. A flowering hedge, a fence or a pathway lined with flowers, perhaps,defining the compound/space in which the women stand. Iwonder what the women are talking about there under their tree. They look as if they are village women meeting to tell market stories, maybe, or to plan some work, pass on a bit of gossip, take over the country or all of these.

If you move your head just right, squint a little orlook at the painting slightly ‘squiff,’ this visual narrative of sky-compound-women-hedgeescapes from sight and you see only the overlaid long dabs of blues runninginto greens running into reds: easydistinctions of form disappear. You canno longer see the women, meeting, talking under a tree. Can they still see you?

Gazes are encounters, too -- power dynamics at play.

The third woman is talking. Where her face is, you can see a dab of white because she is also the one figure facing out of the painting, towards us. The other two are her audience, as are we who watch from outside. My eyes turn repeatedly to the three of them. The tightness of the circle they make, the raptness of the attention portrayed, the way the listening women attend to and create a space for the one speaking, by the angle of their bodies, by their posture, by the way they are turned to focus on her.

The angle of view we adopt and the space ofencounter we create matter for when women meet.

Rebecca Kerubo and Nancy Baraza met at Village Market—it did not gowell. I think about the geography of privilege that surrounds the VillageMarket and wonder if the irony of “village” isintentional or a Freudian slip underlining the dissonance between sign andsignified. Or perhaps it is just another sign of the slipperiness of our post-colonial globalised condition that our words simultaneously refer to rural areas and to the 'global village.' Village Market is not a'village' if by that we were to mean a non-urban locale. The area around Village Marketis extremely urban, sleekly global and affluently cosmopolitan. It might have the highest percentage ofinfluential foreign residents of anywhere in Kenya. It glitters withembassies and their extremely comfortably housed diplomatic staff, UN agencies, high-rankingmembers of the Kenyan Government and their pennant-sporting cars. VillageMarket is a shopping centre frequented mostly by Nairobi's elite and upper middle classes.

We know that there are women who shop at Village Market and we know thatthere are those who guard them as they shop. We also know that the two kinds of women rarely overlap and that thesedifferences matter. Had it been a village in the orthodox sense, perhaps theencounter between those two women would not have unfolded as it did. Villages have different protocols: two women at a village market would not, perhaps, haveexperienced each other in the way that Rebecca Kerubo and Nancy Barazareportedly did. Other (even unpleasant)things might have happened, in other (even unpleasant) ways but perhaps not this andperhaps not in this way.

Where women meet,and the hows and whys of those spaces structure the meanings of the encounteritself.

The person helping to evade responsibility for the disasterat Sinai and deny help to the victims mighthave been a woman. The government officials or person who ordered the demolitionof the houses at Syokimau might have been awoman. Perhaps, as in Phyllis Muthoni’s “Caterpillars”, that woman said about another woman:

“She should have known better than to erect her shack
on the railway/road/airport reserve.
I might have said she could, but only as a temporal measure.
Can’t she figure things out herself?”

Perhaps this woman yawned and stretched. Perhaps, before turning away, she then casuallysaid “Bomoa” and sent the lives ofcountless other women spiraling into despair. Her word, unleashed into the world, to hunt down and prey on strangerswho, as in Sitawa’s Inflamed Words ‘couldnot know/Even now/They stood condemned.”

When women meet there can be desolation. When women meet there is often rage and angerand callousness. When women meet greatwounding is possible. We can rip each other into nothingness, into tatteredstrips of tears and fear.

But when women meet can also be full of wonder and surprise,a joyful play, a surge of power, the surprise of recognition, the making of abridge. When women meet, we cancreate. When women meet, we can make andunmake the world and each other.

*g'zillion, apologies: I had posted an (even more) incorrect version earlier--about a week ago.

