Pokončna revolucija ali zakaj ljudje hodijo pokončno

Slovenian

translated by Vesna Žagar
proofread by Jolanda Blokar

Pred davnimi časi so ljudje hodili po nogah in rokah kot vsa druga bitja s štirimi okončinami. Ljudje so bili hitrejši od zajca, leoparda ali nosoroga. Noge in roke so bile bližje kot drugi organi, imele so podobne sklepe – rame in kolke, komolce in kolena, gležnje in zapestja, dlani in stopala s po petimi prsti in z nohtom na vsakem prstu. Dlani in stopala so imeli podobno razporejene prste od palca do mezinca. V tistih časih je bil palec bliže drugim prstom, tako na dlani kot na stopalu. Noge in roke so druga drugo klicale sestrična.

S skupnimi močmi so telo nosile, kamor je hotelo iti. Na tržnico, v trgovino, na vrh drevesa in hriba ter nazaj dol, povsod, kamor je bilo treba hoditi. Celo v vodi so dobro sodelovale, da je telo lebdelo, plavalo ali se potapljajo. Njihov odnos je bil demokratičen in enakopraven. Lahko so si pomagale tudi z delom drugih organov, denimo zvokom ust, sluhom ušesa, vohom nosu in celo vidom oči.

Zaradi njihovega ritma in gladke koordinacije so drugi deli telesa zeleneli od zavisti. Sestričnam so neradi odstopali svoje posebno znanje. Nevoščljivost jih je zaslepila in niso videli, da jih noge in roke nosijo naokrog. Proti paroma so začeli kovati zaroto.

Jezik si je od možganov izposodil načrt in ga takoj začel izvajati. Glasno se je spraševal o moči rok in nog ter tuhtal, katere so močnejše. Sorodna para okončin, ki se prej nikoli nista obremenjevala s tem, kaj kateri ima in kaj zmore, sta si zdaj pri ustih izposodila glas in začela zatrjevati, da sta za telo pomembnejša kot drugi par. Kaj hitro je sledilo bahanje, kateri par je elegantnejši. Roke so se šopirile z dolgimi vitkimi prsti dlani in zaničljivo komentirale, da so prsti nog kratki in debeli. Da jih prsti rok ne bi prekosili, so se prsti not začeli norčevati iz tenkih sestradanih sorodnikov! To se je vleklo več dni in njihovo sodelovanje je trpelo. Nazadnje je spor pripeljal do vprašanja moči in okončine so za posredovanje zaprosile druge organe.

Jezik je predlagal tekmovanje. Genialna zamisel, so se strinjali vsi. Toda kakšno? Nekateri so predlagali ruvanje med nogami in rokami. Drugi so omenjali mečevanje, žongliranje, dirke ali kakšno igro, kot sta šah in dama. Toda vse zamisli so zavrnili, ker so bile težko izvedljive ali nepoštene do ene od okončin. Znova je bil jezik tisti, ki si je izposodil misel od možganov in ponudil preprosto rešitev. Vsak par okončin bo izbral svoj izziv. Roke in noge so se strinjale.

Za tekmovanje so izbrali gozdno jaso blizu reke. Vsi organi so bili pozorni na nevarnosti ali kar koli, kar bi lahko presenetilo telo med spopadom okončin. Oči so zrle daleč naokrog in oprezale celo za najmanjšo nevarnostjo v daljavi, ušesa so se izostrila za najtišji zvok iz katere koli razdalje, nos je očistil nosnice, da bi bolje zavohal nevarnost, ki bi se izmuznila pozornim očem in našpičenim ušesom, jezik pa je bil pripravljen zakričati, da preti nevarnost.

Veter je novico o tekmovanju razširil na vse strani gozda, vode in zraka. Prve so prišle štirinožne živali, velike so nosile zelene veje v znamenje, da prihajajo v miru. Zbrala se je pisana množica leopardov, gepardov, levov, nosorogov, hijen, slonov, žiraf, kamel, dolgorogega goveda in kratkorogih bivolov, antilop, gazel, zajcev, krtov in podgan. Prebivalci voda, povodni konji, ribe in krokodili, so z zgornjim delom telesa prišli na suhi breg, zadek pa je počival v vodi. Dvonoge živali, noji, pegatke in pavi, so od navdušenja mahali s perutmi, ptiči so čivkali z drevja, črički so neprestano cvrčali. Pajki, črvi, strige in stonoge so gomazeli po tleh in po drevju. Kameleoni so hodili pritajeno, previdno in počasi, kuščarji pa so tekali naokrog, ne da bi se za daljši čas ustavili na enem mestu. Opice, šimpanzi in gorile so se vihteli z veje na vejo. Celo drevje in grmovje sta se izmenjaje nežno zibala, priklanjala in občasno obstala.

Usta so tekmovanje začela s pesmijo:
To delamo, da bi bili srečni.
To delamo, da bi bili srečni.
To delamo, da bi bili srečni.
Ker vsi
prihajamo iz ene narave.

Roke in noge so obljubile, da bodo izid sprejele dostojanstveno, brez trmastih izbruhov, groženj bojkota, stavk ali oviranja.

Prvi izziv so postavile roke. Na tla so vrgle kos lesa. Noge, leva ali desna ali skupaj, so ga morale pobrati s tal in ga vreči. Nogi sta se lahko kadarkoli med tekmovanjem posvetovali in uporabili prste, posamično ali skupaj, v katerem koli vrstnem redu, da bi opravili nalogo. Poskusili sta ga obrniti, potisniti, preizkušali sta vse mogoče kombinacije, toda lesa nista mogli pobrati. In ko sta ga hoteli premakniti, sta ga lahko le brcnili nekaj centimetrov daleč. Ko so ročni prsti to videli, so si od ust izposodili zvok in se smejali in smejali. Izzivalke roke so paradirale kot na lepotnem tekmovanju, razkazovale svoj vitki videz in na različne načine pobirale les. Vrgle so ga globoko v gozd ter tekmovalcem in gledalcem izvabile občudujoče vzdihe. Pokazale so tudi druge veščine. Iz skodelice riža so pobrale zrnca peska, vdele so nit v šivanko, izdelale so škripce za vlečenje težkih hlodov, izdelale so kopja in jih vrgle daleč. Prikazale so gibe in dejanja, o katerih so nožni prsti lahko samo sanjali. Noge so lahko le sedele ter občudovale spretnost in prilagodljivost svojih vitkih sorodnic. Roke gledalcev so iz občudovanja in solidarnosti do vrstnic bučno ploskale, kar je noge močno razburilo. Vendar se niso vdale. Celo ko so čemerno sedele tam in so nožni palci risali kroge v pesku, so tuhtale, kakšen izziv bi jim prinesel zmago.

Končno je napočil čas, da nalogo določijo noge in nožni prsti. Preprosta je, so rekli. Dlani naj nesejo celo telo od ene do druge strani kroga. Trapast izziv, so si mislili naduti ročni prsti. Prizor je bil od sile. Celo telo je bilo postavljeno na glavo. Dlani so se dotikale tal, oči so bile pri tleh in zato je bil njihov pogled močno omejen, prah je silil v nos, da je ta moral kihati, noge in nožni prsti so lebdeli v zraku. Nyayo juu, so vzklikali gledalci in igrivo peli.

Nyayo Nyayo juu.
Hakuna matata.
Fuata Nyayo.
Hakuna matata.
Turukeni angani.

Toda vse oči so bile uprte v dlani in roke. Okončine, ki so še nekaj minut prej razkazovale osupljiv nabor veščin, so se komaj premikale. Po nekaj korakih so dlani zakričale od bolečine, roke so se opotekle in klecnile in telo je padlo. Malo so počíle in poskusile znova. Tokrat so za boljši oprijem poskusile razširiti prste, toda samo palci so se lahko odmaknili. Poskusile so s premeti, toda ta pristop ni bil sprejet, ker bi morale pomagati tudi noge. Zdaj so se nožni prsti lahko smejali. Od ust so si izposodili globoke grlene tone, da se je njihov smeh ločil od cvilečega hihitanja ročnih prstov. Prezir je roke močno razjezil in še enkrat so v obupu poskusile nesti telo. Naredile niso niti koraka. Izčrpane so obupale. Noge so z veseljem pokazale svoje športne sposobnosti. Držale so tempo, dirjale, tekle, nekajkrat skočile v višino in nekajkrat v daljavo, ne da bi telo enkrat samkrat padlo. Vsa stopala gledalcev so topotala v odobravanju in solidarnosti. Roke so iz protesta zaradi tako nešportnega vedenja dvignile dlani in priročno pozabile, da so igro začele prav one.

Toda vsi vključno z gledalci so na rokah opazili nekaj nenavadnega. Palca, ki sta se odmaknila, ko so roke poskušale nesti telo, sta ostala ločena od drugih prstov. Tekmici sta skoraj znova bruhnili v smeh, ko sta opazili še nekaj. Dlani zaradi odmaknjenih palcev nista bili okornejši, bolje sta prijemali in držali. Kaj je zdaj to? Popačenost je postala ustvarjalna moč!

Organi so o zmagovalcu odločali pet dni, kolikor je prstov na vsaki okončini. Toda kljub vsemu trudu ga niso mogli določiti. Vsak par okončin je bil boljši pri svojem delu. Drug brez drugega sta bila nemočna. Zato so se začela filozofska razmišljanja. Kaj sploh je telo, so se spraševali vsi. Spoznali so, da je telo skupek vseh njih, da so neločljivi. Če hoče vse dobro delovati, mora dobro delovati vsak organ.

Da bi preprečili podobna tekmovanja v prihodnje in da si okončine ne bi bile v napoto, so se vsi organi skupaj odločili, da bo odtlej telo hodilo pokonci z nogami trdno na tleh in rokami v zraku. Telo je bilo z odločitvijo zadovoljno, toda otrokom je dovolilo hoditi po vseh štirih, da ne bi pozabili svojih korenin. Okončine so si delo razdelile. Noge in stopala bodo telo nosila, ko pa bo prišlo na cilj, bodo dlani opravile delo ali držale orodje. Noge in stopala so opravljali težaško nošenje, dlani pa so vešče preoblikovale okolje in skrbele, da hrana pride do ust. Usta, bolje rečeno zobje, so jo prežvečila in poslala v grlo in trebuh. Trebuh je iz nje izžel vso dobroto in jo pretočil v svoj sistem kanalov, ki je dobroto odnesel do vseh kotičkov telesa. Nato je trebuh izrabljeno snov odložil v kanalizacijo, od koder jo je telo izločilo na odprta polje ali jo zakopalo v prst, da jo je obogatilo. Rastline so rasle in obrodile sadove, dlani pa so jih obirale in nosile v usta. O, ja, krog življenja.

Celo igre in zabavo so primerno razdelili: petje, smeh in govor so prevzela usta, tekanje in nogomet sta bila prepuščena nogam, bejzbol in košarka pa sta bila rezervirana za roke, pri čemer so bile za tekanje zadolžene noge. Atletika je bila skoraj izključno panoga za noge. Z jasno delitvijo dela je človeško telo postalo silen biološki stroj, ki je s številom in kakovostjo dosežkov prekosil celo največje živali.

Toda organi so spoznali, da trajna razdelitev, za katero so se dogovorili, vseeno lahko pripelje do sporov. Glava, ki je na vrhu, bi si lahko domišljala, da je boljša od stopal, ki se dotikajo tal, ali da gospoduje vsem organom pod sabo, ki so zgolj njeni služabniki. Zato so poudarili, da sta glava in vse, kar je pod njo, enakopravna. Da bi to podkrepili, so poskrbeli, da bolečino in radost katerega koli organa čutijo vsi. Usta so posvarili, naj mislijo celo telo, ne samo sebe, ko rečejo »moje«.

Peli so:
V našem telesu
ni služabnikov.
V našem telesu
ni služabnikov.
Služimo drug drugemu,
vsi za vse.
Služimo drug drugemu,
vsi za vse.
Služimo drug drugemu.
Jezik nosi naš glas.
Ti držiš mene in jaz tebe,
ko gradimo zdravo telo.
Ti držiš mene in jaz tebe,
ko gradimo zdravo telo.
Lepota je enotnost.

Skupaj delamo
za zdravo telo.
Skupaj delamo
za zdravo telo.
Enotnost je naša moč.

To je postala himna celega telesa. Telo jo poje še dandanes. In to je razlika med ljudmi in živalmi oziroma tistimi, ki so zavrnili pokončno revolucijo.

Štirinožne živali kljub temu, kar so videle, niso hotele sprejeti revolucije. Petje se jim je zdelo neumno. Usta so za hranjenje, ne za petje. Ustanovile so konservativno stranko narave, se oklepale svojih običajev in nikoli niso spremenile navad.

Ko se ljudje učijo od mreže organov, jim gre dobro. Ko pa sta telo in glava nasprotnika v vojni, eden nad drugim, se znova približajo živalskim sorodnikom, ki so zavrnili pokončno revolucijo.


Vesna Žagar started her career as a TV reporter but quite quickly succumbed to the temptation of translating. For the last 28 years she’s been a subtitler who also writes short stories for children and occasionally ventures into the field of literary translation. She’s always been happiest when she could immerse herself in a translation of history, fantasy or science fiction.

Text to mixed media: A visual interpretation of the Upright Revolution


Jean Deleage Art Gallery, Los Angeles
May 2019
The Upright Revolution: A Visual Exhibition
Curated by Jimmy Centenno


Enlightened or Awakening or Rise up 20” x 20”
Acrylic on canvas
Painting by Laura Vazquez Rodriguez

This painting illustrates my interpretation of the short story; Upright Revolution or Why Humans Walk Upright By Ngũgĩ wa Thiong’o. It is a story about conflict and the human struggle for power. It is about harmony and chaos, life and death, unity and division. This is the story of man’s endurance, his perseverance and his awakening to his life song, as the story goes, we are one body, “us for us” “unity is our power.” Like the story, my painting is a celebration of man’s life song. Fashioned uniquely but united in purpose we must rise up and stand together to protect and serve one another in love. At the bottom of my painting is a lion, strong and beautiful but untamed and dangerous. It is aggressive and competitive. The lion stares across at humanities brokenness, its parts divided and weak. It is prepared to fight but unable to move. Disconnected and crumbling the body is powerless. Above the mound is a man who rises up clothed with the armor of love, unity and strength. He is blanketed in peace. He moves forward on his journey of reconciliation and hope. With a staff in hand he walks across the ruins. Butterflies rise up symbolizing transformation into love, faithfulness and harmony. Just ahead of him are two hearts united flying freely in the sky.
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All Body Anthem, mixed media by Damola Adepoju 2019

The manner of expression by the writer of “The Upright Revolution” or “Why Humans Walk Upright” attributes human organs and passions to foster unity and equality. This has inspired this mixed media with the use of old newspapers processed into soft tissues to define the form of the stylized figure ( mandate). Layered unto tonal surface subdued hue of black acrylic and connecting lines, having the dramatic animal spectators and the legs and arms in contest. Luminous white hue harmonized the effect of bold and the short texts with application of a touch of gold depicting “All Body Anthem”.
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The Colourful Spectators and Contestants. Acrylic on canvas by Damola Adepoju 2019

A perch at the top gives you below- eye level that captures the sea of heads of the beauty of the colourful spectators that come in peace, with vibrant yellow hue romance with the luxuriant forests rendered in impasto. The juxtaposition of the circle of challenge in the fore ground for the arms and legs to display their possessed skills as they agreed later to Walk Upright. The gloomy earthen browns capture the contest. No venture, no gain, makes animals to stick to their conservative party. This painting is inspired by the short story of The Upright Revolution: or Why Humans Walk Upright.
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Upright Revolution 2019 36×48 by Yolanda Gonzalez

In the contest to control the body between the legs and arms an innocence is lost. The Mayan deity becomes the safekeeper of that innocence to be restored upon the restoration of unity.

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Identidad y Reconciliacion- Identity and Reconcilation by Mario Avila

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Si Seguimos Flotando Pereceremos-If We Continue to Float We Will Persish 29.5×23.5 by Mario Avila by Mario Avila

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Mario Avila’s Letter to Ngugi

Querido hermano Ngugi,

Te saludo fraternalmente, y te envió un pequeño relato de mi trabajo sobre el
mi trabajo de arte sobre este hecho.

Guatemala somos un país de 108 mil kilómetros cuadrados, pero con una riqueza enorme culturalmente hablando. Además, contamos con riquezas naturales como petróleo, níquel, cobalto, plata, cobre y además grandes cantidades de oro. Por lo tanto, las grandes trasnacionales, como las oligarquías del país, masacraron a grandes cantidades de la población Maya y mestizos que se oponían a este despojo de nuestra madre tierra.

Para ser un poco exacto, fueron masacrado las poblaciones de más 640 aldeas y los mejores líderes, mujeres y hombres, y dentro de ellos, pintores, poetas y gente de teatro. Más de medio millón de personas fueron asesinadas entre muertos, detenidos y desaparecidos. Por lo mismo, este trabajo representa el genocidio, y es hasta ahora que estamos tratando de articular ese cuerpo que quedó separado y hoy tratamos de juntarlos con manos, brazos, pies y memoria. Cada una de las piezas tienen relación con ese cuento tan bello y profundo que escribiste.
Y es que así África se parece tanto a nuestra historia.

Atentamente,
Mario Ávila
Exprisionero político, tres hermanos asesinados, un tío y dos de mis hijos secuestrados y torturados.
¡Que tu ponencia en Chile sea de mucho éxito!

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Dialogo- Dialogue 11×14 by Mario Avila

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Genocidio-Genocide 16×60 by Mario Avila

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Dear brother Ngugi,

I greet you fraternally, and I sent you a brief account of my artwork.

