PUB: Winning Writers - Tom Howard/John H. Reid Short Story Contest

Tom Howard/John H. Reid Short Story Contest

Welcome to the 18th annual Tom Howard/John H. Reid Short Story Contest sponsored by Tom Howard Books. Any type of original short story, essay or other work of prose is eligible. Prizes totaling $5,550 will be awarded, including a top prize of $3,000. Click here to read winning entries from the past.

Submission Period
Entries accepted July 15, 2009-March 31, 2010 (postmark dates). Early submission is encouraged.

The 18th contest is not yet open, and the rules below may change. Please wait until July 15 or later to submit. However, if you are here to complete an entry for the 17th contest submitted before April 1, you may proceed.

--> What to Submit
Short stories, essays or other works of prose, up to 5,000 words each. There are no restrictions on style or theme. Each entry should be your own original work. You may submit the same work simultaneously to this contest and to others, and you may submit works that have been published or won prizes elsewhere, as long as you own the online publication rights. See our FAQ for additional details.

Prizes and Publication
First prize: $3,000. Second prize: $1,000. Third prize: $400. Fourth prize: $250. There will also be six Most Highly Commended Awards of $150 each. The top 10 entries will be published on the Winning Writers website (over one million page views per year) and announced in Tom Howard Contest News and the Winning Writers Newsletter, a combined audience of over 25,000 readers.

Entry Fee
The reading fee is $15 per entry. This covers your submission of one short story or prose work of up to 5,000 words. Contestants may submit as many entries as they like. Please note: Generally entry fees are not refundable. However, if you believe you have an exceptional circumstance, please contact us within one year of your entry.

Deadline
March 31, 2010. Your entry must be postmarked or submitted online by this date.

How To Submit
Click here to submit online (credit card)
Click here to submit by mail (check or money order)
Click here to submit via PayPal

Announcement of Results
Read the winning entries from the 17th contest here. The winners of the 18th contest will be announced on September 15, 2010. Entrants with valid email addresses will receive an email notification.

English Language
Writers of all nations may enter. However, the works you submit should be in English. If you have written a work in another language, you may submit an English translation. You may also submit a translation of a work that is in the public domain.

Privacy
Your privacy is assured. Neither Winning Writers nor Tom Howard Books will rent your information to third parties. Winning Writers processes entries and fees for this contest as a service to Tom Howard Books. Winning Writers is not a sponsor and does not judge the entries.

Copyright
If your entry wins any cash prize, you agree to give both John H. Reid and Winning Writers a nonexclusive license to publish your work online. From time to time, selected winning entries may also be published in printed collections (for example, Watching Time). If you win a prize, we may ask you for permission to include your entry in one of these books. You may accept or decline this invitation as you choose. Your choice won't affect your prize status. Your entry will not be published in print without your consent, and you retain all other rights. You are free, for example, to publish your work in print or online elsewhere, and to enter it into other contests, whether or not you win a prize in this contest.

John ReidJudges
A former journalist and magazine editor, John H. Reid has judged literary contests for over 15 years. He has published several novels, a collection of poetry, a guide to winning literary contests and 24 books of film criticism and movie history. See his work at Lulu. Mr. Reid is assisted by Dee C. Konrad. A leading educator and published author, Ms. Konrad was Associate Professor in the English faculty of Barat College of DePaul University, and served as Dean of Liberal Arts and Sciences for the year 2000-2001.

About Winning Writers
Winning Writers finds and creates quality resources for poets and writers. Our expert online poetry contest guide, Poetry Contest Insider, profiles over 750 poetry contests. We directly sponsor the Wergle Flomp Humor Poetry Contest and the War Poetry Contest. We also assist the Tom Howard/John H. Reid Short Story Contest, the Margaret Reid Poetry Contest for Traditional Verse and the Tom Howard/John H. Reid Poetry Contest. Winning Writers is proud to be one of "101 Best Websites for Writers" (Writer's Digest, 2005-2009) and a recipient of the Truly Useful Site Award (Preditors & Editors, March 2006).

Questions about this contest? Please see the Frequently Asked Questions or click here to send a note to the contest administrator.


>http://www.winningwriters.com/contests/tomstory/ts_guidelines.php

PUB: Blue Lynx Poetry Book Contest

Blue Lynx Prize for Poetry Returns

For its 15th year, the Blue Lynx Prize is returning to Lynx House Press.

The Prize is awarded for an unpublished, full-length volume of poems by a U.S. author, which includes foreign nationals living and writing in the U.S. and U.S. citizens living abroad. Poems included may not have appeared in full-length, single-author collections. Acknowledgments pages and author names may be included, but will be removed prior to final judging.

Entries must be at least 48 pages in length and must be accompanied by a $25 reading fee, the submissions form (link below), and an SASE (for notification only). Please make checks payable to Lynx House Press.

