Tag Archives: Nairobi

“¿Cómo es aquello? ¿Cómo es realmente África?”

Cuando llegas a España tras pasar por primera vez una temporada en el África subsahariana, los amigos siempre se quedan mirándote como evaluándote y luego te preguntan: “Bueno… ¿y cómo es aquello? ¿Cómo es realmente África?”

Es una cuestión demasiado amplia, claro. África es un continente enorme en todos los sentidos -como precisamente decimos en la introducción a este blog-, más grande que Europa y con una mayor diversidad cultural y lingüística, por compararlos de alguna forma. Es como si -por ejemplo- quisiéramos que alguien que vuelve de Corea del Sur nos hablara de toda Asia. O mejor, como si un keniano le preguntara sobre Europa a otro que sólo ha estado en Finlandia y esperara que éste le hablara también de España, Grecia y Reino Unido y de toda Europa.

Pero uno de los lugares que yo sí puedo describir es Nairobi, la capital de Kenia y, con unos tres millones de habitantes, la mayor ciudad y centro económico y comercial de toda el África oriental.

Algo que suele sorprender a los que vienen por primera vez es el centro de Nairobi. Está coronado por varios rascacielos, algunos con nombres de bancos, y a su alrededor crecen cada vez más edificios modernos llenos de oficinas acristaladas. Hoteles con nombres históricos compiten por los turistas y hombres y mujeres de negocios que visitan la ciudad: Hilton, Sheraton, Intercontinental… Las calles y avenidas del centro financiero están absolutamente repletas de gente a todas horas durante el horario laboral. Y es el mismo tipo de gente que uno se encontraría en la misma parte de la ciudad en Madrid, Londres o París. Son hombres y mujeres -en buena parte jóvenes- que caminan rápidos y decididos, enfundados en trajes, en una mano el maletín y junto a la oreja la BlackBerry o el smartphone o el ‘manos libres’ o los auriculares del mp3 o el dispositivo Bluetooth. Esta parte del centro de Nairobi no desentonaría en cualquier país occidental. Quizá mucha gente no pensaría precisamente en Nairobi al ver una fotografía de su ‘skyline’, del perfil de sus edificios recortados contra el horizonte.

Nairobi_skyline
Parte del centro de Nairobi durante la noche (imagen en el dominio público)

(Sigue en el blog África no es un país)

Bernarda Alba se muda de casa

La escena se llena de tensión y electricidad cuando Bernarda y Poncia se enfrentan. La señora, Bernarda, bastón en mano, golpea el suelo y repite y proclama que la casa permanecerá cerrada, que ella y sus cinco hijas no saldrán, que durante ocho años todas respetarán el luto por la muerte de su segundo marido. La criada, Poncia, atrevida, sabia, conocedora de la vida y de las pasiones del cuerpo, le reprocha que es un error, que no puede ni debe mantener presas a cinco mujeres, que no se puede atentar contra la naturaleza sin atenerse a las consecuencias.

IMG_6297

Poncia (Margaret Karanja, izquierda) y Bernarda Alba (Njoki Ngumi)

Los espectadores, pocos, siguen en tensión el desarrollo de la trama en un escenario muy ligero, con el atrezo justo, que cede todo el espacio y el protagonismo a las nueve actrices, la mayoría sorprendentes en la fuerza de sus interpretaciones. Aunque sobre todas destaca Bernarda, cuya mirada literalmente da miedo.

La casa de Bernarda Alba, la obra que Federico García Lorca compuso probablemente en 1936, el año de su muerte, suena natural en este pequeño teatro, tan lejos del tiempo y del lugar de su escritura. Los celos, el machismo autoimpuesto, el peso de las apariencias y del qué dirán que ahogan a las protagonistas, el ansia de escapar de un hogar convertido en prisión… siguen vigentes aquí y ahora.

El texto es totalmente reconocible a pesar del idioma, o los idiomas, que usan las actrices, inglés y swahili, y de sus gestos y de su forma de hablar. A pesar de los coloridos vestidos africanos que no casan bien con el duelo impuesto en los personajes. Y a pesar de que la acción, inspirada en la España profunda de los años 30, transcurre en el presente y se sitúa en una anónima ciudad de la costa keniana. Porque en esta ocasión Bernarda Alba se ha mudado a Nairobi.

(Sigue en ‘África no es un país’, el nuevo blog sobre África de El País)

Es viernes, lee algo sobre África / It’s Friday, read something about Africa

In English_

- There is a gold rush in Eritrea:

But among the stories of the mining boom in Eritrea and the mining companies’ stocks going up and down, the dirtiest secret that has remained untold is the extensive use of slave labor in these mining projects.

- Unlike many think, piracy in Somalia looks pretty much like any other ‘business’, pirates themselves are just the cheap labour force that’s trying to save some money and move to doing something else:

Piracy has become a sophisticated business. Pirates say the operations are now run by a small group of warlords and financiers based around the world. The men who do the dirty work get only a tiny piece of those multimillion-dollar ransoms.

- In the slum of Kibera in Nairobi, a “merry-go-round” microfinance program is keeping some residents fed and allowing them to send their childreen to school.

- ICC’s prosecutor, Luis Moreno-Ocampo is finally coming to Kenya to officially launch the investigation on the 2007-2008 post-election violence. Expectations are high among most Kenyans except, maybe, for the very witnesses that are supposed to give evidence:

On top of this they also will be the least likely to be supported by either the ICC’s witness protection programme or the state’s witness protection agency.

Because both programmes are, for obvious reasons of law, most interested in the kinds of witnesses who can connect the dots and establish chain of command for the organised violence and the equally organised counter-attacks.

- Sonangol and the looting of Angola’s oil.

—————

En español_

- Casa África, una curiosa iniciativa del gobierno español para ‘acercar’ África a España.

- Human Rights Watch denuncia que hasta 50.000 niños en las escuelas coránicas de Senegal viven prácticamente como esclavos:

Muchos de los morabitos en daaras urbanas (profesores de las escuelas coránicas) demandan una cuota diaria a los niños que obligan a pedir limosna, e infringen graves abusos físicos y psicológicos a los que no cumplen con ello. Human Rights Watch documentó numerosos casos de palizas, y varios casos en que niños fueron encadenados, atados, y obligados a ponerse en posiciones de estrés mientras fueron golpeados.

- Hoy se estrena Viaje Mágico a África, la primera película española rodada en 3D.

- “Alejandría, una ciudad con encanto eterno”.

Y mientras tanto en el este de África – 15/01/10

Hoy tiene que ser muy rápidamente. Haití sigue ocupando todas las portadas con titulares al cual más espectacular, y también hoy el banco estadounidense JP Morgan Chase ha anunciado que en 2009 tuvo unos beneficios de 11.728 millones de dólares, más del doble que en 2008. ¿Quién habló de crisis financiera?

