#Kenya cultural experiences

[travelernight]

10 Wonderful Places To Visit In Kenya

[yuresortafrica]

Cultural Immersion at Yu Resort Kenya: A Day in the Life of Coastal Kenya

Discover the rich cultural heritage of coastal Kenya with a day of immersive experiences at Yu Resort. From cooking classes to local crafts and traditional storytelling, connect with the local way of life in a unique and enriching way.

Read More : Cultural Immersion at Yu Resort Kenya: A Day in the Life of Coastal Kenya

[lionheartlr]

Botswana

Botswana, a landlocked country in Southern Africa, offers a unique blend of spectacular wildlife, rich culture, and vibrant history. This travel guide will take you through everything you need to know for an unforgettable visit to Botswana. Brief History Botswana, known as Bechuanaland during the colonial period, has a rich history dating back to ancient times with early hunter-gatherer…

[serious2020]

Post from Sheldrick Wildlife Trust’s work saving elephants in Kenya …

www.instagram.com/p/CpvXcarJNO_/

[writingwithcolor]

Not all Second-Language Speakers are Made Equal.

@waltzshouldbewriting asked:

Hello! I’m writing a story that features a character who’s first language is not English. He’s East African, specifically from Nairobi, Kenya, and is pretty fluent in English but it’s not his primary language, and he grew up speaking Swahili first. I’m struggling to figure out if it’s appropriate or in character to show him forgetting English words or grammar. From what I’ve researched, English is commonly spoken in Nairobi, but it wouldn’t be what was most spoken in his home. For context, this is an action/superhero type story, so he (and other characters) are often getting tired, stressed, and emotional. He also speaks more than two languages, so it makes sense to me that it would be easier to get confused, especially in a language that wasn’t his first. But I’m worried about ending up into stereotypes or tropes. For additional context: I’m monolingual, I’ve tried to learn a second language and it’s hard. A lot of how I’m approaching this comes from my own challenges correctly speaking my own, first and only language.

Diversity in Second-Language English

You seem to have an underlying assumption that second language acquisition happens the same for everyone. 

The way your character speaks English depends on so many unknown factors: 

Where does your story take place? You mention other characters; are they also Kenyan, or are they all from different countries?

Assuming the setting is not Kenya, is English the dominant language of your setting? 

How long has your character lived in Kenya vs. where he is now? 

What are his parents’ occupations? 

What level of schooling did he reach in Nairobi before emigrating? 

What type of school(s) did he go to, public or private? Private is more likely than you think. 

Did his schooling follow the national curriculum structure or a British one? Depends on school type and time period. 

Does he have familiarity with Kenyan English, or only the British English taught in school? 

Is this a contemporary setting with internet and social media?

I bring up this list not with the expectation that you should have had all of this in your ask, but to show you that second language acquisition of English, postcolonial global English acquisition in particular, is complex. 

My wording is also intentional: the way your character speaks English. To me, exploring how his background affects what his English specifically looks like is far more culturally interesting to me than deciding whether it makes him Good or Bad at the language. 

L2 Acquisition and Fluency

But let’s talk about fluency anyway: how expressive the individual is in this language, and adherence to fundamental structural rules of the language.

Fun fact: Japanese is my first language. The language I’m more fluent in today? English. Don’t assume that an ESL individual will be less fluent in English compared to their L1 counterparts on the basis that 1) it’s their second language, or 2) they don’t speak English at home. 

There’s even a word for this—circumstantial bilingualism, where a second language is acquired by necessity due to an individual’s environment. The mechanisms of learning and outcomes are completely different. 

You said you tried learning a second language and it was hard. You cannot compare circumstantial bilingualism to a monolingual speaker’s attempts to electively learn a second language. 

Motivations?

I understand that your motivation for giving this character difficulties with English is your own personal experience. However, there are completely different social factors at play.

The judgments made towards a native speaker forgetting words or using grammar differently are rooted in ableism and classism (that the speaker must be poor, uneducated, or unintelligent). That alone is a hefty subject to cover. And I trust you to be able to cover that!

But on top of that, for a second language speaker, it’s racism and xenophobia, which often lend themselves to their own ableist or classist assumptions (that those of the speaker’s race/ethnicity must be collectively unintelligent, that they are uneducated or low class due to the occupations where they could find work, or conversely that they are snobby and isolationist and can't be bothered to learn a new language). Intersections, intersections.

If you want to explore your experiences in your writing, give a monolingual English speaker in your cast a learning disability or some other difficulty learning language, whatever you most relate with. And sure, multilingual folks can occasionally forget words like anyone else does, or think of a word in one language and take a second to come up with it in the other language. But do not assume that multilinguals, immigrants, or multiethnic individuals inherently struggle with English or with multiple languages just because you do.