In Guatemala we are a country of 108 thousand square kilometers, but with a huge wealth culturally speaking. In addition, we have natural riches such as oil, nickel, cobalt, silver, copper and large amounts of gold. Therefore, the big transnationals, like the oligarchies of the country have massacred large numbers of the Maya population and mestizos who oppose this plundering of our mother earth.

To be exact, over 640 villages and the best leaders, women and men, were massacred. Within them were painters, poets and people of theater. More than half a million people were assassinated, killed, arrested and missing. For this same reason, this work represents genocide. Now, that we are trying to articulate a body that was separated, today, we try to put it together with hands, arms, feet and memory. Each of the art pieces relates to that beautiful, deep story you wrote. And that’s how Africa looks so much like our history.

Attentively,
Mario Avila
Political ex-prisoner, with three brothers murdered, one uncle and two of my children kidnapped and tortured.

**

Upright Revolution by Yaneli Delgado

Yaneli Delgado is an artist from South Central Los Angeles. Her work is often inspired by written works, storytelling, history, culture, and artists of color. In this work of art, Ngugi wa Thiong’o’s short story, “The Upright Revolution” allowed her to reflect on how mother earth and the human beings need one another to live and cultivate. A quote that stood out to her was “Even in the water, [the body] worked well together to help the body float, swim or dive.” Water in many cultures represents fertility. Although the story examines the internal conflicts of the body, she wanted to depict how everything around us works well when they help one another just like the end of the story when the organs and limbs all worked together.

The process of this print began by learning about the author’s background and storytelling. Yaneli was intrigued by how he uses writing in his indigenous language to share with the world the significance of how colonial history plays an important role in today’s culture. She was also intrigued by wa Thiong’o’s belief of translation which allows people to interact with one another. Yaneli wanted to focus on water, fertility, and nature. As she also uses culture in her artwork, she wanted to share her knowledge in the Mexica (Aztec) culture with others. In this artwork she wanted to experiment a little outside of her conceptual artwork and work with both abstract and conceptual themes. Yaneli hopes viewers can give their own interpretation of her artwork because at the end of the day, by conversing and translating thoughts from this visual, this allows for one another to learn from other cultures, which is an important concept in this Ngugi wa Thiong’o’s story.

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Mesoamerican Totempole Ceramics, 12” x 12” x 24” by Mario A. Hernández

Mesoamerican Totempole covers the symbols and iconography from some of the most predominant civilizations during Mesoamerican times; the sculpture has a representation of one of the earliest groups during the formative period like the Olmecs, the Mayans, and the Aztecs cover the Classic and Post Classic periods. Together the composition pays tribute to the many glorious time periods, in form of a tower of power, it shares the evolution and revolution these cultures endured.

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Ica Yollotl (from the heart) Acrylic on Vinyl 31” x 81” by Mario A. Hernández

Ica yollotl (from the heart) was created as a reflection based on The Upright Revolution: Or Why Humans Walk Upright, By Ngũgĩ wa Thiong’o. Every part of the human body has a crucial function that overall allows it to perform and thrive for many years, the flexible capabilities and its elegant crafted figure is a testimony of its incredible potential. Ica Yollotl depicts a freefalling body into the deep blue sea, its irresponsive yet relaxed posture gives you a sense of carelessness. It is a reminder that sometimes you just have to let go and allowing the forces of nature to guide you to your destiny. The heart radiating from the center of the body projects the heartfelt feeling of human kindness and how the heart is also a guide dance to your life path. This composition pays tribute to the human body, from the history of its evolution to its resilience and perseverance.
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“The Fall of Man” 2019
Linoleum cut block print on 100% hand made paper from Oaxaca, Mexico.
Image Size: Approx 5”x8”, Paper Size: Approx 9”x13”

The Fall of Man takes place in the story during the contest when the Legs and Arms are issuing challenges to each other. At that time the Body is in a state of disorientation and it becomes uncoordinated and cannot function like it should. The Arms aren’t as strong to do what the Legs can do and the Legs aren’t as nimble to do what the Arms can do. Although the contest was brief the lesson was timeless. Eventually they realized that the best resolution was to unite. Not one limb was better than the other and each set of limbs was good at what it did to help support the rest of the Body. And through this, the “All Body Anthem” was born and the body learned to work together in order to form the revolution, the Upright Revolution!

○ Green Paper 1/1
○ White Paper 4/4
○ Tan Paper 2/3
○ Grey Paper 2/2

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Topography by Sandra Vista

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The Court Jester by Sandra Vista

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You Are Me
48″ X 24″ Oil + Oil-stick on Canvas
2019
By Ramon Ramirez

The painting You Are Me is directly inspired by the story The Upright Revolution, specifically from the song All Body Anthem which is mentioned at the end of the story. In these times, we need to work together and realize that we are one. As the song goes “Beauty is unity…together we work…for a healthy body.” The painting depicts two sets of palm trees, one set is ‘normal’ and the other is ‘inverted’. The lower set of palm tress represent this world and the upper set represents our ancestors or a cosmic connection. I believe that we need to call upon our ancestors to help give us strength to aid us in navigating the tumultuous waters of today’s political climate. I do not exist alone. “Beauty is unity”.
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Upright Revolution 2019 by Pedro Rios Martinez

The short Story by Ngugi wa Thiong O’s said so much as humans that we are and how we evolved. The fable of the story ‘Upright Revolution: Or Why Humans Walk Upright, introduces us to how important the body parts function as one and the weight it carries in making decisions about social justice for us all today. My interpretation of the story gave me the opportunity to express my style of painting with small brush strokes adding an African influence of color. This has allowed me to transmit a visual journey to bring attention in uniting fragments of ourselves together.
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Beauty is unity by Nolan Fansler

“When the whole body sang “Beauty is unity” I realized that this is exactly what I strive for in my own art. I want every moment and detail to be just as essential as every other part of a painting. Through contrast and harmony most art in general I believe seeks to show the viewer the most essential parts that make a whole, none of which more essential than the other. This breaks down hierarchies or un-limbmanship tendencies encouraging the greater body of society to function with more equality.”
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New Direction by Nolan Fansler



Jimmy Centeno [Curator] holds an A.A. in Liberal Arts from East L.A. Community College, a B.A. in Latin American Studies from Cal State L.A., and is concluding a second Master’s in Art History. He was raised in South Central Los Angeles and is the son of immigrant parents born In Mexico and El Salvador. He is a welder by trade with 20 years of welding experience. His experience as a welder has brought him close day in and day out to many realities across different communities throughout the city of Los Angeles. He has organized art lectures at the Vincent Price Art Museum. He has also participated in international conferences on philosophy and aesthetics. He is currently working with renowned Mexican philosopher Enrique Dussel on de-colonial thought. As an artist he seeks to express himself by using all form of mediums which includes photography, welding, found objects, and painting. His art attempts to narrow the distance between borders, color/race and class. His goal is to bridge and stitch our differences by reducing the distance between us.


C. Nolan Fansler was born in 1990 and grew up in the Bay Area. He is a self-taught painter who with the help of his grandmother learned to explore ideas and emotions with paint. His work primarily plays with the boundary between figuration and abstraction where interpretation is most open. Nolan currently works out of his studio in North East Los Angeles and is an artist assistant to Knowledge Bennett, Margaret Garcia and Frank Romero.


Pedro Rio Martinez: I started my career in 1967 after attending a Mexican Art Appreciation class at the El Paso, Texas Community College. At the college’s Mckellilgon Canyon Amphitheater I had the opportunity to construct the first set for the “El Paso del Norte” play also known as “Viva! El Paso”.

While studying art the University of Texas in El Paso, I was the scenic artist for the “Ballet and Opera Guild.” I worked on created props, backdrops with paintings, and built sets. At the Continental Museum I assisted in the restoring one of mural inside the museum. I reproduced forty (40) logos for sponsors’ advertisements for the first “Civic Center Annual Festival”, in El Paso, Texas.

After working for several motion picture productions in the El Paso in 1984 I was offered to relocate to California and continue working in the motion picture production.
I studied at Otis Parsons art Institute in Los Angeles, East Los Angeles College and attended workshops at Self-Help Graphics.

My exhibitions have included a mural in Jackson Hole, WY commissioned by the National Endowment of the Arts, a bronze sculpture of the late “Congressman Ed Roybal” of Los Angeles. I have participated in various group shows, solo exhibitions, commissioned projects and numerous restoration projects. I have exhibited in El Paso, Texas, Ciudad Juarez, Mexico and California.
My work has been displayed at Los Paisanos Gallery, Chamizal in Ciudad Juarez, Mexico and a “Retrospective” was exhibit at the International Museum of Art in El Paso, Texas.

I am a “self taught” artist, painter, and sculpture, and I value the knowledge I’ve attained at various Art schools. I consider my work to be a form of communication in color, of what I see and have experience. I continue to work and share my art as a means of communicating social and environmental concerns.


Ramon Ramirez is a Los Angeles-based artist with a background in architecture. He received his B.A., M.A. + M.Arch. degrees from the University of California at Berkeley.

Born and raised in Los Angeles, the city has served as his muse from the onset. He is one of the featured artists in the book Contemporary Chicana/Chicano Artists.

Along with galleries throughout the country, institutions that have exhibited his works include Boise State University, the Carnegie Art Museum, the Fowler Museum at UCLA, Fullerton College, the Mesa Southwest Museum in Arizona, the Museum of Latin American Art in Long Beach, Ohio State University, Queens University at Charlotte, the Snite Museum at the University of Notre Dame, the University of North Carolina at Charlotte and Woodbury University in Burbank, CA.

The Bilingual Press at Arizona State University, the Business Journal of Hispanic Research, New York University Press and recently UCLA Chicano Studies Research Center have published his paintings and drawings in books, journals and magazines. His work has also been featured on ABC7’s VISTA LA tv news program.


Laura Vazquez Rodriguez was born in Los Angeles, California and raised in the small community of Pico Rivera. She received a Bachelor’s Degree in Fine Arts, specializing in Illustration, from California State University, Long Beach.
Laura’s love for her culture and deep faith are reflected in each of her compositions.

Laura is a skilled, visual storyteller and her paintings abound with symbolism. Laura’s art focuses on spirituality, life and death, love and healing. Laura is best known for her vibrant paintings of mother and child. Strong, symmetrical compositions and continuous lines are all important elements within her complex designs.

Laura’s commercial art has been showcased on book covers, educational posters, documentaries and periodicals. She has created art for CABE (California Association of Bilingual Educators) and AMAE (The Association of Mexican American Educators). Her personal paintings can be found in many private and public art collections.

Laura has exhibited artwork at Self Help Graphics, UCLA, Cal Poly Pomona, The University of Arizona, Whittier College, Santa Paula’s California Oil Museum, Santa Fe Springs, Pasadena, Beverly Hills, Gallery ChimMaya, and Our Lady of the Angels Cathedral in Los Angeles. Laura is a resident artist at Casita del Pueblo in Whittier, California. Her most recent works include a logo for the city of Los Angeles and the cover art for Roberto Rodriguez’s book Our Sacred Maiz is Our Mother: Indigeneity and Belonging in the Americas.


Yolanda González was born into a family whose artistic heritage dates back to 1877. Her world is one of curiosity, demonstrating her love of people and their surroundings. González’s travels in different countries, the bonds forged with individuals in those places, and the resulting transformative experiences are reflected in her art and her life. She is known for her strong, bold brush strokes of color and texture, intent on evoking imagination and emotion.

González studied at the Pasadena Art Center College of Design after winning a painting competition that awarded her a scholarship to the prestigious school. This led her to Self-Help Graphics, an involvement that lasted for years and resulted in her being sent to Spain and Scotland as a representative for exhibitions in those countries. Over the years, she has exhibited her works in solo and group exhibitions across the United States, throughout Europe, and in South Africa.

In 1998, she was an artist in residence in Ginza, Japan followed by a similar stint in Assisi, Italy during 1999. Among the many museums that have shown her work are the Armand Hammer Museum, The Geffen Contemporary at MOCA, the Japanese American National Museum and the Diego Rivera Museum in México City.

You can also see Yolanda’s works of art on the Gold line trains as well as Buses throughout LA in a collaboration with AARP.

Exhibitions:Russia, Japan, Scotland, France, Spain, Italy, Africa, Alaska and the U.S.
Museum Exhibitions: Musee d’Aquitaine | San Diego Contemporary Museum / Armand HammerMuseum | Temporary Contemporary Museum /
Japanese American National Museum | Chicago Museum | Santa Monica Museum Laguna Museum | Diego Rivera Museum | Latino Museum | Corpus Christi Museum Museum of Monterey | Snite Museum of Art/ Museo Carillo Gil / 2019 VPAM

Mario A. Hernandez: With colorful interpretations galvanized by Mesoamericans eccentric artistry, Mario A. Hernández examines over three millenniums of ancient American art and iconography, he visually translates them into modern compositions and embeds them with contemporary events. Hernández’s most recent work is comprised of themes related to culture syncretism, social justice, native mythology, immigration, and current struggles.


Mario A. Hernández was born in Hidalgo State, Mexico, and since the age of two has resided in the East Los Angeles and Boyle Heights area. He has received a trio of Associate of Arts degrees from East Los Angeles City College in Art History, Studio Art and Arts Graphic Communication.

He is currently pursuing a Bachelors of Arts degree in Studio Art at California State University, Los Angeles. Hernandez currently resides in City Terrace, East Los Angeles where he continues to create multi mix-media art using various methods.


Sandra Vista was born in 1952 in Nogales, Arizona.

For over thirty-five years, Vista has been a Los Angeles based artist focusing on pattern and decoration painting and mixed-media works. In 1976 after 2 years at the University of Arizona, Vista completed her undergraduate degree from San Diego State University with a BA Art/California Single Subject Teaching Credential (Art) (1978 and 1979 respectively) and an MFA (Painting) from California State Long Beach (1982)

As an art educator and practicing artist, teachers have been her major influence and inspiration. Vista was an art instructor primarily for at-risk-kids for Los Angeles Unified School District (1983-2015) and East Los Angeles College (adjunct 2000-03).

Currently working on various art series from painting to mixed-media projects, Vista is experiencing the “fruits of her labor”, by having several up-coming art exhibitions in Los Angeles. She has had solo exhibitions at Ave 50 Studios (Viente- 20 years of work from DTLA 2019), Vincent Price Museum-East Los Angeles Campus (2013) and Coagula Curatorial-Brewery Art Complex (2001 and 2002) Additionally, Vista has exhibited nationally and internationally in New York (Organization of Independent Artists 1998, 2002, 2003) and Chicago (National Museum of Mexican Art-The Women of Juarez 2009) as well as an artist-in-residency in Baltonfured and Budapest, Hungary (1997 and 1998).

Vista writes reviews and interviews for her personal blog “One Hundred Percent Rag” and previous reviews for “White Hot Magazine”. Also, her art practice has extended to curating exhibitions for I-5 Gallery, Los Angeles and Arena I in Santa Monica, California.


Mario Avila

Los Ojos De La Montaña

En sus dibujos, carentes de una narrativa explícita, y sin la rigurosidad del dibujo maya, son los seres que se muestran a través de los ojos de rostros claramente indígenas, quienes comunican y llaman a dialogar con el espectador. Son sus imágenes un enjambre de líneas abstractas de ritmos discontinuos de las que emergen múltiples figuras en lo que guarda una semejanza a los maestros guatemaltecos Guillermo Grajeda Mena y Víctor Vásquez Kestler.

Contrario a los rostros del artista italiano Amadeo Modigliani en los que la ausencia de ojos da la sensación de vacío, los rostros de Mario Ávila están habitados por seres que temerosos se esconden, vigilan y se asoman para reclamar justicia. A pesar de haber sido testigo ocular y víctima del odio más aberrante, sus dibujos están llenos de limpieza y paz.

También trabaja la escultura en hierro y la trata con desenfado con trazos extraídos del gesto motor, con la libertad que le ofrece la materia, sin ceñirse a esquemas escolásticos.

De manera intuitiva, en sus esculturas mezcla el constructivismo sin abandonar la figura humana. Sus esculturas guardan elementos del arte MADI (Movimiento estético surgido en el Cono Sur a principio del Siglo XX), especialmente por que combina la invención con la creación, dos características de tal movimiento y porque el objeto de arte trasciende su propio espacio y se mezcla con la realidad circundante a través de la luz. No obstante, tales características, su obra escultórica también incluye imágenes representacionales que le dan unidad con el resto de su obra plástica volviéndola muy suya, muy maya, y por los tanto, indiscutiblemente guatemalteca.

Mario es autodidacta aunque tomó talleres que le han ayudado en direccionar sus pasos. El artista nos dice que, “Cada pincelada, cada línea de la pluma es como una poesía que logra transmitir su profundo amor por la vida, por los otros seres humanos, y en especial, un profundo aprecio y respeto por la mujer. El arte es para mi un compromiso social el cual podemos dar a conocer como si escribiéramos un libro lleno de colores mágicos y a veces hasta con dolor.” Continúa diciendo que recuerda con admiración el trabajo artístico de Felipe García Rac, joven maya, quien muriera entre los calcinados de la embajada de España en 1980.

Tenemos interés por crear una cultura de solidaridad y memoria de nuestro tejido inmigrante en Los Ángeles, California, y estas obras representan ese proceso de dolor, lágrimas, cicatrización, recuperación de la memoria y esperanza.


Ernesto Vazquez: “I am an artist born and raised in the projects of Boyle Heights. I found my love for art through my love for comics and cartoons. As a six year old, I would often re-create my favorite characters and everything that caught my eye. My teachers recognized my talent and encouraged me to participate in contests. I won several scholarships to art schools throughout my childhood. As an adolescent, I continued to explore art in its different expressions. I was captivated by graffiti art and the underground street art scene. I spent many hours studying the style but after spending even more hours in community service, I decided to enroll in a school for graphic arts. After two years, I redirected my focus toward giving life to my ideas rather than someone else’s.

