A coup is underway in Mali, though it has not brought down the governing junta just yet. The country’s military leader, General Assimi Goïta has, after days in hiding, appeared in public to claim, unconvincingly, that the “situation is under control.” But rebel forces — an alliance of Al-Qaeda affiliates and Tuareg separatists — have taken over provincial cities and are calling for a blockade of the capital Bamako. Mali’s military junta hangs on by a thread, in a familiar regional story of violence, civilian suffering and international intrigue.

On April 25, coordinated attacks across Mali exposed the junta’s fragile hold over the country. Jamaat Nusrat al-Islam wal-Muslimin (JNIM), the al-Qaeda affiliate that has driven insurgency across the region for over a decade, joined forces for the first time with Tuareg separatist groups — who have been fighting the central government for even longer — to simultaneously strike cities hundreds of miles apart, including the capital Bamako, Gao, Kidal, Sévaré, and the garrison town of Kati. A suicide car bomber drove into the residence of defence minister General Sadio Camara, killing him along with his wife, two grandchildren, and several civilians. Camara was one of the most influential figures in Mali's ruling junta and had been widely seen as a possible future leader of the country. He was also the key architect of Mali's military alliance with Russia. Mali, Burkina Faso and Niger, which together form the Alliance of Sahel States (AES), have all in recent years realigned away from France, the former colonial power in the region, and towards Russia.

Russian mercenaries, in the form of the Wagner Group and more recently the Africa Corps, have backed military juntas in the Sahel, after coups in Mali, Burkina Faso and Niger led to the withdrawal of French troops from France’s former colonies. But during these latest rebel strikes, it was Russian fighters that were chased out of the northern city of Kidal to the sound of jeers. Africa Corps, the Kremlin-controlled paramilitary group, described the insurgent attacks as a "coup attempt" backed by "Western intelligence services." RT amplified these claims, accusing France and the West of orchestrating the violence, even as it claimed Russian fighters successfully repelled rebels. In 2024, Ukraine’s military agency said it had provided information to help Tuareg rebels ambush and rout a Wagner convoy, killing dozens of Russian mercenaries. Both Mali and Niger have cut diplomatic ties with Kyiv. Burkina Faso has described Kyiv as a destabilizing force in the region, making the Sahel effectively a front in Russia’s war with Ukraine. 

The Kremlin’s combination of misinformation and mercenaries helped exploit growing anti-Western sentiments in the Sahel to give Russia a propaganda win in the region. Former colonial powers such as France didn’t help themselves, as can be seen even now in Madagascar, the latest nation to expel a French diplomat and accuse Paris of fomenting unrest. But the success of Russian propaganda hasn’t been matched on the ground. As Mali struggles to contain a rebel alliance that has fresh impetus and energy, Moscow’s control is weakening and the effectiveness of its military support is under question. Already, with Russian weapons in short supply because of war with Ukraine, it is China that the Malian junta turns to for arms. China’s strategic efforts in the Sahel have been similar to its efforts in the rest of the African continent – a focus on securing infrastructure contracts as part of the Belt and Road Initiative and securing access to mineral resources. But rebel attacks in the Sahel are bad for Chinese business. In February, the Chinese embassy in Niamey, the capital of Niger, warned Chinese companies to take their workers out of the firing line as rebels increasingly targeted Chinese infrastructure projects, including a $4.5 billion oil pipeline from Niger to Benin.

In 2024, the United States was forced to leave neighboring Niger after a coup, to withdraw from a $100 million base. It seemed the U.S. was losing ground to both Russia and China in the Sahel. Earlier this year, though, as security concerns in the Sahel escalated sharply, the U.S. adjusted its approach, choosing to deal pragmatically with military juntas. By late February, the U.S. lifted sanctions on top Malian officials, including General Camara, the recently slain defence minister. It may see closer cooperation with Sahel countries as essential to its security interests and a way to undercut Chinese access to Sahelian resources.

