Jalada 06: Diaspora



Cover Illustration by Guled Abdulwasi


Introduction: DWF x Jalada: Diaspora 

»“We are the Children of Diaspora” by Anisa Nandaula  ·  Distant Relatives” by Anne Moraa ·  “Stranger Kin” by Aline-Mwezi Niyonsenga ·  “Your Tears Are Hands Trying Not To Shake” by Ahmed Yussuf · “Amani and Upendo” by Mwas Mahugu ·  “Familiarity of the Diaspora Gang” by Adut Wol · “Lines on the Soles of My Feet” by Marziya Mohammedali · “Continental Spaces” by Richard Ali «


Credits: Bonus Edition, Jalada 05: The Fear Issue

fear bonus cover


Editor: Wanjeri Gakuru

Fiction Editors: Abdul Adan, Zak Waweru

Poetry Editor: Richard Ali

Cover Art (Source Image): John Jennings, Get Out, Buck!, 2017. Digital Media.

Cover Design: Marziya Mohammedali.

First published in July 2018
ISSN 2413-0524

© Jalada Africa Trust, 2018
P.O. Box 45140
Nairobi 00100

Copyright © 2018 by Jalada Africa.

All rights reserved. No part of this publication may be reproduced, reprinted, or reposted elsewhere without the prior permission in writing of Jalada Africa.

For enquiries concerning reproduction of selections from this anthology, write to jaladaafrica@gmail.com

Creative Commons License
JA 05: Bonus Edition by Jalada Africa is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Permissions beyond the scope of this license may be available at http://jalada.org/about/.

Jalada Translation Issue 01: Ngũgĩ wa Thiong’o

The Upright Revolution 3

The all body anthem

Project concept and Editorial coordination: Moses Kilolo


Original story in “Gikuyu” by Ngũgĩ wa Thiong’o


Available in 89 Languages


»“English” by Ngũgĩ wa Thiong’o ・ “Amharic” by Mahelet Lisanwork ・ “Dholuo” by Richard Oduor Oduku ・ “Kikamba” By Peter Ngila ・ “Lwisukha-Lwidakho” by Lutivini Majanja ・ “French” by Renée-Edwige DRO ・ “Arabic” by Nazar Mubarak Al Emam ・ “Luganda” by Nakisanze Segawa ・ “Kiswahili” By Idza Luhumyo ・ “Afrikaans” By Maneo Mohale ・ “Hausa” By Mazhun Idris ・ «

First Intermission: A recorded reading of the original story in Kikuyu by Eunice wa Mwaurah

»“Ikinyarwanda” by Louise Umutoni & Suzana Mukobwajana ・ “Meru” by Njagi Brian ・ “Lingala” By Richard Ali A Mutu ・ “IsiZulu” by Sihle Ntuli ・ “Igbo” by Nzube Ifechukwu ・ “Ibibio” by Daniel Ben Udoh ・ “Somali” by Khaloudy Mohamed Sa’eed & Abdillahi Raage “Sayyidka” ・ “isiNdebele” by Junior Moyo ・ “XiTsonga” by Moses Mtileni ・ “Nandi” By Gideon Chumo ・ “Rukiga” By Clare D Kyasiimire ・ «

Second Intermission: A recorded reading of the English translation by Wanjiku Mwaurah

»“Bamanankan” by Isumahila Sanba Tarawele ・ “Shona” by Tendai Huchu ・ “Lugbarati” By Diana Santiago ・ “Lubukusu” by Emily Wekulo ・ “Kimaragoli” by Anne Ayuma Odary ・ “Giriama” by Ngala Chome ・ “Sheng” by Mwangi Wa Mahugu (Mwas) ・ “Naija Languej” by Eriata Oribhabor ・ “Marakwet” by Paul Kipchumba ・ “Ewe” By Lydia Yayra Pentem Ayisah ・ «

