People take part in a protest against the military offensive led by Libyan National Army commander Khalifa Haftar, at Martyrs’ Square in Tripoli, Libya, on May 17, 2019 / credit: Xinhua/Amru Salahuddien
Editor’s Note: The following opinion was first published in Black Agenda Report.
If U.S. imperialism could only be said to be one thing, it is audacious. Recently U.S. rulers have been making a fuss over Russian troops on their own border with Ukraine, while 1,000 U.S. National Guard soldiers were deployed to the Horn of Africa, in countries where the U.S. shares no borders and is actually more than 7,396 miles away.
Ever since its government was destroyed in 2011 in the first operation of the U.S. Africa Command (AFRICOM), Libya has been the quintessential victim of U.S. audacity in Africa. Now, led by the United States, Western officials have been talking up a UN-led peace process in Libya that insists on “inclusive” and “credible” elections starting on December 24, despite serious disputes over how they should be held.
Of course the Libyan people should have the right to decide their leaders, forms of government, and politics. In fact, however, it is extremely difficult to see through the murk created by the inhumanity of the U.S.-EU-NATO axis of domination.
But what sort of process for nominating candidates are the Libyan people able to exercise? How credible and inclusive can an election be that is cast in the midst of a civil war and with the United States presiding over the country’s affairs like a Godfather?
The imperialist structure responsible for leading the overthrow of the Socialist People’s Libyan Arab Jamahiriya , AFRICOM, just backed the election efforts of U.S. Ambassador to Libya Richard Norland. This was after Norland took to Twitter to scold those discrediting the elections saying, “We call on all parties to de-escalate tensions and to respect the Libyan-led, legal, and administrative electoral processes underway.”
For these emissaries of empire, such statements are mere words of formality, empty rhetoric meant to minimize the glare of the contradiction: they created a failed state.
Reports have surfaced about the likely re-emergence of violence which has been on pause during a very fragile ceasefire. There have been stolen voter cards , an allegedly politically motivated disqualification of 25 of the 98 presidential hopefuls by the election commission, a chaotic appeals process, and, of course, a delay in the final list of candidates.
Then there were also the road blocks by gunmen backing eastern military chief and former CIA operative Khalifa Haftar to prevent travel to a court in the southern city of Sebha set to examine the appeal by Saif al-Islam Gaddafi to run for president. It is no surprise that Haftar himself is also a presidential candidate.
Initially Saif al-Islam, son of the murdered Libyan leader Muammar Gaddafi, was being excluded from a bid for presidency by the High Elections Commission. Before a Libyan court ruled on December 2 that Gaddafi can run for president, the case had endured an armed attack on the Sebha Court of Appeals followed by a protest in front of the Sebha Court at the end of November, organized by the people of the city of Ghat against the closure of the court by force.
The protesters, in support of Saif Gaddafi, demanding free and fair elections, and an impartial judiciary said, “…there are those who want to occupy the country and restore colonialism again, and who threaten to divide the country according to the interests of the international powers.”
Black and Brown people of the Global South know full well about what the protesters from Ghat are protesting. The capitalist, white surpremacist order has to disparage people-centered projects and legitimize anything in the interest of racist neoliberalism.
Some of the most transparent and participatory elections in the world, in Nicaragua and Venezuela, are denounced and demonized by the same international powers, its institutional extensions like the OAS, and its corporate media mouthpieces. Beneath that newswire is the irony of a Libya literally destroyed by the same forces. Now, ten years later, it is being forced into a largely illegitimate process.
The title “dictator” is bandied around for all leaders not compliant to Western interests, as was commonly done to the late Muammar Gaddafi. A common sense question one might ask is: Why go through such lengths to prevent the candidacy of the son of a dictator supposedly intent on reestablishing his father’s dynasty?
Once the non-white working class inside the belly of the beast realize that the United States is an undemocratic oligarchy that cannot pretend to offer, to the rest of the world, a nonexistent “democracy,” then it will begin to see that the internationalist fight to support the people of Libya is the same as the domestic fight to liberate those struggling for justice.
Editor’s Note: This article was originally published by Kawsachun News.
Comrade Chris Matlhako, the Secretary for International Affairs of the South African Communist Party and Central Committee member, passed away in the morning of April 20, 2023, at the age of 58. He was a diligent friend to the peoples of Latin America and the Caribbean and partner in the building of socialism internationally. Deepest condolences were expressed by the Cuban embassy and Ambassador in South Africa: “The world loses one of its most exceptional sons.”
Chris, an internationalist, traveled on many occasions to Venezuela and Cuba, offering solidarity and accompaniment from Africa and was an important voice in opposing NATO and the cold war on China. Chris condemned imperialist aggression against Palestine, Cuba, Venezuela, Iran and other countries, urging international solidarity from South Africa and was on the Steering Committee for the Black Alliance for Peace’s U.S. Out of Africa Network.