~ Rina

[multidimensionalguidance]

Where does your spouse come from? Part 2

This is the continuation of Part 1 where I've mentioned where the 7th house lord can move and how this can give us insights of the country where they might come from (if they are foreigners), and a lot of other details in regards to our romantic partnerships. I've already covered from Aries/1H to Virgo/6H, and will continue with the rest.

Remember to take a look at where your 7th house lord is moving. Where is the planet that rules that sign sitting, and what are other planetary aspects is it receiving as well. Is it in a friendly sign or not? Is the house beneficial or not?

Note: I use sidereal calculations, so for the most accurate results on this it would be preferred for calculations to be adjusted.

First of all, it is always good to start with intuitively choosing the countries you’ve always been curious or lured towards. Cultures you’d like to get to understand and explore! Click this link to look at the dates of independence or incorporation dates of those countries to see if it matches the lord of your 7th house.

Second, please pay EXTRA attention to this descriptions the most if your 7th house lord is in the 9th house or 12th house. Look for the planet or sign that resides there in order to get an even more accurate prediction.

Lastly, even if your 7th house lord falls in any other house, these descriptions will still aid you towards understanding your protentional romantic, business, or any other type of close relationships.

Libra/7H: Turkey, Poland, Amsterdam, Berlin, Panama, Antigua and Barbuda, and Austria all have Sun in Libra. These are some of the countries your spouse might be from or related to through family. They will be very social or at the very least aware of how social dynamics function. They care about their appearance and will feel uncomfortable not presenting themselves within their preferred aesthetics. They will enjoy art or be quite creative themselves, so do expect dates that revolve this sort of activities. Communicating with others in a non-conflictive way is a very big thing, and perhaps it is the way their environment encouraged them to be as well. They will be smooth talkers, and express themselves in a politically correct manner. You might meet them in a place that feels harmonious, in the sense of following a certain aesthetic. Other people might introduce them to you or they might be a small push required from others (or even you) to make them feel comfortable enough with approaching you full force. They could come from places that are pleasing visually, and where people enjoy fine arts. There's a sort of "poshness" to their surroundings that promotes elegance in general, so that will influence them as well. They will enjoy windy weathers and food that looks and taste good (emphasis on the first than the latter). They will have a very good appearance or at the very least maintain a "clean" look. Most of their features will be somewhat softer, and it will be noticeable in their gaze. They use their eyes to attract others, knowingly or not. They'll probably identify the wifey qualities within you quite fast, and will make it known the way they feel. If this house or planet is not heavily afflicted, then finding a business or marriage partner should not be too difficult to achieve at all.

Scorpio/8H: Lebanon, Thailand, Finland, Iceland, Albania, United Arab Emirates, Monaco, Kenya, and Barbados, could be one of the countries that your spouse might be from or enjoy a lot. They will have a secretive/reserved nature which makes them quite alluring. They will come from an environment that encouraged a lot of chaotic changes, and forced them to develop defensive mechanisms that relay on control tactics. Their weather could be as well quite changing in nature or experience many chaotic natural events. You will meet them in private places or within a small gathering. As simple as a small group of friends visiting a beach or river. It could also be after one or both of you just experienced really difficult situations. After some sort of transformation occurred where one or both had to mentally set themselves to heal/grow. You might engage in secret or very close conversations that will allow feelings to develop quickly and intensely. They might enjoy risky situations that drive adrenaline through the roof. Spicy food or heavily relied on meat/protein could be a big part of their diet. You and your partner are prone to being obsessive and desire to control each others feelings to a certain degree, just for the sake of creating a false sense of comfort. This connections will be karmic by nature and sometimes necessary for our growth, so be aware of the difficulties and learn when to let go for your own sake. They might have sharp features, a very intense gaze, and an aura that is felt by others. They are also more prone to having dark hair or eyes. There will also be material growth or a focus towards each others resources, but be mindful to not allow others to use you entirely for financial gains nor attempt to do the same yourself. All of your connections will naturally have darker and taboo themes sitting on the surface to be explored. You will enjoy or have some fixation for each others body, specifically the sexual zones. Chemistry is not the same as connection, so be mindful of that since not everyone is a fit for serious relationships simply because the sexual aspects are very positive.

Sagittarius/9H: UK, Haiti, Brunei, Bulgaria, Qatar, Cuba, Sudan, Slovenia, and Kazakhstan are some of the countries where they might be from or strongly feel connected to for some way. They are adventurous, restless, optimistic, funny, well cultured, and spiritual in some way. They might come from environments that are very traditionally tied to religion or spiritual institutions, temples, etc. They might be used to being perceived or surrounded by foreigners as well, which allows them to adapt easily to others and be familiar with different languages. You'll meet in an airport, temples, university or education areas, ceremonies (like a wedding), legal departments, at a bank, etc. They'll enjoy going to different places, be it doing sports, trying new cuisines, and overall just staying busy. You both will most likely travel together, or there might be some distance between the two of you at some point. This is a connection that will broaden your horizons and allow you both to evolve spiritually. Their appearance will be different from your native country, so they will definitely be a foreigner with looks that make them stand out. Expect them to be tall, possibly have green eyes and/or to be fit. They might love horses or learned how to ride horses when they were young. You might become more spiritual or devoted to a religion after meeting them or after marriage. Your partner/spouse will definitely be traditional, even if they have an open mind and avoid placing judgement on situations they are unfamiliar with. They will pay extra attention to your thighs and butt, so don't be surprise if they stare too hard or mention it directly. You are both going to push each other to achieve a higher awareness or consciousness. The laughs and jokes will also be plenty as well, and that will help a lot when dealing with any difficulties in the relationship, but just make sure to not sweep things under the rug.