'When Women Meet' in Life, Art and Cybespace

2012-01-18T12:42:00.000+03:00

[Thinking with Objects]

Public Object #1: Kenya Constitution 2010

Last Saturday night, I met some women at a birthday dinnerin my friends’ flower-scented garden. Imade a note of this event after it was past, a reminder to remember it. There were men there too and the friend whosebirthday it was is a man, but I remember the women present most clearly because three ofthem performed impromptu readings from two very different texts. The cold and dark of the evening had gatheredus around a fire burning in a free standing clay hearth. The hearths have long-necked chimneys, tall slender funnels that send twirling threads of smoke reaching for thesky. Between the line of ‘neck’ above and the spindly metal legs of thestand below, the clay hearth swells out into rounded belly with an open mouth,a hungry cavern at the center where the wood burns. Tall clay women with fire in their wombsdrawing bodies and thoughts closer, forging a ‘we.’

Eventually.

The hearth crackled and leaped with flame but only after thewood had spent the first hour or so sulking in glowing embers that refused tocatch, like a lesson, or a social movement, smoldering without flame. First-time meetings can be like that, too,waiting for the ice to melt so that you can reallymeet. Sitting around a fire quickensthis process and intensifies proximities and affects, I find, and keeps thememories of the event warm for days afterwards. I can still clearly see the woman who read the first text. I remember that she leaned her body forwardsand angled the book in her hands towards the fire’s light. It was the Constitution of Kenya, 2010, andit was my copy.

It lives in my handbag,next to my diary.

The woman was sitting across the fire from me. Before shecould read from the Constitution it had to be handed from person to person,touched by all our hands and passed on around the fire until it got to her.

This is the bit that she read:

“Chapter Six: Leadership andIntegrity

Responsibilities of leadership

Article73 (1) Authority assigned to a State officer --

(a) isa public trust to be exercised in a manner that --

(i) is consistent with the purposes and objects ofthis Constitution;

(ii) demonstrates respect for the people;

(iii) brings honour to the nation and dignity to theoffice; and

(iv) promotes public confidence in the integrity ofthe office; and

(b) vestsin the State office the responsibility to serve the people, rather than thepower to rule them.”

She stopped, leaving the words reverberating in ourskulls.

And then she turned to the rest of us and said “You see? That’s what itsays!”

The rest of us nodded. Something had been clarified, a pointdriven home. Yes, men behave much, much worse, but that is what the constitution says.

We had been talking about a meeting between women. We hadbeen talking about Rebecca Kerubo and Nancy Baraza,two former strangers who met at the Village Market alittle while ago. We do not know exactly what happened at this encounter. We donot know exactly who said what to whom or exactly what happened next. We do not know whether or not there was a gun,or whether or not a nose had been touched inappropriately.

We do know that this encounter was not pleasant orharmonious for either one of them. Weknow that Rebecca Kerubo works as a security guard at Village Market and thatNancy Baraza works as the Deputy Chief Justice of the Supreme Court ofKenya. And we know that the 2010Constitution of Kenya applies to both of them because many brave women and menof good will struggled to ensure that our 2010 Constitution would securewomen’s opportunities for high office. These brave women and men of good will ensured also that it would addresses thestructures of inequality (often gendered) that distort the social and denyjustice to those for whom gendered positions and locations are a frame of violence. The constitution’s nobler principles are only smallsmoldering embers in our social imagination. They need the breath of passion and expanded vision to fan them intoburning fires. (Precisely why, alas, Article 45(2) fails the Constitution's own standards of social justice)

When women meet, the angle of encounter is important. “And yet, quite often, there is a pretense toa homogeneity of experience covered by the word sisterhood that does not infact exist,” writes Audre Lorde in Sister Outsider. Differences are important. In Kenya differences of class are critical. Much of the energy poured into ethnic baitingby the elite political class is for the purpose of obscuring this knowledge or fordistracting the people from contemplating its implications.

So there is this fact: these two women met. One ofthe things that can happen between women when they meet is whatever happenedbetween these two women that day at Village Market.

