• SGBV is often shrouded in silence but bravely addressed through literature
Image: JUSTUS MAKOKHA
Last weekend, the world marked International Men’s Day. On the eve of the Sunday celebrations, I delivered a talk to a group of young East African writers at the invitation of the Makerere-based writer and rights activist Harlord Ankwasa.
The poet and author from Kabale, Uganda, is in his early twenties and pursuing a course in literature at the fabled university. The focal point of this engaging discourse was the pervasive issue of sexual violence, a topic often shrouded in silence but bravely addressed through the transformative power of literature.
At the heart of this literary exploration stands Harlord Ankwasa, a poet and author whose latest anthology, The Unspoken Crime Scenes (2023), serves as a poignant symphony that delves into the painful subject of sexual violence. Ankwasa's anthology is a 200-plus congregation of poems by writers from across East Africa and beyond. It unites voices and talents from diverse backgrounds, crossing borders to offer solace to those traumatised by the heinous cancer of sexual deviance. I wrote the blurb endorsement for it. It is a noble literary project.
The Ugandan author's inspiration for this project stemmed from his belief that the silence surrounding sexual violence should not be normalised. With six poems on sexual violence in his collection Walk My Path, he became a catalyst for change within the Poets Association of Uganda. Together with Dr Stella Nyanzi and 22 Ugandan poets, they formed Uganda Poets Against Sexual Harassment, Assault And Rape (Upashasar) to fight for justice and create a safe space for poets against this vice.
The young scribe has leveraged digital advancements to mobilise support for the cause. Through a well-designed poster shared across social media, he called upon poets and writers to contribute their works on the topic, creating a platform for collective expression and awareness. The result? The Unspoken Crime Scenes, a brilliant and heart-wrenching literary anthology of verse aimed at engaging communities, schools and institutions in spreading awareness about sexual violence.
Moving forward from his early writing for writing’s sake, lately, Ankwasa's focus has been shifting to society outreach. Identifying potential partners and collaborating with organisations that share the vision for a world free from sexual violence is now paramount. The journey involves pushing the book to grassroots levels, reaching schools and institutions to foster a dialogue that transcends the pages of the anthology.
Walk My Path marked Ankwasa's first project, followed by co-authoring an anthology titled Prince of Peace for Easter poems. Currently, he is extracting a play from The Unspoken Crime Scenes for stage performances—a creative and powerful method to further advocacy. He collaborates with the Poets Association of Uganda (PAU) and continues to seek partnerships with organisations and individuals who share a similar vision. His three future plans revolve around identifying potential partners, collaborating with them and collectively pushing the discourse on sexual violence to the grassroots.
During the virtual discussion, I gave a speech that echoed the urgent need to address sexual violence. I emphasised the transformative power of storytelling, acknowledging the impact of renowned authors like Maya Angelou, Alice Sebold, Toni Morrison, James Frey, Junot Díaz and Layne Fargo. The discussion transcended gender boundaries, recognising the experiences of all survivors, and celebrated the bravery of those who speak out.
In the midst of delivering my lecture to fellow writers, I emphasised the transformative power encapsulated in the poetry of Warsan Shire, citing her as a voice of change, particularly in the realm of gender-based violence (GBV) and sexual-based violence (SBV).
She is a Somali-British poet, writer and educator. Born on August 1, 1988, in Kenya to Somali parents, Shire later moved to London, where she has become renowned for her powerful and evocative poetry. Shire's work often explores themes of migration, identity, womanhood and the human experience, with a particular emphasis on the struggles faced by refugees and marginalised communities.
Shire, a poet and representative of the youth, brings forth a unique perspective through her poignant and evocative verses. Her work acts as a potent medium to articulate the intricacies of our precarious world, shedding light on the harrowing experiences within detention centres. This contribution becomes a testament to the ability of art, specifically poetry, in addressing societal issues by fostering empathy and understanding.
Delving into the human condition, Shire's poetry captures the essence of vulnerability and resilience in the face of GBV and SBV. Notably, her acclaimed poem “Conversations about Home (at the Deportation Center)” provides a raw and unfiltered glimpse into the emotional and psychological toll of confinement, humanising individuals often dehumanised by the harsh realities of GBV. I read the poem to the audience of authors out of her chapbook, Teaching My Mother How to Give Birth, published in 2011.
As both a poet and representative of the youth, Shire occupies a unique position in amplifying the voices of a generation grappling with the challenges posed by GBV and SBV. Her ability to connect with a global audience, especially the youth, serves as a rallying cry for empathy, activism and social change.
The justification for incorporating the 25-year-old's work into my discourse on sexual violence rested in its strategic and powerful impact to call writers to attention. Her poetry possesses a unique ability to evoke deep emotional responses, conveying the raw realities of those affected by violence. The emotional resonance of her words becomes a potent catalyst for writers to connect with the core of these issues, compelling them to confront the stark realities and complexities of gender-based violence.
The discourse of Saturday last week, underscored the importance of defining safe spaces for victims, fostering community-centric approaches and embracing cultural sensitivity. Organisations in Kenya, such as Gender-Based Violence Recovery Centres, Fida-Kenya and Creaw, exemplify the collective efforts to support survivors.
As the virtual discussion concluded, a resounding call to action lingered—a call for collective responsibility in eradicating sexual violence. The audience included Prof Kivutha Kibwana, the former Makueni governor, who is a poet and playwright also. Others were Prof Danson Kahyana of Makerere University and a plethora of Kenyan writers drawn from the Bleeding Ink International poetry network and the caucus called East African Literature and Culture Association.
Through literature, dialogue and advocacy, Ankwasa and fellow writers and agemates strive for a world where the poetic voices in The Unspoken Crime Scenes transform from a poetic concert into tangible actions. Together, they stand as stewards of compassion and champions of justice, weaving a discourse of healing and resilience for generations to come.