Saturday, July 25, 2015

George Clooney ‘declares war’ on Africa conflict financiers


Hollywood superstar, George Clooney, has launched an ambitious project which aims to end conflicts in Africa by following the money and exposing those funding the conflicts

George Clooney. Photo: Liz O. Baylen / Los Angeles Times
George Clooney. Photo: Liz O. Baylen / Los Angeles Times
For the project, Clooney partnered with John Prendergast from the advocacy group – the Enough Project.
According to a statement by the Enough Project on Monday, The Sentry will investigate and track financing behind conflicts in Africa like those in South Sudan, Sudan and the Democratic Republic of Congo.
Prendergast is a human rights activist who used to be an African Director of the US National Security Council. He decried the fact that the “conventional tools of diplomacy” has failed to solve these crises so there must be thoughts and efforts around how to ensure that war is “more costly than peace.”
“The objective of The Sentry is to follow the money and deny those war profiteers the proceeds from their crimes,” said Prendergast.
A statement by The Sentry described their goal as one which will “dismantle the networks of perpetrators, facilitators and enablers who fund and profit from Africa’s deadliest conflicts”, which the project identified as South Sudan, Sudan, the CAR and DR Cong

#WCW: Gazele, Nigerian-Australian soul singer

Hailing from a musical family, Nigerian-Australian singer/songwriter Gazele couples the fierce energy of soul singers such as Liv Warfield with the pop sensibility of Emeli Sande to create a vibrant musical experience. Flamboyant, fun and unapologetically soulful, Gazele is here and ready to pounce on the music industry with power and grace, as only she can. She is this Wednesday's Woman Crush

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A graduate of the Australian Institute of Music, in 2014 Gazele received an Award for Excellence from the Celebration of African Australians Inc NSW and performed with high profile artists, touring extensively with ARIA award winning pop star Jessica Mauboy and providing backing vocals for The Voice Australia alumni Ms Murphy’s soon to be released Dirty Soul album. We caught up with her to discuss her debut EP LoveLife, being a musician in Australia and her Nigerian heritage.
TIA: You released your debut song ‘The one’ in 2014, and went by the stage name Tabitha Ojeah, but you have now switched to Gazele. What inspired the name change?
Yes, that is correct. I felt that my name “Tabitha Ojeah” had previously been connected with all the music I was involved with here in Australia. Whether it was me singing with cover bands for corporate audiences or weddings, performing with various DJs at parties and also performing some of my original music, it was all a bit confusing to market so many different things under one name. I wanted to come out with something fresh and to let everyone know that Gazele is an artist, a dreamer. In a sense I was able to start again and reintroduce myself to an industry I was already so much a part of. The name Gazele was a pretty easy choice, it’s actually my name “Tabitha” in Aramaic so it’s still me, the same person.
You hail from a musical family, went to a music school in Australia, worked as a background singer for various artists like (Jessica Mauboy and Ms Murphy), and then stepped out of the shadows to be a singer/songwriter. Talk to us about your experiences and how they have shaped your sound and your career. 
I am the youngest of four, so I had so many examples of hard work and talent in front of me, led by my parents. We always had musical instruments in the house, we were in family bands growing up and we were encouraged to get involved with our church music teams. This gave me a chance to learn about my voice, learn how to be a part of a team and learn how to express myself through music. My father always said no to singing lessons because he believed in natural musical ability, as he learned how to sing and play guitar without any formal training. I knew that I wanted to know more, to explore further what music and singing was all about, that’s how I ended completing a Bachelor Degree in Music. This training, mixed with the solid foundations that I got from my family, especially in performance, helped me to get hired for work as a singer during and after completing my degree. My attitude towards singing has been shaped heavily by my Christian upbringing. I believe being able to sing is a gift and one that’s so worth sharing when the time and effort has been made to nurture the gift. I love to perform; I’ve been on stage since I was two years old, so it feels like home to be singing on stage. Being able to harmonise and blend with different voices came quite naturally to me, as my family always sang in harmony. When auditioning for the role of background singer these skills are vital to doing a great job and supporting the artist.
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Give us a sense of what the Australian music industry is like. You have received an award for excellence from the celebration of African Australian Inc NSW and been part of the Australian recording industry association awards (ARIA). Are there opportunities, platforms or institutions that you would recommend to young, upcoming African artists who are thinking of further pursuing their career in Australia?
The Australian music industry is not huge, however, there are so many talented and passionate individuals working in all positions. In Australia you have to actively seek out opportunities to be heard and think of creative ways to be noticed, as there are not that many venues/festivals to perform at, especially for a pop/soul artist like myself. Australia is unique because there are many different nationalities and cultures that mesh together to create a vibrant scene and if you look around you’ll be able to find a group that can understand and appreciate your style. I would recommend applying to perform at festivals like AWME and Africultures, attending workshops/seminars to network and also contacting Australian artists and producers to link up with them and join their community.
You performed at the Nigerian 53rd independence celebration in 2013. What was the experience like? You mentioned in an interview with Stephanie Jumbo (African Media Australia) before the concert that you were excited to be performing for a Nigerian audience, one that best connects with your music. You have been on various tours, give us a sense of what your experiences have been performing for various audiences.
It really felt like an honour to perform at the independence day celebration. To be invited to travel from Sydney to Melbourne with my dancers and put on my on show was special and I got welcomed very warmly by my fellow Nigerians. I’ve performed in front of so many different audiences and each time it’s different. Sometimes they are
nervous and really need encouragement to get involved, there’ve also been times when the audience is not that interested in what you’re doing onstage, which can make you feel disheartened a little bit, but most of the time, people love to be entertained, and I love entertaining and bringing joy into people’s lives so it’s very rewarding when crowds love the music I share. The energy always feels so good performing in front of African audiences because they’re always ready to dance and participate right from the very beginning.

