Rosabell Kagumire

Kony 2012 and The Choir of Saviors: You got a song you wanna sing for me?

/ Joe / 4 Comments

You got a song you wanna sing for me?
Sing a song, singing man.
Sing another song, singing man.
Sing a song for me.
One for the pressing, two for the cross,
Three for the blessing, four for the loss.
Kid holdin’ a weapon, walk like a corpse
In the face of transgression, military issue Kalash
Nikova or machete or a pitchfork.
He killing ’cause he feel he got nothin’ to live for
In a war taking heads for men like Charles Taylor
And never seen the undisclosed foreign arms dealer.
Thirteen-year-old killer, he look thirty-five,
He changed his name to Little No-Man-Survive.
When he smoke that leaf shorty believe he can fly.
He loot and terrorize and shoot between the eyes.
Who to blame? Its a shame the youth was demonized.
Wishing he could rearrange the truth to see the lies
And he wouldn’t have to raise his barrel to target you,
His heart can’t get through the years of scar tissue.

-“Singing Man“, The Roots

60 million people and counting have now heard about Invisible Children’s “Kony 2012“. Criticism of the group has been substantial and judicious. The group has defended themselves. Humorous memes are proliferating. Over-exposure has already begun to create awareness fatigue. Yet there is a serious issue largely unaddressed: the most troubling elements of the “Kony 2012” phenomenon are not unique to Invisible Children, but reflect serious moral and political problems with the pursuit of international criminal justice, and in particular the mission and politics of the International Criminal Court and their controversial prosecutor, Luis Moreno-Ocampo.

To put it bluntly: while Jason Russell addresses his audience in the same way he addresses his five-year-old son Gavin, which is clearly inappropriate given the complexity of the issues he’s asking us to consider, Russell’s framing of the evil of Joseph Kony and “our” responsibility to stop him is importantly similar to the narrative of international criminal law, and Ocampo in particular. We should not be too quick to denounce the moral idiocy of Russell as a personal failing – his sentimental and messianic film represents a revealing apotheosis rather than a transgressive break from our sense of international justice. There are unpleasant resonances between Russell and Ocampo – the ICC prosecutor has already praised the group, saying,

“They’re giving a voice to people who before no-one knew about and no-one cared about and I salute them.”

But the commonalities run deeper than a strategic endorsement and should give us pause before we conclude that while Invisible Children may be unscrupulous and ill-informed, some form of outside intervention is needed to save the children of the Great Lakes region of Africa (to say  nothing of the adults being killed) – and yes, an arrest warrant and possible trial by the ICC is as much an intervention as a military invasion. Russell’s call to “stop Kony” is disturbing beyond his narcissism and the organisation’s inept policies and campaigns, his messianic moralising, in which he positions himself (and those like him who just need to be roused to action) as the hero for the powerless victim, is a single melody line in the score that guides the choir singing for international justice. His self-regarding indignation, and our discomfort, should inspire introspection into the desires that lead us to demand that Kony stand trial at the ICC or to insist that “we” must do something to stop the evil that besets that part of Africa.

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