[Weaving with Phyllis Muthoni "Caterpillars" & Sitawa Namwalie "Inflamed Words"]

Plus Ça Change….December 12th, Kenya

2011-12-12T11:20:00.001+03:00

Image source Jamii Forums

“Today is rightly a day of great rejoicing. But it must also be a day of dedication. Freedom is a right, and without it thedignity of man is violated. But freedom by itself is not enough. At home, wehave a duty to ensure that all our citizens are delivered from the afflictionsof poverty, ignorance and disease, otherwise freedom for many of our peoplewill be neither complete nor meaningful. We shall count as our friends, andwelcome as fellow-citizens, every man, woman and child, in Kenya— regardless ofrace, tribe, colour or creed –- who is ready to help us in this great task ofadvancing the social wellbeing of our people.

Freedom also means that we are now a member of the internationalcommunity, and that we have a duty to work for the peace of the world. Abroad, we shall count as our friends allthose who strive for peace.”

-- Jomo Kenyatta, December 12^th 1963.

48 years later....

Waking to News of Our Incursion

and our implicit

Patriot Act

some of us may wonder,

Ain't I Kenyan?

The children hear us. Listen to their

Rhyme

But, what war?

For most Kenyans, the predominant worry is

Death and Taxes

Especially if you live(d) in Sinai, until death became part of your daily Ritual.

If not Sinai, other places, where life is itself is a roulette of danger:

What's In the Sack?

Back to the future, Kenyan style.

In Kenya, violence is love, women are often told.

The Kenyan government loves the Kenyan people very much.

Hence, the shifting rationale, ambiguous purposes and strangely incoherent execution of our 'incursion' into Somalia.

Meanwhile, in the middle of rising unga prices, cooking gas shortages, rampant unemployment and the news that our multi-billion-shilling overpass to the Thika floods in heavy rains, should we mention the internally displaced Kenyans?

We are very good at saying we don’t leave a single stone unturned, but we
don’t turn a single stone. Maybe we turn pebbles.… Small stones are turned.
The big ones, no one dares.

—Kalenjin elder, on the lack of justice following post-election violence, Eldoret, May 27, 2011

Four years after the onset of Kenya’s 2007-2008 post-election violence—and with a new election campaign underway—Kenya’s government has done little to provide justice to victims. The government has failed to ensure the prosecution of perpetrators in all but a handful of the 1,133 or more killings committed during the violence, which pitted ruling party supporters and the police against opposition-linked armed groups and civilians. Victims of rape, assault, arson, and other crimes similarly await justice.

--"Turning Pebbles: Avoiding Accountability for Post Election Violence in Kenya," Human Rights Watch, December 2011.

But, today is a special day.

Power, Arendt said, is the capacity not just to act, but to act in concert.

The military can certainly do that.

On television, for the Jamhuri Day celebrations, our military displays all the different speeds at which men in uniforms with unfashionable trousers can walk, turn abruptly, hold sword to mouth, stand absolutely still and then move suddenly for no reason at all. They can also take off their hats in perfect unison and shout 'hip hip hooray.'

Nation Building.

Je, wewe pia unajivunia?

Koroga II "Life Un-Whipped" Phyllis Muthoni/Sylvia Gichia

2011-12-09T23:30:00.000+03:00

Koroga II "Gossip Girls" Marziya Mohammedali/Sylvia Gichia

2011-12-09T21:30:00.000+03:00

Koroga II "Dirty Clothes" Wambui Kamiru/Wambui Mwangi

2011-12-09T17:00:00.000+03:00

Koroga II "City and Sea" Ngwatilo Mawiyoo/Jerry Riley

2011-12-09T13:30:00.000+03:00

Koroga II "Icarus II" Wambui Mwangi/Jerry Riley

2011-12-09T08:30:00.000+03:00

Koroga II "Don't Say It Ain't So" Phyllis Muthoni/Sylvia Gichia

2011-12-08T21:30:00.000+03:00

Koroga II "Note To My Sister (Not Being There)" Wambui Mwangi/Jerry Riley

2011-12-08T19:00:00.000+03:00

Koroga II "But There Is Never Any Solitude" Stephen Derwent Partington/Jerry Riley