The (Mis)Use of Kiswahili in Western popular culture

 That Kiswahili words and phrases sometimes crop up in western pop culture is not surprising; it is, after all, the most widely spoken African language on the continent. But every so often its use leaves native speakers a little puzzled.

Michael Jackson was made a prince of the Anyi people 1992 in Krinjabo, Cote d’Ivoire, in 1992, but his relationship with the continent began long before that. His use of Kiswahili in a song called “Liberian Girl” was a little odd though.
Michael Jackson was made a prince of the Anyi people 1992 in Krinjabo, Cote d’Ivoire, in 1992, but his relationship with the continent began long before that. His use of Kiswahili in a song called “Liberian Girl” was a little odd though.
Kiswahili is a language spoken by more than 100 million people, predominantly in several states of East Africa. The language also has a significant presence in major cities of Europe, the United States of America and the Gulf states where African Diaspora communities are found. As a result of its global reach and millions of speakers the language pervades the lives of many across the globe and is never far away, even if not realised. For example it is taught in several universities around the world, and many media stations such as the BBCVoice of AmericaRadio Deutsche Welle,Radio Moscow International and Radio Japan International all have programmes in Kiswahili.
The African American holiday Kwanzaa takes it names from the Kiswahili phrase ‘matunda ya kwanza’
In the United States the African American holiday Kwanzaa takes it names from the Kiswahili phrase ‘matunda ya kwanza’ meaning ‘the first fruits of the harvest’; ‘kwanza’ is the Kiswahili word for first. If you’re English, American or Canadian you may have also found yourself shouting out a Kiswahili word when playing the popular wooden block game Jenga; Jenga being the Kiswahili root word for build. In western popular culture Kiswahili has found itself in film, television and music. Sometimes its been used in short snippets, while other times complete monologues of characters have been in Kiswahili. However while its use is apparent the correct use of the language has not always been so.
Hakuna Matata
Disney’s 1994 animated feature The Lion King is perhaps the most popular western film featuring Kiswahili. The film tells the story of a lion cub and future king named Simba. The film is full of Kiswahili words and phrases. The main character ‘Simba’ means lion (in Shona it means strength or power) and the friendly Baboon called Rafiki means friend. There are also many songs in kiswahiki in the film. One of which is when Rafiki sings to Simba‘Asante sana squash banana, Wewe nugu mimi hapana’, which is Kiswahili for ‘Thank you very much, squash banana, you’re a baboon and I’m not.’
The most famous, though, is Hakuna Matata (sung by comedy duo Timone and Pumba), which they say means ‘no worries’, while a literal translation is ‘there is no problem’. The phrase has become popular among tourist locations in East Africa, though is not often used among native speakers, more common is the phrase ‘hamna shida’. However ‘Hakuna Matata’ became recognisable through its use in popular culture many years before The Lion King was released. In 1982 the Kenyan band Them Mushrooms released a song called Jambo Bwana (Hello Mister) which went on to sell over 200,000 copies. The song features several phrases, including ‘Hakuna Matatu’, and was later covered by a number of other groups including the German pop group Boney M.
