VIDEO: Watch Trailer for Jay-Z, Will and Jada Smith’s ‘Free Angela’ Doc > COLORLINES

 Jails and prisons are designed to break human beings, to convert the population into specimens in a zoo — obedient to our keepers, but dangerous to each other.  Angela Davis

Watch Trailer for

Jay-Z, Will and Jada Smith’s

‘Free Angela’ Doc

Tags: infographic

 

Free-Angela-All-Political-Prisoners.jpeg

Will & Jada Pinkett Smith’s Overbrook Entertainment and Jay-Z’s Roc Nation have officially come on-board as executive producers of Shola Lynch’s Angela Davis documentary, “Free Angela & All Political Prisoners.”

Deadline.com has more on the announcement:

Overbrook Entertainment and Roc Nation will lend their clout to the Realside Productions/De Films Aiguille-produced documentary Free Angela & All Political Prisoners, which was directed by Shola Lynch. They will become executive producers on a film that premieres at the upcoming Toronto Film Festival and marks the 40th anniversary of the acquittal of Angela Davis on charges of murder, kidnapping and conspiracy. The docu was produced by Carole Lambert, Shola Lynch, Carine Ruszniewski, and Sidra Smith.

The documentary chronicles Angela Davis’ activism that implicated her in charges of attempted kidnapping and murder. It features interviews with Davis, her lawyers, FBI agents assigned to the case, and journalists who covered one of the most volatile trials of the ’60s. Davis’ imprisonment sparked a worldwide movement for her freedom as a political prisoner, while she was simultaneously being labeled a terrorist. The film wrestles with the meaning of political freedom in a democracy negotiated between the people and its government.

“We at Overbrook Entertainment are very proud to support this intriguing documentary about the life of Angela Davis. Filmmaker, Shola Lynch has done an incredible job in revealing a piece of American history we thought we all knew,” said Jada Pinkett Smith.

“Shola Lynch has crafted an intricate and compelling film about Angela Davis. Roc Nation is honored to be a part of a creative collective that can present such a riveting story,” said Roc Nation founder Shawn “Jay Z” Carter.

 

INCARCERATION: Private Prison Company’s New Profit Source: Mental Health > COLORLINES

Private Prison Company’s

New Profit Source:

Mental Health

Protest against GEO Group Photo: Richard Graulich/ZUMA Press/Newscom

Thursday, September 6 2012

The State of Texas may outsource management of a public psychiatric hospital to a company that’s made its fortunes in the business of private prisons.

To save state dollars, the Texas legislature ordered the Texas Department of State Health Services to privatize one of its public psychiatric facilities to cut costs in the facility by ten percent without diminishing quality of care. Only one bidder responded: GEO Care, a branch of GEO Group, the country’s second largest private prison company. GEO Group’s prisons and immigrant detention centers have a track record of abuse, deaths, sexual violence and medical neglect of inmates and detainees. And more recently, GEO Care has proven to be made of precisely the same stuff.

On its website, GEO Care, which currently operates six “residential treatment hospitals” in Florida, South Carolina, and Texas, GEO Care says it “provides government clients with turnkey solutions for medical and mental health rehabilitation facilities.”

But reports from the company’s active psychiatric facilities suggest that it’s version of solutions look far more like institutionalized neglect. 

A Track Record of Abuse and Violence

GEO Care is already facing $53,000 in fines from the State of Texas for violations of patient care standards in Montgomery County Mental Health Treatment Facility, a Texas mental health facility the company has operated for a year and a half. The Austin American-Statesman reports:

Plans for a psychiatric hospital in Montgomery County publicly emerged three years ago, when Texas legislators signed off on the idea to help ease the growing number of forensic patients, mentally incompetent criminal defendants waiting in jails to be transferred to a state hospital.

The 100-bed, $33 million hospital has a mock courtroom, a gymnasium, a library and other amenities. It brought 175 jobs to Conroe and saves the county from routinely having to drive inmate patients to Rusk State Hospital, more than 100 miles away.

A series of health and safety and compliance reviews by the Texas Department of State Health Services found GEO Care’s Montgomery facility rife with patient neglect, forced seclusion, denial of patient’s access to phones and family visits and administering of medication without patient consent.