Capricorn/10H: Buenos Aires, Singapore, Romania, New Zealand, Grenada, and Nauru might be some of the countries your partner/spouse might be from or have a connection with. They are responsible, career oriented, structured, service oriented, grounded, and the type to show their love by actions rather than words. They might come from environments that were rough or challenging to be around, in the sense that the weather or people could be harsh to deal with. People might think they're older than his actual age, and not necessarily due to appearance but the way they think, speak, move, and behave. They simply have a very mature personality and this is mainly because they had to grow up fast and their parents were probably very demanding or not as present as they should have. Expect them to be around people that have authority or coworkers. You might meet them in governmental institutions or spaces, abandoned places, a city hall, at work, at the chiropractors, and overall in any public space. They probably prefer to eat the same type of food with little variety, but they like high quality places that feel and look luxurious. Your connection will be karmic by nature and initially might feel too serious or difficult. Now, it does promise longevity and growth towards your career, profession, and status. Your partner/spouse will enjoy his work a lot and socializing with people as well, but despite the fame or notoriety they might have they'll enjoy being alone with you the most. They will be the type to externally seem very outgoing, yet actually prefer being introverted or away from the public, an this happens due to the excessive time that they invest in working with others. In terms of appearance, they might be medium in heigh, have a sharp gaze, strong legs, and brown/dark colored eyes. There's a good chance they'll be older than you, if not in age, then definitely in their way of thinking or seeing life. You might end up meeting their parents soon in the relationship as well. The both of you will have to put some necessary efforts to make the relationship work, as there will be challenges in the way. The relationship will be very public or known by others even if you both try to be lowkey about it, so be careful to not allow others to get in the way.

Aquarius/11H: Lithuania, Saint Lucia, Ghana, Dominican Republic, Wales, Estonia and Kuwait are some of the countries they might be from or associated to in some way. They'll be independent, creative, innovative, cunning, friendly yet introverted, and have many niche interest. Their environment might have random and unexpected weather changes, which fits their own nature as well. It's likely their surroundings taught them to be flexible, open minded, and comfortable with being themselves. They will be very experimental with their food, and might even have a bit of an odd yet interesting taste. Their preference in music will be *chef's kiss* so you'll be adding their playlist to your favorites and sharing music often. You might meet them through your friends, the internet, social media, networking circle, NGO's, charities, inside an airplane, at a tech facility, or at any big events. They'll be popular and probably well known by others, be it because of their impressive skills or simply for who they are. They are the type to be very close to their friends and alliances because thanks to them they are able to progress through life. You will learn the value of being part of a community and planning long term towards your future investments. You will both pursue your dreams and long term goals together. They might be the type to give you many gifts in all shapes and form. Surprising you and putting a smile on your face with their quirks will always be a goal for them. In terms of appearance they might look different, but not in a bad way, rather that there is something about them that makes them look like they do not belong to this world. One of the main themes of your relationships will be about independence and freedom. Your partner/spouse does not like to feel restricted or boxed in, so if you're the clingy type then the more negative aspects might show up with them pulling away or putting some distance. Communication is essential in all relationships, but with your partner it will be even more so. They will prefer you to be straight forward and blunt, even if it might seem rude, but do no worry because they are experts at listening, understanding, and finding a solution.

Pisces/12H: Hungary, Ireland, Iran, Greece, Denmark, and Pakistan are some of the countries that they might be related or connected to in some way. They'll be dreamy, artistic, inspirational, bubbly, and very physic. Their environment might have been uprooted in spiritual or religious beliefs, similarly to Sagittarius/9H, but the difference is that they are more likely to follow those traditions to such depths that it might lead them to "lose" themselves or develop escapist intentions behind it. They might have visited temples or churches growing up, so they are usually very accepting of others. In terms of the physical surroundings they might have grown around big sources of water (lakes, beaches, ponds, etc) or visited them often. If they are not allergic to any sea food, then they will eat it a lot. They enjoy their privacy and despite their ability to camouflage in different groups they will only confide the most in themselves or you. You might meet them a church, temple, a club, close to large bodies of water, foreign lands, hospital, asylum, or even places where they legally sell recreational dr*gs. There will be a sense of mystery or unknown in the relationship, where you or your partner feel as if you're unsure where the connection is leading which might be confusing. They might have a history of using substances or doing things that are not seen well by the law. You will feel like despite their past and background it is easy for you to look past it all and be very understanding with them. There's a need for being careful of not allowing the relationship to become a vicious cycle where you encourage each others bad habits, insecurities, etc. In terms of appearance, they will have eyes that almost look half asleep in some way and that makes them seem seductive in a way. They might be tall or medium height, fit or slender, have curly hair, and use glasses. You will both feel like the connection is fated or destined in some way. There might also be a distance between the two of you at some point, be it because you both live in different places, a loss in the relationship, meaning going separate ways to eventually get back together, or to stay separated. Either way, if there is no harsh affliction or malefices then despite everything you will both become very spiritual and psychic together. You will feel like communicating telepathically is very much real, and it will be common for you both to dream often of each other. This is the type of connection that you don't ever forget about and that teaches you a lot about the parts of yourself that you might not see. The connection will show you both the good, bad, and wonderful that exists within each other.