Kiswahili is also featured in other popular children’s films. The 2005 film Madagascar, which tells the tale of four animals escaping from New York Central Zoo, features a granny who beats up the main character Alex the lion. The granny is wearing a t-shirt that has “Jambo” on it, a popular phrase coming from ‘hujambo’ , meaning how are you? In the follow up movie, Madagascar: Escape 2 Africa, released in 2008, Kiswahili is used again. This time the big sexy male hippo, voiced by Will.i.am, is named ‘Moto Moto’ which literally means ‘Hot Hot’. There are many other box office hits that have made use of Kiswahili, such as George of The Jungle (1997), Mighty Joe Young (1998), Nowhere in Africa (2001), The Last King of Scotland (2006), The A-Team (2010) and Inception (2010).
Liberian Girl
The use of Kiswahili here is a little odd as Kiswahili is not spoken in Liberia
Kiswahili has also been incorporated into the lyrics of several pop songs. The late great king of pop Michael Jackson first visited the continent in 1974 when he arrived in Senegal as part of the Jackson 5. In the 1990s Michael Jackson spent time in Cote d’Ivoire, Egypt, Gabon, South Africa, Tanzania and Tunisia. Michael Jackson expressed his feelings for the continent describing Africa as “the root of all rhythm. It’s home.” It’s no surprise then that his love of Africa was written into his lyrics as early as 1987 when he released Liberian Girl, from the album Bad. The song celebrates the beauty of African women with Jackson singing about a special girl from Liberia. The song opens with South African female singer and anti-apartheid campaigner Letta Mbulu saying the Kiswahili phrase ‘Nakupenda pia – nakutaka pia – mpenzi we’, which translates as “I Love you too. I want you too, my love.” However the use of Kiswahili here is a little odd as Kiswahili is not spoken in Liberia or anywhere in West Africa. Nevertheless his inclusion of East, South and West African elements in this song was perhaps in honour of his love of sub-Saharan Africa.
Lionel Richie, the American singer-songwriter, also used a Kiswahili word in one of his hits from the 1980s. The 1983 song All Night Long featured the Kiswahili word Karamu in the chorus ‘We’re going to party, Karamu, fiesta, forever’. Karamu means ‘party’ in Kiswahili.
“Swaghili”
The Swahili speaking nations of East Africa have created their own localised forms of hip hop which incorporate Kiswahili, such as Genge in Kenya and Bongo Flava in Tanzania, however Kiswahili has also been used in a number of American hip-hop artist’s songs. One example is the 2010 hit As We Enter from Nas featuring Damien Marley in which Nas raps “Y’all feel me even if it’s in Swahili, Habari Gani” (meaning whats the news/how are you doing) to which Marley replies“Mzuri sana” (very good). The song called I’m In It from Kanye West’s Yeezus album uses the word“Swaghili”. While there appears to be no apparent relation to Kiswahili, apart from rumours that Kanye is Kiswahili meaning “the only one”, one commentator decided that Swaghili should be a creole that mashes English with Swahili. Little did he know however that Sheng, a combination of Kiswahili and English, has existed for decades in Kenya’s multilingual environment.
Kiswahili will continue to be used in Western popular culture and through doing so it will spread the culture of East Africa and the beauty of the language. However, as language can be symbolic and have the power to shape the understanding of the world its use, or misuse, should be understood and explored to celebrate Kiswahili and the Swahili culture. The above are just some examples of the (mis)use of Kiswahili in western popular culture, what are the others.

Obama to press African leaders on rights and corruption

President Obama told the BBC he would deliver a blunt message on gay rights when he travelled to Africa

