Today I went to visit MacDonald Nkhutabasa. He works in Limbe, Blantyre’s sister city and a twenty minute journey by public minibus. Minibuses are public death traps and wealthier Malawians, and all but a few backpacker whites, avoid them. But Limbe is a short distance and what with commuters slowing traffic between the two towns, the cars rarely pick up enough speed for blow-outs to be fatal. At first it seems impossible to know which minibus is the one you need, few are signposted, and all lurch back and forth, impatient to be on the go once sufficiently full of passengers. Minibuses compete for customers and are run by entrepreneurial individuals rather than established companies. One man, I was reliably informed, owns no less than 19 vehicles, all of which ply the route between Blantyre and Limbe; others are blessed only with one, a thriving four-wheeled business nonetheless. All minibuses compete fiercely for customers, and only depart when crammed to the hilt. Conductors operate as touts until departure, and must constantly entice passengers away from competitors by convincing them that their minibus is certain to be the first to fill up and depart. One way to engage in this rampant subterfuge is to keep engines running and to rev them up and down, occasionally even pulling away as if on the point of flying off to one’s destination, only to reverse again, as if to invite that one last customer to quickly commit their chances. When customers show uncertainty between vehicles, touts redouble their efforts and sometimes even enter into scraps and fisticuffs to defend their right to a passenger.
Macdonald had instructed me to wait for him outside the post office. Although I was myself late, there was no sign of him and so I sat for some time observing the hurly burly of street life. Limbe is much more of a market town than Blantyre, which is more officially commercial. Limbe is where Malawians go to shop, and traders go to hawk their wares. In front of the post office the shoe merchants had set up their pavement stalls, in a line, much in the way that high street shoe shops cluster together for shared economic interests. I was struck by the limited selection of styles that the women had to choose from, but perhaps shoes aren’t as important here fore women who certainly express their individual style with Chitenji, the coloured, patterned cloths that can become a dress or a headscarf in many different arrangements.
When Macdonald arrived, it was a great pleasure to see him again. Macdonald is a social worker with the Chisomo children’s club, a shelter and support service for children who have come to live on the streets. He was also one of the subjects for the film that I made here three years ago. It is strange to see one’s cinema subject after a substantial interval of time. Somehow, as I’d edited him into the film, it felt as if I’d also essentialised him into this frozen form. Soon after our re-meeting, Macdonald said something so similar in tone, and identical in voice and accent, to one of his lines in the film. It made me feel as if I were listening to a stuck record - ‘Yes, there are many children coming onto the streets, we are meeting a lot of children’. But of course, Macdonald is not a static frozen entity, and had much news for me about his life, and the lives and stories of the children and other social workers I’d known three years earlier. He showed me his course books for the part time BA that he is studying in Child and Youth Development, he told me about his recent trip to London to visit his sister and nephews, and he told me about the opening of the Chisomo Children’s Club in Limbe. We stopped for a coca cola at a petrol station, I’d hoped we could take the bottles away with us and stroll down the street with them, but because of the precious bottle deposit, we found ourselves standing in the forecourt attempting to enjoy our drinks but ending up hurriedly wolfing them down to escape the smell of petrol.
Macdonald agreed to help me on my various video projects – yes, I could gain access to a Malawian prison because Chisomo have a good relationship with the police with whom they go on night patrols to look out for children and the dangers they face on the streets at night; yes, I could film some of the food distribution programmes that are going on out here; and especially yes, I would be welcome to involve the children in a small participatory video project.