2011-12-08T12:30:00.000+03:00

Koroga II "Saudade" Marziya Mohammedali/Wambui Mwangi

2011-12-08T09:30:00.000+03:00

Koroga II "Sehnsucht" Marziya Mohammedali/Wambui Mwangi

2011-12-07T21:00:00.001+03:00

Koroga II Exhibition Kuona Trust. 10-19 December 2011 9am-6pm Likoni Close, Hurlingham

2011-12-07T17:30:00.000+03:00

Koroga II "George" Wambui Mwangi/Jerry Riley

2011-12-07T15:30:00.001+03:00

Koroga II "Mr. Moon" Wambui Kamiru/Sylvia Gichia

2011-12-07T12:30:00.000+03:00

Koroga II "Puppy Love" Phyllis Muthoni/Sylvia Gichia

2011-12-07T10:00:00.000+03:00

Koroga II "Brother" Marziya Mohammedali/Sylvia Gichia

2011-12-06T21:00:00.000+03:00

Koroga II "Ngua Kuku" Wambui Kamiru/Jerry Riley

2011-12-06T16:30:00.000+03:00

Koroga II "Lemon Meringue Pie" Stephen Derwent Partington/Sylvia Gichia

2011-12-06T12:00:00.000+03:00

Koroga II "Chai" Marziya Mohammedali/Jerry Riley

2011-12-06T00:00:00.000+03:00

Koroga II "Amplification" Wambui Mwangi/Jerry Riley

2011-12-05T19:30:00.000+03:00

Koroga II "Army of U.A.A.M.(s)" Wambui Kamiru/Marziya Mohammedali

2011-12-05T16:30:00.000+03:00

Koroga II "The Enwombing" Marziya Mohammedali/Jim Chuchu

2011-12-05T15:00:00.000+03:00

Koroga "Breathe" Marziya Mohammedali/Jim Chuchu

2011-12-05T09:00:00.000+03:00

Koroga II "Ablaze" Marziya Mohammedali/Jim Chuchu

2011-12-04T18:30:00.000+03:00

Koroga II "Earthen" Marziya Mohammedali/Sylvia Gichia

2011-12-04T16:12:00.001+03:00

Koroga II "Daddy" Marziya Mohammedali/Jim Chuchu

2011-12-03T20:16:00.001+03:00

Koroga II "(Him)" Wambui Kamiru/Jerry Riley

2011-12-03T15:00:00.000+03:00

Koroga II "Power" Wambui Mwangi/Jim Chuchu

2011-12-03T12:30:00.000+03:00

Koroga II: "Title: Christmas Corpses On The Cheap" Tony Mochama/Jim Chuchu

2011-12-03T08:30:00.000+03:00

Koroga II "Dogma & Doubt" Wambui Mwangi/Jerry Riley

2011-11-30T15:30:00.000+03:00

Koroga II "If She Was He" Nyambura Githongo/Jim Chuchu

2011-11-30T12:57:00.001+03:00

Koroga II "One Day" Wambui Mwangi/Jim Chuchu

2011-11-30T12:53:00.001+03:00

Koroga II "The Real Thing" Ngwatilo Mawiyoo/Jerry Riley

2011-11-30T12:43:00.001+03:00

Koroga II "What If" Phyllis Muthoni/Jerry Riley

2011-11-30T12:38:00.001+03:00

Koroga II "Weapon of (M)ass Destruction" Wambui Mwangi/Jerry Riley

2011-11-30T12:35:00.001+03:00

Koroga II "What's In The Sack?" Phyllis Muthoni/Jerry Riley

2011-11-30T12:25:00.001+03:00

Koroga II "Journey" Wambui Mwangi/Sylvia Gichia

2011-11-30T09:54:00.001+03:00

Koroga II "Brown Legs?" Sitawa Namwalie/Jim Chuchu

2011-11-29T09:48:00.001+03:00

Koroga II "The Promise" Wambui Mwangi/Jerry Riley

2011-11-28T19:52:00.001+03:00

Koroga II "National Broadcast" Marziya Mohammedali/Wambui Mwangi/Jerry Riley