In an internal Department of Health Services email obtained by Colorlines.com, State Hospitals Section employee Jo Ann Elliott wrote to her colleagues about a particularly troubling case of neglect in the facility. “While in seclusion for four hours, [a] patient banged his head on the seclusion room window and walls, causing lacerations to both eyes and a bruise to head. Patient threatened staff if door was opened.”

In the email, Elliot added, “No physician assessment occurred during the 4 hour seclusion. This lack of action by staff would be a reportable incident to DFPS [Department of Family and Protective Services] in one of the state hospitals.”

A separate internal email from Bill Race, also of the Departments’ Hospital Section, documents repeated failure of facility staff to properly secure patient consent before administering medications and treatment plans. In one case, the file of a 45-year-old HIV positive man who struggled with Schizoaffective Disorder included “No medical notes documenting plan for treatment of HIV, or other conditions…” The man’s “[t]reatment planning identified psychosis, SA, but not HIV. …”

Race noted that another patient, a Spanish speaking schizophrenic man, was treated with at least six psychiatric drugs but no consent was documented until a month after the regimen of drugs started.

Texas mental health advocates are concerned about the GEO Care bid. Robin Peyson, the Director of the Texas branch of the National Alliance on Mental Illness, says that while her organization does not categorically reject the privatization of mental health facilities, GEO Group is an unacceptable choice of contractor.

“Our concerns rest with GEO Care in particular because of the history of problems with GEO Care facilities— significant occurrences of abuse of neglect.”

“I visited the Montgomery facility,” Peyson said. “Obviously it was an arranged scheduled visit but the facility was very nice compared to some state facilities. But my personal experience is overridden by the kinds of concerns that have been expressed through judicial venues and quality monitors.”

Beyond abuses in the Montgomery facility, GEO has a sordid history in Texas. In 2007, for example, the GEO run Coke County Juvenile Justice Center was shuttered after reports of ramped sexual abuse of the young inmates and a number of suicides. And in 2009 at GEO’s Reeves County Detention Center, inmates rioted, in part because of poor health care.

Elsewhere, the company has a similarly dismal record of care for psychiatric patients. In Florida, the Associated Press reported a series of brutal deaths inside a 355-bed Geo facility in Broward County that holds mentally ill patients:

Three gruesome deaths at the privately run South Florida State Hospital triggered an investigation that revealed concerns that employees were overmedicating patients and failed to call the state abuse hotline after a patient died in a scalding bathtub, according to documents obtained by The Associated Press.

The AP docuemnts three deaths:

In August 2011, Loida Espina died after her head was perhaps slammed through a wall.

In June 2011, Luis Santana, who was highly medicated, was found dead in a scalding bath with skin “sloughing” off his face after staff failed to check on him every 15 minutes as required, according to a November review by DCF.

Also in June 2011, a patient with a history of suicide attempts by jumping died after leaping from an off-site building.

Spending Priorities

Data from the Kaiser Family Foundation shows that Texas has the lowest per capita spending on state mental health care services than any other state. The second lowest spender is Florida. Peyson says that cutting an additional ten percent off the top just doesn’t make sense.

“When you’re cut to the bone already and then try to save 10 percent on top of that, I do wonder in what way a for profit company can realize ten percent savings.”

While GEO Care is cutting costs at the expense of patient and inmate well-being, it’s spending lots of money elsewhere. And though advocates have formed a coalition to press the Texas Legislature and Governor Rick Perry to turn down the Geo Care—groups including Grassroots Leadership, The ACLU of Texas, The United Methodist Church, and the Texas Criminal Justice Coalition—they’re confronted with a company that pours tens of thousands of dollars into Texas political campaigns and even more into it’s lobbyists.

According to the Texas Ethics Commission website, since 2008, GEO contributed to dozens of Texas political campaigns, including $11,000 to Gov. Rick Perry’s campaigns and $2000 to State Senator Tommy Williams, who the Austin American-Statesmen reported was “instrumental in gathering legislative support for the [Montgomery] county hospital in his district.” In July, Williams’s spokesperson told the paper, “He’s for whatever works, and he thinks privatization is working in Montgomery County to provide the most services to the most people. Yes, they’ve had hiccups, but the county is taking actions to address those.”

