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Loose Ends In The Anti-Galamsey Campaign

Feature Article Aisha Huang
SAT, 13 MAY 2017
Aisha Huang

Ghanaians have become so cynical these days – and with good reason – that they suspect something is grossly amiss when they don’t immediately see what they think they ought to be seeing.

So, when a friend of mine read the DAILY GUIDE editorial entitled “She Who Must be Obeyed”, she immediately asked me, “What do they know that we don’t know?”

The reason why she asked that is this: In the H Rider Haggard novel, She, in which the term “She \Who Must Be Obeyed” first appears, the heroine, Ayesha, is a very beautiful woman who has been cursed not to die until her dead lover is reincarnated and comes back to see her. In the mean time, she rules as Queen over an African tribe. She rules them with an iron hand and is able to do this because she has eyes everywhere, Also, her incalculably great age enables her to exert powers brought to her by her knowledge of the lives her subjects.

So when a Chinese “beauty” came on the galamsey scene in Ghana, someone very bright at the DAILY GUIDE connected her attributes to those of “Ayesha” or “She Who Must Be Obeyed.” For if the Chinese “beauty” was not so powerful, how come she – and incredibly, her “double”, were living as free operators in Ghana when:

  1. the security services (who must, as a routine measure, keep an eye on all foreigners suspected of illegal activities) had not been able to collect enough evidence that they were importing Chinese men – and women! – into Ghana to help in their galamsey operations?
  2. \\one of the “beauties” was alleged to have set “very dangerous dogs” on the security personnel who once attempted to arrest her. Yet she was not charged with endangering the lives of public officers.
  3. One had been previously arrested in relation to guns found on her. It is a serious enough offence to possess arms without lawful authority. But when those arms are in the hands of a foreigner, the offence becomes even more serious. New questions arise: how did the arms get into the country? What happened to the rest of the arms in the consignment that was simultaneously brought into the country?
  4. We make a lot of noise when a couple of ex-prisoners who have had the venom beaten out of them at Guantánamo, are brought to live in our midst. But when a woman of unknown origins arrives in Ghana and begins to dangle dangerous dogs and arms in front of our security officials, we don’t move a muscle?
  5. Who enabled the “beauties” to enter and operate in Ghana? Did whoever it was sign any guaranteepapers? Is it true that one of the “beauties” has a marriage certificate with the name of a Ghanaian male on it?
  6. If it is true, as the media have reported, that a journalist, Mr Week Bamako, had come across obscene photos allegedly organised by the “beauties” and their acolytes to blackmail Ghanaian officials, how come the security authorities have not come across these diabolical instruments of blackmail? Or, are senior police authorities victims of the blackmail game themselves and therefore dare not investigate them?

These are some of the questions that the Minister of the Interior, ought to be asking his top officers. For as I say, the Ghanaian public has become extremely cynical about their police service.

“The police make a song and dance about arrests of dubious characters. And then, the rest is silence. They make the song and dance for two reasons – first, they want to show their political bosses that they are working very hard to end crime or that they want to frighten the alleged culprits so that if the alleged culprits want to “beg” the police to be lenient, the “gifts” of appreciation which they would shower on the police would be “heavy”.

Is this the type of police service we want to have in this country?

It may well be that all this is pure speculation, but the cap fits the police too well for them not to be asked to wear it. The police of all institutions should know that where there is a vacuum of information, rumour-warmongering spreads its wings far and wide over the real facts and that before anyone knows it, the figure one has become ten, and the colour blue has become all the colours of the rainbow.

I am personally aware that it is the habit of the Ghana police to treat information-seekers with absolute contempt. For, in 2010, that is seven good years ago, a 72-year-old woman by the name Amma Hemaa was burnt to death at Tema by people who took her to be a witch. All she had done, no doubt after a severe onset of Alzheimer’s disease, was to enter someone else’s bedroom and try to sleep on a bed she found. She had been on the way to see her son, and as diseased minds often deceive people into believing, she thought she had arrived at her son’s home and had been assigned a nice bed to sleep on.

Under the alleged influence of a pastor, kerosine was poured on this hapless grandmother and she died.

Some people were arrested. They appeared in court a few times. The police outlined a strong case against them. And then the case vanished from the newspapers. As far as I know, I am the only Ghanaian journalist who has persisted in asking the police questions about the case. Where are the culprits? What have the courts decided about their crime?

