Embark on Andrew Mwakalonge’s Creative Journey as a poet

INTERVIEWED BY DHAYANA  ALEJANDRINA 

Welcome, Noire Family,

In this interview, I had the pleasure to sit down with the talented and amazing writer, Andrew Mwakalonge, as she offers a captivating glimpse into her inspirational journey, delving into her roots, the reasons driving her creative endeavors, exciting future projects, and more.

Please join me in welcoming Andrew Mwakalonge to Afrique Noire Magazine!

Can you share a bit about your background and what initially inspired you to pursue writing/poetry?

All my life people have always looked at me and instantly decided what I am before I have the chance to tell my own story. People are always trying to put a leash on me which they turn noose when I try to be me rather than what they see me as. And I don’t have any malice or contempt for them, well at least not anymore, because I know someone else probably did the same thing to them. I am working my way out of this hold around me and I write these poems, taking pictures of my heart so that I remember what it feels like when I finally have the voice to tell people my own story.

I’ve spent most of my life with my family in Morogoro, Tanzania but I’ve spent most of my late years in Dar es salaam where I go to school. For as long as I can remember I’ve always admired free inquiry, curiosity and liberty. I believe that everyone at the very least is entitled to freedom and the right to be different.

For a long time I’ve looked upon my society and I can’t help but notice tyranny, orthodoxy and oppression and the pain they bring about. So many innocent people suffer and nobody does anything about it. What’s even scarier is that there is an air of hopelessness amongst the oppressed. And what’s heartbreaking is the ignorance amongst the majority about what is going on.

The ignorance and the continued efforts by the oppressors to keep the oppressed in the dark are what perpetuate this horrid state.

After years of witnessing and experiencing this oppression I decided I could no longer bear it and had to do something- anything- about it. Doing nothing felt like being complicit in the atrocities. Ray Bradbury puts it better when he says in Fahrenheit 451 “Do your own bit of saving, and if you drown, at least die knowing you were headed for shore.”

I came to learn that it is only through art that I can begin to bring awareness about what is happening in my society and hope to bring about change. Because art I believe is the epitome of free inquiry and liberty. And again Ray Bradbury says it better in Fahrenheit 451 when he expresses the qualities of a book “Number one, as I said, quality of information. Number two: leisure to digest it. And number three: the right to carry out actions based on what we learn from the interaction of the first two.”

What Bradbury says I feel is exactly what my society, any society needs- different ideas being expressed and people having the right to contemplate and decide what’s best for them. A society in which there is free expression of ideas will never stagnate in the dark and its people will never stand oppression.

With my work I hope to revive the idea of free inquiry-the spirit of freedom- to people. I have no interest in imposing my ideas on people, I only wish for the people to be aware, free and enjoy the right to be different. This is the first step to alleviating all the forms of oppression we suffer.

How does your identity, including cultural background, influence your writing and the themes you explore? In what ways do you navigate the intersection of your personal identity and the broader cultural context in your work?

I cannot claim to know a lot about the culture of my great grandfathers—the culture that Africans are striving to revive—the culture Africans had before a new one was imposed by the ship and enforced by the whip. I observe many Africans endeavoring to revive the culture of their great grandmothers—their fashion, dances, rituals, and gods—the true essence of African culture, and I deeply admire that.

However, through my work, I convey to people that as horrific as the experiences of our ancestors were, they are in the past. I emphasize that it’s impossible to resurrect the exact culture of our ancestors. Instead, I remind them that culture is alive and dynamic, destined to evolve even without external influences. I urge people to recognize that we are also African and will one day become ancestors ourselves. Let us release the grip of the past and the yearning for what could have been. Instead, let us focus on cultivating our own culture—one that reflects the realities of the present era—a culture that thrives freely.

How would you describe your creative process? Do you have any specific rituals or routines that help you get into the writing mindset?

We inhabit a relative and subjective world. The sun may appear as luminous as a billion candles to the eye, yet both are equally silent to the ear. This analogy extends to various aspects of our lives. What may be painful for you could bring joy to me, illustrating the subjectivity of experiences. However, this does not hold true for emotions. Pain experienced by one is equally felt by another, regardless of the events that triggered it.
When I write a poem, I distill my inspiration to the raw emotions it stirs within me—anger, love, fear—and construct my narrative upon this emotional foundation. The specific events that sparked my inspiration hold little significance to my poem. Therefore, when I seek to write a poem, I endeavor to freeze the emotions I feel about something by relaxing as much as possible. This may involve taking a walk or watching the sunset—anything that enables me to scrutinize my emotions with meticulous clarity.