US President Barack Obama has told the BBC he will continue to deliver his "blunt message" to African leaders about gay rights and discrimination.
"I am not a fan of discrimination and bullying of anybody on the basis of race... religion... sexual orientation or gender," he said.
Mr Obama is on his way to visit his ancestral home of Kenya and he will also go to Ethiopia.
He said the trip showed US commitment to fighting terror in East Africa.
In the wide-ranging interview with the BBC's North America editor Jon Sopel before he left Washington, President Obama also said:
  • His failure to pass "common sense gun safety laws" in the US was the greatest frustration of his presidency
  • The UK must stay in the EU to have influence on the world stage
  • He is confident the Iran nuclear deal will be passed by Congress
  • Syria needs a political solution in order to defeat the Islamic State group
  • Despite racial tensions, the US is becoming more diverse and more tolerant.
It will be Mr Obama's first visit to Kenya since becoming president.
He will also become the first US leader to address the African Union when he travels on to Ethiopia on Sunday.
With hours to go till Mr Obama lands in the Kenyan capital, Nairobi is in lockdown with many streets closed and people opting to stay at home.
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At the scene - Milton Nkosi, BBC News, Nairobi
A motorcyclist rides past a US flag at a main street as the country prepares to receive U.S. President Barack Obama for his three-day state visit, in Kenya's capital Nairobi 24 July 2015
Nairobi's streets - notorious for their long traffic jams - are empty. This is because of one of the largest security clampdowns the Kenyan capital has ever seen.
There is visible policing almost everywhere and security convoy sirens have been booming across the city all day.
President Obama is seen as Kenya's son - and this is a homecoming. But while Kenyans are happy and excited about his first visit as US president, they are paying the price of having their movements restricted.
Mosques have had to open and close early to avoid many road closures. Some businesses have had to shut early to avoid being trapped.
But it is a price they are happy to pay to host the most powerful man in the world.
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This is Mr Obama's fifth trip to Africa as president, but despite his close family links to Kenya, he has faced criticism in some African countries over the legalisation of gay marriage in the US.
However, the president told the BBC he would not fall silent on the issue.
Media captionKenyans tell the BBC their feelings on President Obama's comments about gay rights
The US leader also agreed that some African governments, including Kenya's, needed to improve their records on human rights and democracy.
However, he defended his decision to engage with and visit those governments.
"Well, they're not ideal institutions. But what we found is, that when we combined blunt talk with engagement, that gives us the best opportunity to influence and open up space for civil society."

Murder on Long Street: Congolese bouncers and the private security industry

The death of Joe-Louis Kanyona, the Congolese doorman who was murdered at Cape Town's Beerhouse on 20 June, in the context of nightclub security and the city's DRC diaspora

Mourners carry Joe-Louis Kanyona's coffin through a street in the Cape Town suburb of Parow. Image: Kimon de Greef.
Mourners carry Joe-Louis Kanyona's coffin through a street in the Cape Town suburb of Parow. Image: Kimon de Greef.
Joe-Louis Kanyona, a 32-year old Congolese resident of Cape Town, was hired as a doorman at craft beer megabar Beerhouse on Long Street last December. At 10:37pm on Saturday 20 June, while standing guard at the entrance, Kanyona, a smaller man than his occupation usually dictates, was approached by four men and stabbed in the neck. Without withdrawing the knife from his flesh — “it was a steak knife, like something from a restaurant,” an eyewitness said — Kanyona tried to run upstairs, where his brother Julian was working, but faltered after a few steps. He died a few minutes later. His last words, spoken in French and repeated three times, were: “Lord, I put myself in your hands.”
Kanyona was a private employee of Beerhouse, which also has a branch in Fourways, Johannesburg. When contacted last week owner Randolf Jorberg said that Kanyona “was paid an hourly wage like all other operating staff”, although he was unwilling to confirm the amount. Congolese bouncer sources on Long Street, who requested to remain anonymous, said that they typically earned between R250 and R300 for a ten-hour shift. Jorberg declined to comment other than to acknowledge that this sounded like an “average” figure.
Kanyona’s murder has been linked to extortion rackets that criminal researchers say have controlled nightlife in central Cape Town for more than two decades, forcing club owners to pay for bouncers and other ‘protection’ services from Mafia-like private security firms. Since opening in 2013 Jorberg has repeatedly refused to sign up a company currently believed to represent the syndicate, stating that he saw “no value” in working with them. “If the only purpose … is to protect me from a threat that they cause themselves [then] I’m not going to feed that,” he was quoted saying two days after the attack.
John Davidson, the owner of Bob’s Bar & Bistro further down the street, has been outspoken about racketeering in Cape Town since the murder, telling radio station Cape Talk that extortion was a “huge problem” for his business.
“If you don’t go along with them you’re inviting trouble. I’ve been paying the monthly fee because it keeps my staff and customers safe,” he said in a separate telephone interview last week.
Davidson has publically shared a R1,518 invoice – for “Responce & Consultation” (sic) – issued to his bar by a company called Lifestyle Entertainment Security Service (LESS) on 30 May this year. Director Richard van Zyl, whose details appear on the bill, previously worked as a manager at Specialized Protection Services (SPS), a controversial security company that was shut down in 2012 for not being legally registered. Van Zyl refused to respond to questions last week.
SPS formed out of the merger of two rival security firms a few weeks after feared crime boss Cyril Beeka, whose bouncers allegedly controlled local clubs from the mid-1990s onwards, wasassassinated in 2011. Owners Andre Naude and Mark Lifman — a Sea Point businessman with purported connections to the Cape underworld — have repeatedly denied involvement in Beeka’s death, or any racketeering activities. Jerome ‘Donkey’ Booysen, a former SPS affiliate believed to be the leader of Belhar’s Sexy Boys gang, said that he had “heard nothing” about the Beerhouse murder when contacted four days after the attack.
Before it was disbanded SPS provided security at nearly 200 venues in Cape Town, employing some 400 bouncers. Like Joe-Louis Kanyona, most of their workers were Congolese.

