Woman Writing Nation: Uganda, FEMRITE, and "Holding on to the Memories"
An Introduction to Jackee Budesta Batanda's story "Holding on to the Memories"
Literature in contemporary Uganda, particularly of the past fifteen
years, has been invigorated by and primarily made up of the productions and
publications of FEMRITE, the Uganda Women Writers' Association.
FEMRITE's writer-members, the most prolific and important literary
figures of present-day Uganda, have presided over a vital and
revolutionary rebirthing of Ugandan literature. Through their writing
and publishing, this Kampala-based collective has promoted and achieved
its mission of creating and redefining Ugandan literature.
Simultaneously, the organization has addressed and redressed the
historic absence of women from literary production by prioritizing women
as writers, advocating and supporting a reading culture, and continually
emphasizing a national setting and focus.
FEMRITE's literature, reflecting and progressing toward these goals,
articulates multiple objectives of women's social and political
participation, independence, education, and professional achievement.
The authors' portrayals of the nation represent Uganda as both male and
female, Southern and Northern,[1]
and home to stories not only of
conflict, poverty, violence, and AIDS but also of love, family,
friendship, and peace. Through this inclusive literary characterization
of Uganda, FEMRITE pioneers the reformulation of both the gender
dimensions and the national parameters of Ugandan identity.
Jackee Budesta Batanda's "Holding on to the Memories" exemplifies the
achievements of FEMRITE in spearheading Ugandan literary production and
redefining the national imaginary. This short story also serves as a
brilliant example of the commitment and skill that have won Batanda
numerous awards.[2]
Her increasing international acclaim (and that of her
FEMRITE colleagues) points to conversations within a broader context of
literatures of Africa and the African diaspora, with this particular
story helping to usher in Uganda's participation in this global
forum.
An insightful and profound illustration of the effects of political
violence, "Holding on to the Memories" centers on Naboro, a fiercely
independent young woman of contemporary Kampala who struggles to
reconcile the release of her father from prison. Implicitly highlighting
the terror and confusion of the government of dictator General Idi Amin
(1971-1979), Batanda's story addresses corruption, state-sanctioned
terror, and political imprisonment, while maintaining an understated and
individual lens. She indicates, through the fictional family of Zahara,
Nasser, and Naboro, the subtle and emotional effects of Amin's
extravagant and violent dictatorship, and the ongoing struggles of
everyday Ugandans to understand and process this difficult history.
While continually emphasizing Naboro's personal experience, Batanda
places her narrative in a frame both Ugandan and African. She juxtaposes
matter-of-fact reference to political corruption in Uganda against an
insightful and tangible depiction of a family intrinsically affected by
it, explicitly relating Naboro's story to national and global concerns
of community and collective memory. Batanda begins her story with an
account of Nelson Mandela's procession through Kampala: "[W]e were lined
along the streets under the bottlebrush trees along the International
Conference Centre, like bouquets on display, to welcome him." This
initial moment of collective pride and anticipation shifts abruptly with
the return of Naboro's father. Unable to welcome Nasser with the
celebration given to Mandela, Naboro must come to terms with his
participation in Amin's repressive regime, with her own sense of sharing
in his guilt, and with the realities of post-Amin Uganda. After
initially rebelling against her father's presence, Naboro refigures her
identity in relation to her family, her community, and her country.
Like her colleagues and contemporaries among the new wave of writers
in Uganda and beyond, Batanda inscribes into collective consciousness
essential issues of identity, self-assertion, familial relationships,
and reconciliation with an uncomfortable and difficult past. Like
Naboro, Batanda carves out a personal and shared space, holding on to
memories through her protagonist and her writing itself.
Endnotes
1. Due to a history of conflict and imbalance that predates Uganda's
independence, a split between North and South exists in terms of
politics, relative levels of infrastructure and development, and
identity. See Uganda Rising (2006) or Lomo and Hovil (2004). [Return to text]
2. Batanda's short story "Dance with Me" won the Commonwealth
Broadcasting Association Short Story Competition, Africa Region; some of
her other stories have been shortlisted for the MacMillan Writers Prize
for Africa and highly commended for the Caine Prize. [Return to text]
Bibliography/Further Reading
Barungi, Violet, ed. Gifts of Harvest. Kampala: FEMRITE
Publications, 2006.
Boehmer, Elleke. Stories of Women: Gender and Narrative in the
Postcolonial Nation. Manchester and New York: Manchester University
Press, 2005.
FEMRITE. 2006. Uganda Women Writers' Association. www.femriteug.org.
Lihamba, Amandina, Fulata L. Moyo, M.M. Mukolozi, Naomi L. Shitemi,
and Saida Yahya-Othman, eds. Women Writing Africa: The Eastern
Region. New York: The Feminist Press at the City University of New
York, 2007.
Lomo, Zachary, and Lucy Hovil. Behind the Violence: The War in
Northern Uganda. ISS Monogram Series No. 9. Pretoria: Institute for
Security Studies, 2004.
Mamdani, Mahmood. Imperialism and Fascism in Uganda. Trenton:
Africa World Press, 1984.
Mutibwa, Phares. Uganda Since Independence: A Story of Unfulfilled
Hopes. Kampala: Fountain Publishers, and London: C. Hurst & Co.,
1992.
Ofcansky, Thomas P. Uganda: Tarnished Pearl of Africa.
Boulder: Westview Press, 1996.
Uganda Rising. Dir. Pete McCormack, Jesse James Miller.
Mindset Media, 2006.
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