Y mientras tanto, en el este de África…

En Nairobi, la policía esta tarde ha dispersado a tiros y con gas lacrimógeno una manifestación en favor del clérigo musulmán Abudllah al-Faisal. La BBC cita al Kenyatta Hospital y dice que un manifestante ha muerto por disparos de la policía y que otros siete están ingresados por herida de bala, aunque sus vidas no corren peligro. Yo también he llamado al hospital pero conmigo no han querido hablar (quizá si les hubiese dicho que en el pasado trabajé en la BBC, mmm…) y me han colgado cinco veces llamando a los cuatro números de teléfono del hospital. El portavoz de la policía tampoco estaba disponible para hacer comentarios (ni siquiera para la BBC). El Daily Nation también habla de un muerto pero de cuatro heridos (uno de los cuales sería un policía), aunque no cita fuentes ni menciona que haya sido por disparos. Y AP habla de dos muertos, citando a un conductor de ambulancias y a uno de sus reporteros, que habría visto otro cadáver. El caso. El Foro Musulmán de Derechos Humanos de Kenia había convocado la manifestación con la idea de entregar una petición de liberación de al-Faisal al ministro de Inmigración, Otieno Kajwang, y al primer ministro, Raila Odinga. De hecho, el jamaicano Al-Faisal está protagonizando una historia un tanto esperpéntica. Entró en Kenia el 24 de diciembre, fue detenido el 1 de enero porque su nombre está en una lista internacional de sospechosos de terrorismo y desde ese mismo idea el gobierno keniano ha estado intentando deportarlo. El problema es que ningún país quiere que al-Faisal cruce sus fronteras, ni siquiera con visado de turista. El día 7 Kenia lo envió a Gambia, desde donde volaría a Jamaica, pero mientras al-Faisal hacía escala en Nigeria Gambia dijo que ellos no habían aceptado recibirle, así que Nigeria lo devolvió a Kenia, adonde llegó el día 10. Y desde entonces sigue detenido, oficialmente sin cargos y sin haber podido hablar con un abogado hasta su vuelta a Kenia el día 10. Ahora mismo sigue detenido en el aeropuerto Jomo Kenyatta de Nairobi, donde el gobierno espera poder meterlo en cualquier avión cuanto antes. Al-Faisal ya cumplió condena en el Reino Unido por “incitar al odio contra judíos, hindúes y occidentales”, se dice que al menos uno de los autores de los atentados del 7 de julio de 2005 en Londres era seguidor de sus sermones y, en general, se le acusa de ser extremista y radical. Pero también es verdad que el hombre ya cumplió su condena y que ahora mismo ningún país tiene cargos contra él.

En fin, sigo.

Según la Cruz Roja, en Kenia son ya 38 los muertos y más de 40.000 los desplazados por las lluvias e inundaciones desde diciembre. El total de afectados sería de unos 70.000 y la Cruz Roja predice que van a llegar a ser 150.000. Además, se han perdido cosechas y han muerto miles de cabezas de ganado. Aunque también se habla de que las lluvias podrían ayudar a la próxima cosecha de café y té, dos de las principales exportaciones de Kenia. El portavoz de la Cruz Roja keniana ha dicho que entre el gobierno y ellos no han podido atender ni a la mitad de las víctimas y que, aunque saben que ahora toda la atención está en Haití, van a hacer un llamamiento a la comunidad internacional para que intervenga porque Kenia no tiene recursos para manejar esta situación.

El ejército ugandés se ha incautado de cerca de 1.000 cabezas de ganado de pastores kenianos para forzar a sus dueños a que entreguen las armas que hay en muchas de estas comunidades. La semana pasada, en una de estas operaciones se produjo un tiroteo en el que murieron 8 soldados y 6 pastores. Los pastores se habían establecido en Uganda, justo al otro lado de la frontera con Kenia, en busca de pastos para el ganado. La sequía está obligando a los pastores a competir por recursos cada vez más escasos y ha habido enfrentamientos armados entre diferentes comunidades. En diciembre, un estudio de la Universidad de Arizona alertó de que hasta un 95 por cien de los hogares en el norte de Kenia poseía al menos un arma, normalmente un AK-47 u otro rifle similar, y que se había creado un “vibrante mercado ilegal de armas en la región”. Según este estudio, las armas provendrían de los vecinos Uganda, Sudán, Etiopía y sobre todo Somalia, así como de oficiales kenianos corruptos. Las armas se pueden pagar con dinero o con ganado.

También en Uganda, oficiales dijeron ayer que el país se ha quedado sin reservas de sangre y que los hospitales están en una situación crítica. Atribuyeron la escasez al aumento de casos de malaria durante diciembre, que dicen prácticamente llega a niveles de epidemia.

La verdad, no sé porqué la gente se queja de que los periodistas sólo damos malas noticias…

Y mucho más pero no suficiente tiempo. Por no hablar de mi conexión a internet… En los próximos días seguiré contando cosas.

Through the Rift Valley. Day 3. Naivasha – Gilgil – Mawingo – Nairobi

(This is the last post of a series of three. Have a look at the first and the second ones)

The next day we get up a bit late, at about 9am, take apart the tent, pick up our stuff and check out from the camp. We wait to get to Gilgil to have breakfast, I’m starving but I don’t say a word. Once we get there we have a full English with eggs and bacon and sausages and toasts and juice and coffee and everything.

My friend calls sister and asks her for directions to get from Gilgil to the big IDP camp next to Mawingo, as it’s difficult to get there. Yesterday she told us the road is very rough but that it should be more or less ok as it hasn’t rained lately. Finally my friend gets to talk to her and gets some indications and off we go again.

Here the roads are alive, have an identity, a personality, people know them by their name and they are either welcoming or unfriendly, nice or rough, young or old, they may be moody and they may become hostile when it rains, the rain upsets them and they don’t want people going around then. Here so much depends on the road’s temper, here getting actually around is not taken for granted like in first world countries, here it depends on the will of the road.

And this road so is very rough. Unpaved and undeserving of the name road, most stretches are little more than a rutted dirt track filled with stones. I look around and think it’s true: had it rained it’d be just impossible to drive around these tracks. But it’s very hot and dry and dusty and we don’t know what is worse, if lower the car windows and breathe the dust or keep them up and get boiled in the car.

The few people we cross on the road look at us with surprise and at me with incredulity, they must wonder what the hell we are doing here and where the hell we are going – and with a mzungu in the car. And again the landscape changes so quickly, now irrigated camps that look amazingly green next to the dry road, now flat brownish terrain that stretches out far in the distance, now green hills covered by trees – all in the space of a few kilometres.

But the road, the tracks, I really don’t understand how the car can make it and how it doesn’t break down – until we get to a steep and bumpy uphill track. We lower the car windows and approach it slowly and several children suddenly show up from nowhere and look at me and point at me and shout Mzungu, mzungu! My friend tries to make the car advance but the car stops once, twice, three times, it just can’t go up. We stay there for a minute thinking what to do and the children run to us, put their arms through the windows shouting Mzungu, mzungu! How are you?? Mzungu, give me a present! I say I’m fine, how are you?, and shake their hands and my friend says Lift the windows or they’ll get what they can, and I do and we stay there for a while and my friend starts the engine and tries again to climb the uphill track and the children run to try to help pushing the car from the back and it’s very dangerous because the car keeps sliding backwards and my friend tells the kids in Swahili to please stop helping us and the kids step aside from the car. Finally I get out of the car to make it lighter and my friend keeps trying to climb up the uphill track with the car. The children don’t run to me but stay away and I wander around and look at our car and I wonder whether my friend will be able to make it or not. And after a while he does make it and I give a sigh of relief and go back into the car and say bye to the children and go on towards the camp.

Uphill there are some young guys working on the road, fixing it or building it, I don’t know as at that moment they are having a break and they are sitting down on the ground and they all stare at me, give me a serious look while we slowly pass by them.