Blue Lynx Prize Submission Checklist:

  • Poetry manuscript of 48+ pages
  • Check or money order for $25
  • Blue Lynx Prize Form
  • A self-addressed, stamped envelope

Send to:

Lynx House Press
P.O. Box 940
Spokane, WA 99210

Postmark deadline: May 15, 2010.

For questions regarding the contest, please contact Chris Howell via e-mail.

>http://lynxhousepress.org/

PUB: Willow Springs Fiction Contest

Willow Springs invites submissions for The Willow Springs Fiction Prize, $2,000 plus publication in Willow Springs.

Submission deadline: March 1, 2010

  • Include a $15.00 entry fee. Submissions without an entry fee will not be judged.
  • Send only one story per submission.
  • Use a check or money order only; cash will not be accepted. Please make the checks and money orders payable to Willow Springs.
  • Submissions should be typed. Handwritten submissions will not be judged and the entry fee will not be refunded.
  • Submissions must be 7,000 words or fewer.
  • Your name, address, phone number, and e-mail address, as well as a short bio, should appear in a cover letter included with your submission.
  • Do not include indentifying information anywhere else in your submission.
  • Submit only original, unpublished work. Contest entries may neither be previously published nor simultaneously submitted elsewhere.
  • Do not send an SASE.
  • If you would like confirmation that your work has been received, include a self-addressed, stamped postcard instead.
  • Don't send us your only copies—manuscripts will not be returned.
  • Entries must be postmarked by March 1, 2010.
Please send entries to:

The Willow Springs Fiction Prize
Willow Springs
501 N Riverpoint Blvd, Ste 425
Spokane, WA 99202

All contest entrants will receive the Willow Springs issue containing the award-winning works. We look forward to receiving your entries. Good luck!

via ewu.edu

>http://www.ewu.edu/willowsprings/contests.html#

INFO: new book--Unexpected Places - Relocating Nineteenth-Century African American Literature

Unexpected+Places%3Cbr+%2F%3E+Relocating+Nineteenth-Century+African+American+Literature

Unexpected Places
Relocating Nineteenth-Century African American Literature

By Eric Gardner

272 pages (approx.), 6 x 9 inches, bibliography, index

978-1-60473-283-2 Cloth $40.00S

Special discount
20% off
(Website only price)

Cloth, 

$40.00

(Was $50.00)

An argument for a major remapping of the early African American literary landscape

In January of 1861, on the eve of both the Civil War and the rebirth of the African Methodist Episcopal Church's Christian Recorder, John Mifflin Brown w rote to the paper praising its editor Elisha Weaver: "It takes our W estern boys to lead off. I am proud of your paper."

Weaver's story, though, like many of the contributions of early black literature outside of the urban Northeast, has almost vanished. Unexpected Places: Relocating Nineteenth- Century African American Literature recovers the work of early African American authors and editors such as Weaver who have been left off maps drawn by historians and literary critics. Individual chapters restore to consideration black literary locations in antebellum St. Louis, antebellum Indiana, Reconstruction-era San Francisco, and several sites tied to the Philadelphia-based Recorder during and after the Civil War.

In conversation with both archival sources and contemporary scholarship, Unexpected Places calls for a large-scale rethinking of the nineteenth-century African American literary landscape. In addition to revisiting such better-known writers as William Wells Brown, Maria Stewart, and Hannah Crafts, Unexpected Places offers the first critical considerations of important figures including William Jay Greenly, Jennie Carter, Polly Wash, and Lizzie Hart. The book's discussion of physical locations leads naturally to careful study of how region is tied to genre, authorship, publication circumstances, the black press, domestic and nascent black nationalist ideologies, and black mobility in the nineteenth century.

Eric Gardner is professor and chair of the English department at Saginaw Valley State University. He is the editor of Jennie Carter: A Black Journalist of the Early West (University Press of Mississippi).

272 pages (approx.), 6 x 9 inches, bibliography, index 

EVENT: THE MUSIC OF THE WORD (LA PALABRA MUSICAL)

THE MUSIC OF THE WORD (LA PALABRA MUSICAL)

Host:
Avotcja Jiltonilro
Type:
Network:
Global
Date:
Sunday, February 14, 2010
Time:
3:30pm - 5:30pm
Location:
REBECCA's BOOKS 3268 Adeline Street Berkeley, CA (510)852-4768

