My country was born on October 24, 1964. The former British protectorate of Northern Rhodesia, taking its new name from the great Zambezi River, would henceforth be known as Zambia. A week later, Time magazine published an article that focussed on the nation’s first President, Kenneth David Kaunda, a “teetotaling, guitar-strumming, nonsmoking Presbyterian preacher’s son and ex-schoolteacher,” who advocated for “positive neutrality” in the Cold War and for a “multiracial society” in Zambia. Another figure appeared in the article’s closing paragraph:
One noted Zambian failed to share in all the harmony. He is Edward Mukuka Nkoloso, a grade-school science teacher and the director of Zambia’s National Academy of Science, Space Research and Philosophy, who claimed the goings-on interfered with his space program to beat the U.S. and the Soviet Union to the moon. Already Nkoloso is training twelve Zambian astronauts, including a curvaceous 16-year-old girl, by spinning them around a tree in an oil drum and teaching them to walk on their hands, “the only way humans can walk on the moon.”
Time’s whimsical footnote prompted a flurry of interest from foreign reporters. “We do not know whether to take the announcement of this news from Lusaka seriously, or whether to conclude that Zambia somehow has been victimized by a Madison Avenue type,” one confessed. Others wondered if it was “a semiserious space program” or “a useful publicity stunt.” Their interviews with Nkoloso did little to clarify whether his space program was serious, silly, or a sendup. “Some people think I’m crazy,” Nkoloso told a reporter for the Associated Press. “But I’ll be laughing the day I plant Zambia’s flag on the moon.”
Nkoloso wore a standard-issue combat helmet, a khaki military uniform, and a flowing cape—multicolored silk or heliotrope velvet, with an embroidered neck and festooned with medals. His astronauts sometimes wore green satin jackets with yellow trousers. (They were quick to explain that these were not space suits: “No, we are the Dynamite Rock Music Group when we are not space cadets.”) Godfrey Mwango, at twenty-one, had been tasked with the moon landing. Matha Mwamba, sixteen, was headed for Mars. Nkoloso’s dog, Cyclops, was to follow in the paw prints of Russian “muttnik” Laika. The other cadets carried a Zambian flag and a staff in the shape of “a crested eagle on a dinner plate atop a sawn-off broomstick.” Nkoloso said he had been inspired by his first airplane flight. When the pilot refused to stop the plane so that he could get out and walk on the clouds, Nkoloso made up his mind to enter the space race.
Newspapers also reported the large sums of money, ranging from twenty million to two billion dollars, that Nkoloso requested from Israel, Russia, the U.S., the United Arab Republic, and unesco. (One saw “piles of letters from foreign well-wishers containing plenty of advice—but no money beyond a 10-rupee note sent by a space-minded Indian schoolboy.”) Despite Nkoloso’s indifference as to which side of the Cold War would fund his space program, he insisted on keeping its details secret. “You cannot trust anyone in a project of this magnitude,” he said. “Some of our ideas are way ahead of the Americans and the Russians and these days I will not let anyone see my rocket plans.”
Yet Nkoloso welcomed reporters into his headquarters, which changed location according to his day job, and were cluttered with space-related volumes donated by the U.S. Embassy: a “Space Aids Mankind” calendar, and the Zambian Space Program Manifesto. “Our spacecraft, Cyclops I, will soar into deep abysmal space beyond the epicycles of the seventh heaven,” it proclaimed, before gesturing toward how much the space race was about race. “Our posterity, the Black scientists, will continue to explore the celestial infinity until we control the whole of outer space.” Nkoloso was also happy to demonstrate his D.I.Y. space technology and training. He rolled his cadets down a hill in a forty-gallon oil drum to simulate the weightless conditions of the moon. “I also make them swing from the end of a long rope,” he told a reporter. “When they reach the highest point, I cut the rope. This produces the feeling of freefall.” The mulolo (swinging) system, he hinted, was itself a potential means of space travel. “We have tied ropes to tall trees and then swung our astronauts slowly out into space.” Nkoloso had considered launching the shuttle with a catapult system that turned out to be “much too primitive,” and referred to “turbulent propulsion” as an area for future investigation.
As you may have guessed, the Zambian Space Program never got off the ground. “My spacemen thought they were film stars. They demanded payment,” Nkoloso told the A.P. in August, 1965. “Two of my best men went on a drinking spree a month ago and haven’t been seen since . . . Another of my astronauts has joined a local tribal song and dance group.” Even in the early days, Nkoloso had complained that “they won’t concentrate on space flight—there’s too much love making when they should be studying the moon.” Matha Mwamba eventually got pregnant and dropped out. The program suffered from a lack of funds, for which Nkoloso blamed “those imperialist neocolonialists” who were, he insisted, “scared of Zambia’s space knowledge.”