“My first exhibition was in 2001 at Casa De Sousa in Placita Olvera. Through this event I was invited to meet with Chicano artists in a group called “Mental Menudo” facilitated by the great Gilbert “Magu” Lujan. Mental Menudo awoke in me an appetite for cultural art. I started to appreciate the connection between art and my identity. In 2005, I began to learn the art of printmaking at La Mano Press. I learned linoleum and wood block printing from Artemio Rodriguez and screen printing from John E. Miner.

“In 2007 I became more involved with community organizing which influenced me to create socially conscious artwork. In 2009 I joined a group of five community members in establishing Solidarity Ink, a politically driven screen-printing cooperative. Being a part of this cooperative allowed me to gain experience in managing a print shop and curating cultural and socio-political art shows. Solidarity Ink closed its doors in 2012, giving me the opportunity to re-evaluate my path as an artist. Around this time I was introduced to, and immediately captivated by, the art of Jiu Jitsu. Learning this art has taken my creative energy in a new direction as well as given me a passion for teaching and sharing knowledge. As a continual student of art in all its forms, I look forward to learning new ways to share my expressions with you. Recent exhibitions have included not only my hand made prints but original illustrations, paintings and mixed media pieces. As of 2018 I returned to school to study Printmaking and hopefully within the next few years I will be able to acquire an MFA in Printmaking in hopes to continue to evolve as a student and as an artist.”

Akibelositi naka akibwoo: Kere de nyoo elosiata itung’a egweite itenara kuju

Teso

Eumot J. Omung’a, Ishmael Masake & Olubayi Olubayi

Lolong Seki, Itung’a Kere Aliatosi kakejen ka akanini kwape k’itieng kaluka kejen kaung’on. Akerete akilanya ipoi, irisai, kiton amosing’o. Edunyasi akanini kiton akejen akilanya isiepin luche. Akote kong’iping’in luche de iriamara kajokan kapaka ikoperen kiton itulin, asidong’oria ka akongin, ikuronyia ka ititinya kiton, akejen kiton akanini, ng’in diopet ajaasi ka ibokor ikanyi kiton ng’oli bokorit ajaasi kabelekek. Akanin kiton akejen ajaasi kibokoro ikanyi, alomun kobokorit kaloka polon bi nika aisia kiton ikadidil. Aparasia ng’un, ebokorit lokapon-kakani edunyasi kibokor kaluche kapa idunyatatar ebokorit lokapolon-kakejen kibokor iwong’ono luche. Anyarasi akejen ka kanini ikinachana luka mamai.

Eng’arakina kesi adakit akwaana nama kere ekote alosit: ogwelet, osokoni, aduka, akidok kuju kitoni kwap, okito kiton omoru, kiwaitin kere nama kibusakina alosite. Ka akipi de, esomaete nenipe aking’arakini akwaana akikieuna ka akipi, akikwang , ka akilum. Aseasi ikulepek lu ipugaete kesi ka kitirianut. Apedorosi akikopauni asoma kaluche de kapa kiporotoi alomuni kakituk, akipupu alomuni kakii,aking’uuni alomuni kokume , kitoni akitere alomun ka akonyene.

Asoma kesi kere ekamakina kojokan, nama asodiata luche atutubeta kakwaana akadakin noi. Akadakito akikopakin ikinachana apirianut kes. Abu aronusu-ketau kes kitumudukata kesi akitodolo nama emamu kesi kanyunete ebe akejen kiton akanini eyaito kesi ngoli wai. Kosodete akisiaun akote epone lo emudiarata ng’ul iyare. Kosodi ang’ajep akikopaun ‘epulan’ kadama, kitosomaye katipet. Koumonikin epupo abeikina kagogong’ na ajaikinosi akanini kiton akejen. Ng’ai ichasit chut kama kes? Kitimokini. Kosodete ikinachan luche de lu amamu ariang’uto nuajaasi kaluche kiton kalu abeikitosi, akikopaun eporoto ka akituk. Kogeuni apoga ebe kesi eraito luka amaan kakwaana akilanya luche kere. Kosodete akiro akibelokin atipet korauni ebe ng’ai egogong’? Kosodete akejen epogi kanuka kaujau akanin de kanuka ejauten kibokoro kesi korasiete imwarito ibokoro luka kejen ebe euriaka kotumito. Mamu ibokoro kakejen abuut kochamutu akilanyo, Kosodete abong’okin imwarito ikinachana kes luka kanin kwape isiaitotor , kanuka eteng’e.

Abu apega ng’in kitolot aparasia nu ipu. Kosodi akekesari kesi asoma nenipe kojokan. Kosial korauni ng’ai epolo. Kosodete akote atutubesia luche kaakwana akisimorikin kesi.

Kosodi ang’ajep atiakun ebe kojaikin abolia naka abolokin. Kochamunete kijokosi ebe ng’olo erai eruja lo elae. Koni konye? Iche kobalasi koutakinosi akejen kitoni akanini. Iche kobalasi ebe korau ejie loka ilengia, akiriya, akerit, elee kwapeka echees, kere da ichekas. Konye abuni kong’eroi kijokis naarai mamu kitirianuto kesi kijokis. Kosodi ang’ajep bobo, kedau akilipun aumisio alomun kadam, ayauni abong’okinet ebe, Ng’oli wai koseu nakesi abolia. Kochamunete Akanin kiton Akejen.

Kogeuni abolo na ajaikin nama iberite kamoni, karir ka ng’olol. Kosodete atutubesia kere apirianar bobo kang’oli wai elokokina noi kakirot kere na apedori akichede akwaan kanu kona arok kes ikikilas. Kitilioret akonyen nama elwana ing’ichete ikapilan kere ni eyauni ichani alomun kagola kapede. Kosodete akii de adeikin apupun nama ebalar ibore dee. Kikarishori ekume ang’ar ikumes keng’ tena ng’ale epedori aking’uun akiroto na erono na emam akonyen kakii kobutu kojenutu. Ang’ajepe arait achelun, “ekapilan!”

Abu ekuwam kisiaraki auta na toma amagoron awong’on, akipi, ka owuria de. Itieng’ luka akejen kawong’on kesi araasi lu sodit atukokin, lu epu kamaka lu apolok irumitosi akwii akitodiar ebe ebuto kesi kakinapakina . Arait atuket na itiminarit akonyen kana arai ajai Orisai, Ang’alu, Eng’atuny, Amosing, Ebu, Etome, Atiga, Angamia, Akiteng’ na aujak amobuar ka Ekosuan lo auriaka amobuar, Amori, Amiem, Apoo, Enyuru, ka Amir. Luka akipi de kwape ka Emiria, Ekoleit, ka Epiu abuutu kitoduuto akaulo kesi bon kakipi. Luka akejen kaare de, Kwape ka Ekulu Katapen, abutu kiwokawokata abenokoka kes kalakara, kosodete ikweny ainyakin kokitoo, korwokinete Iberei de etupasi. Kosodete Asimokok, Amachigo, Amarakitekere, Agolut aliate kokwap kiton kokito de. Kochedi agogou e losi adiodio kokitoo, Komanimani Ekibobo ekeri iwaitin kere mamu kieng’uni. Edokolet, Echom, ka Echome Emabir (kere de Egorila) aporete kateniek kikitoo. Ikitoo de ka amoniyek kosodete anianar adio adio wailo, waije kiton; kosial kokumikinete atuket kakideun inapakina kotupakina.

Kosodi akituk ang’ar abolo na kekiruke:

    Isomaete siong’o nu kalakara
    Isomaete siong’o nu kalakara
    Isomaete siong’o nu kalakara
    Naarai siong’o kere
    Ilomuto kojarete ka ape.

Kiyapokinete Akanini kitoni akejen achamun nu elomunete ketau kalokajokan; emam ariapunun,emam aaunyanar mere de komam akiming’ming’a.

Akanin ageunete abolo. kochakikinite akitoyi kwap. Kalimokini akejen kosekutu akitoyi ng’ini, kesi are kijokisi, kere kedieny boni, kere kedieny nepepe ka teteni, kere kimorikinosi asekun akitoi ng’ini kokwap kitoni achakar. Apedorete kesi aking’itakin kamoun ekipone kere lo epedorata ibokor kes epe, kere imorikina kopone kijokis abeikin asekuni akitoyi ng’ini ka-chakar. Abu kotamakisi akibelori akitoyi ng’ini, akijukar, kepone egelagela konye kokuruwori kesi asekun akitoyi ng’in tenan. Kanuka akisukunyar, nu abeikinete kesi asomakin arait bon apetor nedio king’aren. Napa anyunata ibokor ebe ekarata akejen chut, abutu kiliputu akituk eporoto kosodete akikikila ekwenasi noi. Kosodete lukabolo, Akanin, akitoduna kedel bobo itiminarit noi Asoma ka ibokoro kesi lu eujak kisiaito, kosekunete akitoyi ng’ini. Kochakarete akanini akitoyi ngi’ni toma amoni na alwana. Kitiminari akirot ng’in lo aboliasi, kalu etete de. Abutuu akanini kitodiasi achua ache: kosekun ising’e kachuran kemuchere. keupakinete eusi osindan, kitenete aunoi kikokoron nu iritore ikito lu elangir. Kitenete akwaras karemor nama elwana, asuamat na nu abeikinete ibokor koruja bon.Kideunosi akejene itimokito achua kabenenu kiton ke ejautene ki ikinachan kes kalu isiato. Abutu akanini kalu eteete kobwang’ata akirama akaninini kokwenasi elakara noi isesenete akanini, akirot na abu koinak akejen akituur noi. Konye mam kesi alokokina akilanyo. Kona de ejaasi kesi nepeneni ituriete, igirete aikita asing’e kibokoro kes ka luka apolok atamito amoun epone lo ilanyata kesi akanini

Kosial korauni apaki kakejene kibokor kes, alemun echalenji kes. Kotemarete ebenen nakes. Ebe kodakata akanini akwaan kere alomun kaikiti ka pe akitodolo aikit nache. Inyena abang’anut na? Kowomo-womoete ibokor ka kanini kepura. Arait ibore nika kitim. Kosodi iboro kere kakwaana akijulakinosi kuju kwapa. Kirumete akanin kwap kaapikinete chut akonyen kakwap. Amam bobo akonyen abeikinete akitere kojokan. Kolomete apuwa okume akikokin ikarishori. Kosodete akejen akikiari kujuu owuria. Kochelunete lu eteete kosodete akirukokin eboliasi:

     ‘Nyayo, Nyayo kujuu
    Nyayo Nyayo juu
    Hakuna matata
    Fuata Nyayo
    Hakuna matata
    Turukeni angani

Korauni sasa achwaa kes kere itee akanini nunayit pachu etodiyarito apirianut naka kitim. Abu kikar akwaan akikunyakini king’arene ata nedio. Na atamakinata akikunyar nedio, abuutu akanini kilulukisi kapipilu noi, kosodete agatari iriang’ariang’asi, ko osikinete akwaana ibiror. Kiyeng’unete bere eroko ketamakinete bobo. Apaki naka atamakini bobo, aterari ibokoro kes etiya akirum akwap tena. Konye ibokoro luka polok bon abutu koteraso akirumu akwap tena. Kotamakinete akigwagwata akejen , kirebokinet, naarai akikunyu ng’ini abu kitosoma aking’arasit kakejen—echalengi lo eraiti loka kanini boni. Kodoli apaki naka ibokor-luka-kenjene akwena. Kilipunete iporotoi lukapolok alomun kakituk akitegelikin nakes akwena kama kibokor ka-luka-kanini. Napa apupunata araton ng’in, abuutu kokadakisi akanini noi. Kotamakinete bobo akidak akwaan nakesial. Mamu abu kobeikisi. Kopasiate noi, kosodete akanini akiyun akilanyo. Abuutu akejen kolakarosi noi kanuka achwelere kes. Koyarete apak asukonori, akerinikin, aporonor kuju, akilamanar komam akwaan akibirori. Kogweete Lu etete kere kakichakachaka akwap echamuto. Abuutu akiro ng’un kokadakisi akanini ebalasi ebe mam kerait abeit naka abolo, kere abolia; bobo imuruokiito ebe akanini araiti kesi nesi ageunete ebolo lo.

Konye abutu kesi kijokisi lu-etete kogiputu ibore nikakitim ikamuto akanini. Ibokoro luka-polok lu aterara apak na atamakitor akanini adakite akwaan edeunosi etiakara kama-ka-luche na arare akotosi akipiangar asoma kakanin , eyatakisi abeikini-ka-akanini akirumite iboro kajokoni. Inyena konye eni? Agwalus chabo na arau agogong’!

Epeget loka atiakun ng’ai elanya abu kitolot aparasia akanyi, kape ejatatar kila akani ka kila akeju kibokor ikanyi. Abu kotamakisi noi atiakun kikari kesi agelun ng’ai elanya. Ng’olo wai-ka-kwaana ejeni asoma wai kes kojokan, ipe mam kepedor asoma boni. Kogeuni akinamanama kanuka polok. Kosodete akinyitakin: Akwaana konye nesi inyena? Kojenunete ebe akwaan nesi kesi kajokin-nenipe. Niche eraiti niche. Ng’olowayi-ka-akwaana tare asoma tena kaluche teter isomaete kajokini kojokan.

Konye kanuka akitamamun epeget kwape kalo mwaru kosodete alarasinoi-ka-kwaana kere atemari ebe ageun aparan ng’in, akwaana koloto itenara kuju: kichakito akejen kwap tena , aso akanin kikiara kokuju ouria. Abu akwaana kolakar noi. Kodete atemar ebee konye kochamakine idwe-luchisi aliate itosomaete akanini nenipe kakejene ng’ale komam itung’a kimuruokinite ageunet kes nalemi alosia akwaana kakejene kitoni akanini kapa kitieng’i. Kotiakete asoma: Akejen kibwokata akwaana elosio paka edoliere nama elosio. Kedolii, akanini konye isomaete asoma kajokini nu ekotoi asoma, akitene kitoni akirumit iboro lukasoma. Akejen isomaete asoma nu elang’ir nu-ka-dakite akwaana, akanini akitosoma apirianut kes kokitala, kama ejaasi kesi ebe aanyun ebe adolokin inyamata akituk. Akituk, kere ikiala asoma kes anyakaa inyamat ng’ulu kakijukar akooki itorito oporoto. Asoma ka akook de korau akiriere-ka-achuuni luka jokak kakijukar akwaana kere. Kosodi konye abukokin adakai kes (achini) orotin kakwaana nama itodoliere okituyi kere anukakini alipo akitobos alipo. Ikito akitolomun iraito kes, kosodi akani adeng’un iche kama kes kakipiakin akituk akinyama. Okwai. Ebo. Aikit kakijaar!

Aboliasinoi de abuni kotiakatiakai atupa kabeikinet kalaru-ka-kwaana: ekiruke, akwena, kejor abuni kinyekiner akituk. Akerite kitoni abolia-emopira loka akejen koinakinete akejen; koinakinete abolia-nake-ebasiketibol akanin, konye akejen akeriete eboliay. Asoma nuka-akeriit abu korautu nuka kejene. Abu atiakatiaka asoma kitarau akwaana-ki-twani amashini na egogong’ noi, na ilanyiti itieng’ de luka polok kasoma, bobo de kobeikini akwaana asoma nu ipwaka bobo kojoka noi .

Kong’in dee abuutu iwaitin kakwaana kojenutu ebe eroko akirar kes na ebeikini ayauni ang’olopa ache kaparasio kanu ebuuto.

Naarai akou na ejei kuju ebeit ebala ejokuna nesi akilanya akejen nu ichakito akwap, kere de ebe nesi ikapoloton akitelekar luejaas kwapa keng’, ebe luejaas kwape keng’ eraasi ibulesin usa. Kosodete akisichat noi akirar kes na ebala ebe kapolou kere, akou kalu ejaasi kwap keng’ iiriaka. Akitopolor akirot na abuni koakikisiai ebe kedumu ilaro kakwana ipe de epipili , ng’ini laro kopup apipilu ng’iping’in. Kokwenyarete akituk ebe ketema nesi , “niang’i eni kere ng’ini,” inera nesi kapa-ka-akwaana kere , mere kapa keng’ bon.

    Kosodete akirukokin:

    Ka-kwaana wok
    Emamu ebulesit
    Ka-kwaana wok
    Emamu ebulesit.
    Ng’ini alaru eng’arakiti alaru nache
    Ijakasi siong’o ikulepek
    Siong’o ka Siong’o
    Ijakasi siong’o ikulopek
    Siong’o ka siong’o.
    Ijakasi siong’o ikulopek
    Ang’ajep eporoto kosi
    Kirumi jo ong’o, ong’o de kerumi jo
    Idukete siong’o kajokini akwaana na eng’ale
    Kirumi jo ongio, ong’o de kerumi jo
    Idukete siong’o kajokini akwaana na eng’ale
    Atemelele erai akimorikina
    Nenipe kisomaete siong’o
    Kanuka akwaana kana eng’ale
    Akimorikina erai agogong’u.

Korauni lo ekiruke loka akwaana. Iruko akwaana paka-lolo de. Na nesi itodiarit agelaru kiding’i kiton itieng kere ng’ulu lu abu kong’eroto akibelosit naka akibwo.

Ingawa abuutu itieng’ ng’ulu luka akejen kawong’on kowanyutu ajokun na, abuutu kimwasi akibelosit-na-naka akibwo ebaasi ekiruke arait akitimosit narai akituk asubuno kanuka akinyama boni, mere kanuka ekiruke.

Kosodete ageuni edoket (epati) kanu amam akotosi akibelonokin ejautene kiponesio kes.
Kisi-siautu Itung’a akimorasit kanaka isiepen kakwaana isomaete tena, konye kaanyutu akwaana kiton akou bala itekerio lu ejiosi , ipe kuju ka nuche, kosubunete bala itieng’ lu abuutu kong’eroto akibelosit naka akibwo

    Akejen kuju
    Emam ibore itukuriani
    Kotupata akejen
    Emam ibore Itukuriani
    Kaporosi odowono.