Description

THE MUSIC OF THE WORD
(LA PALABRA MUSICAL)
Sunday February the14th
w/AYODELE NZINGA, JOSE "MANNY" MARTINEZ & JOSHUA MERCHANT
still in English, Spanish, Spanglish y Lo Que Sea
3:30 – 5:30PM No Cover
the 2nd & 4th Sunday of every Month
hosted by Avotcja
(Donations for flyers accepted
& don't forget to bring your Congas, Guiros, Maracas, Panderetas etc.
THE MUSIC OF THE WORD (LA PALABRA MUSICAL)
always the Word Festival to remember!
@
REBECCA's BOOKS
(specializing in Ethnic Poetry)
3268 Adeline Street
wheel chair accessible
(½ block north of ALCATRAZ & 2 short blocks south of ASHBY BART)
Berkeley, CA (510)852-4768
featuring
Sunday February 14th
AYODELE NZINGA (The Wordslanger)
MANNY MARTINEZ (Afro Puerto Rican fire)
&
JOSHUA MERCHANT (brilliant Teenage Poet)
Sunday February 28th
ODILIA GALVAN RODRIGUEZ (Curandera de Palabras)
JAVIER REYES (Poet/Hip Hop Theater)
&
PAUL FLORES (big, energetic, flavor)
& you & you & you on the Open Mic
¡Vengan todos & tell everyone to tell everyone!
rebeccasbooks@yahoo.com or www.Avotcja.com

Living Vodou [Speaking of Faith® from American Public Media]

-->

Living Vodou

The word "Vodou" evokes images of sorcery and sticking pins into dolls. In fact, it's a living tradition wherever Haitians are found based on ancestral religions in Africa. We walk through this mysterious tradition — one with dramatic rituals of trances and dreaming and of belief in spirits, who speak through human beings, with both good and evil potential.

About the Image

An ougan, or Vodou priest, is possessed by the spirit of Gede in a basement in Brooklyn, New York.=

+ (photo: Stephanie Keith)

>http://speakingoffaith.publicradio.org/programs/2010/vodou/

OP ED: 'Here There Be Monsters' by William Rivers Pitt

Here There Be Monsters

by: William Rivers Pitt  |  t r u t h o u t | Op-Ed

photo
(Image: Jared Rodriguez / t r u t h o u t

; Adapted: John Steven Fernandezcleanzor,clickykbd)

They say everything can be replaced,
Yet every distance is not near.
So I remember every face
Of every man who put me here.

- Bob Dylan, "I Shall Be Released"

I have a livid scar in the center of the back of my right hand. It is clearly visible, so I see it every day, and every time I see it, I am reminded of how I got it. One day, several boys in my junior high school class grabbed me and pinned me to the floor. They extended my right arm and held my hand flat to the floor. One of them took out a pencil and began violently rubbing it against the skin of that hand, until the skin broke, until little balls of my flesh stuck to the eraser, until the blood poured.

Press play to listen to author William Rivers Pitt read his column, "Here There Be Monsters":

I did not cry, I did not scream, and with four larger boys crushing down on me, I could not fight back. See, that was the thing. They wanted to see how long I could go before I wept or cried out. These boys, and several of their friends, had been attacking me on a daily basis for more than two years at this point, and I had stopped giving them the satisfaction of my tears. They didn't like that, so the eraser was meant to elicit the response they desired. They never got it, so they finally stopped ripping my hand open with the eraser, and the four of them settled for beating me up again.

For five long years, this was my life. It began toward the end of grammar school, when the first stirrings of puberty began to manifest itself within my classmates and me. To this day, I don't know exactly what the catalyst was; one day, I was just another kid in the group, and the next day I was the outcast, the butt of the joke, the loser. I changed schools after sixth grade, opting for a small private boy's school instead of continuing in public school with the same group that had made the last two years of my life a living hell. Within two months at the new school, however, the same pattern of harassment and rejection emerged once again, but with a far harsher edge.

You see, the leader of my group of tormentors was the son of the dean of students, and because none of the teachers or administrators wanted to get on his bad side, those boys were able to act out with little fear of censure or punishment. I was beaten up in the hallways, in the cafeteria, and especially during gym class. The beatings in the locker room became so severe that I took to sneaking into a teacher-only bathroom so I could change clothes. Once, I was shoved into the goal during gym class without helmet or pads while several boys fired rock-hard lacrosse balls at me while the teacher looked on. Another time, a boy ran up behind me during a gym-class basketball game and delivered a flying kick to my kidneys. I was on the floor for ten minutes, and there was blood in my urine that night.

Incidents like these were a daily occurrence until I changed schools again, this time to a large public school where anonymity was the best refuge. For whatever reasons, the torment ceased, and I became just another face in the halls. Behind that face, however, was a soul covered in scars. I had been the different one, socially awkward and unsure, sensitive, shy. Something in me had brought out the savage side of my schoolmates, and something in them had changed me forever. It took me years, decades, to come to grips with what I had been put through. To live in such a situation is to be in complete darkness. It is toxic to the mind, body and soul, and all too often ends in tragedy.

There is a kid like me in every classroom in America, a fact underscored by a recent story out of my home state of Massachusetts. A 15-year-old girl named Phoebe Prince was mercilessly bullied and tormented by her classmates, until she finally snapped and took her own life. In the aftermath, the local papers have taken to reporting on the reality of bullying in our society. A recent Boston Herald story reported:

Hundreds of angry parents, worried teachers and even terrorized kids are reporting ugly episodes of brutal bullying at schools across Massachusetts as the heartwrenching case of Phoebe Prince continues to expose a painful nerve. The abuse - detailed in e-mails and phone calls to the Herald - is emotionally jarring, often physical and spreading like a merciless virus in cyberspace. Kids tell of being forced to drink toilet water, getting pummeled on the bus and seeing themselves ridiculed for all to see on Facebook.

