Log rhythms on the Nile

In May 2008 my family spent two weeks traveling around Uganda after finishing my time as Resident Director for East Africa at IRI before I was due to back at my “day job” as a lawyer at home in the U.S. This photo is of our children at a “backpacker resort” on the Nile.

It was a bright change of pace after the failed December election and post election violence in Kenya and associated drama I have been writing about here. The sort of thing I can wish for anyone after the present pandemic.

Here is a 2012 New York Times article datelined Hairy Lemon Island where we stayed about this area of the Nile and the changes in the wake of the Bujugali Falls dam project, completed after our time there.

A few non-corona Easter Week reads

Christianity’s explosive growth in Kenya,” by Philip Jenkins in The Christian Century.

Here is an interesting paper regarding the choice of the instrumental use of election violence:

Stealing an Election: Violence or Fraud?∗

Dawn Brancati, (corresponding author) Yale University

Elizabeth M. Penn, Emory University

Spring 2020

Abstract

Political actors often resort to electoral violence in order to gain an edge over their competitors even though violence is much harder to hide than fraud and more likely to delegitimize elections as a result. The existing literature tends to treat violence and fraud as equivalent strategies or to treat violence as a means of last resorts due to its overtness. We argue, in contrast, that violence is neither and, in fact, that political actors often use violence for the very reason that it is hard to hide. Its overtness, we argue, allows political actors to observe whether the agents they enlist to manipulate elections for them do so and reduces these agents’ likelihood of shirking in turn. We develop our argument through a formal model, illustrating how increasing incentives to shirk due to electoral monitoring induces actors to use violence, and use process tracing to test the implications of this model through the example of pre-2011 Egypt.

And new poetry from Sonya Kassam at “Follow Your Shadow” with a “quarantine music” interlude.