It’s funny how my identity has changed in just these five days in Kenya, in Africa, after the anonymity of living in London. Now I am a mzungu, I am different, special, I am to be shown respect, or fear, or dislike, but not ever indifference. I am to be asked for something, money, food, a present, anything, because I, the mzungu, have things, I have money, I am from a different world in which people do have things and since here many people don’t I, in fairness, should give them some. I am the highlight, the star, maybe I’m the one to spurn or maybe something special will happen when I appear.

We go on driving and now there’s nobody around and the road is as bad as usual. I think of the car breaking down when on these roads, in the middle of nowhere. I check my phone and there is no reception. I think of something happening and us being trapped here and lost and children and people suddenly showing up from the bush and closing in us, staring at the helpless mzungu who looks around with fear.

The food distribution was taking place when we got there

The food distribution was taking place when we got to Shalom City IDP Camp

Soon after we finally arrive at the camp, Shalom City, the city of peace. We go in, park and get out of the car. At that moment the food distribution is going on, many big, white sacks lie piled up on the ground while dozens of people are gathered around some guys who are checking some papers. But there are many more people around, children and young people and adults and older people, most of them sitting on the ground but many others walking slowly around in all directions.

I have the feeling of being watching TV, the news, or a documentary – as I’ve seen these same images so many times just sitting bored on a couch with the remote in my hand.

My friend goes to search for the chairman of the camp and I stay by the car and everybody there looks at me, they don’t approach me but stare at me. They look tired, bored, they are all men and thin and seem to be just killing time, waiting – but waiting for what or for whom?

My friend comes back with a few people who apparently are the leaders of the camp. He introduces me to them and they shake hands with us and nod their head in greeting in a respectful way and then walk away with my friend, talking in Swahili. But then I am free to walk around and so I start walking around.

There are many white, shabby tents in sight, spreading out as far as one can see. And in the opposite end from the road there is like a shallow valley with a little pond at the bottom and then a green and beautiful hill framing the camp.

About 14,000 people were living at the camp when we went there

About 14,000 people were living at the camp when we went there

There are many children around and they all look at me, most with a distant smile, many even with some sense of superiority – the superiority that comes from innocence, because they are two times innocent, as children and as victims, or aren’t they? Some little girls look at me, the exotic mzungu, and smile shyly and whisper at each other’s ear and then laugh and walk away and soon lose interest on me. The young look at me with some curiosity but seem not to care too much about my presence – for them maybe I am just one more mzungu coming to take some pictures and then we’ll leave and nothing will actually happen after our visit. Most grown-ups simply ignore me and go on minding their own businesses. Men are just chatting or sitting around and women are walking, always are on her way to somewhere, carrying stuff on their backs or on their heads, carrying children by their hands.

I look at my friend, to whom the camp leaders are talking, gesticulating with their hands, pointing here and there while my friend pays attention to them and nods. Many people surround them, mainly children and young guys and also some men, and more people keep joining the little crowd around my friend, the last ones on tiptoe, trying to see him or to hear him, even if they don’t know what’s going on and what all this is about.

Then I start walking with my friend and the leaders of the camp – all men. They are going to show us around. They are in charge here and so they want to prove it to us. They walk slowly, ceremoniously, they give waves around now and then, they keep the children away from us, talk severely to them in Swahili, push them back from us.

But the children follow us everywhere, they point at us from the distance and run and jump around and look at us, at me. They shout, “Mzungu, mzungu! How are you??”, and I say, “Fine, how are you?”, and their smile broadens and they either stay where they are and look shyly away or reply, “Fine…”, or look at me in awe or just laugh and run away.

"Mzungu, mzungu, how are you??"

"Mzungu, mzungu, how are you??"

For them it’s like a game, we are something exceptional, something that makes today different to the last days’ routine. They talk to each other about us, they wonder who we are, what we’re doing here. They dare each other to say or to do something to the mzungu, and some child approaches me and extends his arm to me and I shake his hand and say, “Hello, how are you?”, and then the child smiles and runs back with his friends and points at me and brags about what he just did.

Or maybe he doesn’t, maybe they are just laughing at us, at me, maybe they are mocking me, how pale I look like, how badly dressed I am for the camp, wearing a pair of jeans and a long-sleeved sweater when it is this hot.

I take some pictures of the children and they just look beautiful in them. But, again, I have seen so many of these pictures, of these images, they are already worn out, they have become a cliché by repetition. What do they say now, these pictures of dirty, thin, beautiful African children? Do they say anything at all anymore? Apart from for me to prove that I’ve been here, for me to send them by email and show how cool and intrepid and good a person I am?

Beautiful little girl

The children just stare at you

Are these pictures now anything more than postcards of the ‘Refugee (or IDP) Camp Experience’? You come here, take pictures of the children, they smile and maybe feel special, important, for a second and you check your nice picture in the camera screen and the children look at you and then go back to their trying to keep themselves entertained at the boring camp and nothing actually happens.

Anyway I do take some pictures of the children and wonder why they look that beautiful. Maybe it’s because they have some kind of double beauty as they are two times innocent? Maybe it’s because they still have that purity and that natural beauty of children, which in contrast to the ugliness, the exhaustion, the hopelessness of the camp makes them look even more beautiful.

Or maybe it’s not them but me, maybe I just want them to be beautiful, maybe I see them beautiful as beauty is the only thing they can still own.

I don’t know how to behave here. What is the right thing to do, to say? How to look at them? Should I smile in a paternalistic way? Should I look serious and concerned?

We go on with the visit. I make questions. Who gives them food? It’s the government, mainly sacks of grain, rice, cereals. How often? Ah, that depends. In theory once every three or four weeks but you never know. Have any MPs or any politicians ever come here? No, but once Kibaki flew over the camp on a helicopter.

These people are also working the land, there are like little gardens next to many tents and some vegetables are already growing from them. The people from this camp have also bought this land, now it’s theirs, it’s their home, their only home. Unlike the other IDP camp, transport and communication from and to here must be difficult as the road is so awful, but unlike the other IDP camp this soil seems fertile and this place has water and is surrounded by a green hill. Who did they buy the land from? Just someone, you know. Are there any doctors? No, there aren’t. Do they have medicines? No, they don’t. Is there any school? Yes, sort of, a big tent near the entrance to the camp where the youngest children may attend some classes. What is it going to happen? They don’t know. Will this place become a town? Who knows.

The camp leaders keep guiding us, taking us to some particular places and not to others. It feels like the ‘official tour’ of the camp, they take us to the best spots with the best views, with the most dramatic ones. Then they wait while my friend sets the camera and takes some shots and then we are on our way again. I guess that other journalists before us took the very same shots from the very same spots. They make us talk to some particular people who have particular stories and who, probably, have told them already to other journalists before us. It feels wrong, partial, even fake, these guys are just showing us what they want us to see, only allowing us to talk to whom they want us to talk to. But isn’t precisely that what we journalists do when we tell a story? We are not the first journalists coming to the camp and these people learn fast – probably they are directly showing us the camp and taking us in the most practical tour from a journalistic point of view. But again, what happens with these scenes shot again and again by different journalists, with these same few stories told again and again by the same few people from the camp? What do these stories become? And what do all the others become, the untold ones? Do they disappear?