Silence from the police. Absolute, unbelievable, arrogant silence about a case that had been featured on the front page of the largest daily in Ghana, and had even made it to the columns of foreign newspapers. So, should I be surprised that so often, we hear that the police, or the immigration service, has arrested Chinese galamseyers and we then hear – NOTHING? That’s why we can have a foreign woman come to live in Ghana and be feared as “SHE WHO MUST BE OBEYED”.

“Obeyed” by whom for what? Is it the oath of the IGP and the Minister of Interior to the government and people of Ghana, or to rosy-lipped seductresses from elsewhere?

We await answers.
cameronduodu.com
By Cameron Duodu

Cameron Duodu
Cameron Duodu, © 2017

Martin Cameron Duodu is a United Kingdom-based Ghanaian novelist, journalist, editor and broadcaster. After publishing a novel, The Gab Boys, in 1967, Duodu went on to a career as a journalist and editorialist.. More Martin Cameron Duodu (born 24 May 1937) is a United Kingdom-based Ghanaian novelist, journalist, editor and broadcaster. After publishing a novel, The Gab Boys, in 1967, Duodu went on to a career as a journalist and editorialist.

Education
Duodu was born in Asiakwa in eastern Ghana and educated at Kyebi Government Senior School and the Rapid Results College, London , through which he took his O-Level and A-Level examinations by correspondence course . He began writing while still at school, the first story he ever wrote ("Tough Guy In Town") being broadcast on the radio programme The Singing Net and subsequently included in Voices of Ghana , a 1958 anthology edited by Henry Swanzy that was "the first Ghanaian literary anthology of poems, stories, plays and essays".

Early career
Duodu was a student teacher in 1954, and worked on a general magazine called New Nation in Ghana, before going on to become a radio journalist for the Ghana Broadcasting Corporation from 1956 to 1960, becoming editor of radio news <8> (moonlighting by contributing short stories and poetry to The Singing Net and plays to the programme Ghana Theatre). <9> From 1960 to 1965 he was editor of the Ghana edition of the South African magazine Drum , <10> and in 1970 edited the Daily Graphic , <3> the biggest-selling newspaper in Ghana.< citation needed >

The Gab Boys (1967) and creative writing
In 1967, Duodu's novel The Gab Boys was published in London by André Deutsch . The "gab boys" of the title – so called because of their gabardine trousers – are the sharply dressed youths who hang about the village and are considered delinquent by their elders. The novel is the story of the adventures of one of them, who runs away from village life, eventually finding a new life in the Ghana capital of Accra . According to one recent critic, "Duodu simultaneously represents two currents in West African literature of the time, on the one hand the exploration of cultural conflict and political corruption in post-colonial African society associated with novelists and playwrights such as Chinua Achebe and Ama Ata Aidoo , and on the other hand the optimistic affirmation of African cultural strengths found in poets of the time such as David Diop and Frank Kobina Parkes . These themes come together in a very compassionate discussion of the way that individual people, rich and poor, are pushed to compromise themselves as they try to navigate a near-chaotic transitional society."

In June 2010 Duodu was a participant in the symposium Empire and Me: Personal Recollections of Imperialism in Reality and Imagination, held at Cumberland Lodge , alongside other speakers who included Diran Adebayo , Jake Arnott , Margaret Busby , Meira Chand , Michelle de Kretser , Nuruddin Farah , Jack Mapanje , Susheila Nasta , Jacob Ross , Marina Warner , and others.

Duodu also writes plays and poetry. His work was included in the anthology Messages: Poems from Ghana ( Heinemann Educational Books , 1970).

Other activities and journalism
Having worked as a correspondent for various publications in the decades since the 1960s, including The Observer , The Financial Times , The Sunday Times , United Press International , Reuters , De Volkskrant ( Amsterdam ), and The Economist , Duodu has been based in Britain as a freelance journalist since the 1980s. He has had stints with the magazines South and Index on Censorship , and has written regularly for outlets such as The Independent and The Guardian .

He is the author of the blog "Under the Neem Tree" in New African magazine (London), and has also published regular columns in The Mail and Guardian ( Johannesburg ) and City Press (Johannesburg), as well as writing a weekly column for the Ghanaian Times (Accra) for many years.< citation needed >

Duodu has appeared frequently as a contributor on BBC World TV and BBC World Service radio news programmes discussing African politics, economy and culture.

He contributed to the 2014 volume Essays in Honour of Wole Soyinka at 80, edited by Ivor Agyeman-Duah and Ogochukwu Promise.
Column: Cameron Duodu

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