KUMBUKUMBU YA KUMWENZI MAREHEMU EUPHRASE KEZILAHABI (1944 – 2020)

Hailing from Namagondo village, Ukerewe Island in Lake Nyanza, Euphrase Kezilahabi’s literary wit scaled his career to professorship. His deep interest in literature and philosophical ideas already germinated when he was attending secondary school, the Catholic seminary Nyegezi. It was at this time when he wrote Rosa Mistika. Later, he joined the University of Dar es Salaam where he earned a BA and later a MA degree, with a thesis on the “father of modern Swahili literature”, Shaaban Robert. His singular intellectual ability earned him a placement as Assistant Lecturer at the same University until he enrolled for a second MA degree and subsequently a PhD degree at the University of Wisconsin Madison. His specialty on African philosophy and literature allowed him to graduate and acquire professorship. He went back to teach at the University of Dar es Salaam, before in 1995, he moved to teach at the University of Botswana where he continued to teach until he suffered from a stroke in 2017. After having returned to Dar es Salaam for the last two years of his life, he passed away on January 8, 2020. May his soul rest in peace.
His literary composition comprised poetry, drama, novels and short stories. Rosa Mistika (1971) exposes realities of educational life for girls in the context of Ukerewe and Mwanza, at the time of its writing. His further long-lived novels are Kichwamaji (1974), Dunia Uwanja wa Fujo (1975), Gamba la Nyoka (1979), Nagona ([1987/]1990) and Mzingile (1991). While Rosa Mistika is perhaps still the most popular of his novels (followed by Dunia Uwanja wa Fujo), Nagona and Mzingile stand out as the most complex of his novels which have caused numerous debates in literary scholarship. His collections of poetry include Kichomi (1974), Karibu Ndani (1988) and Dhifa (2008). His choice of and advocacy for poems in free verse dismissed the traditionally structured approach in composition and gave way to an intense debate on the conventions of Swahili poetry. His drama Kaptula la Marx (1978) gained popularity across Tanzania and abroad since it talked about politics of socialism and self-reliance that was prominent in Tanzania at the time. His short stories appeared in newspapers such as Mwananchi that were later adopted in several books such as Mbonde Msokile’s guide on composing short stories (1992) and Kyallo Wamitila’s collections of short stories (2004, 2007, 2010).
His philosophical wit creatively brought seemingly unimaginable abstract ideas to life. It delved into questions on God’s existence, humanity, ontology, the meaning of life and existentialism. He also dealt with sensitive social and political issues such as the dichotomy of “tradition” and modernity, gender roles, and Ujamaa, the Tanzanian variant of African socialism. While Kezilahabi’s earlier work is rooted in realism, he later started a new paradigm of writing in Swahili literature, variously analysed as experimentalism, post-realism and post-modernism. Some of its characteristics are a playful combination of different genres, a combination of oral and written literature from both Tanzania and across the world, fragmentation, minimalism and a sophisticated use of imagery informed by an aesthethic and philosophical agenda of its own kind. He remained an ambassador for Swahili language and literature by writing his work in Swahili, while advocating writing in African languages, and writing in indigenous languages in general.
This Baraza, conceived by Lutz Diegner (Lecturer in Swahili Language and Literature, Humboldt University Berlin), served to honour and remember Euphrase Kezilahabi by shedding some light on his life and work. After some opening remarks by co-hosts Kai Kresse (Vice Director and Professor of Anthropology, ZMO) and Lutz Diegner, Neema Benson Sway (Lecturer and Researcher, Institute of Kiswahili Studies, University of Dar es Salaam) started a series of presentations by giving a brief outline of Euphrase Kezilahabi’s life and work. Alena Rettová (Professor of African and Afrophone Philosophies, University of Bayreuth) dealt with Kezilahabi’s philosophical thought by highlighting some of its major features to be found in both this academic and fictional work. Roberto Gaudioso (Researcher in Swahili Literature, University of Napoli) spoke about his poetry and his different approaches to Kezilahabi’s poetry as a researcher and a poet himself. Lutz Diegner then went on to focus on his novels and his ability to discuss complex subjects in simple language. Furthermore, he emphasized Kezilahabi’s ample use of several stylistic devices in his works, such as metaphors, allegories and symbols. Josefine Rindt (BA African Studies, Humboldt University, MA student in Gender, Intersectionality and Politics, Free University Berlin) and Lena Dasch (BA African Studies, University of Bayreuth, MA student in African Studies, Humboldt University Berlin), subsequently gave a short insight into one of Kezilahabi’s best-known novels, Dunia Uwanja wa Fujo, and demonstrated how relevant it is to (re-)read this novel nowadays, especially against the backdrop of the year 2020.
