Badkhen - Walking with Abel : Journeys with the Nomads of the African Savannah

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THE HOPING

If you set out on a journey pray that the road is long

Z BIGNIEW H ERBERT

Y ou could hear them from miles away. They went tprrr! tprrr! and they went jet jet jet! and they went jot jot jot! and they went ay, shht, shht, oy, trrrrrr, uh, uh! Repeating with proprietary virtuosity the calls their ancestors had used to talk to their own herds since the dawn of time. As if they journeyed not simply across distance but across eras and dragged with them through the land grooved with prehistoric cow paths all the cattle and all the herders who had laid tracks here before. You could almost make out all of them in the low scarf of shifting laterite dust, cowboys and ghosts of cowboys driving true and phantom herds on an ageless migration that stretched forever.

The Fulani and their cows tramped along the edge of the bone-white savannah, restless slatribbed wayfarers weaving among slow cattle just as slatribbed. Nomads chasing rain in the oceanic tracts of the Sahel. The cowboys wore soiled blue robes that luffed in the wind like sails, and their gait flowed smooth and footsure. Each step stitched the waking earth with a sound smoothed by millennia of repetition, a sound of sorrow and hope and loss and desire: the sound of walking.

They whistled and laughed and hurled their clubbed staffs underhand at the cows that were too hesitant or too distracted or out of step and they called Girl! Shht! and Die! Die, bitch! to such cows, but never in anger. They filled the soundscape with the chink of hooves and staffs upon filaments of shale, with yips and ululations, with incessant banter about cows and women and pontifications about God and swagger about migrations past. They moved in tinny bubbles of bootleg music that rasped from the cellphones they dangled on lanyards from their necks. Some had strapped to their chests boomboxes they had decorated with small mirrors, like disco balls. Their music said go on, go on, go on, go on, go on, in the same iambic beat as the songs of the Kel Tamashek camel riders of the Sahara, the Turkoman goatherds of the Khorasan, the horsemen of the Kazakh steppes. Music made for walking and cowbells. Music made out of walking and cowbells.

Their herds fell together and drifted apart and even when the cattle drive swelled to many thousand head, the Fulani always knew which cows belonged to whom. They seared lines and dots and crosses into the hides of their cattle with sickle-shaped branding irons, but these hieroglyphics mostly were of no need to them because they recognized their livestock and the livestock of others from the serrated silhouette of the herd, from the way dust billowed in its wake, from the particular gait of the bulls. You learned such knowledge somehow.

Those are Afos cows, Papa.

No they arent.

How can you tell?

Thats just how it is.

But how can you tell?

When I see cattle, I know.

Oumarou Diakayat squinted at the procession of cattle and cattle drivers filing into the sunrise. He had risen in the cool blue predawn from the wide reed pallet he shared with his wife, Fanta, their youngest son and daughter, and two small grandchildren, and washed from a small plastic kettle and prayed while most of the camp still slept. In the modest manner of his generation he had wrapped his indigo turban three times around his head and under the gray stubble on his narrow chin and across his thin mouth, in which a few teeth still remained, and dragged his millet-straw mat out of the cold shadows of the hut.