While my friend is doing an interview a young guy approaches me. Are you a journalist? Yes, I am. He is tall and thin and speaks softly and very politely. He introduces himself as Jay Crack, an artist. Which kind of artist? A musician. Which instrument does he play? The guitar, and he sings. I look at him, he seems very young. How old is he? He is 20. His English is very good. He tells me they don’t have water, they don’t have meat, they are hungry, the children are weak, they have no medicines, no money. He tells me they are trying to be self-sufficient and points at the little gardens next to the tents. He is being very dramatic and again it seems as if he was repeating some kind of learnt speech. I look at him and wonder – but of course everything looks true, I only have to look around to see the misery these people live in, their skinny bodies, their sad eyes, the fatigue with which they move. Do people here have any sort of income? I ask. He says most don’t, he goes to town to try do any job, he tries to earn some money by singing, he tries to discover more artists like him in the camp and to help them, he says.

Then he introduces me to a friend of his, James Mwangi. He looks very shy and very young too. I ask him. What does he do? He is a doctor, he tells me. A doctor? I look at him. How old are you? He says he is 21. 21? I say, and you are already a doctor? Well, he smiles, I was studying to be a doctor. And do you have medicines? No, he says.

My friend finishes the interview and we set to continue the tour of the camp. Jay says he wants to give me something and pulls a cd out of his pocket. It’s my last disc, he says, Songs for peace, I sing about the post-election violence to try to build peace. Do you sing in English? It’s mainly in Swahili, but there are English words and there’s one song in English. Thank you very much, I say. Yes, he says, you’re welcome, I’m now trying to record a new one. Can I put it on the internet? Yes, he nods his head. Thanks, good luck, I say. I shake hands with both of them and they stay back as we go on with the visit.

[Soon I'll update this post with one of Jay's songs]

A bit later we find three volunteers who are working at the camp, the only three volunteers, three girls, Madhavi, Ursula and Ritu. They are trying to map the camp, they tell us there are about 14,000 people living there, in between 3,300 and 3,500 tents. They say the camp is divided between the different towns the people came from, and that each area has its leaders, who then organise the food distribution and other affairs. They say they are not sure how fair this distribution is, as no one knows how many people and how many tents there are in every area. They confirm the people here so are hungry, they confirm the lack of meat, the lack of medicines. They say they do have water, that of the pond, but that it’s dirty, that the animals use it to drink and to bath and so do the children. They tell the people from the camp to boil the water before using it but they think many people don’t and they are expecting a cholera outbreak in the camp any day soon. They tell us they estimate that a third of the people in the camp have AIDS and that they have no condoms and that they have no money to get any medicines or condoms. We say good work and wish them good luck and continue our visit.

The leaders make us walk for a while, we are crossing the camp and keep seeing tents and more tents as far as we can see. We’re going uphill and the leaders take us to some spot from where there is an amazing sight of hundreds and hundreds of tents. My friend takes some shots and I look at the children who are already gathering around us. They say, Mzungu, how are you? And I say I’m fine and ask them how they are and they smile and keep looking at us.

Then we go on walking and reach another high spot from where we can see, downhill, a pretty house surrounded by a beautiful garden and big, farmed fields and even a little, private forest. The sight is amazing and contrasts so much with the sight of the camp. What is that?, we ask. It’s a house that belongs to an Englishman, we learn, whose family has owned it ever since the colonial times. The house and the fields and the forest and everything? Yes, the house and the fields and the forest and everything. Funny, isn’t it, I tell my friend, how one person, a British guy, owns all that, and I make a wide gesture with my hand, while 14,000 people share this, and I look back at the camp. Yes, says my friend, and a moment later he translates and tells me that, actually, the people from the camp are pleased with the Englishman, as he is giving them food and stuff. I look back down at the house and don’t know what to think.

But then we head back towards the entrance of the camp, where we parked our car. On our way back children keep running around and staring at me and saying, Mzungu, mzungu! How are you?

What do you do when a child is looking at you like this?

They simply stay there looking at you

It’s hot and I’m tired and thirsty and hungry but I don’t say anything and keep thinking and start writing this article in my head while we slowly make our way back to the car. When we get there we notice someone has washed the car, which was very dirty and completely covered by dust when we arrived in here. Now it’s clean and still wet and the windows and windscreen look actually transparent again. My friend smiles and asks who has done it and goes and thanks him and gives him some money. We say bye and get in the car and off we go.

We’ve been told in the camp that we should take the other way, not that towards Mawingo but on the opposite way, as it is smoother and we’ll reach the road which goes between Gilgil and Ol Kalou. And we do and the road is slightly better, not that rough although it still is a dirt track full of potholes. But it turns out this way is much shorter and soon we get to the main road and start driving back to Nairobi. We have several hours ahead and I feel exhausted and I’m starving. We stop to have lunch at some place on the road, and then go on towards Nairobi.

I feel kind of satisfied, I think of this story I’m writing now, I feel like an intrepid and tough journalist who’s been travelling around Africa, I feel kind of important, like if I were doing things of great consequence – And the thing is I’ve been in Kenya for just five days, the thing is I’ve seen almost nothing, done nothing, written nothing yet. Intrepid, tough? I’m just another mzungu who thinks he is cool only because he was able to pay a lot of money to get on a plane in London to land in Nairobi.

Time goes by, the beautiful landscape passes by the car as we head for Nairobi. We see zebras and baboons and I think of the other African animals I’d like to see, elephants and giraffes and lions and cheetahs and leopards. I want to see everything.

We get to Nairobi and head to town through some of the richest and poshest areas in the north, Spring Valley, Muthaiga, Gigiri. I look around in awe, we are driving through beautiful, green streets with amazing, huge mansions both sides of the road. Actually, I can’t see the mansions themselves but just the roof, as they are surrounded by very tall walls and guarded by tough-looking guys. My mouth is open and I am dumbfounded. My friend smiles and says, Now you’ve already seen the two sides of Kenya, and I am going to say something but I just don’t know what to say and finally I manage to close my mouth.

Then we get to my friend’s place, unload the car, wash our hands and faces and refresh ourselves and then sit at the table for dinner.

(Want to see more pictures from this trip? Check them out on my Flickr set)

(This is the last post of a series of three. Have a look at the first and the second ones)

Through the Rift Valley. Day 1. Nairobi – Gilgil – Eldoret

(This is the first post of a series of three. Have a look at the second and the third ones)

So it’s my second day in Nairobi, in Kenya, in Africa. I arrived on Sunday night, 2nd of August, and on Tuesday morning I’m going on a trip with my friend to help him shoot his film about the post-election violence one year and a half later. They pick me up at 7am and we go to my friend’s house in town, next to one of the University of Nairobi campuses. A beautiful and big house in a nice area – but they haven’t had running water for days. We have a quick breakfast and off we go.

Even though it’s very early –or more precisely because of that– Nairobi is very alive and already bustling with cars, matatus, buses and people, all of them fighting hurriedly their way in the streets. It’s cloudy and fresh, it’s winter now and these are supposed to be the coldest days of the year.

We head northwest, towards the Rift Valley, where the post-election violence was the worst. The road is ok most of the time and the landscape is just amazing, it too is alive, it changes so quickly – green, wet forest, dry, brownish savannah with just a few acacia trees, green hills both sides of the road.

