Hail Africa, Mother of Grace:
where the rain beats you in July
and the sun burns in March.
They crawled into the limbo
of space and arrived at our shores,
deadened the strings of the djembe,
that whispers to us the dialect in
which we use to cast cowries and
pour libations upon our hallowed path.
They broke the nose of our ancestral faces.
Alas! The vagabonds are all here,
covered in Bald White; with sandalled feet
and heavy boots, awashed in foreign scent
to make war upon our house.
They saw us and marvelled between
puffs of blue waves of tobacco smoke.
And proclaimed: close your eyes let’s pray!
Her gold-plated breasts are broken
And the pyramid on which she
leans is fallen.
Mazi if you could go out and cry
to your kins and brothers;
tell Kanayo, Olisa, and Mkpa
that they have befallen us with evil;
tell them their house is falling,
and the yam barn in the fence
have been eaten by termites.
Tell them, while the strangers idle here
we suffer, and eat dust, watching
the raven and vulture hover above
our broken palm frond roofs.
Echoes in Chant
“Freedom is not just about being able to do what you want, but about being able to be who you are, without fear or shame, and to fight for the liberation of others so they can be who they are too.”
— Assata Shakur
Through the language of our mother tongue
we juggle through the remains
of colonial dent, we press our hope
upon the dreams we carved out
of our common struggle.
We pray to Ọya and swirl
like her waters flowing freely
in the veins of our body!
We dance to the music of mourning
while we carry the placard of an identity
in our hearts. When we feel weary
and unable to proceed in this dire straits
and our throats dried of thirst —
we tap and sip strength from the palm wine!
“Teacher Don’t Teach Me Nonsense”
Fela Kuti was right!
Mungo Park discovered River Niger.
The unfair narrative of an invader
that carries fire, burning a people down
from their history and values.
This is the tool of control embedded
in our educational system — and we do
trail behind it seeking approval with our
beaten and imprisoned tongue.
many years
since the sandalled feet left
scramble for Africa

Uchechukwu Onyedikam is a Nigerian haiku innovator and interlingual poet fusing Igbó and Yorùbá linguistic textures with short-form poetry. His work appears in Presence Haiku Journal (UK), Wales Haiku Journal, Asahi Shimbun (Japan), and is archived at Japan’s Museum of Haiku Literature. A forthcoming critical essay in Presence explores weaving African languages into haiku. He seeks to relocate to Cardiff, UK, via Global Talent Visa to enrich British short-form poetry with underrepresented voices. Follow him @MysticPoet_ on X.