The African National Congress paid tribute in a statement that can be read here.
Below is the statement issued by the South African Communist Party on Comrade Chris Matlhako’s passing.
South African Communist Party
20 April 2023
SACP dips its red flag and mourns the passing of Central Committee member Comrade Chris Matlhako (21 October 1964 – 20 April 2023)
The South African Communist Party (SACP) conveys its message of deepest condolences to the family of Comrade Chris Matlhako, SACP 15th National Congress Central Committee member who served our Party and movement diligently.
Comrade Chris Matlhako passed away on Thursday morning, 20 April 2023.
The SACP also sends its message of condolences to the entire liberation movement which he served till he breathed his last, as well as the working-class across the world.
At the time of his passing, Comrade Chris Matlhako served the SACP as a full-time Central Committee Member as elected by the SACP 15th National Congress held 13 – 16 July 2022. In this capacity, he served as Secretary for International Relations at the Party’s Headquarters in Johannesburg. Previously, he was the SACP 2nd Deputy General Secretary as elected by the 14th National Congress in 2017, and served as a Central Committee member before that tenure. He was also a member of the African National Congress and participated in the mass democratic movement as an activist and leader.
Comrade Chris Matlhako joined the South Africa liberation struggle as a student, actively participating in the student movement to fight against the apartheid system. He later joined the SACP and never shifted from the socialist course.
An astute intellectual fully committed to the socialist cause, Comrade Chris penned many articles for various publications, local and international, on numerous subjects concerning the revolution. A collection of his articles published in various publications over the years was made available and serialised in the magazine Thinking Che, with the first volume appearing in 2019.
Comrade Chris Matlhako did not limit himself to serving the South African working-class, however. He also spread himself across the world, helping to raise the international struggle against imperialism and assiduously delivering the SACP’s message to various parts of the world. As part of his internationalist work, Comrade Chris served as the General-Secretary of the Friends of Cuba Society – South Africa (FOCUS-SA) and was also a member of the South African Peace Initiative, among other responsibilities. He also represented the Party in the Working Group of the International Communist and Workers Parties, directly contributing to shaping and sharpening the socialist voices across all lands.
In paying tribute to Comrade Chris Matlhako, the SACP will continue to tirelessly organise the working-class, galvanise the left forces in order to deepen the building of a socialist movement of the workers and the poor, as mandated by our 15th National Congress. In taking forward his work, the SACP calls for more revolutionaries to actively involve themselves in Marxist-Leninist intellectual work as well as working-class internationalism.
The SACP calls upon young communists, as led by the Young Communist League of South Africa, whom Comrade Chris worked very hard to nurture, to preserve his legacy by organising the youth of our country to fight against imperialism, towards socialism.
Activism and Art are a potent combination for addressing problems that are both enduring and unendurable. The play, Eclipsed, transports the audience into the intimate dwelling of women struggling to survive while living as sexual slaves in a rebel forces encampment at the end of the Liberian civil war in 2003. The story follows a 15-year-old African girl as she escapes from the encampment to become a child soldier in the rebel forces.
Written by Zimbabwean-American playwright Danai Gurira, Eclipsed made history by being the first Broadway show with an all-female cast, and the first all African-American cast, and an all-female creative team. Eclipsed was on Broadway in 2016, with Oscar winner Lupita Nyong’o in the lead role.
The playwright wants to create awareness about injustices encountered by girls and women around the world by the stories in her plays. “Narrative is in my toolbox, and what I find powerful about narrative is that it actually allows people to be connected, to be disarmed, to see other people across the world that they might perceive of as statistics, [rather than] as actual fellow people that they care about and that they want to see freed to live self-determined lives,” she said in an interview.
United Methodist Women parade the streets in Marshall City, Liberia, to protest sexual violence against women and girls during the group’s 72nd annual session held Jan. 21-27, 2020. Photo by E Julu Swen, UM News. The national lockdowns imposed to counter the spread of the coronavirus in many African countries have created a fertile ground for violence against women and girls.
Gurira’s work transcends the rationalizations created by terms such as “rape as a weapon of war” that are used to characterize the human experience of sexual violation and violence. Her work portrays the humanity of the captive women, and the difficult choices they must make during a time of war, and how the trauma of those experiences, particularly rape, changes them.