It's a toxic cauldron of abuse that callers fear could land their children in the same no-win corner as Prince, the South Hadley 15-year-old who apparently took her own life after being bullied. And, in a constant refrain, they all say nobody in power cares. "Nobody listens. It seems like you're talking to the wall unless you have $1 million," said a Cohasset dad who said his boy is picked on constantly. "Put that on the front page."

In one of the more touching exchanges, a 10-year-old Malden boy called this week to say the bullying is becoming too much. "Go ahead. Tell him," his dad coaxed him on the phone. "They won't leave me alone. They bully me," the shy youngster said.

A Boston Latin High School parent said the bullying was so bad her son had to leave the elite school. A teacher on the South Shore said she's sick over special-needs girls being photographed in the bathroom - only to learn it was all posted on Facebook. "The principal just glossed it over," the disgusted teacher added.

"Mommy help me," a Boston elementary schooler told his mom over the phone, she said, while he was being beaten up this week.

"I have bus video of my kid being attacked," added a weary suburban mom. "I'm trying to help my daughter from feeling helpless."

The story of the suicide of Phoebe Prince struck a deep nerve within me. I know exactly how she felt, and very nearly took the same path. When I was 13, the daily violence I endured had reached a terrible peak. My grades were failing, I was withdrawing even further from the world, and my school's response to the ongoing harassment was to give the students a lecture about chickens and the "pecking order." To wit, when one chicken develops a bloody spot from an injury, the other chickens swarm the wounded one and peck that bloody spot until the wounded bird is killed. The principal admonished the student body to not be like those chickens. The end result of the lecture was that my tormentors would punch me as hard as they could whenever they saw me and yell, "Peck!"

It finally became too much after one exceptionally savage day. I went home after school and gobbled a full bottle of pills. I lost my nerve a few minutes later, made myself throw up, and drank as much water as my stomach could hold, but the drugs had already entered my system. For the next two days, I laid in a semi-delirious stupor which my mother believed was a bad flu. I did not tell her about what really happened that day until many years later, and have told very few others about it until now.

It is a national epidemic, and has been for a very long time. Search Google News under the word "bullying" and nearly six thousand stories appear. One such story, out of Tennessee, underscores the horrific consequences that can come from such unrelenting torment:

A lawsuit has been filed against Murray County Schools by a family who says bullying led to their son's suicide. Tyler Long committed suicide in October. The 17-year-old suffered from Asberger's Syndrome, a social anxiety disorder. His family, and their attorneys, say it was unbearable bullying at school that forced him to take his life. The lawsuit says the boy's parents made "countless efforts" to meet with school officials to discuss their son's safety at school due to the constant bullying.

The lawsuit says the school system violated the boys rights under the Americans With Disabilities Act, and that school officials exhibited "deliberate indifference" towards the bullying. In a Murray County school board meeting last year numerous families made similar complaints. Veronica Gearhart says her child is bullied as well.

"My baby is missing school because a gang of boys is waiting for him and it was reported to everyone and no one did nothing," she said.

Others like Carleen Mcatie worry about what might happen next. "It'll be like Columbine because it will have festered so long," said Mcatie. "Something needs to be done about it now, before something major happens in our school."

It is impossible to quantify the insidious effect the phenomenon of bullying has on our society. Those who bully can and do become monsters in adulthood, but all too often, those who are bullied can become equally monstrous. The mother in the story above said the magic word: Columbine. The Columbine killers were bullied, and lashed out against that bullying in a frenzy of violence that beggars imagination.

One of the ugliest aspects of my experience with being bullied is the fact that, nauseating as it sounds, I know exactly how Eric Harris and Dylan Klebold felt; on many occasions, after I had been pummeled in the locker room before gym class, taunted by a Greek chorus of tormentors in the cafeteria, or been set upon in the bathroom, I would sit at my desk and fantasize about raking the room with machine gun fire to settle the score with those who found their fun through torturing me.

For a time, I carried a large knife to school because I needed some sort of equalizer in a world where violence waited around every corner and nobody in authority seemed to give a damn. I never found the courage to use that knife, thank God. But I could have. I remember wanting to, but I never did. Had I used it, I could very well have killed someone. Just brandishing it would have had dire consequences. I escaped my personal hell without lashing out violently. Harris and Klebold did not, and the simple truth is that bullying will eventually create more kids like them.

