Blind Man's Music

Two more passengers was all we needed. As one of the first to board the tro-tro, I had waited two hours for it to fill. We were heading to Kumasi, four hours north of my home in Cape Coast. I was going on a long weekend trip to Mole National Park by myself. (See previous post for details.)

It was more of a van than a tro-tro, as it had almost double the number of seats (22). If you don’t like people touching you or don't do well in small spaces, public transportation in Ghana and probably in the rest of Africa is not for you.

The front had two seats next to the driver and the back looked like this:

Don’t let the divided lines fool you – they are not separated individual seats. They are benches. The bench in front of you is usually about 12 inches away from your chin, and you are thigh to thigh, hip to hip and arm to arm with the person or people next to you. Although tro-tros and vans are not the most comfortable way to get around, the forced physical closeness makes for my most interesting moments in Ghana. This morning was no exception.

An old man in a navy blue jumpsuit too big for his slight body stepped onto our van in the opening space where there was no seat. He faced us. He was blind in a rather painful-looking way. His left pupil was permanently positioned left, revealing a yellowed sclera. Near his right eye's iris was some sort of puncture wound the size of a dime. He lowered his lids halfway (I wondered whether he did this consciously) and began speaking to us in Fante, the main local language spoken in the Central and Western Regions of Ghana. I only know a handful of Fante phrases and words, but knew the gist of what he was saying.

When tro-tros are almost full, salesmen stand by the open door and duck their heads inside to give a minute-long sales pitch on energy drinks, pens with calendars inside them, body soap, religious books, how-to books – you name it. And sometimes on the vans, where there is more room to stand, eloquent gracious representatives of religious bodies (usually Christian churches) will recite a prayer and mention the importance of faith and knowing Jesus and the Lord. Then he wishes the passengers a safe and blessed journey, sings a soulful song and steps out of the van. I’ve witnessed these van prayers three times and each van reacted the same way. Whereas the passengers generally ignore the salesmen on the tros, they clap, exclaim and give money to these people of extraordinary faith.

All I could understand of the old man's prayer was “St. Francis.” He mentioned his name several times. I had no recollection of what St. Francis was known for and wondered why this man chose to speak about him rather than St. Christopher, the patron saint of travelers.

He spoke softly, but his words still reached everyone in the van. His voice sounded as old as his weary eyes looked. Although his eyes didn’t seem to register anything, he moved his head slowly from one side of the van to another as he spoke. He used his hands at times, moving them with control and grace.

The man next to me leaned over my lap to pull his wallet from the back right pocket of his trousers. He took out a one cedi bill and asked the woman sitting in front of him to give it to the man. She took the cedi and placed it inside the man’s idle hand by his waist. His eyes still projected ahead, his fingers fumbled for the money, though not with desperation or greed. He stopped his speech to say, “May God bless you,” and tucked the cedi into his left breast pocket, his finger catching the rim of the pocket, jingling a few coins from the bottom.

He finished the prayer and took out two light wooden cylinder-shaped sticks and began building a rhythm. The sticks were about six inches in length and an inch in width. He hit the right one on the left, rotating the left stick in his hand each time after striking it with the right. The rhythm was simple – one, two, one, two, one, two. It was so genuine. As a devoted admirer of African music, I am convinced Africans are born with musical inclination. There were countless rhythms and combinations of rhythms he could have played with those two sticks, but he chose the simplest, purest beat there is.

In his blind eyes, in his quiet demeanor, I could not detect a trace of sadness or of desperation. He was calm and steady. It was as if his only intention was to bring us faith and hope. When he began to sing, it was too beautiful for me. Too unexpected. Too needed. I couldn’t handle it. My throat swelled and tears brimmed. I laughed quietly at myself and pulled out my wallet. Despite never giving money to those who beg due to its often pointlessness and even negative repercussions, giving money to this blind man seemed like the most natural thing to do. There was no question in my mind about it. From moments like these I've learned there is a difference between sustainable giving and kindness.

In fear of completely losing it, I didn't dare look at the old man again or anyone as I handed a one cedi bill to the man next to me. I asked if he could pass it up. He looked at me, then looked at the van’s open entrance, where girls and women stood by our door with boxes and bowls of food on their heads. “You want a meat pie?” he asked. He probably didn’t think I would give the man a cedi because there was no way I had understood his prayer. A meat pie seemed like a more obvious purchase for a foreigner.

“No, can you give it to that man?” I nodded in his direction.
The guy next to me looked from me to the singing man and then back at me. “That man?”
I nodded, feeling my throat swell again. I kept my gaze unfocused and downward; it would've been impossible to keep the tears in if I had locked eyes with another.
I could hear him smile. “God bless you!” he said, and passed my cedi forward.

I looked the other way out the window, wishing the old man would stop playing his music and stop singing. It was too beautiful.