Why is Eclipsed relevant now? In September of 2020, President George Weah of Liberia declared rape a national emergency following a three day protest in the capital city of Monrovia. There were 5,000 anti-rape protesters, and there were violent clashes with authorities. Police tear-gassed thousands of anti-rape protesters. It is difficult to collect meaningful statistics as to the rate of rape in Liberia. A World Health Organization report estimated 75% of women in Liberia at the end of the civil war had experienced rape. That statistic was challenged by American writers because, they wrote, it seems like an improbably high rate. However, the current situation in Liberia, where Covid-19 restrictions have increased the number of Sex and Gender-based attacks by fifty percent, is compared to the same high rate of attacks during the Liberian civil war (1999-2003)
which is the setting of Eclipsed.
The impetus for writing the play came from a 2003 photo appearing in the Western press of Liberian women fighters. Gurira was struck by their attractive appearance, the fierce and intense look in their eyes, and by their guns and their stylish fighting gear. In 2003, the Wall Street Journal interviewed a 20-year-old fighter calle1d Black Diamond, and described her appearance in an almost romantic way: “A pistol and a cellular phone hung from her trendy, wide leather belt. Her jeans were embroidered with roses. Her fellow guerrillas were equally fashionable, wearing tight-fitting jeans, leopard-print blouses and an assortment of jewelry. The number of women in her unit, she said, is a military secret.”
Colonel “Black Diamond” (C/with glasses) is flanked by her women bodyguards, members of the LURD (Liberians United for Reconciliation and Democracy) 09 August 2003 as they return from a patrol Photo: Georges Gobet, AFP .
Gurira traveled to Liberia in 2007, setting off on a journey that would reveal that the intensity of the young women fighters in the photo was not empowerment, or a fierce loyalty to the rebel forces and brotherly rebel male fighters. Instead, the style and swagger of the young women covered over the deep trauma of having lived through unspeakable horrors during the civil war including being gang-raped, watching family members murdered, their homes looted and mothers and sisters raped by soldiers. Gurira interviewed thirty women including former women soldiers and women in the Peace Movement who are credited with forcing an end to the Civil War. The characters in the play reflect the histories of those women, as well as Gurira’s research, including the award winning. documentary Pray the Devil Back to Hell and the Human Rights Watch report “Roles and Responsibilities of Child Soldiers”.
Gurira weaves together a story that brings the audience into the women’s lives, using experiences that we can identify within our own lives. The women fuss about their hair, clothing and what will there be for dinner, even as they hide the fifteen-year-old girl from their abuser, the Commanding Officer. The fifteen-year-old, who is called “The Girl,” arrives at the camp as a bright, energetic child, able to read, and having plans to go to school to become a doctor or constitutional lawyer.
The commander, called the “CO” by the women, attacks The Girl when she goes outside to go to the bathroom, then designates her as the “number four” wife. After The Girl is raped by the CO, she returns to the shed where the Wives live together. She is listless and unresponsive to questions from the women about what happened, except to say the CO “did it” to her. Soon after, the CO arrives at the women’s shed, and with dread and anxiety they must line up for him, as he chooses which woman he will take away next.
The women in the play go by their ranking as “Wives,” a system set by the CO, and they do not use each other’s names, but address each other with their number in the ranking. Wife Number One, the eldest wife, was captured when she was twelve, and has been held captive for ten years. Number Two was ousted from the women’s shed and has become a rebel fighter. Number Three is six months pregnant with the CO’s child.
After the CO’s officers loot a village, he gives clothing and other items to Wife Number One, and she finds a book about Bill Clinton. The Girl reads parts of it to some of the other Wives, and their struggle to make sense of Clinton’s troubles provides some comic relief to an otherwise intense and harrowing play.
Wife Number Three calls Monica Lewinsky,“Wife Number Two,” and the woman express wonder at the U.S. Congress trying to remove Clinton as president for having two wives. They remark on the closeness they feel as Liberians to the United States, since it was the United States that set up the founding of their country.
The play Eclipse on stage
Wife Number Two returns to visit the women’s shed, carrying a large gun and dressed in jeans and a slinky top. She has brought food for the Wives, offering a bag of rice because they have none. Wife Number One has moral authority, and will not accept the food, because Number Two is involved in war atrocities. Number Three, pregnant and bemoaning the shortage of food, wants to accept the rice. The apparent freedom that Number Two has as a soldier appeals to The Girl.
Number Two entices The Girl to become a soldier so that she can get a gun and protect herself from being raped. The Girl follows Number Two and becomes a child soldier. She finds she is required to participate in looting, killing and (much to her dismay) rounding up girls from the ransacked villages to bring to soldiers to be raped.
A woman from the Liberian Woman’s Peace movement secretively visits the Wives to tell them that the war will be ending soon. The unendurable trauma of their war experience has unraveled the Wives’ identities, and they struggle to remember what their names were before the war. Rita, the Peace Woman, coaxes Number One to remember. Finally, she whispers her name, and Rita writes “Helena” in the dirt of the shed floor. The educated and upper-class Peace Woman, Rita, has her own story. Her daughter has disappeared, and she searches the rebel camps in hopes of finding her. Gurira lays bare Rita’s struggle with her classism when Rita airs the complaints of the Peace Women to Helena, saying that the CO is “trying to treat us like we’re village girls they rob from the bush,” without awareness that Helena herself was a 12-year-old girl running from an attack on her family’s home in a village, and captured when she was hiding in the bush.