Shortly after Kanyona arrived in Cape Town in 2009 he found work as a private security guard, entering an industry that has become tightly entwined with the city’s Congolese diaspora in the last two decades. One of his first guarding jobs was at Pick ‘n Pay in Parow, where he met Patrice*, another immigrant. “Joe-Louis was my best friend,” Patrice said at Kanyona’s funeral last Tuesday. “He was a hard-working and selfless man. We spent a lot of time together. His death is a tragedy.”
As he settled Kanyona moved into a shared house near the supermarket, on a street occupied predominantly by Congolese families, and took a South African girlfriend, who this year gave birth to their first child. He left Pick ‘n Pay to work as a bouncer in Parklands, near Tableview, later moving to join Beerhouse, where his brother, Julian, was employed.
“You find work through people you know,” explained David*, a Long Street doorman. “After a while maybe your boss starts to trust you — then you can suggest your own people when there are vacancies. We get jobs for other Congolese. That’s how it works.”
Long Street, Cape Town. Image by Flickr user mikkelz (CC BY-NC-SA 2.0)
Long Street, Cape Town. Image by Flickr user mikkelz (CC BY-NC-SA 2.0)
Few members of the Congolese community were prepared to talk on record for this story, citing fears of being targeted by the people who killed Kanyona. Beerhouse management was unwilling to comment on whether Kanyona was hired through his brother.
According to Khalil Goga, a criminal researcher at the Institute of Security Studies and the co-author of a 2014 paper on local protection rackets, the disproportionate representation of Congolese men in the Cape Town bouncer trade — as high as 85%, according to industry sources — is likely a consequence of three main factors: the long history of military conflict in the Democratic Republic of Congo (DRC), the existence of strong diaspora kinship networks (such as those described by David), and the fact that the DRC immigrant population is among South Africa’s largest.
“Across the world soldiers, fighters and police are often involved in protection businesses,” Goga said. “Many of those involved in protection need to have a level of skill in terms of violence, and the military often provides that.”
Certain trades, like nightclub security, tended to attract “violent entrepreneurs”, he explained: people accustomed enough to physical danger and aggression to make dealing with it their business. “This certainly cannot be applied to all the bouncers,” he said, “but there are many soldiers from the DRC working in South Africa.”
According to statistics from the United Nations High Commission for Refugees (UNHCR) there are currently more than 30,000 refugees and 12,000 asylum-seekers from the DRC living in South Africa, making theirs the third-largest official population of asylum seekers in the country, after Zimbabweans and Somalis.
Forced migration from the DRC — Zaire until the overthrow of Mobutu Sese Seko in 1997 — has been increasing since the late 1980s, driven by political instability and a series of civil wars. As recently as last year fighting between rebel groups and Joseph Kabila’s government triggered fresh waves of exodus: more than half a million DRC refugees were recognized worldwide by UNHCR in 2014, placing the DRC sixth on the list of source countries for displaced people.
In South Africa the Congolese refugee population is considered unusual because it comprises a high number of educated, middle-class individuals. According to an ISS review paper by Jonny Steinberg in 2005, nearly one in two forced migrants from the DRC have some form of tertiary education and fewer than one in 20 was unemployed before leaving home. This presents a stark contrast to immigration patterns from Zimbabwe, Somalia, Mozambique and other African countries. “The spectacle of social dislocation is striking,” Steinberg wrote. “A group of well-heeled young men leave home to find themselves rubbing shoulders with the inner-city poor in a foreign country and in the midst of foreign languages.”
Congolese bouncers interviewed for this story said that they did not aspire to work in the private security industry but took their jobs out of necessity. “It puts food on the table,” one man said. “You can pay rent, send your children to school or save to start a business. Everybody needs to survive.”
Kanyona, who grew up in Kinshasa, studied medicine after school, but quit early to begin working. He was a capable wrestler and enjoyed leading church choirs: at least one of his eleven brothers was a preacher. In Cape Town he was a devout churchgoer, attending services on a Parow backstreet off Voortrekker Road, less than ten minutes walk from where he lived. The church where Kanyona’s funeral was held is located in a bare room with red and yellow curtained walls. It is flanked by hair salons, a Pan-African restaurant and a wholesale shop that sells fish from home.