In several rounds of discussion chaired by Neema Benson Sway and Erasto John Duwe (Lecturer and Editor, Institute of Kiswahili Studies, University of Dar es Salaam), participants from Tanzania, Kenya, the US, Great Britain, France, Italy, Switzerland, the Czech Republic and Germany – among them a number of doyens of Swahili literature like Farouk Topan, Abdilatif Abdalla, Catherine Ndungo, Kyallo Wamitila, and Aldin Mutembei – engaged in a rich discussion about Kezilahabi’s work, his methods and ideas.
As Marehemu Kezilhabi rests in peace, the world and his readers will miss his unique approach to literature and philosophy.
SWAHILI TRANSLATION
Akitokea katika kijiji cha Namagondo kilichopo Kisiwa cha Ukerewe katika Ziwa la Nyanza, utaalamu wa fasihi wa Euphrase Kezilahabi ulimpa uprofesa. Mapenzi yake ya fasihi na mawazo ya kifalsafa yalianza alipokua akisoma seminari ya kikatoliki Nyegezi kwa masomo yake ya sekondari. Wakati huo huo alikuwa anaandika riwaya ya Rosa Mistika. Baadaye alijiunga na Chuo Kikuu cha Dar es Salaam akahitimu masomo ya shahada ya kwanza na ya pili alipoandika tasnifu juu ya “Baba wa fasihi ya Kiswahili ya kisasa”, Shaaban Robert. Umahiri na ueledi wake wa kisomi ulimfanya aajiriwe kama mhadhiri mwandamizi katika chuo hicho mpaka alipoanza shahada yake nyingine ya pili na baadaye shahada ya uzamivu katika Chuo Kikuu cha Wisconsin Madison. Ubobezi wake katika falsafa na fasihi za Kiafrika ulimwezesha kuhitimu masomo yake huko. Alirejea Tanzania akafundisha Chuo Kikuu cha Dar es Salaam mpaka mwaka 1995. Baadaye alihamia kufundisha katika Chuo Kikuu cha Botswana mpaka alipopatwa na mshtuko mwaka 2017. Miaka miwili baada ya kurejea Dar es Salaam, alifariki mnamo tarehe 8 Januari 2020. Roho yake ilale mahali pema peponi.
Utunzi wake wa kifasihi ulijumuisha mashairi, tamthilia, riwaya na hadithi fupi. Rosa Mistika (1971) inaelezea hali halisi ya maisha ya kielimu kwa watoto wa kike wa maeneo ya Ukerewe na Mwanza katika kipindi ambacho kitabu hicho kiliandikwa. Riwaya zake nyingine zilizodumu kwa muda mrefu ni Kichwamaji (1974), Dunia Uwanja wa Fujo (1975), Gamba la Nyoka (1979), Nagona ([1987/]1990) na Mzingile (1991). Japokuwa Rosa Mistika ni moja ya riwaya zake maarufu Zaidi (ikifuatiwa na Dunia Uwanja wa Fujo), Nagona na Mzingile ni changamano zaidi na zimesababisha majadiliano ya kina katika ulimwengu wa fasihi. Diwani zake za mashairi zilizochapishwa ni Kichomi (1974), Karibu Ndani (1988) na Dhifa (2008). Chaguo lake la kuandika mashairi huru lilikinzana na kanuni za kimapokeo za uandishi wa mashairi likichochea mjadala mkali juu ya utunzi wa mashairi. Mchezo wake wa kuigiza uitwao Kaptula la Marx (1978) ulipata umaarufu ndani na nje ya Tanzania kwa sababu ulizungumzia siasa za Ujamaa na Kujitegemea ambazo zilikuwa ni siasa za Tanzania wakati huo. Hadithi zake fupi zilizochapishwa katika magazeti kama Mwananchi na baadaye kutolewa vitabuni pia, kama vile katika kitabu cha utangulizi wa hadithi fupi cha Mbunda Msokile (1992) na mikusanyiko ya hadithi fupi ya Kyallo Wamitila (2004, 2007, 2010).