Oshiali (Mwisho/End)


Translators:

Eumot J Omung’a
Omung’a is an official of Teso North Elders’ Council. He is a Makerere University-trained teacher, educator and administrator. He taught at Bungoma and Emusire High Schools before joining Kaimosi Teachers’ College as a teacher trainer. In 1995, he was tasked to revive Kamuriai Secondary School as Principal. In 2006 was employed by Carol Teacher’s College (Nakuru) as Principal. He is now Director of EBA ECDE teacher training College in Teso North. Omung’a holds a presidential Medal for distinguished (education) service. He has published five story books with Lulu. He is presently working on two novels: The Grand Handshake and Mourning my Ex.

Ishmael J Masake
Masake is an official of Teso North Elders’ Council. He had a short stint as a Bank teller before training at Kisii Teachers’ College as a P1 teacher. He rose to the ranks of inspector of schools at District level. He participated in writing Ateso books for the Kenyan ministry of education language programmes. He has written many manuscripts (poems) in both Ateso and English.

Prof. O. Olubayi
Olubayi was born and raised in Kenya and educated at Rutgers. Prior to joining Maarifa Education, he was the Vice Chancellor/President of the International University of East Africa (IUEA) in Uganda. He is a scientist and an expert on bacteria, education, learning, leadership and social-entrepreneurship. As a scientist and eclectic scholar, Olubayi earned his Ph.D. on bacteria-and- plant cell interactions at Rutgers University, holds a research patent on the flocculation of bacteria and has published several scholarly articles in microbiology, biotechnology and social science.

As an educator he taught at Middlesex College and at Rutgers University for 16 years, and has taught critical thinking in the IUEA MBA program. He has been an advisor and consultant to government officials in Kenya and South Africa, and UNDP on matters of literacy, education, biotechnology, sustainable development and global citizenship. He is an external advisor to PhD students in the Oxford University-Kemri/Wellcome Trust Research Program in Kilifi, Kenya.
As a social entrepreneur, Olubayi co-founded the nonprofit Kiwimbi International and the widely respected American nonprofit Global Literacy Project which sets up libraries worldwide and provides global service learning opportunities. As a thinker, he is the author of the book “Education for a Better World.”

Diphetogo Tsa Tlhamalalo* Kgotsa Goreng Batho Ba Tsamaya Ba Tlhamaletse


Setswana

Keabetswe Motlhodi

(Ya ga Mũmbi W Ngũgĩ, Xmas 2015 @ Irvine, California, e ranolotswe go tswa go the Gikuyu ka mokwadi)

Bogologolo tala batho ba kile ba bo ba tsamaya ka maoto le matsogo, fela jaaka diphologolo tsa maoto a mane tse dingwe. Batho ba ne ba le lebelo go gaisa mmutla, nkwe kgotsa tshukudu. Matsogo le maoto di ne di bapile go feta dirwe tse dingwe: di ne di na le ditokololo tse di nyalanang tse di tshwanang magetla le dinoka; dikgono le mangole;le mangwejana le magwejana, dinao le diatla, nngwe le nngwe e felela ka menwana e metlhano ya matsogo le ya maoto, ka dinala mo monwaneng mongwe le mongwe. Diatla le dinao di ne di na le thulaganyo e e tshwanang ya menwana e metlhano ya maoto le ya matsogo go simolola ka menwana ya kgenetswe go fitlha ka e mennye. Mo matsatsing ao monwana wa kgenetswe wa letsogo o ne o bapile le menanwa e mengwe, go tshwana fela le ya maoto. Maoto le matsogo a ne a bitsana bontsala.

A ne a thusana go isa mmele gotlhe mo o neng o batla go ya teng; ko marekelong, mabenkeleng, go tlhatlhoga le go fologa ditlhare le dithaba, gongwe le gongwe ko go neng go batlega motsamao. Tota le mo metsing, a ne a dirisana mmogo sentle go thusa mmele go kokobala, go thuma kgotsa go ithabuetsa. Kamano ya ona e ne e le ya tekatekano. A ne a kgona le go adima bokgoni jwa dirwe tse dingwe, jaaka modumo go tswa kwa molomomg, kutlo go tswa kwa ditsebeng, go nkga go tswa kwa nkong, mme tota le pono go tswa kwa matlhong.

Morithito wa tsona le thulaganyo e e tlhololo di ne tsa jala lefufa mo dirweng tse dingwe. Di ne di le kgatlhanong le go adima botswerere ba tsona go bontsalaa bona. Lefufa le ne la di sirela ntlha ya gore maoto le matsogo a di isa gotlhe. Di ne tsa simolola go epa lemena kgatlhanong le bobedi bono.

Leleme le ile la adima leano go tswa go Boboko mme la le tsenya tirisong ka gangwe. Le ne la simolola go ipotsa, le goeleditse, ka ga maatla a matsogo le maoto. Ke mang yo a neng a le maatla go gaisa, la ipotsa. Bontsala ba babedi ba ditokololo, bao ba neng ba ise eke ba itshwenye ka se o mongwe a nang naso kgotsa a kgonang go se dira, jaanong ba adimile modumo go tswa go molomo mme ba simolola go bua fa ba le botlhokwa go mmele go feta ba bangwe. Seno se ile sa fetoga ka pele go nna gore ke mang yo o montle go gaisa; matsogo a theta ka gore a na le menwana e metelele e mesasane, mme ka yone nako eo a kgoba menwana ya maoto ka gore e mekhutshwane gape e le mekima. Ka e sa batle go gaisiwa, menwana ya maoto ya ikarabela ka go kgoba menwana ya matsogo e mesesane, bontsala ba ba bolawang ke tlala! Seno se tsere matsatsi, ka dinako dingwe se ama bokgoni ba ona go dira mmogo sentle. E feleleditse e le kgang ya thata, mme ba ya go dirwe tse dingwe go bona tsereganyo.

E ne e le Leleme yo o tlhagistseng kgaisano. Botlhe ba dumalana fa e le leano le lentle. Fela ya eng? Bangwe ba tlhagisa kgaisano ya go kampana- kampano ya leoto le letsogo. Bangwe ba re motshameko wa tšhaka, diketo, metabogo kgotsa go tshameka metshameko e e tshwanang le chess le morabaraba mme nngwe le nngwe ya ganelwa ka gobo e le thata go tshamekiwa kgotsa e tla gobelela serwe se sengwe. E ne e le Leleme gape, morago ga go adima kakanyo go tswa go Boboko, yo o tlileng ka tharabololo e e bonolo. Bobedi bongwe le bongwe jwa dirwe bo tla bona tšhono ya go tlhagisa kgwetlo. Matsogo le maoto a dumela.

Kgaisano ya tshwarelwa mo sekgwa se apogang teng, gaufi le noka. Dirwe tsotlhe di ne di le malalaalatswe go ela tlhoko kotsi kgotsa sengwe se tshoganyetsang mmele, ka jaanong dirwe tse dingwe di ne di tshwere maragana teng a bana ba mpa. Matlho a ne a latlhela bofofu kgakala le bophara go bona kotsinyana e e ka tswang gongwe le gongwe; ditsebe tsa itshiamisetsa go utlwa le fa e le mokgwasa o tswang bokgakala bofe, nko ya itshiamsetsa go dupelela monkgo wa kotsi e e falotseng matlho a a kelotlhoko le ditsebe tse di bogale; mme leleme le ne le ipaakanyditse go goeletsa, kotsi.

Phefo ya gasama dikgang tsa kgaisano go dintlha tse nne tsa sekgwa, metsi le loapi. Diphologolo tse di maoto mane di ne di le magareng ga tse di gorogileng pele, bontsi jwa tse digolo di tshwere makala a matala go supa fa di tlile ka kagiso. E ne e le boididi jo bontle jwa Nkwe, Lengau, Tau, Tshukudu, Phiri, Tlou, Thutlwa, Kamela, Kgomo le Kubu, Phala, Tshepe, Mmutla, Lerunya le Tadi. Ditshedi tsa Metsi, Kubu, Tlhapi, Kwena, tsa ala dikarolo tsa tsona tse di kwa godimo mo losing la noka, mme dikarolo tse dingwe di le ka fa gare ga noka. Bomaoto mabedi, Ntšhwe, Kgaka, le Phikoko ba opa diphuka tsa bona ka boitumelo, dinonyane tsa tswirinya mo ditlhareng; Tsiritsiri ya opela nako e yotlhe. Segokgo, Seboko, Mositlhaphala, Sebokolodi tsa gagaba mo fatshe kgotsa mo ditlhareng. Lebodu la tsamaya ka nyanyaelo, ka kelotlhoko, le iketlile fa Mokgantitswane o ne o tabogakaka, o sa nnisege. Kgabo, Tšhimpanse, Korela , di tlolatlola mo dikaleng. Tota le ditlhare le ditlhatsana, di ne di faapanela go ebela go tswa kwa letlhakoreng le lengwe go ya go le lengwe, go oba ditlhogo le go ema tsi.

Molomo wa bula kgaisano ka pina:

Re dira seno go itumela
Re dira seno go itumela
Re dira seno go itumela
Gonne rotlhe
Re tswa tlhagong e le yosi.

Letsogo le Maoto tsa ikana go amogela botšo ka bopelontle; go sena manganga, matshosetsi a go ngala kgaisano, ditshupetso kgotsa go goga dinao.

Matsogo a rebola kgwetlo ya ntlha: Ba latlhela legonyana mo fatshe. Leoto, la molema kgotsa moja, kgotsa oo mabedi, a ne a tshwanetse go sela legonyana go tswa fa fatsshe mme a le konope. Maoto a mabedi a ne a ka buisana ka nako nngwe le nngwe mo kgaisanong mme a romele menwana, ka bongwe kgotsa otlhe, ka thulaganyo efe kgotsa efe go fitlhelela tiro ya ona. A lekile go le fetola, go le kgarametsa, a leka dilo tse di farologaneng mme a palelwa ke go le sela sentle: mme ha e le go le sutisa teng, se a kgonneng go se dira bogolo e ne e le go le ragela kwa ka sekgalanyana. Ya re go bona se, Menwana ya Matsogo ya adima modumo go tswa go molomo mme ya swa ka ditshego. Matsogo, mogwetli, a ne a ikgantsha ekare a mo kgaisanong ya bommabontle, a bontsha ditebego tsa ona tse di sesane, mme ka ditsela tse di farologaneng a sela legonyana. A e konopela kgakala mo sekgweng, mme ka seo a gapa maikutloa baigaisani le babogedi gore ba bo ba sise dipelo. A ne a supa bokgoni jo bongwe: a sela santanyana mo sekotlolong sa reisi; a fololela dinnale; a dira maotwanakgogisi a go sutisa magong a a bokete; a dira marumo mme a a konopela kgakajana, ditiro tse go menwana ya maoto e leng dijo tsa ditoro. Maoto a ne a dutse fela a bogetse pontsho ya botswerere le go obega ga bontsala’abona ba ba sesane. Diatla tsa babogedi tsa opela kwa godimodimo ka kgatlhego le go nna seoposengwe le matsogommogo le ona, mme se sa utlwisa maoto botlhoko ba ntho. Mme a ne a sa tle go ineela: le fa a ne a dutse a tlhomola pelo, menwana ya kgenetswee e taka didikwenyana mo santeng, e leka go nagana kgwetlo e fenyang.

Kgabagare ya nna tšhono ya mato le menwana ya one go ntsha kgwetlo. Ya bone, ga a e tlhalosa, e ne e le bonolo. Matsogo a tshwanetse go tshola mmele otlhe go tloga karolong e nngwe ya sedikwe go ya go e nngwe. A kgwetlho ya bomatla, menwana e e iponang ya akanya. Go ne go tla leba yo o sebete. Sengwe le sengwe sa mmele se ne se tshwelekanyantswe. Matsogo a kgoma fa fatshe; matlho a le gaufi le lefatshe, pono ya ona e thibetswe ke bogaufi jwa ona le lefatshe, lerole la tsena ka nko le e ethimodisa, maoto le menwana ya ona a fofa mo moweng: dinao kwa godimo, babogedi ba goeletsa ba ikopelela.

Dinao kwa godimo
Ga go na mathata
Latela dinao
Ga go na mathata
A re fofeng mo loaping

Fela ba ne ba tlhomile diatla le matsogo leitlho. Dirwe tse mo metsotswaneng e fetileng di ne di supa manontlhotlho a bokgoni, di ne di sa kgone go suta sekgalanyana. Dikgatonyana, diatla tsa goeletsa ka kutlobotlhoko, matsogo a thethekela mme a diga mmele. A ikhutsa mme a leka gape. Mo nakong e a leka go phatlhalatsa menwana go kgona go tshwara lefatshe mme menwana ya kgwenetshe ke fa e le ona fela e kgonang go otlologa. A leka semenogane mme seo sa ganelwa gonne gore se kgonege go ne go tsenyeletsa tiriso ya maoto. E ne e le tšhono ya menwana ya maoto go tshega. Ya adima medumo e boteng ya kgokgotso go tswa go molomo go farologanya setshego sa yona go tswa go se se sesane se se dirisitsweng ke menwana ya matsogo. Ya re go utlwa lonyatso, matsogo a ne a tenega mme a dira maiteko a bofelo go tshola mmele. Maiteko ano a folola. Ka letsapa le legolo matsogo le menwana ya itlhoboga. Maoto a ne a itumelela go bontsha manontlhotlho a ona mo diateletiking: A tshwaya nako, a sasanka, a taboga, a tlolakaka ntle le go diga mmele le ha e le gangwe. Maoto a babogedi botlhe a ne a tampatampa mo fatshe go supa kgatlego le gore ba seoposengwe. Matsogo a emisa diatla go supa kemokgatlhanong ya boitshwaro jo eseng jwa botshameki, a lebetse fa e le ona a simolotseng tshameko eno.

Mme botlhe, go akaretsa babogedi, ba lemoga sengwe se se sa tlwaelegang ka matsogo: menwana ya kgwenetshe e e neng e taologile fa matsogo a ne a leka go tshola mmele, e ne e ntse e itlhaotse mo menwaneng e mengwe. Dirwe tsa boganetsi di ne di santse di re di tswelela go tshega fa di lemoga sengwe gape, monwana wa kgwenetshe o tlhaotsweng o ne o sa tlhokise diatla bokgoni, o ne o tokafaditse thata ya tsona ya go tshwara le go tlamparela. Ke eng se? Bogwele bo fetogile go nna thata ya bokgoni!

Kganetsano magareng ga dirwe go swetsa gore mofenyi ke mang e tsweletse ka matsatsi a le matlhano, palo ya menwana mo letsogong le leotong lengwe le lengwe. Matsapa a bona ya bo e le a bophokojwe, ba palelwa ke go bolela mofenyi gonne dirwe tsotlhe e ne e le ditswerere mo go se di se dirang, go se dipe tse di ka iphetsang. Go ne ga simolola diphopholetso tsa filosofi: mmele e ne ele eng tota, tsa botsa tsotlhe, mme tsa lemoga fa mmele e le tsone tsotlhe; di ne di le seoposengwe. Serwe sengwe le sengwe se ne se tshwanetse go dira sentle gore tsotlhe di dire sentle.

Fela go thibela dikgaisano tsa mofuta ono mo isagweng le go thibela go tshwenyana, dirwe tsotlhe di ne tsa swetsa gore go tloga jaanong mmele o tla tsamaya o tlhamaletse, maoto a tsepame mo fatshe le matsogo a le mo moweng. Mmele o ne o itumeletse tshwetso mme o ne o tla letla bana go tsamaya ka matsogo le maoto gore di se lebale kwa di tswang teng. Tsa arola ditiro: maoto a ne a tla tsamaisa mmele mme fela fa a goroga kwa go iwang teng, matsogo a ne a tla dira tiro yotlhe e tlhokegang go dira kgotsa go tshwara didiriswa. Ya re fa maoto le dinao di dira tiro e boima ya go tshola, matsogo a ne a otlologa mme a dirisa bokgoni jwa ona go dira mo tikologong le go netefatsa gore dijo di fitlha kwa molomong. Molomo, kgotsa, meno a ona tota, a tla di tlhafuna a be a di romela ka mometso go ya ko maleng. Mala a ne a tla tamola molemo otlhe mme a o tshele mo dikanaleng tse di tla tsamaisang molemo go ya ko mmeleng ka bophara. Mala a tla isa masalela ko moseleng wa leswe, go tsweng moo mmele o tla a beya mo nageng kgotsa go a epela mo mmung go o nontsha. Dimela di tla gola di beele maungo, matsogo a tla kga maungo mangwe mme a a tsenye mo molomong. Ehee sedikwe sa botshelo.

Le metshameko le boitlosobodutu di ne tsa arogangwa ka matshwanedi: kopelo, go tshega le puo di ne di neilwe molomo, go taboga le kgwele ya dinao ya newa segolo maoto, beisibolo le baseketebolo di ne di tlogeletswe matsogo le fa maoto a tla bo a taboga. Mo diateletiking, maoto a ne a rena. Karolo ya ditiro e tlhamaletseng e ne ya dira mmele wa motho mokaloba wa motšhini o tshelang, o gaisa le diphologolo tse dikgolo ka se o ka se fitlhelelang ka palo le boleng.