[hadesoftheladies]

"Not All Men" is a War Propaganda Tactic

i just watched a tragic documentary on the british colonial regime in kenya with my mom and dad, and they were talking to me about the experiences of my grandparents during the era of slavery, resistance and concentration camps and i learned so much about the history of my family, country and tribe and how my mom and dad came from different sides of class history in kenya

that's a story i'll share later on here sometime

but one thing that struck me that i wanted to talk about was how documents indicting the british government of horrific cruelty were buried and sometimes addressed as isolated incidents

the british government, despite the uncovering of the hanslope disclosure files, denied that they sanctioned or approved of any of those things

systemically sanctioned practices, once exposed, were then announced to be isolated events due to the irresponsibility of a particular branch or administration

basically, when the human rights violations came up (and this was addressed in i think 2013), the british government denied direct involvement and acted as if it were just a few men gone rogue

and that propaganda WORKED

there are british people today (and even some kenyans) who don't think the colonial regime was all that oppressive; maybe legally wrong, but not monstrous and sordid and grotesque

and it really is an effective war tactic to blame individuals so that the system itself is ignored. you send concerned, everyday people chasing after villains in narratives you created, throwing your minions to the wolves so they're off your trail, while insisting that the system and the people who uphold the system are at worst benign and, at best benevolent

so it stops the people from organizing against the system

this is also the case with feminism

every time women participate in consciousness-raising, the people and events that would serve as proof of the failure of the system and how those in power are unfit to rule, the conversation quickly dissolves into "not all men" or "do you think women are naturally more moral than men? that's bio-essentialism."

guys . . . this is a tried and true propaganda war tactic. it is effective because not only does it distract anyone willing to do their part to make the world a better place, but it successfully discredits the evidence and voices of victims as "fringe" and no one's fault but the individual's. it's really just a form of gaslighting.

eventually, people end up getting mad at the tumors while not dealing with or seeing cancer. they'll denounce that convicted serial rapist/killer because his crimes are visible, provocative and out there

but the moment a woman opens her mouth to criticize rape as culture in bdsm or porn, it's "not all men" because the only bad men are those men, those bad ones on tv whose mugshots we've seen

we've seen this happen with men defending andrew tate, and then backing down when he's arrested for human trafficking, but no feminist was shocked because we recognized tate's rhetoric and the system it was born in, we saw the natural conclusions, we know where the tumor is coming from

but we're only supposed to talk about the tumor, because that's the most visible and provocative

so the cancer continues to spread quietly and freely

[decolonize-the-everything]

another random white person in your asks, but i do wanna thank you for that post abt the loss/lack of culture both our sides experience (obvi you guys worse), cause it gave me a bit of hope.

i kept (and still do) look to irish/scottish lands for culture, because we don't have it here, and trying to join any others' is like stealing (although it all is). after living for 5+ years in kenya and uganda, with kitenge and posho and bodas and paper beads, the hole of what white americans lack becomes so much easier to see, and then it feels desperate. what do we make? what do we turn to? what do we do with a legacy that has always been inhumane and built on forced assimilation?

ofc, the obvious answer is help the people our system has hurt, but what about just in our communities? and then you pointed out both our communities have kind of suffered in that regard (although we got privilege to go with it) but it reminded me that maybe we can make a new culture/community together.

we (whites) need to work on making up for the past first, and help find your history we washed away, and it'll probably take decades for something real to form- but you did give me hope that if people can make up silly cryptids like Mothman or Bigfoot for American folklore, maybe there's more of a chance we can make something together.

so sorry this got long, but thanks, bc you reminded me it's not just making up for the past, but also making the future.