I first encountered Nkoloso in a work of art that tries to imagine a different outcome. My friend sent me a link to Frances Bodomo’s short film “Afronauts” (2014). In the film, set on the night of the Apollo 11 moon launch, in 1969, “a group of exiles in the Zambian desert are rushing to launch their rocket first.” It is just one of severalprojectsinspired by the Zambian Space Program that have emerged over the last five years, as part of the recent resurgence of interest in black science and science fiction (the film “Hidden Figures,” Janelle Monáe’s music). In 2012, Cristina de Middel made a series of surreal photographic re-creations of Nkoloso’s space program. In the photos, models in raffia skirts and Afro-patterned space suits meander across a desert fitted with rusted machinery and impassive elephants. Projects like this present Nkoloso as an eccentric visionary—an early pioneer of Afrofuturism, a term Mark Dery coined in 1992 to describe the nexus of black art and technoculture. Dreamy and speculative, they are a little flexible with facts. (There are no deserts in Zambia.)
Because we live in a miraculous world, you can still watch documentary footage from 1964 of Nkoloso and his team training in Zambia on YouTube. A group of young men and women, dressed unassumingly and mostly barefoot, jump up and down, clapping their hands in front of a banner reading “zambia space academy.” The extended footage shows a young trainee being slotted into a metal cylinder, then raised up, his head poking out like a hapless turtle; another floating down a stream in a drum; Mwamba on a swing, wearing a bomber jacket, pumping her legs and smiling. The leader of these exercises wears an army helmet and a cape over high-waisted pants, a dress shirt, and tie. A British reporter takes Nkoloso aside to interview him. “Yes, this is the rocket-launching site, and my rocket is just here,” he says, gesturing matter-of-factly to an upright cylinder with an egg-shaped hole for breathing. “I will fire it from Lusaka and it will go straight to the moon, based on how much money I’ve got.” The reporter turns to the camera and remarks, laconically, “To most Zambians, these people are just a bunch of crackpots, and from what I’ve seen today, I’m inclined to agree.”
In his 1965 book “The New Unhappy Lords,” the British conservative A. K. Chesterton used Nkoloso as evidence of the folly of granting independence to African nations. “The masquerade of the African in the guise of a politician able to take over the running of a modern state . . . has nowhere been demonstrated in a more ludicrous light than in Zambia,” he wrote. “What other country in the world, for example, boasts a Minister of the Heavens?” This attitude toward the Zambian Space Program has persisted alongside the paeans to the quixotic genius. Over the years, Nkoloso has been called “an amiable lunatic,” “a court jester,” and “Zambia’s village idiot.” His name still crops up in compilations like “Never in a Million Years: A History of Hopeless Predictions” and “Dumb History: The Stupidest Mistakes Ever Made.”
Of everything I’ve read on Nkoloso, the 1964 series of articles by the San Francisco Chronicle columnist Arthur Hoppe best captures the tonal ambiguity of the Zambian Space Program. Hoppe described Nkoloso as “an engaging if somewhat insane man” with a “disarming grin,” and Matha as “a demure, well-rounded young lady with a charming smile.” Hoppe asked Nkoloso what Matha’s twelve cats were for:
“Yes, please,” he said, nodding. “Partly, they are to provide her with companionship on the long journey. But primarily they are technological accessories.”
Technological accessories?
“Yes, please. When she arrives on Mars she will open the door of the rocket and drop the cats on the ground. If they survive, she will then see that Mars is fit for human habitation.” . . .
In answer to direct questions as to whether she found orbiting thrilling, valuable, or merely routine, [Mwamba] ducked her head shyly and giggled charmingly. She did volunteer, however, that it was “a bit worrisome.”
Hoppe’s dry wit resonates beautifully with the snippets of local voices he captured, including that of Violet Ndonga: “To go to the moon. It is for you Americans.” She made a gesture that “summed up Zambian public opinion of America’s $20 billion program to win the race to the moon so as to enhance our national prestige throughout the world. They think we’re out of our minds.” As Martin Luther King, Jr., pointedly remarked, in 1967, a country that had spent twenty billion dollars to put a man on the moon could just as well “spend billions of dollars to put God’s children on their own two feet, right here on Earth.”
In his 1995 memoir, Hoppe said that the journalists covering the violence in the Congo next door had mocked him roundly for covering such a trifle. He returned to America to letters excoriating him for “blatant racism in poking fun at uneducated Africans.” Hoppe was shocked. “The thought had never occurred to me. I believed it was the Africans who were satirizing our multi-billion-dollar space race against the Russians.” One of Hoppe’s fellow-journalists told him his series was “going to be the greatest Rastus story in the history of journalism.” Rastus is a minstrel character from Joel Chandler Harris’s Uncle Remus tales, which often featured the trickster Br’er Rabbit.
The Zambian version of this witty, wily hare is named Kalulu. He is constantly devising elaborate trouble for elephant and lion, the two mighty beasts competing for King of the Jungle. The Zambian artist Stary Mwaba told me that Nkoloso had named one of his rockets dkalo-1, after President Kaunda. I wondered if he had actually named it after Kalulu. In 1969, the Chicago Journalism Review asked the acting press officer of the Zambian Embassy in Washington, Phineas Musukwa, about Nkoloso. Musukwa said he was “the Pat Paulsen of Zambia,” referring to the American comedian who made a running gag of running for President. “Mr. Nkoloso is actually a very well-read person,” Musukwa said. “It was a big joke.” If it was, Nkoloso never broke character: as one reporter said, “Nkoloso really lives the Jules Verne-like character he has built up around himself.