The three Sahel states, Mali, Burkina Faso and Niger, have turned away from France and Europe and towards Russia, while increasingly flirting with the U.S. and reliant on Chinese weapons. The result has been disaster. All three Sahel states are ranked in the top 5 for countries impacted by terrorism. And the humanitarian toll has been severe. Millions of people face internal displacement across the region and cuts in aid programmes mean many millions, especially children, also face acute hunger. But, as the great powers circle the region, jockeying for geopolitical gain, the talk remains about the logistics of propping up failing juntas, providing military solutions to human crises, and maintaining power rather than confronting problems.

Mali, Burkina Faso and Niger – all led by military authorities that came to power in a coup – have also isolated themselves from the rest of their neighbors by withdrawing from the West African regional bloc, Ecowas. Meanwhile, they sell their model as an alternative to Western-style democracy, a narrative that Russian propaganda networks have been all too eager to promote. But the strength of the insurgency against Mali’s government, and Russia’s apparent inability to protect it, sends a different message to the rest of the African continent.

The post Why an insurgency in Mali matters in Moscow appeared first on Coda Story.

On the night of January 16, 2024, Egana Djabbarova was awoken by her wife and told that she needed to leave the country immediately. Djabbarova, her wife said, had been denounced by pro-war activists and framed as an enemy of the country. She had recently published her novel, “My Dreadful Body,” with a small, indie press that had been praised by mainstream critics, unexpectedly propelling her into the public eye. One of the book's central themes is surveillance: growing up in a community with strict behavioural codes, the protagonist's every move is under scrutiny.

In a dark echo of her work, Djabbarova was now under online surveillance herself. “I was just the perfect enemy,” she tells me, “because I’m queer, I’m not Slavic, I worked on decolonial and feminist projects… So boom, it happened.”

She is speaking to me from Hamburg, where she now lives. Djabbarova is part of the so-called fifth wave of writers exiled from Russia, alongside Maria Stepanova, Lyudmila Ulitskaya, and Maxim Osipov to name a few. Her upbeat tone during our call gives little indication of the arduous journey she has endured since fleeing Russia. Upon receiving a humanitarian visa from Germany, she spent months in a refugee camp. She lived, she says, “in a container house, literally a shipping container. You feel like you're not a subject, not a human being.” 

More permanent accommodation has provided a degree of safety and stability, but a sense of precariousness lingers. She describes her position as an exile as “strange” — on the one hand she has been welcomed into Germany’s cultural elite in winning the Hamburger Literaturpreis; on the other, she feels like a “ghost,” unable to express herself in German and often bewildered by the unfamiliarity of everyday tasks in a new country, and in a new city which, she tells me jokingly, is quaint and polite like the well-behaved boy next door. 

But there’s a deeper, historical layer to Djabbarova’s story of exile. Her father was a refugee from the region of Nagorno-Karabakh, while her mother was forced out of her family home. “Homelessness and exile — this is my heritage,” she says. Being othered became a common theme of Djabbarova’s childhood, as a child of Azeri parents living in Yekaterinburg. “In Russia you are constantly reminded that you're not Russian,” she says. “Then during the summer you visit your relatives in Azerbaijan and they laugh because you cannot speak Azerbaijani properly.”

This sense of double estrangement is mirrored in “My Dreadful Body” (published in Russian in 2023 and recently translated into English by Lisa Hayden). At only a touch over 100 pages, it is a slim but powerful account of the pressures on one woman growing up among the strict codes of an Azerbaijani family living in Russia. A sense of surveillance and conditional belonging defines the narrator’s upbringing: “In the world where I grew up,” she writes, “gazes penetrated every little corner. The evil eye, the neighbors’ eyes, the relatives’ eyes, the random pedestrian’s eyes, the unscrupulous men’s eyes, the women’s unhappy eyes. Life in the community was reminiscent of a reality show with constant video surveillance: no action, word, or undertaking went unnoticed.”