“When private, for-profit companies bid on contracts to privatize public facilities like Kerrville State Hospital, they often promise to save the tax-payer money, which is enticing to a state like Texas that continues to face a serious budget crisis,” said Kymberlie Quong Charles of Grassroots Leadership. “But that promise is in conflict with their first priority of making a profit. They may be able to cut their operating budget, but at the cost of peoples’ jobs and patients’ safety.”

In its profit seeking, GEO has found use for the politically connected. In the Kerrville bidding process, questions about a conflict of interest GEO Care’s bid have already emerged. According to reporting by several Texas newspapers, the bidding process appears tainted by insider maneuvering.

The Austin American-Statesmen reports:

Last month, questions surfaced over whether it was ethical for Stephen Anfinson — who headed Kerrville State Hospital until early 2011 — to participate in efforts by Geo Care to run the Kerrville hospital. Anfinson began working for Geo shortly after leaving the facility and now helps oversee the company’s psychiatric hospitals.

Anfinson’s insider knowledge of the facility gave his employer an unfair competitive advantage and tainted the integrity of the process, said Tom “Smitty” Smith of Public Citizen, a government watchdog group.

The company may also have made an underhanded attempt to silence potential opposition to their bid. Last year GEO Care donated to Peyson’s organization, NAMI Texas, which listed the company among its “Corporate Champions”. Peyson says the company donated $5,000 for NAMI Texas’s 2011 annual conference.

“I’d think they won’t be donating again this year,” Peyson said, after opining that the state should turn down the bidder.

The Department of Health Services is expected to decide this month whether to recommend the GEO bid to state leaders, including Governor Perry.

 

HISTORY: Books on Depictions of Slaves > NYTimes

Books Analyzing Images

of Slaves in History

Collection of Teresa Heinz

Eyre Crowe’s “Slaves Waiting for Sale” (1861) depicts the scene in a Virginia auction house.

By EVE M. KAHN

Artists before the Civil War took personal risks when portraying slaves. Southerners did not want their more abusive practices to be professionally documented.

In 1853 the British painter Eyre Crowe sidled into a slave auction house on a side street in Richmond, Va., and started to sketch white bidders eyeing a row of neatly dressed children, women and men with traces of fear and anxiety on their impassive faces.

The white crowd soon realized that Crowe was not just doodling, and rose up to kick him out. “The people rushed on him savagely and obliged him to quit,” Crowe’s traveling companion, the novelist William Makepeace Thackeray, wrote to a friend.

“Slaves Waiting for Sale,” Crowe’s 1861 painting based on the sketches, is suggestive of terrible suffering, as the mothers gaze fondly at their children for perhaps the last time. But unlike his abolitionist colleagues’ equally accurate depictions of torture, his tableau was wholesome enough to be widely exhibited. British critics at the time wrote that it aroused sympathy “without being too painful,” the art historian Maurie D. McInnis points out in “Slaves Waiting for Sale: Abolitionist Art and the American Slave Trade” (University of Chicago Press).

Her new book is one of half a dozen recent studies of how African-Americans were historically depicted. Scholars are deciphering what artists were expressing and how sitters were probably feeling, along with how audiences reacted.

“All of a sudden these histories started coming to the fore,” Agnes Lugo-Ortiz, an editor of an essay collection called “Slave Portraiture in the Atlantic World” (Cambridge University Press), due out this fall, said in a recent phone interview.

A book series, “The Image of the Black in Western Art,” has been in progress for decades and is now being released through Harvard University Press. In the latest two volumes, the historian Hugh Honour analyzes depictions of proud runaways on horseback, liveried servants nearly hidden in the background in portraits of the founding fathers, torture victims in chains and light-skinned girls being sold into prostitution.

Mr. Honour found descriptions of the artists’ interactions with models. The prolific sculptor John Rogers posed a barefoot black man in his studio to portray a defiant field hand beside a tearful mother and toddlers at a Southern auction podium. The hired model’s stance was so realistic, Rogers wrote, “He fairly makes a chill run over me when I look at him.”

Reproductions of this sculptor’s 1859 work “The Slave Auction” did not catch on with his clientele. “None of the stores will receive it to sell for fear of offending their Southern customers,” Rogers wrote.