Third Intermission: A recorded reading of the Sheng translation by Mwas Mahugu

»“Spanish” by Patricia Oliver ・ “Russian” by Nelly Shovikova ・ “Ebira” by Caleb Ajinomoh ・ “Portuguese” by Yovanka Paquete Perdigao ・ “Sesotho” by Litšoanelo Nei ・ “Kreol Morisien” by Soufia Bham and Javed Jangeerkhan ・ “Sepedi” by Mathabo Masilela ・ “Kannada” by Shashi Sampalli ・ “Fombina” by Farida Yahya ・ “Kipsigis” by Wesly Ngetich (aka Olchore) ・ “Nepali” by Jui Shrestha ・ «

Fourth Intermission: A recorded reading of the Lingala Translation by Richard Ali A Mutu

»“Acholi” by Beatrice Lamwaka ・ “Italian” by Giulia Zuodar ・ “Hungarian” by Andrea Nagy ・ “Vietnamese” by Duy Đoàn chuyển ngữ ・ “Kazak” by Marat Pussurmanov and Abdul Adan ・ “Marathi” by Gopal Mahamuni ・ “Tigrinya” by Akedir Ahmedin ・ “Tigre” by Mohammed Said Osman ・ “Dagaare” by Mark Ali and Kofi Dakoraa ・ “Kurdish” by Kamal Soleimani ・ «

Fifth Intermission: A recorded reading of the Hungarian Translation by Ungvári István

»“Odia” by Satya Pattanaik ・ “Yoruba” by Kọ́lá Túbọ̀sún ・ “Dhopadhola” by Oketcho Phillip ・“Igala” by Michael Achile Umameh ・ “Persian” by Babak Mazloumi ・ “Setswana” by Keabetswe Motlhodi ・“Mandarin” by Hang ZHOU ・ “Malayalam “ by Dr. Sajitha Mannumel Ahamedkutty ・ “German” by Miriam Pahl・ “Urdu” by Neelofer, Fauzia, and Syed Qadir ・ “Ekegusii” by Jane Bosibori Obuchi ・ “Tu’un sávi” by Florentino Solano ・ “Tamazight” by Salem Zenia ・ “Korean” by Serk-Bae Suh ・ “Teso” by Eumot J. Omung’a, Ishmael Masake & Olubayi Olubayi ・ “Dansk / Danish” by Ida Birch Kofoed ・ “Esperanto” by Antonio Riccio ・ “Ngambai” by Mbaihoguemel Samuel «

Sixth Intermission: A recorded reading of the Wolof Translation by Cornelius Gomez

»“Română” by Iuliana Guillot ・ “Turkish” by Özden Arıkan ・ “Dutch” by Ellen Singer ・ “Tamil” by Aniruddhan Vasudevan ・ “Slovenian” by Vesna Žagar ・ “Kusaal” by Hasiyatu Abubakari ・ «

In Print:

Shetlandic by Christine De Luca is published by Gutter: The magazine of new Scottish writing

Mandinka by Lamin Yarbo, SABLE Publications (Gambia)

Wolof by Cornelius Gomez, SABLE Publications (Gambia)

Fula by Abdoulaye Barry, SABLE Publications (Gambia)

“Swedish” by Jan Ristarp by Modernista (Sweden)

“Aranes, Asturianu (Bable), Castellano, Catala, Euskera and Galego” Rayo Verde (Spain)

Seventh Intermission: A recorded reading of the Spanish Translation by María

“Text to Mixed Media: A Visual Interpretation of the Upright Revolution” Ehbiting at the Jean Deleage Art Gallery, Los Angeles from May 2nd, 2019.

The Upright Revolution 2

Notes On Translators and Participating Editors

We encourage writers and translators who do not find their African languages featured in this issue and who would like to volunteer to contribute a translation of this story and to future Translation Issues to get in touch with us at jaladatranslations@gmail.com. Bonus submissions of translations will be published on a rolling basis.

The Upright Revolution in Gambian languages, Wolof, Mandika,and Fula, was published in Print by SABLE Publications for the occasion of Mboka Festival of Arts, Culture and Sport with Professor Ngũgĩ wa Thiong’o in attendance as Guest of Honour.