We’re meeting a man called Isaac at the Kikopey Nyama Choma trading centre, on the Nairobi-Nakuru road near Gilgil. ‘Nyama choma’ means ‘grilled meat’ in Swahili and is one of the Kenyan favourite meals. Even in the most remote places in the country you can find a nyama choma shop with enormous pieces of beef, lamb, pork, hanging for you to pick one that will be grilled for you at once. Isaac lost his left hand during the clashes, it was chopped off. He also lost his house and job and now lives at a refugee camp near the Kikopey centre. But while we are on our way in the car my friend keeps saying ‘IDP camp’. I ask what ‘IDP’ means. It means Internally Displaced People. They are not refugees but people who have been displaced internally, as they didn’t have to flee their own country but remained in it. So it’s not a refugee camp where we are going but an IDP camp, I learn.

After a couple of calls to Isaac for guidance we find the Kikopey centre and promptly see him. He is the one in the road who seems to be expecting a car – and who besides doesn’t have a left hand. He’s wearing sunglasses and when we get out the car and introduce ourselves to him we see he has several, long scars on his face and back of the head and that he can barely see with his left eye. He is short and has a big belly. He is very polite and all smiles. My friend wants me to shoot him and Isaac staging their meeting, shaking hands and getting in the car, but Isaac tells us to wait and do it in the camp, as he doesn’t want to call other people’s attention there in the Kikopey centre – just in case. Even though we aren’t that far from Nairobi and it’s only 11 something in the morning, the weather is now dry and hot and there is a very bright light invading everything.

We get in the car and Isaac guides us to the camp, which is called Ebenezer camp. The road is very bad and it takes us quite a while to get there even if it’s not a long way. The camp is a dusty terrain with several dozens of white, worn-out tents. In sight there are only some children, a few grown-ups, some hens, goats and donkeys and three white volunteer workers.

Isaac takes us to his tent, where we meet his wife, and my friend starts the interview with him and Isaac sitting down in the tent entrance. In the meantime another man has approached us. Tall, thin and more or less old, he introduces himself as the ‘chairman’ of the camp and he and I start talking. It’s getting hotter and hotter and the dust and the light are everywhere and I want to sit in the shade but there’s no shade nor there is anything to sit on.

The chairman is telling me about figures: 14 camps in the area, 240 families in this very one, 1,050 people, 500 odd children. And at the same time he is scratching those same numbers on his dry hand with a little stick. He barely looks at me when he talks and he seems to be repeating something he’s said many times. He tells me every IDP family was given 10,000 shillings by the government to start over. That is about £77 to begin a new life after losing your house and job. The people in this camp put all that money together and bought this land. They spent all that money to buy this dry, arid and dusty land to set up some tents given by the UNHCR, the UN agency for refugees. Why this very land? Well, it was the only one they could afford, he says. Who did they buy the land from? He won’t tell, just says “from some individual”. How did “this individual” get to own this land in the first place? Is this dusty terrain worth 2,400,000 shillings, near £18,500? No one knows.

“The problem, the problem”, the chairman repeats, “is these people have nothing they can call home”, he says looking around. “The problem is the politicians, the president [he won’t say “Kibaki”], who’s doing nothing for these people, the Kikuyu, who were beaten, killed, their houses destroyed – because of him. The problem is these people don’t have food, don’t have jobs, they have nothing they can call home.”

Well, I think, at least Isaac doesn’t look very hungry with that big belly of his. The chairman’s speech is from time to time disrupted by his mobile phone ringing and his answering the calls. I find it funny that they have no food, no water – but they all have mobile phones and there is a perfect reception here.

I look around the camp, so white, so bright, almost no people. I look back at the chairman. He is wearing a cap while my face and neck are getting sunburnt. What did he do before becoming an IDP? He was “a businessman, did businesses, yes”, but he won’t say what kind of businesses he did. How long have they been in the camp for? They’ve been there since March last year. Who is giving them food? “The government brings some food every two months or so”. Where do they get water from? “There is a draw well we are digging”. The conversation dies and the man steps away keeps answering and making phone calls.

My friend finishes the interview with Isaac, they come out of the tent and my friend meets the chairman. Then the chairman starts telling my friend the exact same things he’s been telling me using almost the very same words. Again without looking at him. Now it seems even more like a speech learnt by heart than a real conversation. But anyway it’s late and we have to go.

We go back to the entrance of the camp, where our car is parked. My friend is taking shots of the camp and I go and talk to the volunteers, who are sitting on the two only benches in the camp with a bunch of kids and a few young people. They are two friendly Canadian girls, Melissa and Charmaine, and a silent guy from New Zealand, Dheran. They tell me they’ve been here for a week. They wanted to come to Africa as volunteers and surfed the internet and found an NGO from New Zealand who brought them here. They are staying at a family’s house a few hundred metres away from the camp. What are they doing? They are taking pictures of the camp and accounts from the refugees – I mean, the IDP. They are teaching and playing with the children. They are overwhelmed by this misery, by the misfortune of these people. They plan to make a website to show the world how bad things are here, to raise awareness and also money to help these people.

Many children surround us, everybody is silent but for the white people who are talking – they show respect when the wazungu discuss their things in English. I look at the children, they all are skinny, dirty, covered in dust. Their clothes are either too big or too small for them, are completely worn-out and many are broken. Almost all of the children are barefoot. They are standing and looking at me with huge eyes – curiosity, fear, admiration? The ones who don’t look sick look beautiful. I go back to the car to pick my camera and take some pictures. My friend and Isaac have gone up on the hill to take some general shots of the camp.

Children at Ebenezer IDP camp

Children at Ebenezer IDP camp

When I’m going to the benches back from the car a kid who’s arriving in the camp passes by near me and greets me, “Hello, how are you?” “I’m fine, how are you?” He says he too is fine and we walk together towards the others. His name is Josiah, he is tall and thin and is coming from school. I see one of the children has like a small football made out of papers and plastic bags tied together. “Do you like football”, I ask Josiah. He says he does. “Do you play football at school?” Yes, he does. I go and steal the football from the other child and pass it to Josiah and we start playing. He is very good, even more considering how difficult it is to kick this kind of football. He tells me he likes Manchester United and I tease him and say Arsenal are better. He smiles and makes complicated tricks with the ball and then passes it to me and I try to do some tricks but it’s very difficult. We play for a while. I think I would give anything to get Josiah a real football in that moment. Everybody is looking at us. He seems very nervous, like if this is a very important moment for him. My friend is back from the hill and is filming us. “What is your position?” He is a midfielder. “Do you score many goals?” Yes, he says. We play, it’s hot and the light is so bright here.

Josiah

Josiah

But it’s time for us to go, my friend tells me. I shake hands with Josiah, we say bye to everybody and get in the car. When we’re leaving I look back and see Josiah has returned the ball to the other child and is walking towards the tents.

In the car I think about the chairman’s speech, how it seemed he’d learnt it word by word, polished it up in many interviews and talks with people like me. How it had its dramatic lines, its pauses, its keywords and figures repeated again and again. How it wouldn’t say certain things. How he makes the situation look so dire, so terrible. But, isn’t the situation itself hard enough? Isn’t the reality of the camp strong enough? Why does he elaborate his speech that much, why does he frame it with those very words? Well, me too I’m framing the situation in a particular way, right now I’m using these very words instead of some different ones. The chairman was selling us his framing, his words – that’s his job when journalists show up in the camp. Then we’re gone and he and they forget about us and go back to their life in stand-by and hope (do they still hope?) something will happen out of our visit.

We’re driving towards Gilgil, my face and neck feel sunburnt, the road has been deformed by the weight of overloaded lorries and the heat.