Le fa go le jalo dirwe tsa mmele tsa lemoga gore thulaganyo ya leruri e di e fitlheletseng e ntse e ka nna ya tlisa kgotlhang. Tlhogo e e neng e le kwa mankalankaleng e ne a ka nna ya ipona fa e le botoka go na le dinao tse di neng di kgoma fa fatshe kgotsa fa e le morena mme dirwe tse di kwa tlase ga yona e le batlhanka fela. Tsa gatelela gore fa go tliwa mo taolong, tlhogo le tsotlhe tse di ka fa tlase ga yona, di a lekana. Go mametlelela seno, dirwe tsa netefatsa gore kutlobotlhoko le boitumelo jwa se le sengwe bo utluwe ke tsotlhe. Tsa lemosa molomo gore fa o re sennanne sa me, o ne o bua jaaka mmele otlhe e seng jaaka mong a le nosi.

Tsa opela:
Mo mmeleng wa rona
Ga go motlhanka
Mo mmeleng wa rona
Ga go motlhanka
Re a direlana
Rona ka borona
Re a direlana
Rona ka borona
Re a direlana
Leleme lentswe la rona
Ntshware ke go tshware
Re aga mmele o itekanetseng
Ntshware ke go tshware
Re aga mmele o itekanetseng
Kopano e ntle

Mmogo re direla
Mmele o itekanetseng
Mmogo re direla
Mmele o itekanetseng
Kopano ke matla a rona

Seno sa fetoga Pina ya Mmele Otlhe. Mmele o e opela go fitlhelela le gompieno, mme se ke se se farologanyang batho le diphologolo, kgotsa bao ba ganneng phetogo e e tlhamaletseng.

Diphologolo tse dinao dinne di ne tsa gana phetogo eno le mororo di bone tse di di boneng. Kgang ya go opela e ne e tshegisa. Molomo o ne o diretswe go ja e seng go opela. Di ne tsa tlhama lekoko le le tshwereng setso sa ko ga Lowe la tlhago, mme tsa se fetole mekgwa le ditsela tsa tsona.

Fa batho ba ithuta go tswa go mafaratlhatlha a dirwe ba dira sentle, mme fa ba bona mmele le tlhogo e le makoko a lwantshanang, le lengwe le okametse le lengwe, ba atamela bontsalaabona ba diphologolo ba ba ganneng phetogo ya tlhamalalo..


Keabetswe Esther Motlhodi is a part-time lecturer in the School of Languages of the North West University, Vaal Triangle Campus, in South Africa, where she teaches Introduction to Language Practice. She holds a BA Honours in Language Practice from the North West University. Her Honours mini-dissertation investigated the optimal presentation of Setswana subtitles for better access to education. In June 2015 she co-presented a paper with her supervisor titled ‘Investigating the optimal presentation of Setswana subtitles for better access to education’ at the LSSA conference in Potchefstroom. She is currently registered for Masters in Language Practice, continuing to investigate the use of African Language subtitles in education. She is passionate about creating access to communication for people experiencing language barriers, a great reality in multilingual South Africa. Her research interests include African language subtitles, the reception of translation and process research. Although not her main focus currently, she has worked on translation projects as a freelance translator translating different types of texts such as children’s stories, information pamphlets, medical research forms and posters for various campaigns. She has also started writing children’s stories in Setswana, in order to expand on the Setswana literary polysystem.

Die aufrechte Revolution – oder warum Menschen aufrecht gehen


German

Miriam Pahl

Für Mũmbi W Ngũgĩ, Weihnachten 2015 @ Irvine, California
Übersetzt aus dem Englischen von Miriam Pahl

Vor langer Zeit sind Menschen auf Füssen und Händen gelaufen, genau wie alle anderen vierbeinigen Kreaturen. Menschen waren schneller als Hasen, Leoparden oder Nashörner. Die Beine und Arme waren damals näher beieinander als alle anderen Organe und sie hatten ähnliche Gelenke: Schultern und Hüfte; Ellbogen und Knie; Knöchel und Handgelenke; Füße und Hände, die alle in fünf Zehen oder Fingern endeten, die wiederum Nägel an jedem Zeh und Finger hatten. Hände und Füße hatten ihre fünf Zehen und Finger ähnlich angeordnet, wie zum Beispiel der große Zeh und der Daumen oder der kleinste Zeh und der kleine Finger. Damals war der Daumen ganz nah an den anderen Fingern, genauso wie der große Zeh noch heute nah an den anderen Zehen ist. Die Beine und Arme nannten einander Cousins ersten Grades.

Sie halfen einander den Körper zu tragen wohin er gehen wollte; zum Markt, in Geschäfte, Bäume und Berge hoch und runter, überall hin wo Bewegung notwendig war. Selbst im Wasser haben sie gut zusammen gearbeitet um den Körper treiben zu lassen, um zu schwimmen oder zu tauchen. Sie waren demokratisch und gleich in ihrer Beziehung zu einander. Sie konnten sich auch den Nutzen der Fähigkeiten anderer Organe ausleihen, etwa die Laute des Mundes, das Hören vom Ohr, das Riechen von der Nase, oder sogar das Sehen von den Augen.

Ihr Rhythmus und die nahtlose Koordination machte die anderen Körperteile grün vor Neid. Sie wurden unwillig, ihre speziellen Fähigkeiten den Cousins zu überlassen. Vor lauter Eifersucht vergaßen sie, dass die Arme und Beine sie überall hin trugen. Sie fingen an, einen Komplott gegen die beiden Paare zu schmieden.

Die Zunge lieh sich einen Plan vom Gehirn und setzte ihn sofort in die Tat um. Sie stellte laut die Gleichartigkeit von Armen und Beinen in Frage, und wunderte sich wer stärker wäre. Die verwandten Gliedmaßen, die bis dahin nie darüber nachgedacht hatten was der andere hatte oder konnte, liehen sich nun die Laute des Mundes und behaupteten sie wären wichtiger für den Körper als der jeweils andere Körperteil. Schnell ging es auch darum, wer eleganter wäre, und die Arme prahlten mit den langen, schlanken Fingern ihrer Hände während sie abwertende Kommentare über die kurzen dicken Zehen machten. Um sich nicht ausstechen zu lassen, konterten die Zehen und verhöhnten die dünnen Finger, verhungernde Cousins! Dies ging einige Tage so weiter, und beeinflusste auch manchmal ihre Fähigkeit effektiv zusammen zu arbeiten. Am Ende ging es nur noch um Macht, und sie wandten sich an die anderen Organe für eine Schlichtung.

Die Zunge schlug einen Wettkampf vor. Eine brilliante Idee, waren sich alle einig. Aber was für ein Wettkampf? Einige schlugen einen Ringkampf vor – Arm- und Beindrücken. Andere brachten Schwertkampf ein, Jonglieren, ein Rennen, oder Spiele wie Schach oder Dame, aber jeder einzelne Vorschlag wurde verworfen, weil er zu schwer umzusetzen war oder unfair wäre für die einen oder anderen Gliedmaßen. Es war wieder die Zunge die eine einfache Lösung hervorbrachte, nachdem sie sich das Denken vom Gehirn ausgeliehen hatte. Beide Organpaare sollten abwechselnd eine Herausforderung vorschlagen. Die Arme und Beine schlugen ein.

Der Wettkampf fand auf einer Lichtung im Wald statt, in der Nähe eines Flusses. Alle Organe waren besonders wachsam gegenüber Gefahren oder allem was den Körper überraschen könnte, nun da seine Organe sich auf den internen Kampf konzentrierten. Die Augen suchten nah und fern in jeglicher Distanz nach den kleinsten Gefahren; die Ohren waren bereit die leisesten Geräusche in jeder Entfernung zu hören, die Nase machte sich frei um besser jeden Geruch von einer möglichen Gefahr riechen zu können, die den wachsamen Augen und den lauschenden Ohren entgangen sein könnten, und die Zunge war bereit zu rufen und zu schreien, Gefahr.

Der Wind verbreitete die Nachricht vom Wettkampf in alle vier Ecken des Waldes, des Wassers und der Luft. Vierbeinige Tiere versammelten sich als erstes, und viele von den großen Tieren hielten grüne Zweige um zu zeigen, dass sie in Frieden kamen. Es war eine bunte Masse von Leoparden, Geparden, Löwen, Nashörnern, Hyänen, Elefanten, Giraffen, Kamelen, Kühen mit langen Hörnern und Büffeln mit kurzen Hörnern, Antilopen, Gazellen, Hasen, Maulwürfen und Ratten. Wassertiere, Nilpferde, Fische und Krokodile legten sich mit dem Oberkörper auf das Ufer und ließen das Hinterteil im Wasser. Die Zweibeiner, Vogelstrauße, Perlhühner, und der Pfau schlugen aufgeregt mit den Flügeln, Vögel zwitscherten von den Bäumen, Grillen zirpten unaufhörlich. Spinnen, Würmer, Tausendfüßler krabbelten auf dem Boden oder in den Bäumen. Das Chamäleon bewegte sich langsam und andächtig während die Eidechse herumlief ohne sich einmal niederzulassen. Affe, Schimpanse und Gorilla sprangen von Ast zu Ast. Selbst die Bäume und der Busch wiegten sich sanft hin und her, beugten sich und standen wieder still.

Der Mund eröffnete den Wettkampf mit einem Lied:

    Wir tun dies, um fröhlich zu sein
    Wir tun dies, um fröhlich zu sein
    Wir tun dies, um fröhlich zu sein
    Denn wir alle
    haben dieselbe Natur

Die Arme und Beine schworen, das Ergebnis würdevoll zu akzeptieren; ohne Wutausbrüche, Drohungen, Boykottierungen oder Streiks.

Die Arme stellten die erste Herausforderung: Sie warfen ein Stück Holz auf den Boden. Ein Bein, links oder rechts, oder beide zusammen sollten das Stück Holz vom Boden aufheben und werfen. Die beiden Beine konnten sich zu jeder Zeit des Wettkampfs gegenseitig konsultieren, und ihre Zehen einzeln oder alle zusammen einsetzen, in jeder möglichen Reihenfolge, um ihre Mission zu erfüllen. Sie probierten, das Holzstück umzudrehen, es zu schubsen, versuchten alle möglichen Kombinationen, aber sie konnten es nicht richtig aufheben, und um es zu bewegen konnten sie es höchstens ein paar Meter weit schießen. Als sie dies sahen, liehen die Finger sich Laute vom Mund und lachten und lachten. Als Herausforderer stolzierten die Arme wie in einem Schönheitswettbewerb, sie zeigten ihre schlanke Form vor, und hebten dann das Holzstück in unterschiedlichen Kombinationen hoch. Sie warfen es weit in den Wald hinein, was ein kollektives Seufzen der Bewunderung von den Wettkämpfern und Zuschauern hervorrief. Sie präsentierten noch andere Fähigkeiten: Sie lasen winzige Sandkörner aus einer Reisschüssel auf, sie fädelten einen Faden ein; sie stellten kleine Flaschenzüge her, um schwereres Holz zu heben, Speere, die sie weit weg warfen – alles Bewegungen und Aktionen von denen die Zehen nur träumen konnten. Die Beine konnten nur da sitzen und die Vorführung von Geschicklichkeit und Flexibilität ihrer schlanken Cousins bestaunen. Die Arme der Zuschauer klatschten aus Bewunderung und Solidarität lauten Beifall für die Arme, was die Beine sehr verärgerte. Aber sie konnten es sich nicht eingestehen: Während sie etwas mürrisch da saßen und die Zehen Kreise in den Sand malten, versuchten sie sich eine siegreiche Herausforderung auszudenken.

Schließlich waren die Beine und Zehen an der Reihe eine Herausforderung zu stellen. Ihr Wettkampf, sagten sie, wäre einfach. Die Hände sollten den ganzen Körper von einer zur anderen Seite des Kreises tragen. Was für eine dumme Herausforderung, dachten die arroganten Finger. Es war ein unvergesslicher Anblick. Der ganze Körper war verkehrt herum. Die Hände berührten den Boden, die Augen waren nah am Boden und ihr Blickwinkel dadurch eingeschränkt, Staub kam in die Nase wodurch sie niesen musste und die Beine und Zehen schwebten in der Luft: nyayo juu, riefen die Zuschauer und sangen ausgelassen.

    Nyayo Nyayo juu
    Hakuna matata
    Fuata Nyayo
    Hakuna matata
    Turukeni angani

Aber ihre Aufmerksamkeit richtete sich auf die Hände und Arme. Die Organe, die kurz zuvor noch eine unglaubliche Breite an Fähigkeiten zur Schau gestellt hatten, konnten sich kaum einen Meter weit bewegen. Ein paar Schritte, und die Hände schrien vor Schmerz, die Arme taumelten, wackelten, und ließen den Körper fallen. Sie ruhten sich kurz aus und machten einen neuen Versuch. Dieses Mal versuchten sie die Finger weiter auszubreiten um sich zu halten, aber nur die Daumen konnten sich abspreizen. Sie versuchten einen Radschlag, aber diese Bewegung wurde disqualifiziert, da für ihre Vervollständigung die Beine mit einbezogen wurden. Dieses Mal konnten die Zehen lachen. Sie liehen sich tiefe, kehlige Töne vom Mund um ihr Gelächter von den kreischenden Tönen zu unterscheiden, die die Finger benutzt hatten. Als sie den Hohn hörten, wurden die Arme sehr wütend und machten einen verzweifelten Versuch, den Körper zu tragen. Sie schafften nicht einen Schritt. Erschöpft gaben die Hände und Finger auf. Die Beine trugen freudig ihr athletisches Können zur Schau: Sie traten auf der Stelle, trabten, rannten, sprangen hoch und weit, ohne einmal den Körper fallen zu lassen. Alle Füße der Zuschauer trampelten in Anerkennung und Verbundenheit. Die Arme hoben die Hände in Protest gegen diese Unsportlichkeit und vergaßen dabei bequemerweise, dass sie das Spiel angefangen hatten.

Aber alle von ihnen, auch die Zuschauer, bemerkten etwas Seltsames an den Armen: Die Daumen, die sich abgespreizt hatten, als die Hände versuchten den Körper zu tragen, blieben separat von den anderen Fingern. Die rivalisierenden Organe wollten gerade wieder anfangen zu lachen als sie noch etwas bemerkten: Anstatt die Hände zu behindern, verbesserte der separate Daumen die Fähigkeit der Hände etwas zu greifen und zu halten. Was war das? Die Verunstaltung gestaltete die Möglichkeit zu gestalten!

Die Organe verhandelten fünf Tage über den Gewinner, so lange wie jedes Glied Finger oder Zehen hat. Aber so sehr sie sich auch bemühten, sie konnten keinen klaren Gewinner verkünden; jedes Paar von Gliedmaßen waren die Besten in dem was sie am besten konnten, und keins konnte ohne die Anderen. Und an diesem Punkt begann eine Besprechung philosophischer Vermutungen: Was war der Körper überhaupt, fragten sie alle, und da erkannten sie, dass sie alle zusammen den Körper ausmachten. Damit alles gut funktionierte musste jedes Organ gut funktionieren.

Aber um solch einen Wettkampf in der Zukunft zu verhindern, und um zu verhindern, dass die Organe sich selbst behinderten, fassten alle Organe zusammen den Entschluss, dass von da an der Körper aufrecht gehen sollte, die Füße fest auf dem Boden und die Arme in der Luft. Der Körper war froh über diese Entscheidung, aber er wollte Kindern erlauben auf allen Vieren zu gehen, damit sie nicht ihren Ursprung vergaßen. Sie teilten die Aufgaben auf: Die Beine würden den Körper tragen, aber sobald sie am Ziel ankamen würden die Arme übernehmen und Werkzeuge herstellen und halten. Während die Beine und Füsse die schwere Last des Tragens übernahmen, streckten die Hände und Arme sich aus und nutzten ihr Können um mit ihrem Umfeld zu arbeiten, und um sicherzustellen, dass Nahrung den Mund erreichte. Der Mund, oder besser die Zähne, würden die Nahrung kauen, und sie den Hals hinunter zum Bauch weiterreichen. Der Bauch würde alles Gute aus der Nahrung herauspressen und es in ein Kanalsystem leiten, durch welches das Gute in alle Ecken und Winkel des Körpers verteilt würde. Dann würde der Bauch das verbrauchte Material in das Abfallsystem des Körpers weitergeben, von wo dieser es im Gelände deponierte oder es in der Erde vergrub um sie zu bereichern. Pflanzen würden wachsen und Früchte tragen, die Hände würden davon welche pflücken und sie in den Mund stecken. Oh ja, der Zyklus des Lebens.

Sogar Spiele und Unterhaltung wurden entsprechend aufgeteilt: Singen, lachen und sprechen wurden dem Mund überlassen, Rennen und Fußball wurde hauptsächlich von den Beinen ausgeführt, während Baseball und Basketball den Händen vorbehalten war, wobei die Beine nur das Rennen übernehmen mussten. In der Leichtathletik waren die Beine am meisten gefordert. Die klare Arbeitsteilung machte den Körper zu einer eindrucksvollen Bio-Maschine, die selbst das größte Tier und dessen Leistungen – in Quantität und in Qualität – in ihren Schatten stellte.

Die Organe des Körpers bemerkten, dass das neue Arrangement, das sie erreicht hatten, trotzdem noch Konflikte auslösen konnen. Dass der Kopf ganz oben war könnte ihm das Gefühl geben besser oder überlegen zu sein gegenüber den Füssen, die den Boden berührten, oder dass er der Anführer war und die Füsse nur seine Diener. Sie betonten, dass in Bezug auf Macht der Kopf und alles darunter gleich waren. Um dies noch zu unterstreichen stellten die Organe sicher, dass der Schmerz und die Freude eines Organs auch von allen anderen empfunden wurden. Sie warnten den Mund, dass er vom ganzen Körper sprach wenn er sagte Mein Dies und mein Das, und nicht nur von einem einzelnen Besitzer.