Umahiri wa fikra za kifalsafa za Marehemu Kezilahabi ulimfanye ashughulikie masuala yasiyoweza kufikirika kirahisi. Alijikita katika maswali magumu kama vile kujiuliza kama Mungu yupo, pamoja na maswali mengine ya utu, ontolojia, maana ya maisha na uwepo kwa ujumla. Aliandika pia juu ya masuala nyeti ya jamii kama vile mila na desturi, mahusiano ya kijinsia na sera ya Ujamaa ya Tanzania ya wakati ule. Pamoja na kuwa kazi zake za mwanzo zilijikita katika uhalisia, alianzisha nyanja mpya ama mikondo mipya ya fasihi ya Kiswahili ambayo imechambuliwa kama fasihi ya (ki)majaribio, fasihi ya (ki)uhalisia-baadaye ama fasihi ya (ki)usasaleo. Baadhi ya sifa za fasihi ya aina hii ni kuchanganya mandhari na nyakati tofauti, na kuunganisha fasihi simulizi na fasihi andishi za kutoka ndani na nje ya Tanzania. Nyinginezo ni matumizi ya vipandevipande kimaudhui na kimtindo (fragmentation), uchache wa kimtindo (minimalism) na matumizi mapana na ya kina ya jazanda (lugha ya picha) – zote zikichangia katika ajenda ya kiujumi na ya kifalsafa ya aina yake. Marehemu Kezilahabi alikuwa balozi wa lugha na fasihi ya Kiswahili kwa kuandika kazi zake kwa Kiswahili na kuwahamasisha waandishi wenzake kuandika kwa lugha za Kiafrika na lugha za asili kwa ujumla.
Baraza hili likiongozwa na Lutz Diegner (Mhadhiri wa Lugha na Fasihi ya Kiswahili, Chuo Kikuu cha Humboldt Berlin), lililenga kumkumbuka Marehemu Euphrase Kezilahabi, maisha yake na kazi zake. Baada ya kukaribishwa na Kai Kresse (Makamu Mkurugenzi wa Utafiti na Profesa wa Anthropolojia, ZMO) na Lutz Diegner, Neema Benson Sway (Mhadhiri na Mtafiti, Taasisi ya Taaluma za Kiswahili, Chuo Kikuu cha Dar es Salaam) alitambulisha wasifu na kazi za Euphrase Kezilahabi kwa ujumla. Alena Rettová (Profesa wa Falsafa za Kiafrika, Chuo Kikuu cha Bayreuth) alizungumzia sifa za falsafa yake Marehemu Kezilahabi ambazo zinapatikana katika kazi zake za kitaaluma na za kifasihi. Roberto Gaudioso (Mtafiti wa Falsafa ya Kiswahili, Chuo Kikuu cha Napoli) alizungumza juu ya ushairi wa Marehemu na mkabala wake wa kiutafiti kuyachambua hayo mashairi akiwa mtafiti na mshairi yeye mwenyewe wakati mmoja. Lutz Diegner aliendelea na wasilisho la kuwapatia hadhira vionjo vya riwaya zake Marehemu akisisitiza mkabala wake wa kiuandishi wa kujadili masuala mazito kwa lugha nyepesi, na matumizi mapana na ya kina ya mbinu za kimtindo kama vile jazanda na tamathali za semi, kwa mfano sitiari, istiara na ishara. Josefine Rindt (shahada ya Masomo ya Kiafrika, Chuo Kikuu cha Humboldt, mwanafunzi wa shahada ya uzamili ya Jinsia, Utegemezano na Siasa, Chuo Kikuu Huru cha Berlin) na Lena Dasch (shahada ya Masomo ya Kiafrika, Chuo Kikuu cha Bayreuth, mwanafunzi wa shahada ya uzamili ya Masomo ya Kiafrika, Chuo Kikuu cha Humboldt Berlin) waliizungumzia riwaya ya Dunia Uwanja wa Fujo ya Marehemu Kezilahabi na kuelezea umuhimu wa kukisoma kitabu hiki (tena) leo hii ingawa ni ya zamani kidogo.
Katika majadiliano yaliyoongozwa na Neema Benson Sway and Erasto John Duwe (Mhadhiri na Mhariri, Taasisi ya Taaluma za Kiswahili, Chuo Kikuu cha Dar es Salaam), washiriki kutoka Tanzania, Kenya, Marekani, Uingereza, Ufaransa, Italia, Uswisi, Ucheki na Ujerumani – kati yao maprofesa na wabobezi mashuhuri wa fasihi ya Kiswahili kama Farouk Topan, Abdilatif Abdalla, Catherine Ndungo, Kyallo Wamitila, na Aldin Mutembei – waliyatajirisha majadiliano hayo juu ya kazi na mawazo ya Kezilahabi.
Marehemu anapopumzika kwa amani, ulimwengu wa wasomi wenzake na wasomaji wake wote kwa ujumla watamkumbuka kwa kazi zake za kipekee zilizokuwa na mchango usio na kifani katika fasihi na falsafa ya Kiswahili.