Pictures of slaves did prove marketable among aristocrats and abolitionists in England and on the Continent. In “Faces of Perfect Ebony: Encountering Atlantic Slavery in Imperial Britain” (Harvard University Press), the historian Catherine Molineux explains how European arts patrons liked to be portrayed alongside black servants cheerfully carrying parasols and exotic produce. Field workers’ lives were idealized in popular paintings and prints, especially in scenes of tobacco farms.

“In the absence of shackles, whips or collars, these black figures often appear to be voluntarily trading with Britons in a product they both appreciate,” Ms. Molineux writes.

Black artists who managed to train and travel in Europe also catered to white tastes for images of slaves. The Harvard series reproduces Robert Seldon Duncanson’s painting of Uncle Tom and Little Eva (based on Harriet Beecher Stowe’s characters) at an idyllic harbor and Edmonia Lewis’s Carrara marble statue of a black man and an American Indian woman breaking out of chains.

In “Slave Portraiture” the historian Eric Slauter reflects on how little is known about Scipio Moorhead, a friend of the poet Phillis Wheatley. Wheatley wrote a 1773 poem addressed to him as a “young African painter”; when he drew, she wrote to him, “breathing figures learn from thee to live.”

Scipio Moorhead belonged to John Moorhead, a Presbyterian minister in Boston. The minister’s wife, Sarah, a poet and artist, may have taught their slave to paint. But his archival trail seems to dissipate in 1775. His masters died, and the estate was broken up while he was probably still a teenager, and whoever bought him would have changed his last name.

 

__________________________

 

Images of Slavery

– Slaves Waiting for Sale

Source: http://www.oocities.org/eyre_crowe/art_slavery.html

In May 1861, the Royal Academy of Arts in London opened a new exhibition of paintings. Among the works on display was “Slaves Waiting for Sale” by Eyre Crowe, based on a sketch the English artist had made in March 1853 while visiting the slave market in Richmond, Virginia. Below is the sketch:

Source: http://www.oocities.org/eyre_crowe/art_slavery.html

Eyre’s painting was well received by London art critics who viewed the Royal Academy exhibition in May 1861. It is yet another example of the English interest in American slavery as the United States descended into civil war, already documented in Civil War Emancipation in its editions of February 16 and April 6. Images that Americans either found common or merely wanted to ignore, the English consumed with fascination through art exhibitions and the illustrated press. With slavery abolished in the British Empire, they could afford their voyeuristic attitude as the peculiar institution tore apart their former colonies in North America. Soon the English public, and Americans too, would be confronted with images of slavery’s demise as the war began to undermine it. But in May 1861, Eyre Crowe confronted his nation with a painting depicting American slavery as entrenched as it was inhumane.

 

 

__________________________

 

SLAVE SALES AND BRUTALITY

Painted by Marcel Verdier and published in Hugh Honour, The Image of the Black in Western Art

 

>via: http://www.negroartist.com/SLAVE%20SALES%20AND%20BRUTALITY/pages/Painted%20by...

 

 

 

VIDEO: Kanye West x G.O.O.D Music's surprise performance at Jay Z's Made In America Festival > SoulCulture

Kanye West x G.O.O.D Music’s

surprise performance

at Jay Z’s

Made In America Festival

[Video]

By Verse

September 2, 2012 

“Philadelphia, since you treated me so nice tonight, and you were so good to me Philly, I’ma be good to you tonight Philly!” and with that said, following his exciting headline set, Jay Z unleashed the Kanye West led G.O.O.D. Music familia on the unsuspecting crowd at the first Made In America festival in Philadelphia last night.

With acts including D’Angelo, the Maybach Music Group gang (Rick Ross, Meek Mill, Stalley and Wale), Gary Clarke Jr, headliner Jay Z and many more, the levels were already sky high, but the G.O.O.D Music family took the proceedings to a whole new stratosphere.

Hitting the stage to the sounds of their remix of Chief Keef’s “I Don’t Like”, Pusha T, Kanye West and Big Sean, they ran through hits “Can’t Tell Me Nothing”, “New God Flow”, “Cold”, “Dance (A$$)”, before being joined by Common who performed “The Light” and man of the moment 2 Chainz for the performance of “Mercy” from the eagerly anticipated Cruel Summer album.

But that’s not where it ended, no ma’am! For the encore Jigga returned to perform the Watch The Throne anthem “N*ggas In Paris” to shut down the proceedings.

Watch the full set below.

