A man, smartly dressed in what has become accepted as formal wear – plain black suit, a tie and a white-as-snow shirt enters the room. He walks graciously, or professionally as some would say. Attendants usher him to his seat; a table laced with a pure white cloth. It’s an official event and the atmosphere must reflect such.

No Bullet ya Kako, or Tate Buti’s music will be played on the hotel speakers during this occasion. They don’t conform to the norm of what constitutes formal. Instead, Mozart’s “Marriage of Figaro” or Beethoven’s “The Moonlight Sonata” will blast through the hotel speakers. 

Yes, they add ambience to the occasion and do not disrupt the air as Bullet ya Kaoko or Tate Buti music would. At least, this is the notion at such events.

Sadly, this scenario replicates itself in many forms and across many spheres of life in this country. Suddenly, anything local is not good enough. We must try out Chinese or European cuisine to fit in with the crowd. 

We must be seen donning the latest in Italian designs to show that we are ‘advanced. The cultural attire that locals used to wear is now frowned upon, and so is its significance. It does not have to be this way.

At what stage did local culture become viewed as uncivilized, backward and primitive? When do indigenous values, ethos and ethics become irrelevant and not conforming to the new world order? In fact, what dictates this so-called new world order?

Namibia is a country of diversity in culture and traditions. From song and dance to oral history and ways of living, the different cultures of Namibia have kept communities alive.

Folklore – the typical wolf and jackal story we are all so familiar with is now replaced with the story of the fairy Godmother, Little Red Riding Hood, and Snow White and the seven dwarfs. All these stories have themes of sorcery, giants and fire breathing dragons that many local children might not immediately identify with. Yes, parents would rather encourage their children to read and study such literature.

The foundations around raising children and the set-up of family structures have been westernized to the core. In Africa, a brother to your father is your father. A sister to your mother is your mother too. 

We don’t refer to them as uncles and aunts – which pushes the relationship to be distant. Children born from same-sex siblings (from brothers or from sisters) become close in their relations; they become brothers or sisters and not cousins as they would be known in the western world.

We don’t have half-brothers, just brothers. No half-sisters, just sisters even if they don’t share both parents. These relations were made intentional; to keep the family unit alive and intact. It was carved in such a way that the family structure can function to the extent of helping each other out and be each other’s keepers. The age-old adage of ubuntu that states “…you are, because I am…” is a poignant reminder of the extent to which Africans went to preserve unity of purpose.

The modern-day parent – who was raised sharing a plate of food with distant relatives, and who was content with sharing a bed with five other children – now finds this arrangement to be alien. 

He finds it unnecessary to have his children learn their mother tongue, because “the world has moved on”. Moved on? To where?

Such parents would beam with pride and admiration that his bundle of joy is able to recite Shakespeare faultlessly. The use of the English grammar, the intonation and the zest with which the child delivers the works of the English playwright would be reason for joy to the parent.

But if the neighbour’s child narrates the journey of Tjipangandjara or reflects on Meme Neshani Andreas’ “The purple Violet of Oshaantu”, then such child is laughed at. Tate Angula Ndjembo, who has written over 40 books and Dr Petrus Benzi who has contributed immensely to Oshiwambo literature and language in general, are unknown to most of the youth.  And so are Nathanael Kaunomuinjo Mbaeva or Dr Jekura Kavari – both who have crafted masterpieces of local literature. The literary work of Prof. Joseph Diescho speaks for itself, cream of the crop of creative writing. 

Most of these are shunned because many think such writing and works have no place in the modern world. This is probably because those condemning such work have never taken the time to peruse Namibian literature. 

They are too busy studying John Harper Lee’s “To Kill a Mockingbird”, or William Golding’s “Lord of The Flies”. Nothing against these great western masterpieces of literature, but so are the local ones. In fact, Andreas’ The Purple Violet of Oshaantu made her the first Namibian to be included in Heinemann’s African Writers Series. It was a great honour for a Namibian writer at the time and remains so to this day.

It is therefore time to return to the genesis. 

English fluency is and will never be a measure of intelligence; and so is adopting Western cultures at the expense of local, home-grown traditions. 

*Charles Vanguaa Tjatindi is a veteran journalist and culture enthusiasts. A lover of literature, he writes in his personal capacity.