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Editor’s Note: This was excerpted from the Black Alliance for Peace’s AFRICOM Watch Bulletin.
The imperialist powers are bent on exploiting the labor and looting the mineral wealth of as many poor, underdeveloped countries as they possibly can.
Britain, France, Israel, Germany and the United States conduct joint military action against Africans—acts such as the invasion of Grenada, a country of 110,000 African people, and the invasion and destruction of Libya. The imperialists are further intensifying their use of military “proxies” within Africa against other parts of Africa, not to defend the interests of Africa, but to further the interests of capitalist-imperialism.
No small or isolated group of Africans can defeat imperialism, no matter how good their intentions. Only the working, struggling African masses can do it. But to do so, we must be organized and bound together by a common goal and guided by correct ideas. In other words, the masses must be correctly organized!
U.S. Out of Africa: Voices from the Struggle
Dr. Gerald Horne is the author of over 30 books, among them most recently would be the Bittersweet Science: Racism, Racketeering and the Political Economy of Boxing and The Dawning of the Apocalypse: The Roots of Slavery, White Supremacy, Settler Colonialism and Capitalism, in the Long Sixteenth Century. He currently holds the John J. and Rebecca Moors Chair of History and African American Studies at the University of Houston. He is considered by many to be the gold standard for radical historians and the go-to scholar for alternatives to neoliberal political and historical narratives. We spoke with him about a wide variety of issues around our work concerning Africa.
AFRICOM Watch Bulletin: Counterterrorism was the espoused pretext for the development and installation of US AFRICOM onto the African continent which now exist in 53 or the 54 countries. Can you talk about how terrorism is used today compared to how Communism once was, and has it indeed surpassed communism as the go-to pretext for US imperial interventionism projects?
Gerald Horne: A central problem with “terrorism” as a lever for imperial intervention in Africa is the dearth of self-criticism. That is, during the Cold War, Washington collaborated with religious zealots and fanatics, not least in Afghanistan, not least with the rulers of certain Gulf monarchies, in order to weaken various socialist projects. Now like a perpetual motion machine, imperialism has now decided—at least on the surface—to target this phenomenon. I say “on the surface” because there is still collaboration with, e.g. Saudi Arabia and the vulturous regimes who signed the so-called “Abraham Accords” in September 2020 in order to weaken Palestinian resistance. Of course, today this phenomenon is now wreaking havoc in northern Mozambique.
AWB: You have done a great deal of comprehensive work on liberation struggles on the African continent. Unfortunately, your analysis is not the center of US curriculums. What steps can be taken the change that reality?
GH: I think that work should be done in league with the Zinn Project, which seeks to inject progressivism in educational curricula. This would also include the two major unions–the National Education Association and the American Federation of Teachers. This would also include fierce fightback against current legislative efforts to circumscribe “Critical Race Theory”, which detractors could hardly describe or define, if pressed.
AWB: Israel has been making strides in establishing partnerships with several African countries despite its continued maintenance of an apartheid state and oppression of the indigenous Palestinian population. To what degree do you attribute this pattern of African countries turning a blind eye to Israeli human rights violations so short of a time after the anti-apartheid struggle in South Africa?
GH: With the erosion of the socialist bloc, post 1991, African nations–and indeed the entire global left–has faced difficulty in standing up to U.S. imperialism and its proxy: Israel. On the other hand, this is nothing new, for even pre-1991 nations e.g. Morocco stood alongside imperialism. (Parenthetically, in my 16th century book I pointed out that a gigantic step forward for the acceleration of the African Slave Trade took place in 1591 when Rabat collaborated with London in destabilizing the Songhay Empire; today, Rabat continues to suppress the liberation of “Western Sahara”.) The struggle continues…
AWB: What will it take for Black evangelicals, be they in Africa or the Diaspora, to rethink their unconditional support for Israel?
GH: In order to force the “Black Evangelicals” to move, we will have to heighten our own struggle and then they will find the ground beneath their feet moving. There are already signs of rifts between BE and Israel and I do not envision this trend dissipating any time soon.
AWB: Paul Robeson, Malcolm X, Kwame Ture are among the Pan Africanists who tied African American progress to the liberation of Africa. How can we grow the number of Black folks in America to this line of thinking?
GH: We must continue what we have been doing–with more. We must organize more picket lines and study groups. We must make more media appearances. We must launch more documentary projects. We must establish a presence at the African Union in Addis Ababa and CARICOM too. We must picket the OAS headquarters in Washington, DC, especially re: the crisis in Colombia. We must **organize**.
AWB: Thank you for your time and revolutionary analysis!
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.
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.”
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.
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.
This article was produced by Peoples Dispatch / Globetrotter News Service.
The Workers’ Party of Tunisia and several human rights groups have strongly objected to a deal proposed by European countries on the movement of migrants. They have called it a violation of sovereignty and the human rights of refugees.
On June 11, top European Union (EU) officials visited Tunisia and issued a joint statement after meeting President Kais Saied, saying that both parties have agreed to work jointly to end “irregular migration.”
Critics of the deal claim that the EU is using Tunisia’s precarious economic condition to force it to control the movement of migrants across the Mediterranean Sea in exchange for financial support, just like they did with Turkey and Libya.
The Workers’ Party claimed in a statement on June 15 that any such deal will make Tunisia a “policeman” patrolling its borders so that people trying to escape their deteriorating economic conditions can be stopped from going to Europe and punished.
Reports indicate that the EU is pushing Tunisia to establish a harsh border policy in exchange for its support for the country’s stalled bid to obtain a $1.9 billion loan from the International Monetary Fund.
Tunisia’s loan has been stalled for months due to Saied’s reluctance to implement the reforms demanded by the IMF. Saied is reportedly worried that his government—already facing large-scale popular resistance since his political coup in July 2021—will face another popular upsurge if the IMF’s demands to cut subsidies for essential commodities such as flour and fuel, cuts to social services, and privatization are implemented.