Sie sangen:

    In unserem Körper
    Gibt es keinen Diener
    In unserem Körper
    Gibt es keinen Diener
    Wir dienen einander
    Alle für alle
    Wir dienen einander
    Alle für alle
    Wir dienen einander
    Die Zunge der Stimme
    Halte mich und ich halte dich
    Wir bilden einen gesunden Körper
    Halte mich und ich halte dich
    Wir bilden einen gesunden Körper
    Schönheit ist Zusammenhalt
    Wir arbeiten zusammen
    Für einen gesunden Körper
    Wir arbeiten zusammen
    Für einen gesunden Körper
    Zusammenhalt ist unsere Kraft

Dies wurde die Hymne des Ganzen Körpers. Der Körper singt sie bis heute, und das ist der Unterschied zwischen den Menschen und den Tieren, oder denen die die aufrechte Revolution abgelehnt haben.

Die vierbeinigen Tiere würden sich nicht auf eine solche Revolution einlassen, trotz allem was sie gesehen hatten. Der Singsang war lächerlich. Der Mund ist zum Essen bestimmt, und nicht zum Singen. Sie gründeten die konservative Partei der Natur und blieben bei ihrer Art, Gewohnheiten nie zu ändern.

Wenn Menschen vom Netzwerk der Organe lernen geht es ihnen gut, aber wenn sie den Körper und den Kopf als Gegner eines Krieges sehen, einer besser als der andere, werden sie ihren tierischen Cousins ähnlicher, die die aufrechte Revolution abgelehnt hatten.


Miriam Pahl is a doctoral candidate at SOAS, University of London. Her PhD examines concepts of the human in contemporary African genres with regard to philosophy and postcolonial theory. She feels at home in Bremen, London and Nairobi.

Ogoonchoreria Ogotenenu: Gose, Egekogeera Mwanyabanto Agotaara Matenena


Ekegusii

Jane Bosibori Obuchi

Abwo kare kare, mwanyabanto nigo arenge gotaarera amagoro na’maboko, buna getongwa kende gionsi eke-nyamagoro ane. Mwanyabanto nigo arenge omwango kobua egesusu, endo, gose ekeobiria. Amagoro na’maoko nigo arenge aang’e mono ne’bimo binde: abwate chinenko chibwekaine: amareko ne’menyuma; ebigokoro na’maru; embaratero ne’nsanyi; egetinkiro no’koboko. Kera okoboko na kera okogoro nigo kwabwate ebiara bitano ne’bichara bitano, egechara ekemo ase kera ekiara gio’kogoro ne’giokoboko. Ebiara bionsi bitano bia’maboko na’magoro, korwa ekiara ekenene goika egeke, nigo biarobeirie enchera ebwekaine. Ase amatuko aria, ekiara ekeneene gio’koboko nigo kiarenge ang’e ne’biara binde bio’koboko buna ekiara ekeneene gio’kogoro kiarenge ang’e ne’biara binde bio’kogoro. Amagoro na’maboko nigo arenge korokana bwamwabo.

Amagoro na’maboko nigo arenge gokonyana ase okobogoria omobere gochia ande onsi ore gotaka kogenda; echiro, chituka, korina na goika omote gose ebitunwa, ande onsi ase ogotaara kwaganeirie. Nonya na’se amache ime, nigo arenge kobwaterana buya mono gokonya omobere gocheng’enena, goaka ontimbu gose gotibogeria. Nigo asibogete na koigwana ase obwaamate bwabo. Nigo arenge gosaba obokonyi korwa ase ebimo binde buna; eriogi korwa ase omonwa, okoigwa korwa ase ogoto, okonyonka korwa ase emioro, amo no’korora korwa ase amaiso.

Okoigwana na okobwaterana kwabo gokareta emoko ase ebimo binde. Ebimo ebi binde bikaanga korwa ogosemia na obokonyi gochia ase bwamwabo aba babere. Endamwamu ekabatuba gotarora buna amagoro na’maboko naro arenge kobaira ande onsi batagete. Ebimo binde bigachaka koroberia amabe ase amaboko na’magoro.

Oromeme rogasaba ekerengererio korwa ase obongo na rokageikerania abwo abwo. Rogachaka gokumia, ‘maiso marore, igoro ye’chinguru ne’siko ya’maboko na’magoro. Rokarigia komanya ng’a ning’o obwate ekieni ne’siko enene kobua oyonde. Abwo ritang’ani, ’bimo ebi bibere, amaboko na’magoro, tibiarenge gokumia igoro ye’kioyonde abwate gose are gokora korende bono bigachaka gosaba eriogi korwa ase omonwa nabo igo bigachaka goteeba buna nigo bire ebie’ngencho mono ase omobere kobua ebimo binde. Keri keri, ekerengererio eke kegaonchoreria na koba; ning’o ochongororogete kobua oyonde; amaboko akerora ng’a aro na’re ne’ebiara ebinyerere, nabo igo agachaka gokwana na’machaya igoro ye’biara bia’magoro buna bire ebieng’e na ebinetu ebimigi. Biara bia’magoro tibigokirie na ‘nkwana eye. Na birobio bikairaneria ase amachaya igoro yo’bonyerere bwe’biara bia’maboko. Bakaba, bamwabo bachayaine, baankaine! Egento eke gekagenderera ase amatuko amange, goika kero kende kegasaria ogokora emereme ase obomo no’boikeranu. Omoerio oye egaikera ase riborio rie’chinguru: Bikaboria ebimo binde kogayana ring’ana eri.

Oromeme rokarua ekerengererio ng’a babe no’kwamererania. Bonsi bagaancherana buna eke ne’kerengererio ekiya. Korende, obokong’u obomo no’bo: okoamererania oko inkoroki? Ebimo bigachaka korua ogosemia; ebinde bigateeba ng’a bamwabo aba bakinane enyameni. Ebinde bigateeba barwane ne’meyio, gose gotinkana chimbero, korende kera ekemo kie’birengererio ebi gekaangwa ng’a ne’gekong’u goikerania ase ebimo ebi bibere; okogoro gose okoboko. Ase entunde ya kabere, oromeme rogasaba ekerengererio korwa ase obongo, igoro yerichibu ria bwango. Ase amagoro na’maboko, nigo kera ekemo kie’bimo ebi kiarenge koreta okoamererania kwaye. Bwamwabo bagaancherana ne’kerengererio eke.

Okoamererania oko nigo gwakorekanete ase arabirie ime ye rinani, ang’e na rooche. Ebimo bionsi bikebeka ang’e ase kende gionsi gose mobasokano onde bwonsi orachere omobere, ekiagera bono ebimo bio’mobere nigo biarenge kong’usanana. Amaiso agachina are na’ng’e korora kende kebe kerache, korwa ‘nsinyo ende yonsi. Amato agategesia koigwa kariogi kande gonsi korwa ande onsi, emioro ekemiria buya erinde erio etiokerere gotioka kwa gento kende kebe maiso atarore, gose amato ataigwe; oromeme rokaba ang’e gokura na korangeria onye kende kebe kegocha.

Ekerambauti gekararia amang’ana aya yo’koamererania goika chinsinyo inye chie’rinani, ase amache na’se ‘mbeo. Ching’iti chi-nyamagoro ane chikaba chintang’ani gosankererekana, chinyinge chiria chinene chikabogoria ebisabo ebibese kwoorokia ng’a nigo chiacheire omorembe. Ekaba obwaari bwe chirangi chie’ngo, endo, ekeobiria, enyang’au, rigwari, eng’ombe nyamagunchara ‘matambe, enchogu, engamia, egechure, egesusu, eunko, ne’mbeba. Ching’iti chia rooche, buna enswe, emamba, enkwe, chikaanekera emetwe yabo ase engegu yo’rooche, emegongo egatigara amache ime. Chi-nyamagoro abere na chirochio; ensoti, enkanka, ekurukuru, embata, chigaakania chimbaba ase omogooko; chinyoni chigachura ase emete igoro; egesiriri gekana goteera rioka. Oronyambobe, omoosi, rinyamara, bikerayora inse na’se emete igoro. Enyambu egesigoria, ng’ora ng’ora, ne’nsagara egacharokacharoka, etari gotegerera ase amo. Egekondo, embeche, bigacharoka korwa egesabo kio’mote oyomo gochia ekende. Nonya ne’mete ne’bitutu bikanyegera ng’ora ng’ora korwa aa gochia aria, bigekumba na gotenena ekemo ase ekemo.

    Omonwa okaigora ekinano eye no’goteera:
    Nigo togokora iga egere togooke
    Nigo togokora iga egere togooke
    Nigo togokora iga egere togooke
    Ase engencho twensi
    Etorwete obotongi obomo.

Amaboko na’magoro agatiana gwaancherana ase omorembe kende gionsi kerabe; kogechigwa gotaiyo, gose gotianerana, gose koramana, gose gosinyana, gose kogira kende.

Amaboko agatang’ana gosiara obwoba; akaruta egete inse. Okogoro okomo gwo’kobee, gose gwo’korio, gose onsi amo, nigo atakeire kobogoria egete keria korwa inse na gokeruta inse naende. Ase obomo, amagoro agancherana ng’a, ase okobwaterana, atumie ebiara biabo, egere abue. Amagoro agatema kobogoria egete keria, kogesuguma; agatema chinchera chionsi korende tanyareti kobogoria gete keria; nonya na’se okogesukia, nigo agesugetie ake igo. Ebiara bia’maboko bigachia korora iga, bigasaba eriogi korwa ase omonwa. Omonwa ogaseeka, na goseeka, na goseeka. Amaboko, ayio arenge kwaamererania, agesokia ase obwerori, na kweaka endege igoro ye’kieni kiabo, na koimokia egete keria ase chinchera ao ao. Amaboko agatuguta egete keria gochia orosana ime. Bonsi ase obomo, bwamwabo na’batengeri, bakagooka. Amaboko akaorokia obomanyi bonde; agaatanana chinche no’mochere ase egesota kio’mochere; akabeeka eusi ase esindani; akaroisia ebing’userero biokong’usera ebitugi ebirito, akaroisia amatimo na koyaruta aare mono, ebinto ebiara bia’magoro bitare konyara gokora. Amagoro agaikaransa aria na gokumia buna bwamwabo aba abareu bagokora ebinto ase obwororo. Amaboko ya’batengeri agaaka chinkobi ase omogooko no’bomo. ‘Magoro tagokiri nonya aikaransete aria. Ebiara ebinene bia’magoro bikana gochoora ebirondarondi inse ase amaroba, bikona korengereria okoamererani birabue.

Omoerio oye, egaika engaki ya’magoro ne’biara biaye koreta okoamererania konde. Bigateeba ng’a okwabo nigo korabe okworooro. Amaboko nigo atakeire abogorie omobere bwonsi korwa ase aamo gochia aande. “Eye ne’kinano yo’boriri”, ebiara bia’maboko bikarengereria. Kera ekimo kio’mobere gekaba matureka. Amaboko akabwaterera inse. Amaiso akaba ang’e na’maroba, agasinywa korora are ase engencho arenge maurama; amaroba agasoa emioro ime, egachaka goasimora; amagoro ne’biara biaye bigacheng’enena na konenganenga embeo igoro: Nyayo juu, abatengeri bakarangeria, na goteera no’mogooko.

    Nyayo Nyayo juu
    Hakuna matata
    Fuata Nyayo
    Hakuna matata
    Turukeni angani

Kera oyomo agatenkera arore inaki emekono na’maboko bigokora. Ebi ne’bimo biarenge kwoorokia obomanyi bwo’gokumia ekero egeke giaetire, bono tibiri gosuka nonya ng’ake. Amaboko achia gosuka ake, achaka korera ase obororo, chinsanyi chigataabataaba, chikaengerwa na gotiga omobere ogwe inse. Amaboko agatimoka na goteema naende. Engaki eye, akaara chinsanyi ne’biara gotarera inse korende tiyanyarekana ase engencho ebiara ebinene bioka nabio biesebererekanete. Bigateema gokora ebiuni korende bigakanigwa ase engencho yarorekanete ng’a biachakire kobwatesigwa na’magoro gokora ebiuni. Ebiara bia’magoro nabirobio bigachaka goseka. Bigasaba eriogi rinetu korwa ase ring’orong’ocho goetera ase omonwa egere bibue ogoseka koria okonyerere kwe’biara bia’maboko. Amaboko agachia koigwa buna agosekererwa, akagechigwa mono ekerage na akanacha ekina kio’moerio kobogoria omobere. Korende tanyareti gosuka nonya ng’ake. Amaboko ne’biara biaye bikarosa na gokwa omoyo. Amagoro akerora na gochenga mono, agaaka chiting’iri, akaminyoka, agacharoka, akamiramira, agacharara, na korenda omobere togwa inse. Abatengeri bonsi bakagoka na gotinera amagoro inse gochengera obobui bwa’magoro. Emekono ekaimokia amaboko abo igoro gokana egento eke, na techieti koinyora ng’a nero yachagete okoamererania oko.

Bonsi amo, nonya na’batengeri, bakarora egento kio’gokumia igoro ye’mekono: ebiara ebinene biria biasebererekanete ekero amaboko are goteema kobogoria omobere, nigo bieatananete ne’biara binde. Abaamererania bagataka goseka korende bakarora egento kende; nonya ekiara ekenene giaeatananete korwa ase ebiara binde, ekagera okoboko tikwaba na ‘nguru, nigo kiare gokoonya ebiara binde kobwata na gotarera egento. Ninki eke? Oboreema bweonchoire koba chinguru chio’kwaagacha!

Okoamererani gati ye’bimo egere goancherana ng’o omobui gokagenderera ase amatuko atano, omobaro bwe’biara ne’bichara ase kera okogoro no’koboko. Korende nonya batemete rioka, tibachieti konyora omobui; kera ekemo kie’bimo ebi; okogoro no’koboko nigo kiarenge gokora buya ase ensemo yaye; kende tikiare konyara getabwatesirie ne’kende.

Oboringori bogachaka: omobere ninki? Bonsi bakaboria, na bakanyora ng’a omobere mbonsi ase obomo; nigo barenge oyomo ime yo’yonde. Kera ekimo nigo kiare konyara gokora emeremo buya egere ebimo bionsi bibe buya.

Erio tikoba ’kwamererania konde ase amatuko agocha, naboigo gotanga gosinyana na gotwomana, ebimo bionsi bigaancherana ng’a, korwa erio, omobere tiga otare gesike-monto, amagoro atache inse bokong’u na’maboko abeere embeo igoro. Omobere okagokera ring’ana eri korende ogaanchera abana abake abake gotaarera amaboko na’magoro egere tibabaisa kweba ase barweete. Ebimo bikabagana emeremo: amagoro abogorie omobere goika ase ogochia, korwa abwo amaboko akore emeremo yo’koroisia gose kobwata na gotarera ebioge. Ekero amagoro ne’chimbaratero bigokora emeremo emerito yo’kobogoria , amaboko asibia na gochena aase na koenekia ng’a endagera yaikeire omonwa. Omonwa, gose amaino aye, ayetakuna na koyesenda goika ase enda ime. Enda yayemigania na koyemita endagera eye yonsi na koimorera emetaro yonsi egere obuya obo bwasebererekanigwa na gosiarerwa gochia ase chinsinyo chionsi chio’mobere. Korwa abwo enda yabogoria eubi gochia ase omotaro bw’eubi, ase omobere okoyeira na koyeumora ase orosana gose mogondo, gose egetii gose yayetindeka amarooba ime koroisia obotoobu. Ebimeria biamera na kobiara amatunda; amaboko ayatwa amatunda ayio na koyabeka omonwa ime. Ee, nabo, oyo no’morobiro bwo’bogima.

Nonya ne’chigosori no’kwegokia nigo kwabaganetwe buna ebwenerete: ogoteera, ogoseka, na ogokwana bigatigerwa omonwa; okominyoka na goaka enkoyo bikaegwa amagoro, na omopira bwa’maboko, ekinano, nechinkundi bigatigerwa amaboko, korende ase ogoikerani aya onsi, amagoro nigo atakeire aminyoke. Ase egosori yo’koniachoka, amagoro oka agatigerwa egetii gionsi. Okobagana oko emeremo gokagera omobere koba ekioma kio’gokumia, kebweete nonya neching’iti chinene ase ogokora na goikerania amang’ana amanene amange na ay’ogokumia.

Korende ebimo bio’mobere bikarora ng’a omoroberio oyo biancheranete nigo ore gocha koreta okong’usanana nonya nabo. Omotwe kore igoro aria nabo ore gocha gwekaga ng’a nigo ore oyo bwengencho kobua amagoro aya’gotacha inse, gose ng’a no’ro omogambi bwe’bimo bionsi, ng’a ebimo bionsi inse yaye, nabasomba bosa. Ebimo bionsi bikabeka chinguru ekerengererio eke ng’a ase ensemo yechinguru, omotwe na bionsi bire inse yaye, nigo bireng’aine. Erio goikerania ring’ana eri, ebimo bikaenekia ng’a obororo no’mogooko o kimo kende gionsi nigo oraigugwe ne’bimo bionsi. Bigatianera omonwa oinyore ng’a ekero ogoteeba ‘eke ne’kiane, keria ne’kiane’, nigo ogokwana buna omobere omogima na tari buna omonwa bene.

Bigateera:

    Ase omobere oito
    ‘Mosomba tari
    Ase omobere oito
    ‘Mosomba tari
    Nigo togokorerana
    Intwe ase intwe.
    Nigo togokorerana
    Intwe ase intwe
    Nigo togokorerana
    Oromeme ne’riogi riaito
    ‘Mbwaterere n’nche nkobwaterere
    Toagache omobere omuya
    ‘Mbwaterere n’nche nkobwaterere
    Toagache omobere omuya
    Oboseera ebore ase obomo.

    Ase obomo tokore emeremo
    Omobere obe buya
    Ase obomo tokore emeremo
    Omobere obe buya
    Obomo nabwo chinguru chiaito.