Prelude to Afrofuture(s)

Click to download: “Wangechi Mutu wonders why butterfly wings leave powder on the fingers, there was a coup today in Kenya.” by Binyavanga Wainaina (pdf)

FEATURING: “Wangechi Mutu wonders why butterfly wings leave powder on the fingers, there was a coup today in Kenya.” by Binyavanga Wainaina.

Jalada’s Afrofuture Anthology will be released on January 15th 2015. The Prelude, which features Binyavanga Wainaina’s profile of Wangechi Mutu, and her art, is a perfect expression of this shared dream among African artists to redefine how we envision future Africa. A group of Jalada editors are hard at work on the submissions, and here is what they have to say about it all.
(Moses Kilolo, Managing Editor)

I see Jalada’s Afrofuture issue as an expression of the Pan-African vision of Afrofuturism. Afrofuturistic art has always been about crossing the borders of time and space: it reaches into the distant past as well as the far future, and across the traumatic breach of the Middle Passage. I love that this anthology brings together voices and visions from different parts of Africa and the diaspora—to me, that’s the true spirit of Afrofuturism.
(Sofia Somatar, Fiction Editor)

‘Even our continent’s past is rightly contested; so, what about its possible futures? They are places of speculation: of hopes for something better, but equally of dystopian fears. The poems in Jalada’s forthcoming Afrofutures publication predict both, from across the diverse continent. But one thing about the future is known for sure: the Jalada anthology will be something worth reading, a miscellany that provides us with a range of plausible, beautiful, horrible options.’
(Stephen Derwent Partington, Poetry Editor)

As a reader, Afro-futurist writing, allows me to lose myself in vividly imagined worlds deeply and specifically rooted in who I am, as ‘African’, as ‘woman’, as ‘other’. When lost in the words, I explore and occasionally find myself.
As for being an editor: “You write to communicate to the hearts and minds of others what’s burning inside you. We edit to let the fire show through the smoke” (Arthur Plotnik) This anthology is a raging forest fire.
(Anne Moraa, Fiction Editor)

Afrofuture(s) is a call to all imaginations in the work of proliferating and continuing a remaking and rewriting of the African and the Black in resistance to what Keguro Macharia has described as “the persistent unmaking of black life”. This anthology is an opportunity to contest the raced, gendered, classed, and ethnicised ways we live now, to interpellate the variously colonised ways we exist here (everywhere), to confront the ongoing interruption of our history, and “stay woke” in that fantastic Delany-esque moment “when words tear from the nervous matrix and, like sparks, light what responses they may.”
(Orem, Reader)

Jalada’s Afrofuture anthology promises to shift perceptions and to enhance realities. It will make you think a new thought and feel a new emotion. Poems and stories from an Africa no longer afraid of its imagination. A generation of young minds willing to co-create their future. It will fizzle and pop in the mind: a titillating addition to our literary landscape.
(Kiprop Kimutai, Fiction Editor)

Our continent continues to change in a myriad of lovely, tragic, odd…ways. Many have tried to tell its story in the past, assuming such a thing as ‘its story’ exists. Others, again, have called for a retelling of its story. To say Jalada’s Afrofuture anthology will be breaking new ground in that spirit is a mischaracterization, because it simply does not care. This is about curiosity, contemplation, and most of all, the lofty reaches of art.
(Abdul Adan, Fiction Editor)

Wangechi Mutu’s work makes new things, and remixes. Her work became a middle-passage, never real in America, never real at home. She builds a world to live in that Africans can inhabit. An African global citizen is the inheritor of all archives. She is an early African provoking the season of Afro-futures. Once distressed, distorted, re-made, this African global citizen releases us from ugga booga fears of the hegemony that makes these magazines, and freezes us as one-dimensional agents of their glossy spectacle.
(Binyavanga Wainaina, “Wangechi Mutu wonders why butterfly wings leave powder on the fingers, there was a coup today in Kenya.”)