In the days leading up to Kanyona’s funeral it became clear that his death had become a political event. South Africa’s Congolese diaspora is notoriously fragmented. One 2005 study found 11 different community organizations, known as ‘families’ or ‘tribes’, in Cape Town alone. This means that there is no central authority to defer to in times of crisis.
Kanyona’s murder took place the very same day that officials shut down Cape Town Station’s taxi terminus as part of Operation Fiela, the South African government’s response to an outbreak of xenophobic violence across the country in March and April this year.
“We want South Africans to understand that being a foreigner doesn’t mean that we are weak or stupid, or that we can’t defend ourselves,” said Mike Alomba, also known as President Mike, who heads the Cape Town chapter of the ‘Combattants’, a global coalition of militant anti-Kabila protestors. Alomba had just finished addressing Kanyona’s memorial service, which drew more than 300 people to the church in Parow last Tuesday, and was standing on the pavement outside, surrounded by very large men. “We are one of the biggest communities in South Africa. I’m talking about 100,000 people or more. We’re not in a position to be scared. We have to stand up and fight.”
The Combattants are purportedly aligned with √Čtienne Tshisekedi, a popular Congolese politician many believe was cheated in a controversial 2011 presidential election, but are known to attract members who do not share these political sentiments.
Before the funeral, Alomba’s entourage allegedly threatened to disrupt proceedings if they were prevented from taking Kanyona’s coffin to protest outside Parliament and Beerhouse. “They want to send a message that this murder is unacceptable,” explained a family friend, who asked to remain anonymous. “But what difference can a protest make? Joe’s family has already lost him. Did people need someone to die to try and fix the situation?” Commenting on the Combattants, he said that they were “very powerful” and disposed to “making a noise for no reason”. “They attract young men who enjoy getting angry,” he said.
Kanyona’s funeral coincided with the DRC’s 55th anniversary of independence, which many in the Cape Town diaspora chose to shun as a protest against Kabila’s government, heightening the day’s symbolic relevance.
In the end the funeral was delayed by more than two hours while Kanyona’s coffin was driven to Beerhouse, where a section of the street was cordoned off while Alomba’s entourage chanted and waved flags. “It’s part of our culture,” said Alomba, framing the detour as ritual and not protest, “that a person’s body gets taken back to where they died before proceeding with the burial.”
Beerhouse owner Randolf Jorberg refused to comment other than to say that the crowd was outside his bar for less than half an hour. “I’m not familiar with Congolese culture so I’m not sure what they were doing,” he said.
02
In Parow well-dressed men stood talking in groups as the sun burned off a thick mist. Inside the church Western gospel music alternated with devotional soukous. Black and white A4 signs, printed in English and French, had been stuck in adjacent shop windows to advertise the funeral, which was scheduled to start at 11am. Shortly after 1pm cars started arriving from town, followed by a white hearse. The crowd swelled. Kanyona’s coffin was carried inside and the service began.
His body was flown home to Kinshasa, where both of his parents still live, last Thursday (2 July), and buried on the weekend. Fundraising efforts by Beerhouse, which had raised more than R100 000 by the time this story was published, helped pay for the funeral and the flight.
Last Monday (29 June) three men arrested in connection with the attack — Ubaid van der Bergh, 20, from Zonnebloem, Toufiq Essa, 21, from Woodstock and Nasbie Edwards, 27, from Ruyterwacht — appeared in the Cape Town Magistrate’s Court, where prosecutor Dail Andrews claimed that they had each been paid R1,000 for the hit.
*Names have been changed to protect people’s identities.
Kimon de Greef is a freelance journalist and researcher from Cape Town.
This article was first published by the GroundUp and is republished here with their permission.

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