The play ends when Charles Taylor leaves Liberia, signaling the winding down of the long civil war. The Girl has to choose whether to give up her gun in order to go with the Peace Women group; or to keep her gun and go back to the camp of rebel fighters. Helena (Number One) struggles with her decision to leave at first because her identity is her rank in the camp. Number Two cannot believe that she will be safe if she gives up her gun, and she returns to the rebel fighters’ camp. Number Three has her baby, and she chooses to stay with the C.O., believing that he will take care of her and her baby girl. She named the girl Clintine, after Bill Clinton. The naming of this Liberian child, begotten by rape at a rebel commanders’ camp during wartime, may symbolize Liberia’s call for support from their parent country.
Liberia was founded by the American Colonization Society in the early 1800’s as the first free country in Africa, as part of the “Back to Africa” movement designed by U.S. government to avoid abolishing slavery. For many years, U.S. involvement in Liberia was significant, especially in the exploitation of resources (rubber, diamonds and gold) by the Firestone Tire and Rubber Company starting in the 1920’s. The U.S. supported the violent and repressive government of Samuel Doe (1980-1990) but has been gradually but continuously disengaging since the end of the Cold War. In 1990, at the beginning of the brutal, 14 year Liberian Civil War, the U.S. citizens were evacuated and U.S. involvement, for practical purposes, ended.
The commanders in the Civil War illegally, according to the Geneva Convention, used over 15,000 children under the age of 18 as soldiers in fighting in Liberia between 2000 and 2002. Many people question U.S. disengagement with Liberia, a country considered to be the “stepchild” of the United States. One U.S. expert says that Liberia sees itself as the 51st state. However, while there are significant straightforward needs in Liberia now, such as DNA machines used to determine the perpetrator of a rape and technicians who know how to operate them, there are questions as to why the U.S. has continued to be unresponsive to Liberia’s crisis.
Despite declaring rape to be a national emergency last September, President Weah has not followed through with establishing a special prosecutor for rape, or setting up a national sex offender registry, or establishing Criminal Court E for hearing rape cases across the 15 counties in Liberia. In March of 2021, President Weah unveiled a DNA testing machine to be used to aid prosecution of rape cases. However, media reports indicate that there are no trained technicians who know how to operate the machine in Liberia.
In Our Bodies, Their Battlefields, Christine Lamb writes that rape is the cheapest weapon known to man.” And also one of the oldest, as some scholars analyze the Book of Deuteronomy’s “Law of the Beautiful Captive Woman” to support a view that women may be treated as “spoils of war”. There were many wartime atrocities, but in particular, the weaponizing of raping women and children leaves a lasting imprint on the cultural integrity of a society. The society in Liberia after the war has been called a “culture of impunity” where there is no penalty for attacking women and children.
Danai Gurira founded a website, newsletter and blog called Love Our Girls which raises awareness about girls in African who are abused and forgotten. She writes there:
“As a writer, scripting narratives is my act of resistance, my way of bringing that unheard African female voice front and center and allowing it to manifest its astounding value. I have always had a passion for women and girls, a hope to see them function on the same playing field as men and have the same opportunities and appropriate protections. I want to be more than an actress and storyteller but an advocate for women, not only in underdeveloped countries but all over the world.”
The play’s central theme is that the light inside of each of these women, a light that can be seen clearly in The Girl when she first arrives at the camp, is eclipsed by the trauma of rape and captivity. For the women who become fighters, this is compounded by the horror of the acts of war they witness and participate in.
Eclipsed is about how the light within these women was blocked by the reign of terror of the warlords, their soldiers, and soldiers of the government.
It is an open question as the curtain comes down: what will become of these girls and women when the war has ended? And it is an open question as well: what will it take, locally and globally, to repair the shattered norms that allow rape of children and women to be happening at alarming rates, and to muster the political will to prosecute and convict those who commit those crimes? Gurira uplifts the stories of women and girls in war and invites audiences to see the lives of women and girls who are subjected to repetitive rape, deprivation of food and freedom, by not showing them as “flailing victims” but instead “… these are dynamic women and girls, in the most treacherous of circumstances, and I want the audience to feel at home with them.” The play provokes the empathy that is necessary for social justice.
Lesley Becker is a playwright and director living in Vermont and a Reparative Board member at the Burlington Community Justice Center. Her plays are available to read on New Play Exchange; she is a member of the Dramatist Guild.