💗💗💗

[isnt-it-pretty]

I found your Cyrus ask/post and really liked anon’s and your thoughts on it

Going onto my own projections lol, I always thought Cyno’s story parallels immigrants to an extent. He’s a desert dweller, but he’s basically been raised in the Akademiya. He’s Othered there because of the prejudices against the desert, but he’s Othered in the desert too due to being the General Mahamatra. He knows the desert, but from what I remember it’s implied (I think since the Sumeru archon quest?) he doesn’t quite know it as much those who actually live there, like Candace

One admirable trait of Cyrus at least is that he has a soft spot for children, and we see that when he’s willing to pretty much drop the case of the threat letter once he finds out it’s a 16-year-old responsible

So I think your take is very consistent of what we already know of Cyrus. Arguably, it’s still not the best outcome, because good intentions doesn’t mean it’s for the best. I honestly think he felt responsible for Cyno, as someone who was involved in implanting the fragment in him and seeing how it resulted in his sickliness. I also think seeing Cyno suffer was possibly half the reason why he ended the experiment and took him with him

But that’s me giving him the benefit of the doubt. Cyrus himself admits at the end of the SQ that he’s “not a good person” and that Cyno has reason to hate him. Like you said, he doesn’t give his reasons, so we’re left to basically guessing his thoughts that ultimately he’s a pretty enigmatic character. It doesn’t help that he’s not the most honest about them. He seems to be pretty emotionally-constipated and very avoidant in fact, and that bites him in the ass when he tells Cyno about Hermanubis but is not willing to get into any depth. Cyno even calls him out a little by the end of the SQ, when he clearly wants to talk to Cyno about something but ends up giving him “non-answers”, so he’s definitely not perfect

Either way, to that anon: you’re valid if u don’t like him. I was a little surprised at how much MHY went into Cyrus’ character, making him flawed enough to be justifiably disliked. It’s not something I expected from a NPC, but it’s a good direction from a story-telling standpoint (in that, I can see how this can be set up for conflict, but that’s my angst fanfic-loving heart lol cuz I doubt MHY will release a third SQ)

I'm glad you liked it! Here is the post referenced.

Cyno very much feels like somebody adopted outside of his culture (same with Kaeya), and he shares a lot with immigrants as well since the desert is basically treated as a seperate nation. He reminds me a lot of people who adopt children from Kenya or China (or other African & Asian countries), or indigenous children adopted outside of their communities, and then their roots are ignored and they're treated as the same as their family, even though they aren't.

I don't think there's any parents, adopted or otherwise, we know of in Genshin who are the idealisitic perfect parents. Kaeya's birth family is its own tangle, Crepus instilled a hero complex so strongly into Diluc that Diluc is now embittered and angry, Jean and Barbara's parents split up abd each took a kid (I mean seriously, what the fuck?), Kaveh's mother had severe depression and left him behind to build a life in Fontaine, Arlecchino is a mess for the Hearth children, Alice isn't the worst but she still left Klee for literally years, Dehya's father was a bandit, Diona's is an alcoholic, Kojou Sara's is a traitor, Wriothesley, Shenhe- you get the point. (Fischl, Bennet, and Yoimiya's parents are admittedly pretty good.)

Genshin has no problem giving us characters with complicated parental relationships. It's nice that we get to see Cyno still associating with Cyrus when so many other characters are estranged.

Cyno definitely deserves some straight answers though, and I think he'd get them eventually. Give it a few days to cool down and then go sit with Cyrus, listen to some tomato rants, and ask hos questions.

I'm too much of a baby to write or read arguments between Cyno and Cyrus 😭

[weirdowithaquill]

The Destruction of Engine Culture:

Ok, so this is going to be another long, and rambling post. So be warned. And as usual, this is a RWS theory post, so there will be talk of scrap.

That said, let's dive into the destruction of engine culture.

So, I think the first thing to ask is what would be 'engine culture' and how would it affect the railways of Britian (and globally) - and the answer is quite simple: it's the same as human culture. Humans have developed cultures for millennia, and they are often quite similar, and this is hypothesized to be because these cultures had similar things to warn about. Warning about the dangers of flooding, of wild animals, of droughts and fires. Many of the oldest stories are tales told to teach practical lessons. Little Red Riding Hood is as much about stranger danger and the threat wild animals pose as it is a story about a crossdressing wolf. Some scientists believe games like tag and catch were developed by our hunter-gatherer ancestors to teach hand-eye coordination and improve stamina. This is of course very early culture: stories, games and songs passed down from one generation to the next - but that's what we're talking about here. Railways are 220 years old at the oldest possible (and there are surviving engines from this era), so it's an early era of culture for them.

Furthermore, engines would inherit much of their railways' culture, depending on where they are. An engine working in Tsarist Russia would grow up with that culture, whereas an engine in Argentina, or France, or Kenya would grow up with the local cultures. This includes language, music, belief systems and otherwise. So that's the basis of engine culture itself: human culture. Engines learn human language, they sing human songs and they might even take on human beliefs.

They do, however, have their own beliefs. Lady, for one, with her gold dust and magic, has been used by fanfic authors as an 'engine deity', while Thomas and Friends alluded to Proteus being a deity of some sort, with a magic lamp. These engine 'deities' exist, it seems, as a focal point for engines. Proteus represents the ability to make wishes - something engines really don't have, while Lady represents freedom. She's able to travel great distances on her own, between continents, without needing to pull trains. Does that not sound like the railway version of attaining freedom?

