Bakili Muluzi's headache

It is not often that confusion reins in former Malawi president Bakili Muluzi's house.
Not the kind of confusion that seems to be reigning after one of his self-acclaimed son, Francis, declared that he would contest as Member of Parliament in the 2019 Tripartite [Local Government, Parliamentary and Presidential] Elections.
Now, there is nothing wrong when an individual declares that he or she wants to vie for public office. Indeed, as a self-confessed "democrat", the former president pretty well knows this.
The problem, though, is that Francis, who is often seen standing behind Muluzi's other son, Atupele, has declared that he wants to contest on the ticket of the opposition Malawi Congress Party (MCP). Which is surprising because, to begin with, the former president, like those who ventured into politics during the one party regime, started his political journey in the MCP. But, in a twist of events, Muluzi joined those who were agitating for multiparty politics in 1993, stirring the political waters when the United Democratic Front (UDF) was an underground movement.
In so doing, Muluzi started spewing venom at the MCP, discrediting it and its leadership in public. At every available opportunity, he could scandalise its leadership.
Of course, Muluzi formed a 'strange' political relationship with the MCP in 2009, when the courts made it clear that he could not contest as president in the general elections of that year, having served two five-year terms between 1994 and 2004.
Caught between a limitless sea and hard rock, Muluzi dined with MCP presidential candidate John Tembo by telling the electorate to vote for the MCP.
Of course, Tembo, speaking on Zodiak Broadcasting Station a week ago, denied ever being in a political alliance with the UDF or Muluzi in 2009.
But, if Muluzi's public pronouncements on the MCP are anything to go by, it does not make sense for his son Francis to contest on an MCP ticket in next year's elections.
Francis wants to contest in Blantyre-Kabula Constituency.
Secondly, it does not make sense for Francis to contest on an MCP ticket when Atupele, his other brother, is the leader of the former ruling UDF. 
It is like there is confusion in the family and the centre cannot hold.
But, then, this is democracy. People have a right to contest in public positions on whichever ticket tickles their fancy.
Just that, in the case of Francis, his choice is Muluzi's headache.

MISA Malawi concerned with attack of MBC reporters by MCP supporters

Statement for immediate release
The Malawi Chapter of the Media Institute of Southern Africa (MISA Malawi) would like to condemn the action of Malawi Congress Party (MCP) supporters for attacking reporters from Malawi Broadcasting Corporation (MBC) who had been assigned to take aerial visuals of City Centre in the Capital Lilongwe on Sunday, January 28.

Reports indicate that MBC crew Prince Donda and Elias Chauluka were taking aerial visuals of the City Centre using a drone when MCP supporters attacked the crew on suspicion that they were filming an MCP National Executive (NEC) meeting which was allegedly under way at the MCP offices in the area.

The crew managed to escape without injuries but the drone is apparently with the MCP supporters.

Lingadzi Police Station Public Relations Officer Foster Benjamin confirmed the development to MISA Malawi Monday, January 29 saying the law enforcers were overpowered when they tried to retrieve the drone. He said the police are still investigating the matter.

MISA Malawi would like to remind people that the ‘media has a right to report within Malawi and abroad and to be accorded the fullest possible facilities for access to information.’ We believe taking footage of the City Centre or even coverage of the MCP meeting is no exception.

The MBC crew clearly failed to do their work because of the conduct of the MCP supporters.

The supporters created a hostile atmosphere for the journalists to undertake their assignment. The conduct of the MCP supporters was not only an interference with the work of the media but also a threat to the lives of the crew.

Efforts to speak to MCP officials proved futile.

We would however like to call upon MCP authorities and leadership to arrange for the return of the drone and ensure that the matter is investigated and the culprits disciplined. MCP should also take measures to prevent any future attack on the media.

Attacking reporters and treating them as criminals is barbaric and retrogressive. MISA Malawi would like to caution the general public against any form of attack on journalists in their line of duty. Journalists have a responsibility to report and inform Malawians on developments in the country. Any form of attack on journalists is an infringement on not just the media’s right to gather and report but also citizens’ right to know.

In the same vein we would like to call upon all media outlets and practitioners to be professional and impartial in their work. Only a professional media sector can safe guard our nascent democracy and facilitate socio-economic development of our country.

Signed
Teresa Ndanga
Chairperson, MISA Malawi

Catherine Kawawa’s paycheck

The hope, for the most part, is that money flows naturally. I mean, if one is creative enough to compose songs, they must, surely, have sticky pockets that can attract money from all over the place.

It follows, therefore, that, because people think that nothing is out of the reach of artists— who, traditionally, are considered the lynchpin of everything creative— artists who cry foul over exploitation are sometimes regarded as unreasonable.

This line of thinking could, perhaps, be to blame for creating a tableau of bliss in the creative industry, when the truth is that this is not always the case.

Which is why people have to work hard— sometimes sweating blood— to get a fat cheque in the creative industry.

Maybe gospel artist Catherine Kawawa had a real picture of the situation when she decided to dedicate her life to God through music.

After all, she did not just start from the top, but had to start from the ground, working with this artist or that. I am talking of artists who were relatively established the time she decided to venture into the music industry. Even when she did not participate in events as the headliner— getting, instead, satisfied by any role relatively established artists could throw at her— those in the audience could not escape the impact of her contribution in their lives.

I say so without fear of contradiction because, once or twice, I happened to be part of the audience when Kawawa backed Favoured Martha at one point in time; before I happened to be where Maggie Pangani was having a performance and Kawawa had to, as I knew better, back her.

Surely, both cases qualified for those moments when people lead from the back, stealing the show from those who attract all the cameras because they are the main actors.

Which was not bad because, if she were someone else, Catherine, [who at the time of making her foray into music had a close relationship with money, having served as payroll officer at G4S] would have let the sadness that clouded  her life after her father’s [Mr Kananji] death in 1999 distract her from her goals.

You know how, sometimes, people are taken aback when they lose those they care for.

But Catherine, surely, encouraged by the light that is Jesus Christ, moved on with life.

In her faith, she started backing the likes of Favoured Martha and Maggie Pangani while learning the ropes.

And, then, boom! She rushed to the studio, where she started recording the album Afuna Iwe.

The album went to the market, tasting the waters I should say. Maybe weeks went; no real income.

A month. The money not coming.

Which is contrary to the perceptions of some people, who feel, as I said earlier, that artists can do anything— even when what they have to do is out of their power.

Take, for example, someone who releases an album. They expect to get something because, in the end, they eat and drink and hope and dream. Like us.

And sometimes the money does not come as expected; or when we want it.

Catherine waited.

And, then, boom! She started selling CDs of the album Afuna Iwe. She kept on hoping for the best; for a sunny day.

And, then, as she said [herself] on January 20 2013, when she was 34, she wanted to shed the tears of joy when she counted money she had in her hands and discovered that it amounted to K40, 000. The first chunk of money from her first album.

Her efforts had paid off.

No wonder, it was a happy moment; moment of relief, for there is more work ahead.

Her happiness lied in the fact that, with patience, she had waited and waited, until she saw the burden of anxiety laid down forever, under the ‘heavy’ weight of a bunch of notes amounting to K40, 000.

And K40, 000 was a lot of money then!