In the end, the perpetrators of bullying become indistinguishable from the victims. It is equally damaging to all involved. Take, for example, Dick Cheney, the most repellent public figure in modern American politics. It is easy to assume that he was a bully during his school days, given the manner in which he conducted himself in public office. But who is to say he was not the victim of bullying? It takes no great leap of logic to imagine how a person subjected to constant brutality can be transformed into a sadist by it, someone who reflexively needs to inflict the same pain they themselves endured. In the end, the bully and the bullied can, and all too often do, become the same noxious breed of monster.

What is the cause of bullying? Was it my fault that I became the object of so much terrible treatment? Was it the fault of those bullies, and the parents who so completely failed to raise them properly? Were the teachers and administrators to blame for allowing such unconscionable behavior to flourish under their noses?

Perhaps, I could have dressed better, been more socially adapted, but in the end, blaming the victim of bullying for getting bullied smacks of blaming a rape victim for getting raped. Responsibility for this phenomenon falls upon parents, who must raise their children to understand early in life that such behavior is abhorrent and forbidden. Furthermore, teachers and school administrators are duty bound to root out such behavior whenever it appears and deal with it seriously and severely.

Any teachers or administrators who claim ignorance or an inability to address this problem are lying through their teeth. I spent several years as a high school teacher and a dean, and know for a fact that it is nonsense to claim this problem is difficult to locate in a school environment. On my first day, I was able to spot which students were "in" and which were "out," and was immediately able to take steps to thwart bullying whenever it appeared within my sight or knowledge.

One of my proudest accomplishments as a teacher and administrator, in fact, came during my second year in the classroom. Like any group of students, my crew was divided between the "in" kids and the "out" kids. The "in" kids wore the right clothes, had the right looks and knew how to play the high school social game. The "out" kids were not as fashionable, not as physically developed and tended to get the best grades. Through slow and steady pressures, counseling conversations and meetings with parents, I was able to transform the social dynamic that separated "in" from "out." By the end of the year, my "out" kids were the most popular ones in class, and my "in" kids thought hitting the books and getting good grades were the keys to the coolness kingdom. This pattern held until the day those kids graduated.

Disrupting the patterns and social constructs that lead to bullying can be done. I know. I did it.

"The world breaks everyone," said Ernest Hemingway, "and afterward, some are strong at the broken places." I was broken, and deliberately so, day after day, week after week, year after year for five long years, until I could take no more and tried to break myself, finally and forever, to be free of it. I am stronger now in those broken places; in the process of making peace with that past, I finally came to the conclusion that all those years of wretchedness were the most important of my life. I came through that crucible a better person, sensitive to injustice and ever on the side of the underdog and the victim.

But that, in the end, is a rationalization. In truth, there was nothing good about what I was forced to endure, and the echo of it resonates within me to this day. Sometimes, I have nightmares. Sometimes, I react irrationally to seeming slights, especially if one of my many internal scars gets tweaked. For years, I was prone to depression, which led to self-medication through alcohol.

Ancient maps of the world once marked unknown regions of ocean with the words, "Here There Be Monsters." The phenomenon of bullying remains an unknown and unexplored region of our society, and this must change. Here, indeed, be monsters. I am still not fully recovered from my experiences, and may never be. I remember all the faces, and all the names, of those who tormented me during that time of unutterable darkness. I can never forget.

You see, I have this scar on my hand.

Creative Commons License
This work by Truthout is licensed under a Creative Commons Attribution-Noncommercial 3.0 United States License.

William Rivers Pitt is a New York Times and internationally bestselling author of two books: "War on Iraq: What Team Bush Doesn't Want You to Know" and "The Greatest Sedition Is Silence." His newest book, "House of Ill Repute: Reflections on War, Lies, and America's Ravaged Reputation," is now available from PoliPointPress.

OBIT: Rex Nettleford - Jamaican scholar/choreographer

Rex Nettleford

Rex Nettleford is pictured in this photograph. Nettleford died February 2nd at the age of 76.

Rex Nettleford

Jamaican scholar, choreographer dies in US at 76

he Associated Press

KINGSTON, Jamaica

Jamaican scholar and choreographer Rex Nettleford has died following a heart attack in the United States. He was 76.

Nettleford died late Tuesday in Washington D.C., where he was attending a fundraiser for the University of the West Indies. He had been hospitalized since suffering a heart attack last week at his hotel room, Jamaican Culture Minister Olivia Grange said.

Nettleford, a Rhodes scholar, co-founded the National Dance Theater Company a month after Jamaica gained independence from Britain. He led the organization for almost 50 years.

"Jamaica and the entire world have lost an intellectual and creative genius," Prime Minister Bruce Golding said. "Rex Nettleford was an international icon, a quintessential Caribbean man, the professor, writer, dancer, manager, orator, critic and mentor."

Nettleford, who was born in rural Trelawny parish in February 1933, long called for positive portrayals of Jamaica's black majority.

His 1969 book, "Mirror Mirror," examined the status of black Jamaicans nearly 10 years after the island became independent.

Nettleford was vice chancellor emeritus of the University of the West Indies from 1997 to 2004 and served as cultural adviser to three prime ministers, including Golding.