I’m feeling outraged. Who did those people buy that land from? I ask aloud. Why anyway? What are they going to do? Why can’t they go back to their place, to their old jobs? Well, they just can’t, their houses were burnt, destroyed, their jobs lost, they can’t go back and live with the people who attacked them. Now we’re looking for a Hindu temple in Gilgil where, my friend has been told, we can have lunch for free, we don’t even have to make a donation if we don’t want to – although it’s just vegetarian food. Who pays for that food, for that temple? You know, the churches here have a lot of money, my friends tell me. I shake my head in awe, cross my arms, look through the window at the beautiful landscape, I’m upset, there are many things I don’t understand. Of course I knew about this, I had read, I had seen on TV – but one thing is reading a book or watching TV and another thing is actually being here. Did I actually know about this? Do I know now, after just a few hours? My friend looks at me and smiles and says, “I can see you’re going to have problems. You yourself will become a story”, and laughs. I take it as a compliment – but I don’t want to become a story myself and I don’t think I will. I just want to tell stories – although is that all I really want?

The road is a jungle. Old lorries, old buses, old colourful matatus, old cars, new cars, motorbikes, people walking, people riding bicycles, people pulling carts, donkeys pulling carts, cattle and dogs on the roadside, cattle and dogs crossing the road, stopped in the middle of the road. Everyone is competing for a place and for getting on their way as fast as the potholes and the unpaved stretches allow them. There are no traffic signals, there are no traffic lights – yet there is a rule, a logical and simple one: The bigger one has preference over the smaller. And so walkers stop before bicycles and bicycles before carts and carts before motorbikes and motorbikes before cars and cars before matatus and matatus before buses and buses before lorries. And if someone doesn’t notice there is a bigger vehicle coming, then a sound of the horn will put him in place. However, cars and mainly matatus are the kings of this jungle even if not the biggest in size. It seems there is no matatu driver who is not a daredevil, they drive as fast as they can, they play music as loud as they can, they overtake each other as riskily as they can. And only some cars –and among them ours– dare to confront them and drive as crazy as the matatus. Although in case of doubt or lack of space, the bigger vehicles will always have preference over cars and matatus.

"Do not waste food"

"Do not waste food"

We get to the temple, it’s nice and quiet with beautiful gardens. There is nobody around, just a half-asleep guard. We are dirty, dusty, tired, hungry, we go to the toilet and then to one of the dining rooms, it’s big, there are several very long tables and many chairs. And there is nobody, not even the cooks are in sight, just the free food for us to eat as much as we like. We are a 20-minute ride from the IDP camp. We eat and drink and the food is good and spicy and we repeat, we’re very hungry. The cooks show up, the food is great, we tell them, they smile and thank us and disappear again.

I ask the guard where I can make a donation before we leave and then off we go on the road again and head towards Eldoret, where we are going to spend the night.

Here and there there are tiny towns along the road, you can see just some precarious houses, hotels and shops and people and maybe a few cows or a couple of donkeys wandering around. Many houses are painted in pink with a lettering saying Zain, or in green and it saying Safaricom, or –fewer– in orange and it saying Orange, and I even see some painted in yellow with the Bic logo. Are those real hotels? They look tiny and shack-like. Yes, my friend tells me. But who stays at them? I wonder. Many people, you’d be surprised, my friend tells me, mainly lorry drivers who have to stay overnight somewhere, anywhere. This road is part of the Mombasa-Kampala route, Mombasa being one of the main ports of East Africa and through which many staple goods make their way not only to Kenya but also farther to Uganda, Rwanda, Burundi.

In the proximity and along these little towns there are many bumps that cross the road for the vehicles to have to speed down. Next to them there are street vendors offering you anything, from socks and watches to potatoes and live hens. When we pass by these places and have to drive more slowly I notice how people look at me, how their eyes are always fixed on me. Some look upset, some look curious, but there’s nothing like that in most of them – they simply stare at me blankly and just follow me with their eyes while we pass by.

Eldoret

Eldoret

We get to Eldoret and ask for directions to the Eldoret Sports Club, which my friend has been advised to stay at. Finally we find it, a bit far from the main road. It’s a nice, green, fresh place, clean and well taken care of – it looks like an oasis in the middle of dirty, brown Eldoret. And actually it’s a Golf Club, although they also have a gym, a swimming pool and other sports fields. When we’re parking the car my friend asks a white old man who happens to be passing by if he knows whether we can stay overnight even though we are not members of the club. The man happens to be Paul, the vice-chairman of the club, and he tells us that of course we can stay. We introduce ourselves as journalists and he comes with us to the registration desk, where an over polite staff welcomes us, and Paul tells them to give us some of the best rooms, for which besides we’ll pay some less than the official fare – I guess these are some of the differences between journalists and IDP: we have lunch for free at a temple and are charged less than the normal price at a posh golf club, while they are hungry and wouldn’t even be allowed through the main entrance of the club.

We go to our rooms in cute, little bungalows, we use the toilets and wash and refresh ourselves, as we are dirty and dusty, and then we meet at the bar garden to have some beers before dinner. The club is beautiful, the golf field is beautiful, the bar garden is beautiful. The beers are so cold and so good.

The bar garden at the Eldoret Golf Club

The bar garden at the Eldoret Golf Club

After a couple of drinks we go into the restaurant to have dinner. The food is good and, actually, inexpensive. I can’t stop thinking of the people at the IDP camp, of Josiah, of the children – but that doesn’t stop me from enjoying my dinner as we chat about the day and the journey and make jokes and have a good time at the restaurant.

It’s not very late when we decide to go to bed and say we’ll meet the next morning at 7am to have breakfast.

(Want to see more pictures from this trip? Check them out on my Flickr set)

(This is the first post of a series of three. Have a look at the second and the third ones)

Una noche en el teatro

19 de agosto de 2009

Veo que Titus, el hombre al que entrevisté el lunes, me ha llamado tres veces y me ha dejado un mensaje. Le llamo y me dice que gente de su grupo de artistas –el Centre for Artists for Development– van a actuar en el National Theatre, a las 6, me dice que si tengo tiempo para ir y le digo que sí, que claro, que gracias. Me dice que luego me volverá a llamar y casi a las 5 me vuelve a llamar y me dice que coja el matatu 46 hacia la estación de tren, que es el final del trayecto, y que una vez allí le llame. Y yo me arreglo y salgo y cojo un matatu 46, 20 shillings, y el tráfico es una locura y además ha habido un accidente entre un camión militar y un autobús y avanzamos muy lentamente. A las 5 y media estamos en el centro, en una gran avenida, parados, y las filas de coches y matatus y autobuses se pierden en el horizonte en todas las direcciones. Pregunto a los demás pasajeros y un hombre me dice que la estación no está muy lejos, al final de esa avenida y luego a la derecha. Así que salgo y empiezo a correr y todo el mundo me mira, un mzungu con camisa y americana y corriendo por las avenidas del centro de Nairobi. Las aceras también están llenas de personas y corro por la calzada para adelantar y durante un momento estoy seguro de que voy a morir atropellado. Pero no. Llego al final de la avenida y giro a la derecha, coches y matatus y autobuses y gente hasta donde se pierde la vista. Estoy cansado pero intento seguir corriendo y ahí delante veo vías y trenes y busco con la mirada pero no veo la estación en sí ni veo cómo bajar al recinto de los trenes, que está vallado. Al final consigo colarme y paso corriendo junto a almacenes y barracas y unos pocos kenianos que me miran con la boca abierta. Llego a las vías y veo a lo lejos la estación, un tren está pasando lentamente, abarrotado, gente asomando por las puertas, algunos incluso medio colgados, como en los documentales que vi sobre Kibera. Empiezo a cruzar las vías y a saltar por entre las piedras atento a que no venga ningún tren. Y finalmente, exhausto y sin respiración, llego a la entrada principal de la Nairobi Railway Station y llamo a Titus y le digo que lo siento, que había mucho tráfico pero que ya estoy en la estación. Son las 6 menos cuarto, todo el mundo me mira, un hombre me ofrece un taxi pero le digo que estoy esperando a un amigo y él me dice que si mi amigo no viene que él está disponible y le digo que ok, que asante. Miro a mi alrededor, la estación es grande y vieja y estropeada, en la explanada frente a ella hay pequeñas calles rodeadas de paradas de autobús, aunque no veo ningún autobús pasar en todo el tiempo que estoy ahí. Y en la acera que lleva hasta la entrada principal de la estación y separados del resto de la gente por una cuerda casi a ras de suelo, toda una fila de personas se pelean por vender tickets a la gente que se dirige a la estación. La mayoría son hombres, casi todos enfundados en viejas y enormes chaquetas verdes. Inclinados hacia delante, a punto de caer pero sin tocar la cuerda, los vendedores llaman a la gente, estiran el brazo, les ponen el ticket en la mano, se giran y le dicen al compañero que se aparte, que ése es su sitio.