Oko gokaba Ogoteera kwa Botambe Kwo’mobere. Omobere nigo okogoteera goika rero iga na eke nakio gekobeka ogoatananeka gati ya mwanyabanto ne’chingiti, gose baria baangete ogoonchoreria kwa matenena.

Nonya ching’iti chi-nyamagoro ane chiaroche aya, tichiancheranete ogoonchoreria oko. Ogoteera oko tikwabagogetie. Omonwa nigo otongetwe oragere tari oteere. Chikaroisia ekeombe kiabo kiogotaonchoreria obotongi na koramata ase chinchera ne’chimbwa chiabo chitaonchorerie rinde.

Ekero mwanyabanto akoegera korwa ase okobwaterana kwe’bimo, nigo agokoria buya; korende ekero akorora omobere na omotwe buna ebiombe bigokinana esegi, ekemo kere igoro ye’kende, nigo mwanyabanto oyo akoba ang’e neching’iti, bwamwabo baria baangete ogoonchoreria kwa matenena.


Jane Bosibori Obuchi is a writer, a researcher, and a teacher. She has taught in various secondary schools (Mong’oni, Nyankoba, Christ the King Chepterit, Kaptel Boys), and universities including; Baraton, Kabianga, Mount Kenya, Kisii, and Moi. She holds S1 certificate (Bondo TTC), BA in English and Kiswahili (Baraton University), and is currently pursuing a Master of Arts Degree course in Literature (University of Kabianga), Thesis titled: An analysis of Mchongoano Oral Literary Text as a Kenyan Children’s Cultural Production. Her research interest lies in oral literature, children’s literature, language contact, and, language and gender. She has published several articles, including; Gender Biases in the Language of African Music: a case of Classical Compositions of two Kisii Musicians. Her manuscripts in review for publication include; A collection of ekeGusii short stories, Children’s short stories, Latest Diary of a Kenyan (a satire).

ሰውረት ጀላብ ቀኒጽ፣ አው ህዬ ወድ-አዳም እግልሚ እብ ብጣሩ ገይስ፧

The Upright Revolution 4


Tigre

Mohammed Said Osman

እት መደት ቅድምት ወድ-አዳም እብ እገሩ ወእብ እደዩ እንዴ ለአጎብል ገይስ ዐለ። አክልሕድ ክምሰለ እብ አርበዕ ዕቅቦም እንዴ ለአጎብሎ ለገይሶ ሔዋናት። እብ ሰዐይ ህዬ ምን መንተሌ፡ ህመም ወከረ ሐሪሽ ገይድ ነብረ። እገሩ ወአርሱቁ ህዬ እተ ወቅት ለሀይ ምነ ብዕድ ስምዓት ገሮብ ለትቃረበው ዐለው። ወድ-አዳም እተ መደት ለሀ፡ አድሕድ ለሻብህ መፋስል፡ አርሱቅ፡ ጸሎ፡ መናክብ፡ አብራክ፡ ቀሳይት፡ አክማም፡ አርሓት እገር ወእደይ ዐለ እግሉ። ሸካኒሁ ወእደዩ ህዬ ክል-ዎሮት ከሐምስ ጭብዐት ዐለ እግሉ። ክሉ ለአጫቤዕ አጫፍር ባቅል ዲቡ ቱ። እደይ ወሸካኒ ምን ግንፍሌ እገር ወእደይ እንዴ አንበትከ አስክለ ጭንብርዖ አድሕድ ለመስል መማኒ ዐለ እግሉ። እተ ወቅት ለሀይ ግንፍሌ እደይ ዲበ አጫቤዕ ለብዕድ ለቀርበ ዐለ። ግንፍለ እገርመ እተ ክምሰልሁ። ሰበት እሊ፡ እደይ ወእገር ለአወሎት ውላድ-አበው (ሐው) ልትበሀሎ።

አርሱቅ ወእገር አዳም ደለ ዲበ ሐዘ እግል ልብጸሕ ዲብ ሐረከት ሰድዉ። አስክ ዐዳገ፡ ደካኪን ወእሉ ለመስል አካናት እግል ሊጊስ፡ አድብር አው ዕጨይ እግል ልዕረግ ወልትከሬ፡ እብ ዓመት ህዬ ዲብለ ገብአት ሐረከት ገሮቡ እግል ልርፈዕ ሰድዩ። ዲብ ቀበት ማይመ ገሮብ ሰለል እግል ሊበል አው እግል ልትመደድ፡ እግል ለሐምስ: ወእግል ልትመስ ነፍዑ። እብ አሳስ እሊ፡ ዕላቀት ናይ እገር ወእደይ ዲሞቅራጥያይት ወዲብ መሳዋት ለተንከበት ዐለት። አርሱቅ ወእገር ናይ ብዕድ ስምዓት ገሮብ መቅደረት ልትሰለፎ ዐለው። እሊ ሰሉፍ እሊ ህዬ፥ምን አፍ ክርን፡ ምን እዘን ስምዐት፡ ምን ኣንፍ ጼነ፡ ምን ዕንታት ህዬ ረአይ ቱ።

እቀዕ ወመቅሬሕ ናይ እገር ወእደይ ለገሮብ ለብዕድ እንዴ ትመሳነ እግል ልክደም አቅደረዩ። መቅሬሕ ወምስንዮት ናይ እሎም ሐው ላቶም አርሱቅ ወእገር ለገሮብ ለብዕድ ዘከ ወመቅደረት ክምሰል ረክብ ወደዩ። ምናተ፡ እሎም ለብዕዳም ስመዕ ገሮብ ቅንእ ወረቶም። ዶል ሐረከት እገር ወእደይ ሌጠ ረፍዕዎም ሰበት ዐለው፡ ድዶም ቀንጸው። እለ ድድየት እለ ዎሮት ከአካነቱ ክምሰል ጸብጥ ወደዩ። እሊ ህዬ ድድ እሎም ክልኦት ጽምድ ፈርግ አው ፈናታይ እግል ለአምጽእ አንበተ።

ንሳል ምን ሐንገል ስታት እንዴ ትሰለፈ እብ ሸፋግ ዲብ ዐመል ተርጀመዩ። እንዴ ልትዐጀብ፡ ክርንቱ እንዴ ወቀለ እብ ክሱስ ሒለት ናይ እሎም መሳኒት እግል ልትሃጌ አንበተ። እብ ክሱስ እለ ድቅብት ለዐለት ሒለቶም መትዐጃቡ ወህግያሁ አተላለ። እሎም ሐው ላቶም አርሱቅ ወእገር በዲር እብ ክሱስ ወቀይ ብዕዳም ልትሐሰሮ ምንመ ይዐለው፡ አዜ ላኪን ምን ንሳል ህግየ እንዴ ትሰለፈው ህቶም ምነ ብዕድ ገሮብ ዝያደት አትሐዘዮት ክምሰል ቦም እግል ልትሃገው አንበተው። እሊ በሀል እሊ መን ገርም ወልትሰየስ፧ ዲብለ ልብል ሀገጊት ትቀየረ። እደይ እበ አጫብዑ ለቀጣይን እንዴ ልትመከሕ ወልትፎፈል፡ እግል ግንፍሌ እገር እብ ሕጭሩ ወዕክክናሁ ቀበዩ። ግንፍሌመ እብ እንክሩ እብ ኢትሕመቅ እግል አጫቤዕ እደይ ፍሉል ወቀጢን ክምሰል ቱ አትካፍአዩ ወቀበዪ። እሊ አከይ-መቅሬሕ እሊ እግል አምዕሎታት ክምሰል አተላለ እደይ ወእገር ክምሰል በዲሮም እብ ሕበር እግል ልክደሞ ሰበት ኢቀድረው ዲብ ወቀዮም ተአሲር ወደ። ለጋሪት ህዬ እት ደንጎበ ዲብ ሒለት ሰበት ትቀየረት ብዕድ ስምዓት ገሮብ እግል ልግንሕወ ዲብ ሕክም ቀርበት። ለብዕዳም ስምዓት ገሮብ እብ ክሱስ እለ ቀድየት ክል-ዎሮት ከረአዩ ቀደመ። ንሳል እግል ልትጃገሮ ሀለ እግሎም እት ልብል ይማም ቀደመ። ፍክረት ንሳል ሰኔት እንዴ ትበሀለት ከብቴ ረክበት። ምናተ፡ ለጅግረ እብ ከአፎ ልግበእ፧ ዲበ ልብል ረአይ ዎሮት ከእብ እንክሩ ረአይ ቀድመ። እሊ ህዬ፡ ሰሮም ገሌ ልትጋደሎ፡ ሰሮም እብ ከወኒ ወአስዩፍ ልትጃገሮ፡ ገሌሆም እብ ቅሽሽ ልትጃገሮ፡ እብ ሰዐይ፡ ትልህየ ቼዝ ወእሉ ለመስል ቤለው። ምናተ፡ ክል ምኖም ከእግለ ዎሮት እግል ልግዴ (ልስዴ) እብ ክለ ሒለቱ ትከሐደ። አዜመ ንሳል ምን ሐንገል ፍክረት እንዴ ትሰለፈ ለምሽክለት ለትትባለሕ እቡ በሰር አምጽአ። ዲብ እሊ ለብዕዳም ስምዓት ገሮብመ ዎሮት ከእብ እንክሩ መስአለት አምጽአ። እገር ወእደይ ህዬ እበ ለቤለዎም ተ እግል ልትሐከሞ ትዋፈቀው።

ለጅግረ ዲብ ቀበት ድበዕ፣ እት ሐቴ ዲብ ጀፈር ነሀር ለትትረከብ አካን ጣፍሐት እግል ልግበእ ትቀረረ። ክሎም ለስምዓት ዲብ ገሮብ መደረት ጀላብ እግል ኢትጅሬ ዎሮት ክእብ እንክሩ ዲብ መትዳላይ ትሩድ ገብአ። እሎም ስምዓት ዎሮት ከእብ እንክሩ ምስል ድሚሩ ልትጋደል ዐለ። ዕንታት መደረት እግል ኢትምጸእ ምን ቅብላት እግል ለአኖኬ ወልፍጠን ባሰረ። እዘን ለትደሀረት ክሬነት እግል ልስመዕ አተናከለ። ኣንፍ ቀረፉ እንዴ ሐስሐሰ እግለ ምን እዘን ወዕንታት ለሐልፈት ጋሪት እብ ጼነ እግል ልፈርግ አተናሽዐ። ንሳል ህዬ እብለ ገብአት መደረት ዶል ለአገርስ መውዒታት እግል ልውዴ ዋለመ ወትረገሰ።

ውልዋል እት ፍንጌ እገር ወእደይ ጅግረ እግል ትግበእ ክምሰል ቱ እግል ማይ ወሸማል እንዴ ለሓኬ አክባር ነሸረ። አርበዕ አርሱቅ ለቦም ሔዋናት ለጅግረ እግል ርአው እብ ሸፋግ ክማም ገብአው። ሰብ ሰላም ክምሰል ቶም እግል ለአክዶ ህዬ፡ ምስሎም አቅሹን ጋምል እንዴ ረፍዐው መጽአው። ብዕዳም ሔዋናትመ ለቀደየት እግል ልርአው ትጀምዐው። ክምሰል ከረ አወንን፡ ችተ (ምን ጅንስ አወንን)፡ ሓዩት፡ ሐሪሽ፡ ዘራፍ፡ ሐ፡ ሐ-ከደን፡ ነላት፡ አራባት፡ መነትል፡ ሸለሊት፡ አነጺት፡ ብዕዳም እት ቀበት ማይ ለነብሮ ሔዋናት፡ ጉማሬ፡ ዓሳታት፡ አለሚት ወእሎም ለመስሎ ዲብ ጀፈርለ ነሀር አትበራጥሐው። ለእብ ክልኤ እግረ ትሄርር ሰገን፡ ሐገል ወጣዉስ (ደንብር ግሩም ለበ ፍንቲት ሰሬረት) እንዴ ልትዐጀበ ደነብረን ማደደየ። ሰራይር ዲብ ረአስ ዕጨይ እንዴ ገብአ ጭሪቅ-ብሪቅ ቤለ። ዕንጽራር ምን ቃብል እንዴ ገብአት ክል-ዶል ተሐሌ ዐለት። ዐንከቦት፡ ተብዕን፡ ዐርቀብ-በሐር(ምእት-እግሩ)፡ አልፍ-እግሩ ለልትበሀል ሔዋን ህዬ፡ ዲበ ምድር እንዴ ልሽሕግ አትቃመተ። እምአራዊቶ እብ ቅሩተ ለመም ትብል ወለቴለል ትገኔሕ እት ህሌት፡ ገዕ ላቱ እት ሐቴ አካን እንዴ ኢበጥር ኬን ወእሰር ልትሻበብ ዐለ። ከረ ሀበይ ቺምፓንዚ ወጎሪለ ምን ዕጨት ዲብ ዕጨት እንዴ ልትሀናተሮ ትገናሰለው። ዕጨይ ወከተክት እበ ጋሪት እንዴ ልትፈከር ወእብ ሸማል እንዴ ልትፌሬ እተ አካነቱ በጥረ።
አፍ መናሰበትለ ጅግረ እብ ሕላይ አንበተየ።

    እግል ንፍረሕ ክእነ ንትጻገም
    እግል ንትለወቅ ክእነ እንከድም
    እግል ንትለወቅ ምን ሴመ ኢንአዝም
    ክልነ ሕበር ትከምከምነ
    ምን ሐቴ ጠቢዐት ሰበት ትከለቅነ

ገድም አርሱቅ ወእገር እንዴ ኢልሐርቆ፡ ኢልአቡ ወኢልአትፋርሆ፡ እብ ንየት ሰኔት ለሕክም እግል ልትከበቶ መሐለው።

ሐቆ እሊ፡ ለጅግረ ተአንበተ። አርሱ (እደይ) እሰልፍ እግል እገር መስአለት ሀበዎም። ህተ ህዬ ዲብ ምድር ዕጫይ እንዴ ለክፈው እንዴ ሀረሰው እግል ልልኮፉ አስአለዎም። ለክልኦት ዕቅብ ዲብ ክሉ ጋራት እንዴ ልትጋመው ልትጻገሞ ዐለው። ምህመቶም እግል ልሰርግሎ ህዬ ግንፍሌሆም ወአጫብዖም እብ ሕበር አው በንበን ለአሸቅዉ ዐለው። ለዕጫይ እግል ለሀሩሱ፡ አዶረዉ፡ ደረከዉ ወክሉ እግል ልትዐወቶ እቡ ለቀድሮ አግቡይ ባሰረው። ምናተ፡ እብ ዋጅብ ምን ምድር እግል ልርፍዕዉ ኢቀድረው። ሐቴ እግል ልውደወ ለቀድረው እግለ ዕጫይ እግል ገሌ ኢንች (እግል ገሌ ሰንቲ ሜተራት) ምነ እተ ዐለ አካን ደረከዉ። እትሊ ወቅት እሊ አጫቤዕ ምን አፍ ክርን እንዴ ትሰለፈው እብ ሰሓቅ በረቴዕ ገብአው። አርሱቅ እብለ ትነዘመት ገበይ እብ ግርመቱ እንዴ ልትፎፈል ወዲበ ጅግረ ክምሰል ትነሰረ እንዴ ለአሽር እግለ ዕጫይ እብለ ትፈናተ አግቡይ እንዴ ሀረሰዩ ዲብ ቀበትለ ድበዕ ለክፈዩ። መትጃግረቱ ወመተቅብለቱ ህዬ እብ ውዲቱ ሰኒ ወአማን ተዐጀበው። አርሱቅ እብለ እንዴ ኢበጥሮ እብ ድግማን ብዕደት መቅደረት አርአው። ምን ጢሾ ናይ ሩዝ ሕጽሕጽ እንዴ ዓረው ለክፈዉ ወምን መንፈዐት በረ ወደዉ። እብ ተውሳክ ህዬ ዕጨይ ክቡድ እግል ልሰሐቦ እቡ ለቀድሮ መስሐብ ሸቀው። እተ ክምሰልሁመ ከወኒ እንዴ ሸቀው እት ነሳፈት ረያም ወርወረዉ። እሊ መዋዲት ወሐረርካት እሊ ግንፍሌታት እገር እብ ሕልም እት ኢኮን እብ ዐመል እግል ልውደዉ ኢቀድሮ። ምን ቅብላት እንዴ ገብአው እብ መቅደረት ወፍድብ ውላድ አቡሆም ልትዐጀቦ ዐለው። አርሱቅ ናይለ መተቅብለት እግለ ታንጃታቶም እንዴ ለአይዶ ሀዱድ ለትመስል ጣቅዒት ዳምቀት ወደው ፋርሐቶም እት ሸርሖ። ለመትጃግራይ እገር እብ ድዱ ሰኒ ገሀ ወእግል ልእመን ኢቀድረ። እበ እለ ረአ ውዲት ህኑን ወዳምእ እት እንቱ ግንፍሌታቱ ዲበ ሖጸ ክሎሊታት ምን ሸራቃቅ ኢበጥረ። ህቱመ እብ እንክሩ እግል አርሱቅ ለወጼዕ እበ መስአለት ለሐስብ ዐለ።

አዜ ገድም እገር ወግንፍሌታት እግል አርሱቅ ለወጼዕ መሳእል እግል ለሀብ በክት ተሀየበዩ። መስአለት ናይ እገር ቀላል ዐለት። እደይ ገሮብ እንዴ ረፍዐ ምን ዎሮት ጀፈር ናይ ሐቴ ክሎሊት አስክ ብዕድ ጀፈር እግል ለአብጽሑ ጠልበ ምኑ። “እለ ህዬ ሚ ሐዋኒት መስአለት ተ!” እት ልብል ትፈከረ ለምኮሕ አጫቤዕ። ክሉ ክፋላት ገሮብ ገጽ-ተሐት አድሮረ። እደይ እግል ምድር ተምተመ። ዕንታት ቅሩብ ምድር በጽሐ። ዲብ ምድር ሰበት ቀርበ ናይ ርእየት መቅደረቱ ተሐደደት። ኣንፍ ምነ ምድር ረብረብ ሰበት አተ ዲቡ እግል ለሃጥሽ አንበተ። እገር ወግንፍሌታት ገጽ ለዐል እንዴ ትረፍዐ ሀንጦጠለ። nyayo juu, ለመተቅብለት ድንግሔ እት ወዱ ሕላይ ግሩም ሐለው። ለሕላዮም እብ ህግያሆም ክእነ መስል፤