Former Jamaica Prime Minister Edward Seaga praised Nettleford's passion for regional art and folklore.

"He had a willingness to absorb Jamaican culture," Seaga said.

===============================

Rex Nettleford, O.M.

 
"The power to create and innovate remains the greatest guarantee of respect and recognition." 
Nettleford 1970:227

 


Biography: The Formation of a Caribbean Intellectual

Rex Nettleford, a leading Caribbean intellectual visionary and renaissance figure, was born on February 3rd, 1933 in the rural town of Falmouth, Jamaica. Enveloped by the folklore of the rural hinterlands of Jamaica and the natural integration of music and movement in life, Nettleford cultivated an acute sensibility to the creative ingenuity and resilience evidenced in the collective intellect of the black rural community. His creative imagination was fostered by an immersion in the daily rhythms of country life, and invested him with a keen appreciation for the dynamic process of creolisation as witnessed in diverse religious practices, eclectic music traditions and resistant speech patterns. These "homegrown" articulations of Jamaican identity were constructed out of the meeting of Africa and Europe on Caribbean soil and stand as testament to the innovative cultural vitality of the region. It is this quality of cultural tenacity on the part of the Afro-creolised populations that Nettleford holds in great esteem and which serves as the nodal point through which he formulates his ideas concerning Caribbean identity in the postcolonial milieu.

Nettleford was educated, as most budding scholars of his generation, in the local appendages of the British colonial intelligentsia. Trained first at the Cornwall College in Montego Bay, he went on to pursue a history degree at The University College of the West Indies (London University) before moving on to postgraduate studies in politics as a Rhodes Scholar at Oxford University. Although highly educated and versed in the social mores and language of the British imperial crown, Nettleford never lost site of his commitment to his native home and the promotion of its national vernacular culture. At a time when the country's most talented and educated peoples were being siphoned off to fill the ivory towers and corporate offices in the metropolis, Nettleford returned to his island home and launched a public intellectual and artistic career whose effects reverberated throughout the Caribbean basin and its diasporic communities. 
Many have argued that Rex Nettleford's location as a "third-world" scholar, operating from the periphery of the Western academy, has hindered the wholesale readership and international acclaim of his works. But for Nettleford, the work of the "organic intellectual" begins at home, and thus his commitment is first and foremost "to the preparation of a citizenry ready for participation in the political, social and economic processes of its country" (1970:229). The task of the Caribbean and/or "third-word", postcolonial intellectual is to redress the perceived and accepted notion that by definition, nothing creative could come out of the colonies. The first means of accomplishing this task is through working with the masses on their native soil and in their native tongue and by utilizing indigenous epistemologies for examining cultural phenomena and processes that are the lived reality of Caribbean citizens. Nettleford's Caribbean compatriots, Stuart Hall andDerek Walcott continue to open a space for critical scholarship on the Caribbean and contribute significantly to the intellectual climate of diverse communities. Their location in the metropolitan centers of North America and Britain, affords them access to a broader community of transnational postcolonial subjects, but it has also moved them away from the local articulations of nationhood, identity and cultural development as experienced and negotiated in the Caribbean territories. Nettleford thus provides a voice from within the region that later becomes the source of dialogue for those in the metropolis.

Nettleford's importance to the Caribbean and for Caribbean nationals living across the globe derives from the fact that his master project has been the decolonisation of the Caribbean spirit and imagination. His writings, lectures and choreographies reflect a profound conviction in the creative power of the peoples of the region, a power struggling to unleash itself from the conjunction of historical and neo-colonial forces. The commitment to contesting the idea of the colonial found expression through the creation of an indigenous dance form promoted by the National Dance Theatre Company of Jamaica (NDTC), Nettleford co-founded and has been artistic director since 1963. As former professor of Extramural Studies at the University of the West Indies Mona, Jamaica, Nettleford directed the University's Adult Education Programme, which afforded thousands of men, and women throughout the anglophone Caribbean access to higher education. As founder of the Trade Union Education Institute, through which factory and estate workers interface with scholars at the highest seat of learning, Nettleford aimed to bridge the divide between the classes and bring theory in closer proximity to praxis. Nettleford's scholastic achievements culminated with his 1998 appointment as Chancellor of the University of the West Indies.