A las 6 y poco aparece Titus, nos saludamos, le digo que siento haber llegado tan tarde, me dice que ha sido fallo suyo, que tendríamos que haber quedado en otro sitio, y empezamos a andar hacia el National Theatre, que está bastante lejos. Cruzamos las calles repletas del centro de Nairobi, personas, coches, matatus y autobuses se pelean por cada centímetro, todos ignorando sistemáticamente las pocas señales de tráfico y los pocos semáforos que parecen funcionar. Verde, rojo, qué más da, cruzamos por entre los coches mientras seguimos hablando de la sociedad civil en Kenia y del futuro del país y de la comunidad internacional y de si habrá más violencia en el futuro y Titus es más optimista que yo.

El centro de Nairobi es caótico y parece el decorado de una película de ciencia ficción en la que conviven varios mundos. Rascacielos brillantes y recién alzados y rascacielos tristes y decadentes, edificios gigantescos de aspecto comunista y museos decrépitos, pantallas gigantes y música altísima y bares oscuros y ruinosos, avenidas amplias y modernas y callejones desolados y sucios. Titus y yo caminamos rápido entre el polvo y el humo de los coches y la gente que anda en todas direcciones, vestida de todas las formas imaginables, y yo le digo que me gustaría poder hablar con los artistas tras la actuación y Titus me dice que sí, que claro.

Sobre las 6 y media y ya anocheciendo llegamos al National Theatre y la función está a punto de empezar porque la hora de inicio era en realidad las 6 y media y no las 6. La entrada es gratis y entramos y nos sentamos en una de las primeras filas. El teatro es pequeño y ajado y las butacas viejas y las paredes y el telón están gastadas y moribundas. El ambiente es opresivo, hace calor, por todos lados el olor dulzón del sudor y el polvo. El público es variado y cosmopolita y aunque por la calle apenas hemos visto, aquí hay muchos blancos, ellos de traje y corbata y bien peinados y ellas con vestidos de gala y pelo de peluquería. También hay asiáticos y negros, la mayoría muy arreglados, algunos con trajes tradicionales llenos de color. La gente joven parece haber poblado el pequeño anfiteatro en la planta de arriba, de donde procede casi todo el escándalo.

Salgo en busca de un par de folletos con el programa y vuelvo a mi asiento y el programa dice que se trata de un grupo de danza venezolano que está presentado por la Embajada en Kenia de la República Bolivariana de Venezuela. Miro a Titus, ¿No me habías dicho que iba a actuar gente de tu grupo? Sí, bueno, es un grupo de Venezuela pero gente de mi grupo colabora con ellos. Miro a Titus durante unos segundos y luego vuelvo al programa. Es un grupo de danza contemporánea, Tránsito Danza Integrativa, y algunos de los integrantes son discapacitados y van en sillas de ruedas. Las luces se van desvaneciendo y de repente una voz dice, The national anthem!, y todo el mundo se pone en pie y yo también y suena el himno nacional de Kenia. Tras él una mujer sube al escenario y da las gracias y presenta al secretario permanente de cultura, que a su vez sube al escenario y parece nervioso y da las gracias y lentamente lee un discurso largo y aburrido y la gente se ríe cuando el secretario permanente de cultura intenta pronunciar “Tránsito Danza Integrativa” y más tarde en el discurso, que al parecer el secretario permanente de cultura está viendo por primera vez, el nombre del grupo venezolano vuelve a aparecer pero el secretario permanente de cultura dice sonriendo que no va a volver a intentar decirlo y el público le ríe la gracia. Por fin el secretario permanente de cultura presenta a la embajadora de Venezuela, quien ahora alegremente sube al escenario y dice Good evening! y el público responde Good evening! y la mujer, en un inglés peor que el mío, da las gracias y habla sobre la función y los artistas venezolanos y la colaboración entre Kenia y Venezuela y bla bla. Tras ella suben la jefa de producción y el director y coreógrafo del grupo, jóvenes y vestidos en plan neo-hippie, y ella dice Good evening! y la gente responde otra vez Good evening! y ella ríe y dice ¡Buenas noches! y la gente lo intenta y responde con un gracioso ¡Buenas noches! y la chica ríe y da las gracias y se disculpa por su inglés –mejor que el de la embajadora– y empieza a hablar sobre el grupo y la función y cómo la danza no es algo sólo físico sino que principalmente depende del sentimiento y demás. Y por fin el espectáculo comienza.

Pero antes de que salgan a escena los venezolanos aparece un grupo keniano de danza tradicional. Son sólo tres timbales pero de repente el teatro explota en música y gritos y los bailarines entran en escena chillando y dando saltos, llenos de color, ellos de amarillo y ellas de azul, con sencillos trajes que supongo tradicionales, jóvenes, sonrientes, mezclándose por el escenario, ahora cada chico con una chica, ahora de nuevo todos mezclados, sudorosos, gritando, sexuales, sin dejar de sonreír y de saltar, luciendo físico y forma exuberantes. Titus me dice que los bailes y los cantos tratan sobre la guerra y sobre proteger a las mujeres.

Pienso en los bailes tradicionales que he visto en España, aburridos, lentos, remilgados, grises, los bailarines asfixiados en prendas caras e incómodas que parecen hechas para cualquier cosa menos para bailar. ¿Y qué pensaría el típico crítico conservador sobre esta danza africana? Bárbara, ruidosa, desordenada, incivilizada. Pero a mí me parece festiva y la mayoría de las danzas españolas me recuerdan más a un funeral que a un baile.

La danza keniana termina entre gritos de los bailarines y el público lanza una sonora ovación y silba y aplaude entusiasmado.

