After completing a master’s degree at Cambridge and initially planning to pursue a PhD, X accepted a teaching position at Kamuzu Academy in Malawi — often called the “Eton of Africa.” There, he became fascinated by how Malawian students and educators interpret Classics through local cultural lenses. His experience at Kamuzu, along with his ongoing outreach work in Ghana and across Africa, reflects his broader goal: to make Classics more accessible, relevant, and connected to African perspectives.

Q: What first inspired you to work in Malawi, and how did you become involved with Kamuzu Academy?
A: The opportunity came unexpectedly while I was preparing for doctoral work. Kamuzu Academy still required Classics as a compulsory subject, and I was intrigued by how students in Malawi approached ancient texts. Seeing Classics through a Malawian lens — how people relate to and reinterpret it — was something I found truly fascinating.

Q: What drew you to the field of Classics, and how has your passion evolved through your work in Malawi?
A: I’ve always been drawn to the comparative and reflective nature of Classics. It offers tools for cultural analysis and insight — studying ancient Greece and Rome allows us to hold up a mirror to our own societies. Teaching in Malawi deepened that sense of relevance, especially when I saw how ancient concepts could resonate with modern African contexts.

Q: Can you describe your role at Kamuzu Academy and what a typical day looked like?
A: Teaching there was rewarding and immersive. I taught Greek, Latin, and Classical Civilization, and encouraged students to make interpretive connections — for example, comparing Homeric respect codes in the Iliad with C, the Malawian idea of love and respect. We explored parallels between Greek oral traditions and Malawian storytelling, and even discussed how biblical imagery connects to classical themes. Students often found these links surprisingly natural.

Q: How are Classical subjects perceived in Malawi today?
A: Classics was once held in very high esteem, associated with national leaders like Hastings Banda. Although it’s no longer compulsory at Kamuzu, the subject is still respected. There’s ongoing discussion about the “colonial baggage” of classical texts, but I think it’s important to remember that texts themselves aren’t inherently colonial — it’s the interpretation that matters. The key is to value local perspectives alongside traditional ones.

Q: What challenges and opportunities have you encountered teaching Classics in Malawi?
A: Kamuzu Academy was a well-resourced private school, so students had a strong foundation and enthusiasm for the subject. The real challenge came from limited opportunities for outreach beyond Kamuzu. Government schools offered only minimal exposure — usually a small module on Greece and Rome in history — with more emphasis on African civilizations. Still, the potential for integrating Classics more broadly is there.

Q: How do students at Kamuzu connect with Classical texts?
A: It varies. Some students start out skeptical but grow genuinely interested once they recognize cultural parallels. Many go on to study the subject at A-level. I’ve also worked with Ghanaian postgraduates translating Plato into local languages — an exciting project that highlights how Plato’s political ideas can resonate in modern African democracies.

Q: Have you noticed any particular cultural parallels or linguistic connections between African traditions and the Classical world?
A: Absolutely. Concepts like xenia — the Greek code of hospitality — are deeply familiar in African contexts. In Malawi, ideas of community, respect, and shared responsibility mirror that classical ethos. Linguistically, some features of Chichewa resemble Greek, which helped students grasp grammar and structure quickly. Africa’s multilingualism and oral traditions provide a natural foundation for understanding ancient storytelling and rhetoric.

Q: How has your time in Malawi influenced your own perspective on Classics?
A: Immeasurably. Teaching in Malawi revealed how much more alive and relatable Classics can be when viewed through an African lens. The discipline becomes less about distant history and more about living connections — moral reasoning, civic life, and storytelling that still have meaning today. It’s a reminder that Classics belongs to no single culture; it’s a shared human heritage.

Q: What are your hopes for the future of Classics in Africa?
A: I hope to see more African institutions champion Classics not as a colonial import but as a framework for ethical reflection, critical thinking, and political insight. There’s a strong case for integrating Classics into discussions about governance and moral education. Ghana and Malawi both need more structured spaces for that kind of dialogue — and I believe Classics has something essential to offer.

Q: Finally, what advice would you give to someone who wants to combine education, outreach, and international work — especially in the humanities?
A: Stay adaptable, collaborate widely, and listen. Humanities work thrives on empathy and perspective. Working in different cultural contexts teaches humility — and reminds you that learning always goes both ways.