2011-11-27T11:37:00.001+03:00

Koroga II "Messages" Marziya Mohammedali/Jim Chuchu

2011-11-26T07:12:00.001+03:00

Koroga II "I Bleed Love" Sitawa Namwalie/Sylvia Gichia

2011-11-25T20:33:00.001+03:00

Koroga II "House Arrest" Wambui Mwangi/Wambui Kamiru

2011-11-25T16:03:00.001+03:00

Koroga II "Changing Channels" Marziya Mohammedali/Jerry Riley

2011-11-25T08:36:00.001+03:00

Koroga II "Lullaby" Marziya Mohammedali/Sylvia Gichia

2011-11-24T17:11:00.001+03:00

Koroga II "Rhyme" Phyllis Muthoni/Jerry Riley

2011-11-24T10:02:00.001+03:00

Koroga II "Wilted" Wambui Mwangi/Marziya Mohammedali

2011-11-23T23:37:00.001+03:00

Koroga II "Random Thoughts" Phyllis Muthoni/Sylvia Gichia

2011-11-23T16:23:00.001+03:00

Koroga II "Build Kenya For The Kiddies" Stephen Derwent Partington/Sylvia Gichia/Jerry Riley

2011-11-23T11:55:00.001+03:00

Koroga II "Death and Taxes" Phyllis Muthoni/Sylvia Gichia

2011-11-22T19:13:00.001+03:00

Koroga II "Last Monday" Marziya Mohammedali/Sylvia Gichia

2011-11-22T12:55:00.001+03:00

Koroga II "Use-Value" Wambui Mwangi/Sylvia Gichia

2011-11-22T09:07:00.001+03:00

Koroga II "Jump" Wambui Mwangi/Marziya Mohammedali

2011-11-21T22:34:00.001+03:00

Koroga II "Divine" Wambui Mwangi/Sylvia Gichia

2011-11-21T17:49:00.001+03:00

Koroga II "Origins (for WM)" Phyllis Muthoni/Jerry Riley

2011-11-20T12:48:00.001+03:00

Koroga II "Onions" Marziya Mohammedali/Jerry Riley

2011-11-20T12:42:00.001+03:00

Koroga II "Sanctuary" Stephen Derwent Partington/Wambui Kamiru

2011-11-19T21:08:00.001+03:00

Koroga II "A Zebra-striped Postcard" Phyllis Muthoni/Sylvia Gichia

2011-11-19T16:15:00.001+03:00

Koroga II "If Chickens Could Read" Stephen Derwent Partington/Sylvia Gichia

2011-11-19T09:08:00.001+03:00

Koroga II "Civil Society" Wambui Mwangi/Marziya Mohammedali

2011-11-18T08:25:00.001+03:00

Koroga II "Lights, Camera..." Marziya Mohammedali/Jerry Riley

2011-11-18T08:23:00.001+03:00

Koroga II "Lying Pulpits" Sitawa Namwalie/Sylvia Gichia

2011-11-18T08:18:00.001+03:00

Koroga II "NASA Looks For New Adventures" Marziya Mohammedali/Jerry Riley

2011-11-17T12:10:00.000+03:00

Koroga II "Desolation" Phyllis Muthoni/Jerry Riley

2011-11-17T08:51:00.000+03:00

Koroga II "Remembering Your Way Home (for SDP and WM)," Phyllis Muthoni/Wambui Mwangi

2011-11-16T16:35:00.000+03:00

Koroga II "Mama Razzle" Wambui Mwangi/Marziya Mohammedali/Sylvia Gichia

2011-11-16T12:22:00.000+03:00

Koroga II "The Doll (an excerpt from 'Eh kumbe we are poor') Sitawa Namwalie/Jim Chuchu

2011-11-16T08:35:00.001+03:00

Koroga II "The Plastic Pioneers: An Ushanga" Stephen Derwent Partington/Jerry Riley/Jim Chuchu