La primera representación de los venezolanos se llama Misunderstanding –malentendido–, y el párrafo que la introduce en el programa parece dar la razón al título: “Es la reacción interna de una vívida relación ante las actitudes de pasión, odio, amor y sus propias actitudes confrontadas por ellas mismas para la reafirmación y definición de sentir la completa necesidad de la feliz ausencia de estar solo con amor sin la necesidad dejada por el otro complemento prefiriendo la libertad, consiguiendo una total unión con indiferencia interna ante el amor… malentendido.”

Se trata de una pareja, ella atractiva y sensual y en silla de ruedas y él de aspecto más tosco y en pie, ambos vestidos completamente de blanco. Resulta original e interesante pero mejorable. Aunque la silla de ruedas se integra en la representación con naturalidad, uno no puede dejar de fijarse en ella y su sólida y pesada presencia contrasta con el blanco y la ligereza de movimientos de los bailarines, para quienes los brazos tienen un enorme y evidente protagonismo en la danza. La representación tiene un aire amateur que le da un cierto encanto y ella es claramente mejor danzadora que él. Suena un teléfono móvil junto a mí e incrédulo veo a Titus responder y ponerse a hablar en un volumen no muy bajo durante unos minutos.

El baile termina y de nuevo el público responde con una gran ovación y un largo aplauso y silbidos y comentarios y la reacción me recuerda a la espontaneidad de un público de niños.

El siguiente acto es un monólogo por un hombre en silla de ruedas y se oyen muchos murmullos en el teatro cuando el hombre empieza a hablar… en español. Yo sonrío y supongo que los pocos venezolanos que haya entre el público y yo somos los únicos que lo entendemos. El actor no es malo pero el relato es simplón y lleno de clichés. Se trata de un niño que entra en una tienda de animales y quiere comprar un perrito que cojea y el dueño no quiere cobrarle porque dice que el perrito no puede correr y jugar como los demás. Pero el niño se levanta el pantalón y su pierna tampoco está bien y le dice al dueño que él y el perrito se entenderán bien y el dueño se pone a llorar y le dice al niño que ójala el resto de cachorros acaben teniendo un dueño como él. No importan el aspecto ni el dinero, dice el actor como moraleja, en el fondo todos somos iguales. Oh. Fin.

Tras el monólogo viene Coincidence, una danza en la que todos los bailarines venezolanos y un grupo de kenianos toman el escenario. Tres venezolanos están es silla de ruedas, dos kenianos tampoco pueden utilizar sus piernas pero se arrastran por el suelo y algún otro keniano cojea al andar y bailar. La música es electrónica contemporánea y de ritmo rápido y los bailarines entran y salen y saltan y se arrastran por el escenario y se entrecruzan y bailan cogidos y juegan con las sillas de ruedas y las levantan mientras sus ocupantes danzan por el suelo y verlos a todos, blancos, negros, mujeres, hombres, de físico corriente y deforme, mezclándose y moviéndose y reptando por el escenario de forma tan entusiasta como amateur pero en un cierto orden y armonía – es espectacular, atrevido, exótico, genial.

El baile termina y la ovación es incluso mayor que las anteriores y el público aplaude a rabiar y ríe y silba y lanza piropos a los bailarines.

Después viene otra danza tradicional keniana aunque esta vez resulta algo larga y repetitiva pero me sigue impresionando el derroche físico de los danzarines, que no dejan de moverse y de dar saltos y gritar sin perder la sonrisa ni un segundo.

Y tras ellos viene Transtango, el último baile, en el que sólo participan los venezolanos. Es un espectáculo de tango con tres hombres, dos en silla de ruedas, y tres mujeres, una en silla de ruedas. Es diferente y provocador, pero es demasiado largo y no consigue mantener el ritmo ni la tensión y las sillas de ruedas ya no resultan tan llamativas ni chocantes – lo que quizá sea un objetivo del espectáculo. Suena otro teléfono móvil y su dueño responde y tranquilamente habla con su interlocutor. Titus me dice que lo siente pero que se tiene que ir y yo le digo que yo me quedo hasta el final y nos damos la mano y Titus se va. Hay un momento en el que en escena sólo están un hombre y una mujer no discapacitados y bailan un tango agarrado y rápido y sensual y de golpe nos recuerdan todas las limitaciones del estar sentado en una silla de ruedas. Pero son dos discapacitados los que finalizan la representación y aunque resultan lentos y pesados en comparación, su tango es también físico y sexual y hermoso y pone un buen punto y final al espectáculo.

Las luces se apagan y el público rompe a aplaudir entusiasmado y de nuevo otra gran ovación y ruidos y silbidos y los bailarines saludan satisfechos desde el escenario.

Y de nuevo, como al principio, comienza un carrusel de personalidades y cargos oficiales kenianos y de la embajada de Venezuela subiendo al escenario y dando las gracias y breves y aburridos y vacíos discursos y todo sea por salir en la foto entre los bailarines. Hay ramos de flores para las danzarinas y regalos kitsch para los oficiales venezolanos y una bolsa con los típicos souvenirs de aeropuerto para todos los bailarines venezolanos – pero nada para los bailarines kenianos. Todo este ceremonial resulta ridículo y se hace eterno y estropea el buen sabor de boca que el espectáculo nos había dejado. Por fin termina y podemos salir y la embajada de la República Bolivariana de Venezuela invita a bebidas y canapés y todo el mundo, diplomáticos de traje y corbata y mujeres de vestido y peluquería y gente normal en vaqueros, se abarrota y pelea por conseguir un vaso de lo que sea y un bocado de cualquier cosa. Y yo entre ellos. Tras un buen rato y recibir varios codazos y empujones compruebo con decepción que el vino tinto ya se ha acabado y me consuelo con una copa de vino blanco que sin embargo es excelente. Intento escapar del bullicio y me encuentro con dos de los bailarines venezolanos, la mujer atractiva en silla de ruedas y uno de los hombres. Me acerco y les digo que soy un periodista español y que la representación me ha encantado y que me han impresionado. Me dan las gracias pero no parecen muy interesados en seguir la conversación. Les pregunto que hasta cuándo van a estar en Nairobi y me dicen que unos días. Les pregunto que si van a volver a actuar y me dicen que sí, que mañana a la misma hora. Yo asiento. Ellos me miran sonriendo y en silencio. Bueno, les digo, enhorabuena, y le doy la mano a él y dos besos a ella y voy hacia la salida en busca de aire fresco. Me acabo el vino en la puerta mientras pasa arrastrándose junto a mí uno de los parapléjicos kenianos. Me voy en busca de un taxi, negocio el precio y de camino el taxista me pregunta, ¿Qué había esta noche en el National Theatre? Un espectáculo de danza contemporánea, le respondo, con bailarines venezolanos y kenianos, pero lo interesante es que varios iban en silla de ruedas y tal. El taxista asiente y no dice nada más mientras conduce por las oscuras y desiertas calles de Nairobi.

Unos pocos días después me sorprende ver a una chica en silla de ruedas en el supermercado. Me quedo mirándola y es la bailarina venezolana, a la que felicité y di dos besos, no tan guapa sin maquillaje y sin arreglar. La veo mirar y comparar diferentes chocolatinas con seriedad y no sé si acercarme a saludarla o no. Pienso que no me va a recordar ni a reconocer y que hasta se va a asustar si de repente me dirijo a ella. Ella pasa ahora junto a mí sin reparar en mi presencia y vuelve a la estantería de los chocolates con una amiga, otra de las bailarinas, y le pide que le alcance una de las chocolatinas que está en los estantes superiores, ya que ella no alcanza hasta ahí.