So the engines have 'deities'. I won't call them gods, because that's very likely not what they are, but they are legends told by older engines to younger ones.

The other kind of legends that would really dominate engine culture would be practical moral tales - in the same vein as Little Red Riding Hood being about stranger danger and the threat of wild animals, stories told between engines would be warnings about the trucks, or bad stretches of line, or dangerous weather. But unlike fairy tales, these stories would come from experience. Engine culture is very new, and it's being developed continuously during the Victorian era. Incidents like the Tay Bridge Disaster, or William Huskisson's death, or the Abbots Ripton rail disaster all are quickly turned into stories told by the older engines to teach the new arrivals (of which there are hundreds by the year) about how to run the railway as safely as possible.

The engines also develop games which help them to watch signals, or counter miles, or figure out their location in adverse conditions. These games started as training exercises, but became more fun as young engines made them competitions. They also develop songs of their own, which can tell messages:

"Once an engine when fixed to a train Was alarmed at a few drops of rain, So went "puff" from its funnel Then fled to a tunnel, And would not come out again."

The message: don't stop in a tunnel.

But the thing is, this post is about the destruction of engine culture, and now that I've explained it, I'm going to explore how it was decimated.

And for that, we start with the Second World War, which saw a complete upheaval of the railways of Britain. The war was especially hard on the railways, and engines were often used around the clock with no rest. This meant that a lot of the newer engines never got to hear these stories before being sent out for weeks at a time, as they never spent any time at a single shed. And even if they were parked up at a shed, everyone was so exhausted they didn't have time to tell tales. And at the end of the war, a lot of the oldest engines were withdrawn, completely worn out. The oldest engines were the ones who told many of the tales, and their loss was the start of a decline.

The Railway Series, however, would pick up a lot of the slack from this loss, as many of its earliest stories were in that same moral vein as traditional 'engine culture' stories, focusing on listening to elders, not stopping in tunnels, being patient, gentle with coaches, careful with trucks - it's all there. And I can see that being due to Edward teaching the Reverend many of these stories, in a bid to keep them from vanishing. And he would continue on, joined by other older engines like Skarloey, Rheneas and Toby, as the book series went on. Things like listening to advice and not acting recklessly pop up constantly - especially with Duncan, who Skarloey had to deal with.

It all gets worse when British Railways forms though. And this is where the 'railway rulebook', the attitudes of diesels and the doctrine of BR all come in to play. As the doctrine and official rulebook of British Railways portrays steam engines as inferior, weaker engines, the diesels are indoctrinated into believing it - and thus, they refuse to listen. Take Diesel for example, who believes that diesels can just arrive at a yard and 'improve it'. He is immediately foiled by some jammed breaks - something he may have learnt about from a story or a tale from a steam engine. But he never stopped to listen. And it's the same across the country, across the world in fact. As the successful diesel classes prove themselves to their managers, they are rolled out and steam engines are withdrawn - and with that, so is the culture they were the keepers of.

But this isn't quite the end of this 'engine culture' yet, because one group willing to listen to the steam engines are the 'failures'. Engines like BoCo and Derek would be very willing to listen to the engines that have tales that may just help them. Stories like how to best use sand in a storm, or how to conserve energy over the Settle-Carlisle route. And so even as steam dies, these 'failures' hold their culture, and try their best to preserve it, alongside the preserved engines. The Railway Series does too, such as in 'Stepney the Bluebell Engine', where sanding is explicitly mentioned. Another group that take in this engine culture is the GWR diesel-hydraulics, who grew up with GWR ideology, and thus would have been more willing to listen to their steam ancestors.

But these 'non-standard' engines were also quickly wiped out. And this leaves only a few pockets of engines who remember the old stories: the preserved engines, and the few Gen-1 diesels who did listen. By the end of the working lives of the Class 40s, the Deltics and the 'Peaks', they are the last engines who remember the old stories from the steam era working on British Railways, and when they are scrapped, the next generation grows up relearning everything.

Because the fact is that these stories held a major purpose, and the destruction of that culture means that every mistake every warned against is suddenly being made again, and again, and again. We notice this in the Railway Series, where Diesel, and Class 40, and D199 and even Bear all make very elementary mistakes that would have been warned against in these cultural stories - like taking care around trucks or looking out for the wind. And it only gets worse as this first generation are scrapped. Engines scramble to a standstill on leaves again, engines get trapped in floods, or lost in storms, or run through signals - and it's because the games, the songs, the stories, everything that would have prevented these accidents is lost.

It's not until these diesels reach preservation that they hear the stories remembered by the steam engines, and that's when they realise that... hey, maybe the ancestors were right after all.