The story is based on Djabbarova’s own life. “Maybe 70-80% of this story is absolutely true”, she confirms. The narrator is named Egana, she grows up in an Azerbaijani family in Russia, too Russian for the family, not Russian enough for her friends at school. She also, like Djabbarova, suffers from a debilitating autoimmune disorder that is eventually diagnosed as dystonia, a neurological disorder that causes involuntary muscle contractions. During one episode, she describes her body as resembling “willow branches gone mad from a strong wind” — a potent image of struggle against external forces. Djabbarova describes the book as a way to reclaim her body through language. “I was trying to tell this story in a poetic way. I wanted to change my body into poetry.” 

Each chapter of “My Dreadful Body” begins with a different body part (“Eyebrows,” “Eyes,” “Hair” and so on), like the poetic blazons spun by Renaissance poets. Where those poems encouraged an idealized, sensationalized reading of each body part, Djabbarova’s chapters are more sober explorations of the physical limits — and personal and cultural stories — these body parts contain. 

In one of many poignant scenes, the narrator’s head is shaved in preparation for a procedure. She cries on seeing her “shorn scalp,” but the sadness is not aesthetic, it’s ancestral; the act marks a symbolic rupture with her lineage. “My past,” she writes, “the past of all the women in my family, the memory of my ancestors, the history of a single body — all that now lay on the cold floor.” After this scene, her grandmother’s dictum that only long hair was considered beautiful, rings even more sharply. 

Illness then emerges as another form of exile, from one’s sense of self, from what’s perceived as “normal” in society, from the culture and community one belongs to. “They do not see you as a subject, as a human being, and they do not recognize your existence… I realized if I wanted to be seen as a subject, I needed to do it myself.” Djabbarova is talking about the plight to be believed about her symptoms here, but she could easily be talking about the often dehumanizing experience of exile. In both instances there is something fundamental under question, or as Djabbarova puts it, “You’re trying to prove that you have the right of being. You’re trying not to be erased.” 

We often talk about exile in the context of loss, but how might exile liberate? Paradoxically, Djabbarova tells me, her diagnosis became a form of liberation. “I always felt I had so many expectations on me as a girl, as a woman, so when I was finally diagnosed it was a liberation because my parents realized I would never be this type of girl.” Exile breeds a particular creative liberation, too, evidenced by the fact Djabbrova wrote the novel from Taiwan where she was briefly teaching Russian. “Here I had enough distance from my own life and my own experience,” she says. “Maybe it’s easier to write about your story being on an island in the Pacific Ocean.”

Writing is arguably the real heroine of Djabbarova's novel. For the narrator Egana, it is a place free from surveillance and a source of protection, “like an invisible amulet.” Poetry, she told me “was the only safe space for me because nobody was asking anything of me. It's the only place where I don't feel judged. I don’t feel ashamed. I don’t feel questioned.”

The chapter “Hands” opens: “The most important parts of a woman’s body were her hands: they prepared food, rocked children, did laundry, ironed men’s shirts, sewed clothes, swept, washed the floor, and dusted.… Any woman in our family knew that her hands were not given to her for writing.” To use her hands, then, to write becomes both a symbolic and quite literal form of resistance against such gendered codes.

Notably, Djabbarova is not alone in invoking the body as a space to explore the upheavals of exile. In Maria Stepanova’s autofictional work “The Disappearing Act” — recently translated into English by Sasha Dugdale — the narrator attempts to purge herself by volunteering to be cut in half as part of a circus trick. Djabbarova’s approach to reclaim identity and agency through the body is less literal, and more personal, but through this specificity she has landed somewhere indisputably universal. 

“I realized the only way I can write this novel is through my body,” she says. “Because the only way I can rehabilitate my being, my agency, my subjectivity is through my body. And that's why I wanted every reader to feel my body… It's really important for all of us not to forget that this right of being is basic. It's not given. It's something you have from birth." 

At the end of our conversation, Djabbarova (who has been speaking in English) struggles to recall a word and jokes that learning German is slowly pushing her English out. “Certain words I only remember in German!” she laughs. Is this the beginnings of a kind of homemaking for Djabbarova, a sign that the seeds she has scattered in her new country are taking root? Like her protagonist, who finds solace and safety in words, it seems that Djabbarova’s most trusted tool for survival, for managing the condition of exile, is language. 

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