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    Turukeni angani

ምናተ፡ ልቦም ዲብ እደይ ወአርሱቅ ካርያሙ ዐለው። ቀደም ደቃይቅ መቅደረት ውቅል ለአርኡ ለዐለው ስምዓት ገሮብ እትሊ ወቅት እሊ ነሳፈት እግል ልትሐረኮ ኢቀድረው። ሐቆ ንኢሽ ምስዳር እደይ ተሐላውዐ ወተሃደለ። አርሱቅ ተሀዋክአ ወተሃንአ። ሰበት እሊ ገሮብ ለጸውሩ ሰበት ኢረክበ ምድር ለደደ። አርሱቅ እብለ ይዓረፈ። እብ ድግማን ካልእ ዶል ጀረበ። እትሊ ወቅት እሊ እደይ እብ አጫቤዕ እንዴ ሐጠጠ እብ ክለ ሒለቱ ጀረበ። ምናተ፡ ግንፌለ ሌጠ እግል ልትመደድ ቀደረ። እደይ እንዴ ኢልትሐለል ሐረካት አክሮባት (ሐርካት ርያደት) ጀረበ። ምናተ፡ እሊ ሐረካት እሊ እግል እገር ሰበት ለአሻርክ እበ ሔክመት መክቡት ኢገብአ። አዜ ገድም ግንፍሌታት እገር እብ ተረቶም ትሰሐቀው። ግንፍሌታት ምነ አጫቤዕ ለወደየ ክርን ወለዐል እግል ልወቅሎ እንዴ ቤለው ምን አፍ ለትደናግህ ክርን እንዴ ትሰለፈው ገዓራት ወደው። አርሱቅ እግል ቅበ ግንፍሌታት ክምሰል ሰምዐ ሰኒ ሓርቅ ዲብ እንቱ ለገሮብ እግል ልርፈዕ ምን ሐዲስ ጀረበ። ምናተ፡ ሽብር እግል ልሄር ኢቀድረ። እብ ተዕበት እንዴ ትፈለለ አጫቤዕ ትቃሰነ ወእደይ ተሀላብአ። አርሱቅ ገድም እንዴ ተሐለለ ሰእየት በትከ። እሊ ዶል እሊ ዓቃብ እብ ፈርሐት በረቴዕ እት ገብእ፡ ናይ ርያደት መቅደረቱ አርአ። እግል ገሮብ ራፌዕ እት እንቱ፡ ኬን ወእንሰር ሀደግደገ ወትናፈረ። ገሮብ ህዬ እተ አካኑ ሰበተ። እገር ናይለ መተቅብለት እግለ መትጃግራይ እገር እንዴ ለአይድ ወውሕደቱ እንዴ ለአክድ ዲበ አካኑ ሐናደ ወትለወቀ። አርሱቅ እብ ውዲት ናይለ ዓቃብ ሰበት ሐርቀ ጅግረ ክምሰል አንበተው እንዴ ትረስዐ መቃወመቱ እግል ለአርኤ እደዩ ረፍዐ ወነግነገ።

እት ክእነ ቴለል እንዴ ህለው፡ ክሎም ጅምዓም መትጃግረት ወመተቅብለት ዲብ ዎሮት እግሎም ሐዲስ ላቱ ጋር ልብ ከረው። እደይ ነፍስ እግል ልርፈዕ እንዴ ጀርብ ለትመደደ ግንፍሌታት ምነ ብዕድ አጫቤዕ ትፈንተ። ለመትጃግረት ስምዓት ገሮብ ህዬ ምን ሐዲስ እብ ሰሓቅ ህካካት እት ወዱ፡ ለናቅስ ለዐለ እደይ እግል ልጭቀም ወልጽበጥ እንዴ ጀርብ አንተብሀው ዲቡ። “እሊ ሚ ቱ፧ ናቅስ መማኒ እብ ከአፎ ምን ሐዲስ ዲብ ታምም መማኒ ትቀየረ!” እት ልብሎ ትፈከረው። ለሕካም ምነ መትጃግረት ለዕዉት መን ክምሰል ቱ እግል ልቀርሮ ሰለስ አምዕል ለነስአት መከሐደ ወደው። ምናተ፡ አክልሕድ ለዕዉት መን ክምሰል ቱ ቀራር ዋዴሕ እግል ለሀቦ ኢቀድረው። ለልትጃግሮ ለዐለው አርሱቅ ወእገር ክል-ዎሮት ከዲበ እለ እግል ልውዴ ለቀድር ስርጉል ዐለ። ዎሮት ከእብ እንክሩ ሴሩ ከርዐ። ክል-ምኖም እምበለ መልሀዩ ህዬ እግል ለአውቄ ክምሰል ኢቀድር፡ እንዴ ትሳደው እት ኢኮን ዎሮት እብ በኑ ክሉ መናግእ ክምሰል ኢደብእ ለሕካም አትአከደው። ሐቆ እሊ ገድም ለሕካም ዲብ ፈልሰፈት ናይ ወግም ወተሕሊል አተው። “ገሮብ ዶል ልትበሀል ሚ በህለት ቱ፧” እት ልብሎ ትሰአለው። ምነ ለአቅመትዉ ህዬ ገሮብ እብ በንበን ለልአወቄ እንዴ ኢገብእ እብ ሕበር ለከድም መክሉቅ ክምሰል ቱ፡ ክል ስመዕ ገሮብ ዲበ እግል ለአውቅየ ለቀድር ወራት ሌጠ ክምሰል ልትሰርገል አስበተው።

ከገደም፡ ምነ ወቅት ልሀይ ወሐር ክእነ ለትመስል መጃገረት እግል ኢትግበእ፡ አው ህዬ ብዕድ አከይ-መቅሬሕ እግል ኢልቅነጽ፡ ክሎም ለስምዓት ምን እለ ወሐር ነፍስ እንዴ ተኬት፡ በህለት እብ ብጣረ እንዴ ገብአት እግል ትሄርር ቀረረው። እሊ ህዬ እገር ምድር እንዴ ኬደ እግል ልሄርር ወአርሱቅ ህዬ ገጽ-ለዐል ፍንጌ ምድር ወሰመእ እግል ለአትናጥጥ ወልትሐረክ የመመዉ። ገሮብ እበ ቀራር ሰኒ ትረይሐ። ምናተ፡ አስል አዳም ቀዳም እግል ኢልብዴ አጀኒት እት ንእሾም እግል ልሽሐጎ እግል ልትአጀዝ እግሎም ጠለብ ቀደመ። እብ አሳስለ ክሎም ስምዓት ለነስአዉ ቀራር እገር (ዓቃብ) ገሮብ እብ ትማሙ እንዴ ረፍዐ እግል ልሄርር፡ ገሮብ ምስዳር ክምሰል በጽሐ ህዬ አርሱቅ ክሉ እግል ገሮብ ለልአትሐዜ ሽቅል እግል ልሽቄ ወእግል መንበረት ለልአትሐዜ ኣላት እግል ሊጹር ትየመመው። ሐቆ እሊ፡ ዓቃብ ወሸካኒ ገሮብ ረፌዕ እት ህለ፡ እደይ ህዬ እብ መቅደረቱ እንዴ ትነፍዐ ምን ድዋራቱ ነብረ እንዴ አዳለ ዲብ አፍ ክምሰል ትበጼሕ ወደ። አፍ እብ እንክሩ እብ አልሓዩ ወብዕድ ገሮቡ እንዴ መጭረየ እብ ወሪድ እንዴ አበለት ዲብ ከብድ ክምሰል ትበጽሕ ወደ። ከብድ እብ እንክረ እግለ ነብረ ዲብ ከርሸት፡ ወአምዓይት እንዴ ሓቀቀት እብ አስራር ወዐነድር እግል ነፍስ ለልአትሐዜ መኣዛታት(ሙነት) ክምሰል ልትወዘዕ ወዴት። እተ ክምሰልሁመ እግል ገሮብ ለኢልአትሐዜ ጋራት አው ህዬ ተራሪፍ ናይለ ትነፈዐት እበ ነብረ ዲብ ከደን ክምሰል ፈግር ትቃርሐት። ምነ ወቅት ለሀይ ወሐር ገሮብ እግል ሽን-ከደን ዲብ በረ አው ህዬ እት ሐንቴ ምድር እግል ልድፈነ አንበተ። ትርበት ህዬ እበ ትደፈን ሽን-ከደን ክምሰል ትትረሸድ ገብአት። ዲብ እለ ርሽድት ትርበት ዕጨይ እንዴ በቅለ ፍሬ አፍገረ። እደይ ምነ ፍሬ እንዴ ነስአ እግል አፍ ለሀይብ። ክለት ናይ ሐያት ህዬ እብ ክእነ አተላሌት።

ሐቆ እሊ ገድም ትልህያታት ወመትፋግዒታትመ እብለ ገበይ እለ ትየመመ። ሕላይ፡ ሰሓቅ ወህግየ ወቀይ አፍ ገብአ። ሰዐይ ወትልሀየ ኩረት እግር እግል እገር ተርፈ። ቮሊቦል ወብሳኬት ቦል ህዬ ትልሀየ እደይ ገብአ። ሰዐይ ክሉ እግል እገር ተሀየበ። ዲብ ብድረ አትሌትክስ እገር ክሉ ለሰዐይ ለሐክም። እሊ ዋዴሕ መትካፋል ሽቅል እሊ እግል ገሮብ ወድ-አዳም ትሩድ ወበሰርታይ ክምሰል ገብእ ወደዩ። አዳም እብ ፈድል መትነዛም ገሮቡ ወመቅደረቱ ህዬ ለትደቀበ ሔዋናት እግል ልምለክ ቀድረ። ጅንሱ ልግበእ ወብዝሔሁ እብለ ኢከስስ ክሉ መክሉቅ ዲብ ሐንቴ አዳም እግል ልትመለክ ትቀሰበ።

እሊ ክእነ እት እንቱ፡ ለስምዓት ገሮብ ልሰዕ ለእግሉ ወደው ይማም መማኒ ገሮብ አከይ-መቅሬሕ እግል ልክለቅ ክምሰል ቀድር ፈሀመው። እሊ ህዬ ምን ለዐል ክሉ ገሮብ ለሀለ ሐንገል ምነ እግል ገሮብ ራፌዕ ለሀለ እገር አነ ሐይስ አው ህዬ፡ ክሎም ዲብ ሐንቴዬ ለህለው ኬድመቼ ቶም እግል ሊበል ቀድር እት ልብሎ ሐስበው። ሰበት እሊ፡ ሐንገል ወክሎም ዲብ ሐንቴሁ ለህለው ስምዓት እብ ሒለት አክልሕድ ክምሰል ቶም አስበተው። ዐዛብ (መጺጸት) ወለውቀት ናይ ክል ስመዕ ለብዕዳም ስምዓት ገሮብ ክምሰል ልሽዕሮ እቡ ወደው። አፍ ልትሃጌ እት ሀለ እብ ክሱስ ክሉ ለገሮብ እት ኢኮን እንዴ ፈናተ እግል ኢልትሃጌ ወአከይድስ እግል ኢልሀርስ ሸርጠዉ። ክምሰል ሜልካይ እንዴ ኢገብእ ዎሮት ምነ ገሮብ ክምሰል ቱ ህዬ የመመዉ። ሐቆ እሊ ክእነ ሐለው፦

    ገሮብነ ሐቴ ቱ
    ገብር አለቡ ወምንበ
    እግል አድሕድ ከድም እንዴ ተሐየበ
    እብ ሕበር እንከድም
    ጀላብ መንፍዐት ክልነ
    ኖስነ እግል ኖስነ
    ኣቤ፡ እብ ሕበር እንከድም
    ጀላብ መንፍዐት ክልነ
    ኖስነ እግል ኖስነ
    ንሳል ዔማት ክርነ
    እንረፍዐከ ወትረፍዐነ
    ነፍስ ዑፊት እንበኔ
    ለዲመ እበ እንሰኔ
    ግርመት ውሕደትተ
    ለምን ክሉ ትትሐሬ

    እብ ሕበር እንሸቄ
    ገሮብ እግል ልትዓፌ
    እብ ሕብር እንሸቄ
    ገሮብ እግል ልትበኔ
        ስርጉል ቱ ወቀይነ
        ውሕደትነ ሒለትነ

እለ ሕላየት ነሺደት ናይ ክሉ ለገሮብ ገብአት። ዮመቴ ገሮብ ሐቴ እንዴ ገብአ ምስል ለሐሌ ሀለ። እለ ጠቢዐት እለ ህዬ እት ፍንጌ አዳም ወሔዋናት ለሀለ ፈርግ ተአስእለነ። አውመ ህዬ ሰውረት ቀኒጽ እንዴ ነክረው አስክ እለ እንዴ ለአጎብሎ ነብሮ ለህለው መን ክምሰል ቶም ትወዴሕ እግልነ።

እሊ ቴለል እሊ ምንመ ረአው እብ እደዮም ወእብ እገሮም ለገይሶ ሔዋናት ሰውረት ቀኒጽ ይአትጋየሰው። አስክ እለ ዮም እበ አካነቶም ነብሮ ህለው። ገሮብ አዳም ለልሐልዩ ሕላይ ሕኔት መዕነቱ ልፍህሞ፡ ክምሰል አጠዐሚቶ ነስአዉ። አፍ ሕኔት ለሐሌ ለትረከበት ሌጠ ልትለቀም። እበ ጠቢዐት ለሀበቶም ተ ሓለት ሌጠ ነብሮ። ተቅዪር እንዴ ኢልአመጽኦ ዲበ ክልቀቶም ለቀዳሚት ሐጠጠው። ሰበት ኢቀንጸው ህዬ ኢትጠወረው።

አዳም እብ መትጻባጥ ወውሕደት ናይ ገሮቡ እንዴ አንተብሀ ዶል ከድም ሰኒ ሸቄ ወልትሰርገል። ምናተ፡ ሐንገል ወለብዕድ ገሮብ ዎሮት ከአነ ሐይስ እት ልብል ዲብ ሕድ ሐቆ ቀንጸው ላተ፡ ምስለ ሰውረት ቀኒጽ እንዴ ነክረው እበ አካነቶም ለህለው ውላድ አበዎም ላቶም ሔዋናት ልትማሰሎ።


ንጉግወ ቲንጎ እትሊ ወቅት እሊ እሙር ፕሮፌሶር ህግየ እንግሊዝ ወመትቃርናይ አደብ ዲብ ጃምዐት ካሊፎርንያ – ኢርቪኔ ቱ። ህቱ እት ሰነት 1938 ዲብ ኬንየ ትወልደ። ዐይለቱ እብ ሐርስ ለትትናበር ዐይለት ዐባይ ዐለት። ዲብ አብያት ምህሮ ከማንዱረ፡ ማንጉ ወኪንዮጎርፒ መአንብታይት ደረጀት ድራሰቱ ሐቆለ አትመመ፣ ዲብ አሊያንስ ሃይስኩል ለትትበሀል ቤት ምህሮ ናይ ካልኣይት ደረጀት ምህሮሁ አክመለ። ሐቆ እሊ ገድም ምን ኬንየ በረ ዲብ ጃምዐት መኬሬሬ (ሐሬ ዲብ ኩልየት ጃምዐት ሎንደን ለትቀየረት) ካምፓለ – ኡጋንደ ወጃምዐት ሊድስ ናይ ብርጣንየ ደርሰ። እትሊ ወቅት እሊ ምን ዴንማርክ፡ ጀርመን፡ ብርጣንየ፡ ኒውዘላንድ፡ አሜሪከ ወአፍሪቀ ዐስር ናይ ሕሽመት ዶክተረይት ለትከበተ እሙር ፕሮፌሶር ቱ። እብ ተውሳክ ዲብ አሜሪከ ናይ ሕሽመት ዕዱ አከዳምየት መጅላት ኣርትስ ወአደብ እት ገብእ፡ እብ መጦር እሊ ዕዱ አከዳምየት መጃል ኣርትስ ወዕሉም አሜሪካ ቱ። እምበል እሊ ለትሰመ ብዕድ ብዞሕ ምህናት መልክ። እሊ ህዬ፥ ኬትባይ ኖቨል፡ መቃላት፡ ተማሲል፡ ሰሓፊ፡ መርትዓይ ወነሺጥ ናይ አከዳምየት ወእጅትማዕየት ፕሮፌሶር ቱ። ህቱ ክምሰል ከረ ዴቪል ኦን ዜ ክሮስ፡ ማቲጋሪ ወዊዛርድ ኦፍ ዜ ክሮስ ለልትበሀሎ አክትበት ካትብ ቱ።

(ምን ዔማታት ክቱብ ጊኩዩ ዲብ እንግሊዝ ለተርጀመ)

A poet and a journalist born in 1967, Mohammed Said Osman has also served as Head of the Program Development Unit for Educational Mass Media in Eritrea’s Ministry of Education. He won the Eritrea’s prestigious Raimok Prize for Tigre literature in 1995. He is the author of four books in Tigre, including Atrafie Wo Newishi (My Surroundings and Myself, 2003), a children’s book. His poem, “Juket,” can be found in Who Needs a Story: Contemporary Eritrean Literature in Tigrinya, Tigre, and Arabic (1995).