2011-11-15T17:14:00.001+03:00

Koroga II "Waking To News Of Our Incursion Into Somalia" Stephen Derwent Partington/Wambui Mwangi

2011-11-15T13:52:00.001+03:00

Koroga II "The Mother" Nyambura Githongo/Sylvia Gichia

2011-11-15T08:57:00.001+03:00

Koroga II "Education" Marziya Mohammedali/Sylvia Gichia

2011-11-14T14:29:00.001+03:00

Koroga II "Gravity's Sly Stride" Sitawa Namwalie/Wambui Mwangi

2011-11-13T09:14:00.001+03:00

Koroga II "Fear of What?" Wambui Mwangi/Jerry Riley

2011-11-13T09:03:00.001+03:00

Koroga II "Prayer" Nyambura Githongo/Sylvia Gichia

2011-11-13T08:52:00.001+03:00

Koroga II "House of Dreams" Wambui Mwangi/Jerry Riley

2011-11-12T08:20:00.001+03:00

Koroga II "Maumivu Yakizidi..." Wambui Mwangi/Sylvia Gichia

2011-11-11T17:18:00.001+03:00

Koroga II "Wearing Black" Sitawa Namwalie/Jim Chuchu

2011-11-11T11:39:00.001+03:00

Koroga II "Absent" Sitawa Namwalie/Jerry Riley

2011-11-10T15:54:00.000+03:00

Koroga II "Mother" Sitawa Namwalie/Wambui Mwangi

2011-11-10T08:29:00.000+03:00

Koroga II "Access" Wambui Mwangi/Wambui Kamiru

2011-11-09T22:00:00.001+03:00

Koroga II "Black Lips, the new Black! (A tribute to Botox)" Sitawa Namwalie/Jim Chuchu

2011-11-09T14:54:00.000+03:00

Koroga II "Arrows" Wambui Mwangi/Sylvia Gichia

2011-11-09T08:30:00.000+03:00

Koroga II "The Curse of the Bougainvillea" Phyllis Muthoni/Wambui Mwangi

2011-11-08T18:30:00.000+03:00

Koroga II "The Mountain" Wambui Mwangi/Jerry Riley

2011-11-07T21:02:00.001+03:00

Koroga II "Creation" Marziya Mohammedali/Jerry Riley

2011-11-07T19:11:00.000+03:00

Koroga II "Aches and Chains" Marziya Mohammedali/Wambui Kamiru

2011-11-07T17:37:00.001+03:00

Koroga II "Change" Wambui Mwangi/Jerry Riley

2011-11-07T11:53:00.002+03:00

Koroga II "Praying Mantis" Wambui Mwangi/Jerry Riley

2011-11-04T13:53:00.001+03:00

Koroga II "Mehndi Wishes" Marziya Mohammedali/Jerry Riley

2011-11-04T10:47:00.001+03:00

Koroga II "Thole A Little" Stephen Derwent Partington/Jerry Riley

2011-11-03T20:54:00.001+03:00

Koroga II "The Prophets" Marziya Mohammedali/Jim Chuchu

2011-11-03T12:30:00.000+03:00

Koroga II "The Ushanga (short form Jacaranda poetry)" Stephen Derwent Partington/Wambui Mwangi

2011-11-03T08:52:00.001+03:00

Koroga II "Little Purple Drama Queens" Wambui Kamiru/Wambui Mwangi

2011-11-02T23:11:00.000+03:00

Koroga II "Oncogenous October" Stephen Derwent Partington/Wambui Mwangi

2011-11-02T07:47:00.002+03:00

Koroga II "Cube Movers" Tony Mochama/Jim Chuchu

2011-11-01T13:08:00.001+03:00

Koroga II "Life at a Standstill" Phyllis Muthoni/Wambui Kamiru

2011-11-01T07:34:00.002+03:00

Koroga II "Gravedigger" Marziya Mohammedali/Jerry Riley

2011-10-31T15:48:00.000+03:00

Koroga II "Where He Went That April Night" Stephen Derwent Partington/Sylvia Gichia

2011-10-31T09:04:00.001+03:00