"The hidden history of Jamaica is here seen as the history of the struggle of the African component to emerge from the subterranean caverns into which it has been forced."     --Nettleford 1970:194 

 


The Poetics and Politics of Caribbean Cultural Identity — The Works of Rex Nettleford

The centrality of the experiences of Caribbean peoples and their struggles for intellectual, cultural and political independence has remained pivotal to Nettleford's intellectual and artistic engagements over the past thirty years. The seeds of his future articulations on Caribbean cultural identity were, however, sowed in his first acclaimed publication, Mirror, Mirror: Race, Identity and Protest in Jamaica (1970). Set in the turbulent context of the newly independent Jamaica of the 1960s, Nettleford holds a mirror up to Jamaican society and reveals the schizophrenic and ambivalent relation black Jamaicans have towards their identities as national subjects. The three critical variables of race, identity and protest constitute, for Nettleford, a trinity that "closely interact[s] in the social evolution of contemporary Jamaica" (1970:10), which he situates along a trajectory of lessons and legacies acquired from the time of Emancipation. The quest for identity forms a critical nexus around which the newly independent citizenry has tried to come to terms with the legacies of colonialism and the anxieties of self-governance. At the center of the anxiety is a psychic split between the cultural traces of a fragmentary African heritage that the overwhelming black majority inherited, and the simultaneous desire to renounce that heritage and identify with the cultural symbols of the white/brown ruling elite. The multi-racial nationalist ethic is thus predicated on this dissonant state of in-betweeness and half-identification (21) and serves to keep the new nation in a constant state of schizophrenia. For Nettleford, Caribbean nationalisms all fall victim to this splintered sense of self because for the most part newly independent Caribbean countries have all bought into a hybrid, creolisation model that valorizes assimilation away from a historical antecedent of slavery and Africa into a Euro-Creolized New World heritage. The mimicry of European cultural values and aesthetics is therefore a day to day reality for postcolonial subjects who are heir to an ideology of creolisation manifested in a valorization of Europe. Thus, in his critical examination of post-colonial Caribbean societies and artistic endeavors, Nettleford aims to unearth and hone an Afro-creolised aesthetics towards emancipatory ends (1995:30-70).

During this volatile time of self-definition, Nettleford expressed a commitment to articulating and making accessible the cause of minority groups, (i.e. notably Rastafarians) in the face of what he calls "the underlying lack of social conscience among the more fortunate classes in Jamaica" (54). In an attempt to deflect the nations prominent preoccupation with European aesthetics and cultural attributes, Nettleford turned towards an intellectual engagement with the social pariah of Jamaican and Caribbean society at the time -- the Rastafarian. The Rastafarian's brandishing of the symbol of protest against Babylon and European hegemony was worn on their heads, with the growing of locks, released from their tongues, through the creation of a new indigenized creole lexicon, and embodied in their walk, which valorized the kings and queens of a regal African lineage. The significance of their presence in the pivotal moment of Jamaica's independence cannot be underestimated as Nettleford has indicated: 
"More generally the role of the Rastafarians has been to bring to the attention of the Jamaican society the urgent need to root identity and national cohesion in a recognition of the origins of its black majority and to redress the imbalance of history's systematic weakening of any claim to achievement which descendants of Africans would otherwise make in the New World. In this they have been a revitalizing force, albeit a discomforting and disturbing one" (110). 
These qualities of defiance and self-determination are what illustrate the resilience and creative ingenuity of the Jamaican people and it is what Nettleford seeks to express, make accessible and foster among the masses.

Nettleford's subsequent work on Caribbean culture includes Caribbean Cultural Identity (1978) and his 1995 collection of essays,Inward Stretch, Outward Reach: A Voice from the Caribbean. Both of these works begin with the premise that culture constructed from the lived experiences and realities of Caribbean peoples are to serve as the principle means of constructing a cohesive national and regional identity and also the prime vehicle for economic development.

"The creative artist understands as part of his stock-in-trade the dialectical process expressed in the struggle between the forces of colonialism and liberation, between domination and the spirit of self determination."   --Nettleford 1978

 


The Creative Imagination and Creative Intellect — Nettleford as Artist

In discussing Rex Nettleford's intellectual achievements and contributions to the cultural and sociopolitical landscape of the Caribbean we must also acknowledge his longstanding active role in artistic productions throughout the Caribbean basin, but specifically with the National Dance Theatre Company of Jamaica (NDTC). Three years after the start of Walcott's Trinidad Theatre Workshop, the historical experiences of Caribbean struggle and survival and the condition of postcoloniality, found expression in the rhythmic kinesthetic vocabulary formulated in the organic choreography of NDTC. In the wake of Jamaica's independence, August 6, 1962, Rex Nettleford and Eddy Thomas founded a company of unpaid dancers, musicians, designers, technicians who were to become the cultural ambassadors of not only Jamaica, but also the Caribbean. As artistic director, principal choreographer, and former lead dancer of the NDTC, Nettleford introduced the Jamaican masses to the indigenous practices of Kumina (an ancestral veneration religion), Pocomania (an Afro-Christian syncretic religious expression) and the rich folk music traditions from across the island. Thus, he catapulted these creative cultural expressions out of the realm of the obscure to venerated national icons of ingenuity and survival. The theatrical stage became the forum in which the movement vocabulary and aesthetics found in the indigenous rituals and dances of rural Jamaica were visibly asserted, reformulated and reinterpreted by performers and audiences alike. Moreover, their continued presence in the company's repertoire speaks of the centrality of an Afro-creolised sensibility in the Caribbean ethos.