The saddest part is that it's not only a global thing, but that it's still very much a problem on modern railways. The loss of 'engine culture' between the 1950s and the 1980s would have a domino effect that would still impact modern railways, as the even newer electric engines and multiple units face the same issues but with no prior knowledge.

The pictures in this post are not mine.

[harpagornis]

Kizazi Moto review

Kizazi Moto: Generation Fire is an anthology of animated shorts from studios all over Africa, with the theme of afrofuturism and science fantasy (mixing frequently indigenous spiritual beliefs with the tech, and many shorts are actually about gods or spiritual beings). It's a shame that the project is attached to Disney, because this is one of the best anthologies I've seen in a long while.

So let's review the individual shorts.

Herderboy

By Uganda's Raymond Malinga, this portrays the story of a boy trying to join a band of herders, which harvest kyber crystals from cyborg cows and are under constant attack by spirits (read dark side hyenas). It's a good start to the anthology; the CGI is bright and makes good use of color, and it has a nice twist at the end.

7/10

Mkhuzi the Spirit Racer

By South Africa's Simangaliso Sibaya and Malcolm Wopé, this one bears a bright and joyous 2D animation. It features a half-human half-something boy who struggles with his Zulu identity, and that all comes crashing down in a race against gentrification. It's a delightful short with beautiful visuals and actual incorporation of cultural themes into the narrative.

9/10

Moremi

By Nigeria’s Shofela Coker, this is a pretty bleak looking CGI short not out of place in Love, Death & Robots. Long ago, soul stealing giants forced a woman to construct magical machines by giving her son's heart to the gods; this is about the summary you're gonna get without getting into heavy spoilers. A delight if you're into mythology as there's quite a few allusions to Nigeria's folklore, but I can see people getting a bit confused and the visuals can be grating at times.

6/10

Surf Sagoma

By South Africa’s Nthato Mokgata and Catherine Green, in a future where sea levels rose and mutant octopi lurk in the depths a boy is peer pressured into surfing in dangerous waters. I have to say, while this has a happy ending it is rather bleak and the CGI visuals are not particularly pleasing.

5/10

First Totem Problems

By South Africa’s Tshepo Moche, we're back to 2D, this time more Disney-esque. If I had to describe this, it'd be like a mixture of the first half of Brother Bear and Coco. It's pretty fun, though a bit lacking in substance and the family feuds can get grating.

7/10

Mukudzei

By Zimbabwe’s Pious Nyenyewa and Tafadzwa Hove, an influencer desecrates Great Zimbabwe, only to be taken to a timeline where it never fell to colonialism and became basically Wakanda. The concept alone is amazing, though the story itself is rather generic.

8/10

Hatima

By South Africa’s Terence Maluleke and Isaac Mogajane, this is by far my favourite of the shorts, it features the tragic conflict between merfolk and humans, with a Black Panther 2 reveal at the end. With stellar 2D animation and allusions to Dogon mythology, as well as a good solid plot where the reveal has just the right amount of foreshadowing without becoming obvious.

10/10

Stardust

By Egypt's Ahmed Teilab, I had the highest expectations for this one, being the only Middle Eastern short in the mix. It's an alright story, I really loved the science fantasy twist on astrology by just being handed a "destiny" in a tube with stars inside. The protagonist naturally choses her own fate over the manufactured ones... though getting there is quite spoilerific.

8/10

You Give My Heart

By South Africa’s Lesego Vorster, this is another return to 2D animation and the second one about influencers amusingly enough. The plot kicks off in a competition in which the human contestants can ascend to godhood. Godhood is very much treated like being an influencer, and amusingly one of the previous contestants was demoted by typing in all caps. Overall pretty fun and the animation is gorgeous, though the characters designs can get a bit ugly.

9/10

Enkai

By  Kenya’s Ng’endo Mukii, the final short is done in a CGI mimicking stop motion, which combined with the stellar coloration and lighting makes for a stunning visual experience. This too deals with the divine, this time the young Enkai seeking to become a creator deity like her mother. There is a big plot twist that I will not spoil, and recontextualises the whole short.

9/10

Conclusion

I give the overall anthology 9/10; barring a few hiccups, these are wonderful stories from Africa's many creative voices. Again, pity Disney has a grasp on this.

[rvenvs3000f24]

Unit 01 Blog post

Growing up in Kenya, my relationship with nature was deeply rooted in my everyday experiences. Kenya’s diverse landscapes, from the vast savannas to the serene coastal regions, provided a constant backdrop to my life. As a child, I was often surrounded by the sounds of wildlife, the sight of acacia trees dotting the horizon, and the rich red earth under my feet. Nature wasn't something distant or abstract to me. In fact, it was an integral part of daily life, shaping my understanding of the world. The Maasai Mara and the Great Rift Valley were more than just renowned landmarks; they were living, breathing spaces where I felt a deep connection to the land.