 

 

VIDEO: Watch full episode of "Life After": Bell Biv DeVoe > SoulTracks

Watch full episode of "Life After":

Bell Biv DeVoe

Bell Biv DeVoe was formed out of the ashes of the R&B supergroup New Edition. The critics gave the trio almost no chance of success; but they confounded the music world by coming out of the box with a hip new sound and success beyond expectations.

Check out this episode of TV One's Life After, chronicling the meteoric rise and fall of the New Jack trio, Bell Biv DeVoe. It is in several parts that you can watch below, one after another.

.

 

PUB: Aquarius Press/Willow Books Call for Manuscripts

CALL FOR MANUSCRIPTS

READING PERIOD NOW OPEN

THROUGH SEPTEMBER 30, 2012

 

Aquarius Press/Willow Books will be reading unsolicited manuscripts during the summer of 2012. This reading period is only for writers who have not previously been published by Aquarius Press/Willow Books. Our mission is to develop, publish and promote writers typically underrepresented in the market, and the reading period is open to all writers from diverse cultural backgrounds. Poetry manuscripts should be in the 48-96 page range, and fiction/nonfiction should be no longer than 180 pages. Scholarly titles covering literature, arts and the humanities (up to 250 pages) are also accepted, but they should be in proper format (MLA, Chicago, etc.).

 

This reading period is neither a contest nor is it exclusively for first books. Rather, it is a time for us to review manuscripts by writers who have not previously been published by our press. Genre/subject is open, but no “street lit” or erotica, please.

 

Submission Process:
If you wish to have us consider your manuscript, please send it with the following:

1.  A reply email address or SASE for editor’s decision;

2.  An acknowledgments page which lists where work has been previously published; and

3. A reading fee of $25.00 made payable to Aquarius Press ($25 fee for returned checks). Make payments via PayPal (or credit card with the store link)  or mail a check/money order to the address below.

 

Send manuscripts to:
Editor
Aquarius Press
PO Box 23096
Detroit, MI  48223

 

NOTE: Please enclose a SASE with adequate postage if you wish to have your manuscript returned. In order to be eligible for the reading period, submissions must be postmarked during the summer of 2012. Reading fees are nonrefundable, and Aquarius Press/Willow Books in no way guarantees that a submitted manuscript will be accepted. The editors’ decisions are final.

 

PUB: Arktoi Books: How to Submit Work for Consideration

SUBMISSION INFORMATION

READING SCHEDULE

  • 2012 (Aug - Nov): poetry

  • 2012 (Jan - Mar): fiction

  • 2013 (Aug - Nov): poetry

  • 2014 (Jan - Mar): nonfiction

 

 

Arktoi welcomes submissions from all lesbian authors. Basic guidelines are below, but make sure to check the website prior to your submission in case we have modified our guidelines.

  • Submissions sent at times other than our submission period (see schedule to right) will be returned unread.

  • Poetry manuscripts should be between 50 and 80 pages.

  • Fiction and nonfiction manuscripts may be of any length.

  • All manuscripts should be submitted as an attachment to an email (Microsoft Word .doc file or Adobe .pdf file).

  • The cover page of the manuscript should include the name, address, phone number, and email address of the writer.

  • A cover letter, sent via email with a poetry manuscript (and hardcopy with fiction or nonfiction manuscript), should present a short biographical statement by the writer and and overview of the work.

Manuscripts should be sent to eloisekleinhealy@mac.com, as should inquires about the press.

 

PUB: Call for Submissions from Playwrights Outside the US: HotINK at the Lark 2013 (play festival in New York) > Writers Afrika

Call for Submissions from

Playwrights Outside the US:

HotINK at the Lark 2013

(play festival in New York)


Deadline: 15 October 2012

Since hotINK became part of the Lark Play Development Center in 2011, the focus of the festival has been entirely on writers and plays from abroad. In 2012, hotINK at the Lark featured work by Nikolai Khalezin (Belarus), Ivan Dimitrov (Bulgaria), Suzie Bastien and Michael Mackenzie (Canada), Giorgos Neophytou (Cyprus), Jessica Cooke (Ireland), Aleksey Scherbak (Latvia), Taher Najib (Israel/Palestine), Linda McLean (Scotland) and Jean Tay (Singapore) and outstanding directors and actors from the New York theater, including Satya Bhabha, Reed Birney, Kathleen Chalfant, Alvin Epstein, Joe Grifasi, Adam LeFevre, Lisa Peterson, Elizabeth Rich, Lisa Rothe, Deborah Rush, Jay O. Sanders, Giovanna Sardelli, Heidi Schreck and Sturgis Warner.