Nettleford's belief in the organic connection between the arts of a people, their everyday life and their historical experiences is continuously given voice in choreography that affirms the varied cultural symbols the Jamaican people have acquired and reformulated. For Nettleford, the arts are a great source of cultural survival and resistance and should be cultivated to promote awareness of self and social change, "for the creative imagination lies beyond the reach of the vilest oppressor" (1985:15). This notion of creativity, that lives in the "belly bottom" of the nation's children, is what has brought Jamaica international acclaim and it is what will continue to forge a Caribbean cultural identity imbued with the history of struggle, survival and resistance.

"Each generation must out of relative obscurity discover its mission, fulfill it, or betray it." --Fanon 1963:206.

 


International Organizations and Honors

Nettleford's intellectual and artistic contributions to the issues of black identity in the Western world as well as his understanding of the role of culture and development, has earned him great respect throughout the Americas Europe and Africa. He is chairman of London's Commonwealth Arts Organization, a member of the Executive Board of UNESCO, chairman of the International Council on the University Adult Education, and founding and longest-serving Governor of the International Development Research Council (Ottawa). Professor Nettleford has also served as consultant on cultural development to the Organization of American States.

Rex Nettleford has received many honours and awards for his work. His compatriots honoured him in 1975 with the national honor of Order of Merit (O.M.). He is the recipient of the Gold Musgrave Medal from the Institute of Jamaica, the Living Legend Award for the Black Arts Festival, Atlanta U.S.A. The Institute of Jamaica named him a Fellow in 1991, the fourth time it has awarded this honor in its more than 100-year history and the University he serves has recognized his extraordinary talent by presenting him with the coveted Pelican Award. In 1994, he received the Zora Neale Hurston-Paul Robeson Award for Outstanding Scholarly Achievement from the National Council for Black Studies, USA.

 


Works by Rex Nettleford

Editor of Caribbean Quarterly — The region's oldest journal 
The Rastafarians in Kingston Jamaica (with M.G. Smith & F.R. Augier). Kingston: University of the West Indies Press. 1967. 
Mirror, Mirror: Identity, Race and Protest in Jamaica. Kingston: William Collins and Sangster Jamaica Ltd. 1970 
Manley and the New Jamaica. Jamaica: Longman Caribbean. 1971 
Caribbean Cultural Identity. Los Angeles: UCLA IOB. 1978 
Dance Jamaica: Cultural Definition and Artistic Discovery. New York: Grove Press. 1985 
The University of the West Indies: A Caribbean Response to the Challenge of Change (with Phillip Sherlock). Kingston: University of the West Indies Press. 1987. 
Inward Stretch Outward Reach: A Voice from the Caribbean. New York: Caribbean Diasporic Press Inc. Medgar Evers College CUNY. 1995 
Jamaica in Independence: The Early Years (Editor) Kingston: Heinneman. 1988 
Race, Discourse and the Origins of the Americas (Co-edited with Vera Hyatt). Washington D.C. Smithsonian Institution Press. 1995.

 


Works Cited

Fanon, Frantz. 1963. The Wretched of the Earth. New York: Grove Press Inc. 
Nettleford, Rex. 1970. Mirror, Mirror: Identity, Race and Protest in Jamaica. Kingston: William Collins and Sangster Jamaica Ltd. 
---.1985. Dance Jamaica: Cultural Definition and Artistic Discovery. New York: Grove Press 
---. 1995. Inward Stretch Outward Reach: A Voice from the Caribbean. New York: Caribbean Diasporic Press Inc. Medgar Evers College CUNY. 
Photos were published in Dance Jamaica 1985 and Caribbean Cultural Identity 1978.

Related Works on Creolisation and Rastafari include:

Bolland, Nigel, O. 1992. "Creolization and Creole Societies: A Cultural Nationalist View of Caribbean Social History." In Intellectuals in the Twentieth-Century Caribbean, vol. 1, Spectre of the New Class: The Commonwealrh Caribbean, ed Alistar Hennesey, 50-79. London: Macmillan. 
Braithwaite, Kamau, E. 1971. The Development of Creole Society in Jamaica, 1770-1820. Oxford: Oxford University Press. 
Burton, Richard D.E. 1997. Afro-Creole: Power, Opposition and Play in the Caribbean. Ithaca: Cornell University Press 
Chevannes, Barry. 1994. Rastafari Roots and Ideology. Syracuse: Syracuse University Press

VIDEO: The Transformation of K’Naan « AFRICA IS A COUNTRY

The Transformation of K’Naan

February 6, 2010 · 3 Comments

K’Naan, the Somali-Canadian singer, usually sings sort of earnest and sometimes strident political songs about war, refugees and militarism. His song, “Waving Flag,” is a good example.

The organizers of the 2010 World Cup asked him to turn his song into the official tune for the 2010 World Cup in South Africa. What would happen to the song? Would he retain the lyrics. Let’s see


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