When I moved to Canada for further studies at the University of Guelph, my relationship with nature shifted in unexpected ways. In Kenya, the warmth of the sun and the vibrancy of life in the natural world always felt familiar. But in Canada, I was introduced to a different kind of nature, one that is shaped by its distinct seasons and climates. I experienced my first snowfall, and I was struck by serene beauty of a snow-covered landscape. The changing leaves of autumn, the blooming of wildflowers in spring, and the long summer days were new rhythms that I had to adapt to, but they also deepened my appreciation for the cyclical nature of life. This change in environment expanded my understanding of nature. I began to see it not just as a space.

While pursuing my Bachelor in Environmental Science at the University of Guelph heightened my awareness of the intricate connections between ecosystems, climate change, and human activity. The course content made me reflect on how the landscapes I grew up with in Kenya are affected by global environmental issues, and how those same issues manifest differently in Canada. My understanding of sustainability, conservation, and biodiversity evolved as I began to explore these ideas from a more global perspective.

My grandmother played a significant role in shaping my sense of place in Kenya, particularly through our weekly visits to a park we frequented every Saturday. She was a wise and nurturing figure who taught me the importance of living in harmony with nature. Her stories and teachings about the land, animals, and plants provided me with a deep understanding of my cultural heritage and its connection to the environment. She emphasized the significance of respecting and protecting nature, a lesson that has stayed with me throughout my life

This evolution in my relationship with nature has been enriching. I’ve included some photos to give you a glimpse of what life was like for me in Kenya. While I’ll always carry the landscapes of Kenya with me, I’ve come to appreciate the unique beauty of Canada’s natural environment. My studies and experiences have deepened my connection to the earth, reminding me that wherever we are, nature profoundly influences our sense of self and belonging.

[mybeingthere]

Wangari Mathenge (b.1973, Nairobi, Kenya; based in Chicago, IL)

Mathenge's work is about black female experience within two cultures; traditional African society and the Diaspora and her life in the US.

She often paints small groups of individuals in conversation, giving the feeling of insight into the subjects and circumstances.

Mathenge has a background in International Business and Law and is a graduate of both Howard University and Georgetown University Law Center, Washington. In 2021, she completed her MFA in Painting and Drawing at the School of The Art Institute of Chicago.

[selkies-and-cycles]

thinking. i might share some thoughts about natlan, if people are interested.

i. do not trust hoyoverse. AT ALL. and i will see genshin through bc i desperately want to see how the story ends, but... yeah.

and note: i did live in Kenya and Uganda for many years, and i understand that those are East African countries and not West, and that Natlan is mostly based off of indigenous North America, and i am also a white kid who merely grew up in African culture and am very much not an African person. i merely miss my old home sometimes and want to relate some of my irl cultural experiences to a region i know full well i cannot trust Hoyoverse to accurately portray.

[pwlanier]

Million Things to Say, Museum of Contemporary Art and Design (MCAD), Manila, 2018. Image courtesy the Pacita Abad Art Estate.

The exuberant and wide-ranging works of Pacita Abad (US, b. Philippines, 1946–2004) are the subject of the first-ever retrospective spanning the artist’s 32-year career. Abad is best known for her trapuntos, a form of quilted painting made by stitching and stuffing her canvases as opposed to stretching them over a wood frame. During her lifetime, the prolific artist made a vast number of artworks that traverse a diversity of subjects, from colorful masks to intricately constructed underwater scenes to abstract compositions. The exhibition includes more than 100 works—most of which have never been on public view in the United States—showcasing her experiments in different mediums, including textiles, works on paper, costumes, and ceramics. Organized by the Walker in collaboration with Abad’s estate, the presentation celebrates the multifaceted work of an artist whose vibrant visual, material, and conceptual concerns are as urgent today as they were three decades ago.

Abad moved to the United States in 1970 to escape political persecution after leading a student demonstration against the authoritarian Marcos regime. Informed by this experience, she was determined to give visibility to political refugees and oppressed peoples through her art: “I have always believed that an artist has a special obligation to remind society of its social responsibility.” Works from her Immigrant Experience series (1983–1995) highlight the rising multiculturalism of the 1990s. These works call attention to the era’s contradictions and omissions, centering the sufferings and triumphs of people on the periphery of power. The multiplicity of stories referenced in the series include such events as the 1992 Los Angeles riots, the Haitian refugee crisis, and the detention of Mexican migrant workers at the US border, offering an intimate look at lives often obscured by the reductive, xenophobic headlines of the time.

Though she became a US citizen in 1994, Abad lived for several years in a number of countries around the world, including Bangladesh, the Dominican Republic, Indonesia, Kenya, the Philippines, Singapore, and Sudan. Largely self-taught, she interacted with the various artistic communities she encountered on her travels, incorporating a diversity of cultural traditions and techniques—from Korean ink brush painting to Indonesian batik—into her expansive practice. Abad’s global, peripatetic existence is reflected in the portability of her works and in her use of textiles, a medium often associated with female, non-Western labor and historically marginalized as craft.

Walker Art Center