Before long it was 4:30 and approaching time to go home. The Malawian rush hour is strictly determined by the sun, whose tropical angles plummet it steeply towards the horizon at about 5:30 so that all is darkness within half an hour. Dusk, that long drawn out twilight of an English summer, passes so quickly that it is barely noticeable. Darkness is no condition to be outside the home or protective company of your peers or family. Offices shut down and Malawians begin their journeys home, much of which is done on foot so that the streets become busy with pedestrians. The wealthier Malawians and most white people drive off in their 4wd trucks. I find myself a curious anomaly, a white man on foot. My journey from the centre of town takes about 20 minutes of up and down work. I have already begun to find my routine, I stop at the People’s supermarket and purchase a few cold beers. This is like the starter pistol for my home run - my self assigned reward for the day will start to warm itself up as soon as I begin the journey. Carrying my little bag of beer and groceries, I plod along, eventually leaving the main road and entering an increasingly residential area. Sunnyside is my destination, a relatively affluent suburb where Melissa lives and where I am staying. When I return, there is no-one there, the security guard who has a set of keys, appears to be in town, and so I must sit outside and wait. I open one of my beers and light a cigarette whilst I look out at the ever darkening garden. I am conscious that in a few minutes the mosquitoes will begin their attack. I feel the first one brush against my ear, and then that piercing screech that tells you that you that you are being relentlessly hunted. Still, it is not so bad, today I have planned for this eventuality and brought repellent with me, which I smear over my exposed skin and settle back in my chair. Yesterday wasn’t so easy and I eventually had to make continual walking loops of the house to avoid being bitten. When Melissa returns she is horrified that I have had to sit outside in the darkness for such a time, and expresses her indignation that her security overlord Nick, has been absent in town when he should have been on the premises, letting me in and guarding the property from potential raiders.
Melissa’s house, like Melissa’s life, seems to lurch from one crisis to the next. The fridge has been broken for several weeks and so cold beers are an impossibility. This is the biggest setback in my opinion and I have made discreet inquiries about when we can recover the device from the repair shop, but Melissa is up to her eyeballs in work crises and so this task cannot be squeezed in at the moment. There were two functioning fans on my first night but the flimsy plastic on one of them has given way and so that it can no longer be propped up, thus rendering it useless. I suggest that Melissa’s need is greater and volunteer for a sweaty night, my only insistence being that Melissa find me some ear plugs to cut out that screeching sound of mosquitoes outside the net. The only ones available are found on her bedroom floor and look distinctly grimy. Melissa soaks them in some water as a gesture, but it makes little difference. Still, I have no choice, those piercing blood cries, even if one is separated by the net, make for an uneasy night of sleep.
In the mornings, I plod around the house in preparation for my day of investigation. Melissa is always at work by the time I arise. She runs a theatre organisation called Nanzikambe. Much of the time they put on plays created from real Malawian situations, and of course, always with Malawian actors. Last year, they put on a drama about the 2002 food crisis, this year they are planning another one. But their mission is not only to create drama on social issues, but also to elevate the culture of theatre in Malawi. At the moment, they are preparing for a production of Ibsen’s ‘The Doll’s House’. Of course, 19th century Norway and twentieth century Malawi are distant realities and so Melissa is translating the piece into a contemporary Malawian setting. To assist her in this, she has Karl and Toko. Karl is from Norway and has worked for many years putting on dramas in Africa, on this occasion he has been employed by the Norwegian government as a part of its Ibsen celebrations. Toko is a Malawian and one of Melissa’s most trusted actors. Together they go through the lines of the play and rework them, often with in-depth discussion of Malawian society and culture so that they can make the drama meaningful, change place names, settings, situations, in fact, change the whole social backdrop on which the story takes place. In front of them, as an essential guide, is a book of Chichewa proverbs. Whilst most of the production will be in English, it will occasionally be peppered with familiar Chichewa expressions and proverbs, especially where English ones seem outdated or lacking in local colour. My favourites so far are:
Ndadya thako la galu – “He ate the dog’s buttock” which indicates someone who goes from place to place, usually in search of pleasure.
And
Galu wandifera m’khwapa – “The dog has died in my armpit” – meaning I did what I could but fortune had a different idea.
Now they are discussing how the play will be received here, especially the controversial ending where the woman walks out on her husband, something which was scandalous in its nineteenth century European productions as much as it would be here. Such a gesture of defiance would be almost unthinkable here, and even more unlikely given the very real need that most women have for their husbands to provide for them and the children. Malawian men rule the home. From this they started to explore questions of love, and whether we are ethnocentric in our assumptions about what this means and how it will be shown.
Sadly I shan’t be here when they put on The Doll’s House, as the production is due to be performed early next year. However, on Saturday they will perform the Little Prince at the French Cultural Centre and so I am due a little drama whilst here.