Who are your literary or poetic influences, and how have they shaped your work?

I haven’t read many literary works or poems, but who’s to say that’s not enough? From the few I’ve cared to read, I’ve learned quite a lot. Marlon James’ Dark Star trilogy taught me how to turn words into tools and use wordplay to shape events in a story. Through Tomi Adeyemi’s Legacy of Orisha series, I’ve been to Orisha, felt the cool breeze of Ilorin’s beach, and admired the beauty of the mighty Oya, all through clever writing that evokes the senses. And Fyodor Dostoyevsky is a master puppeteer, elegantly pulling the strings as his characters dance out his ideas.

What challenges do you face as a writer/poet, and how do you overcome them?

The key goal of art, as I see it, is to share different experiences, emotions, and ideas with people in the hopes of building something better. But that becomes near impossible to do in a society pulled back by orthodoxy and taboo and conventionalism.

People are so frightened of change that a new idea is aborted moments after conception. One way to go around this is to disguise the idea as something not entirely new but something that has always been there and people just hadn’t realized yet. Changing the form of art to present the idea is also very efficient in getting people to listen and contemplate what you suggest. I try to recite my poems as conversations or trick questions just to get people to give my idea a chance.

Could you share one of your favorite pieces or an excerpt from a project that holds personal significance? What does it mean to you?

What advice would you offer to aspiring writers or poets aiming to leave their imprint on the literary world?

I may not consider myself accomplished in poetry, let alone revered enough to offer advice to my fellow aspiring artists. Therefore, I’d like to quote what I believe is the advice I’d want someone to give me: “When it comes to drawing, there’s only one rule you ever need to teach. It’s to look.” This quote, delivered by Benedict Cumberbatch as Louis Wain in “The Electric Life of Louis Wain,” resonates with me because I believe it applies to all forms of art. In essence, all we do in art is draw—whether with words, images, or emotions.

Can you share details about your ongoing writing projects? What themes or ideas are you currently exploring?

I am currently engaged in my inaugural major writing project—a series of poems spanning a diverse array of themes yet intricately linked to a singular, captivating narrative. In this endeavor, I seek to introduce a style of poetry I’ve been exploring, one that adeptly communicates
my message to the audience. Although the project is still in its nascent stages and there is much to be accomplished, my enthusiasm is palpable. I trust you share in this excitement as we embark on this journey together.

How do you perceive the role of writers and poets in today’s society?

In today’s world, not everyone is receptive to hearing what needs to be said, and not everyone with a message is afforded the opportunity to speak out. There’s an abundance of deceit and oppression perpetuated by those from whom we anticipate truth and assistance. “Homo
homini lupus est.” Poets, writers, and artists bear the responsibility as stewards of truth to denounce the injustices and needless suffering inflicted by greed, ignorance, and hatred. Artists represent our sole prospect for a brighter, more compassionate world.

Give yourself flowers, what is something you feel proud of when you think about your creative gift?

I’ve never truly regarded it as a gift, nor do I believe I was inherently born with this ability. To me, it’s a skill—a discipline that I’ve cultivated and honed through ardent effort and dedication. Art has broadened my mind, enabling me to embrace new ideas and articulate my own thoughts more effectively. Moreover, it has fostered compassion, empathy, and personal growth, making me a more mature individual. Witnessing my evolution into the person I aspire to be, all because of art, fills me with pride.

About Andrew

Andrew William Mwakalonge is a high school student at Feza International School in Tanzania, where he lives with his family. He approaches the world with curiosity and a desire for liberty, often questioning the orthodoxies prevalent in his society. Recognizing his need for freedom of thought, his parents enrolled him at Feza Boys’ secondary school in 2018, a decision that further fueled his passion for reading and art as avenues for challenging societal norms. Books have become Andrew’s gateway to exploring new ideas and developing his own, shaping his perspective and growth as an individual. Graduating from Feza Boys’ in 2021, he continued his education at Feza International in
2022, focusing on science subjects. Despite this academic focus, Andrew sees art as a guiding force in his life, informing how he wants to apply his knowledge to create a better future for his society.

Thanks for for joining us on another  interview in the Noire Poetry Series with Andrew Mwakalonge.

Stay tuned for more interviews!