hotINK at the Lark will present work by six playwrights from outside the United States in readings at the Lark Play Development Center, April 17-22. Each play will be presented once, following two days workshop/rehearsal with a distinguished director and actors from the New York theater community. In addition, special events are planned for visiting playwrights and translators. Readings are attended by fellow writers from U.S. and abroad, literary managers, producers, artistic directors, translators, dramaturgs, scholars, journalists, educators, students and New York theatre audiences.

SUBMISSION GUIDELINES (Please read carefully)

• Submission deadline: October 15, 2012.

• Full-length plays in English from any country outside the U.S. that have not had productions in the U.S. are welcome. We are currently unable to consider musicals. We can only accept one play from each author.

• Include in your submission:

  • contact information, including email address

  • a short author bio

  • the name of translator, if applicable, and translator’s email address

  • a short synopsis of the play and a list of characters, each briefly described.

  • A description, in one page or less, of how you would use the hotINK at the Lark 2-day workshop to investigate and strengthen specific aspects of your play or translation. This information is vital to the Lark’s decision-making process. We ask that you be specific about your goals as possible.

  • Author’s primary residence for the past five years must be outside the United States.

  • Please also advise us as to your knowledge of English, so that we can provide the appropriate communication support. Proficiency in English is not expected or required of selected playwrights.

  • If a selected play has been translated from another language, written permission from the translator must be provided.

• Only electronic submissions will be accepted.

• Please email your submission, including script and supporting materials, in one PDF or Word document to: hotink@larktheatre.org by October 15, 2012.

PLEASE NOTE:

• Scripts not submitted according to the above guidelines will not be considered.

• Selected playwrights will be notified by mid-December.

• Travel to NYC for hotINK at the Lark, as well as accommodations for selected playwrights will be provided by the Lark Play Development Center

CONTACT INFORMATION:

For queries: email hotINK at the Lark Program Director Catherine Coray at catherine@larktheatre.org

For submissions: hotink@larktheatre.org

Website: http://www.larktheatre.org

 

LITERATURE: Specter Literary Magazine #10 (The Hip-Hop Issue) > Blackadelic Pop

Specter Literary Magazine #10

(The Hip-Hop Issue)

 

painting by Matthew Curry
copyright 2012

 

For those who think that Hip-Hop is only about music and style, the editors of the cool online literary journal Specter have a treat for you. With their newest issue, guest edited by writer and teacher Rion Amilcar Scott, Specter attempts to take Hip-Hop Lit to another level. Overflowing with beautiful writing, art and photography, inside you'll find a novel excerpt by Mecca Jamilah Sullivan, poetry by Charlie Braxton, a short story/novel excerpt by me and loads of other textual treats. The wild styled cover art, as shown above, was painted by Matthew Curry, is a masterpiece that should make artists like Lee, Fab Five Freddy and the spirit of Dondi quite proud.

Although folks usually think "Hip-Hop Lit" is all about blood, bullets and broads, the editors of Specter, like KRS-One once rapped, "...think very deeply." Indeed, these young innovators offer a brilliant sampling of cutting edge writing and images that will will elevate your mind and make you happy. If the Rza and Roxanne Shante had a baby, it would be the Specter Hip-Hop Issue. Peace...

Specter Literary Journal #10: http://www.spectermagazine.com

 

ARCHITECTURE: The Rural Modern Library > bombasticelement

The Rural Modern Library

The new generation of local Washington, DC public libraries coming on line have been referred to as "striking ... buildings that sit like aliens in their neighborhoods, thoroughly unlike their surroundings—and intentionally so." Two of the libraries--Hillcrest and Washington Highlands library/Bellevue--were designed by British architect David Adjaye -- who's of Ghanaian descent and was born in Tanzania.

In the video clip below Adjaye walks a young resident of Bellevue, a community that has seen decline since the the mass exodus of the middle class in the 1980s, through his design of the library. He talks about the power a library--one of the only public funded spaces dedicated to the dissemination of knowledge, hope and possibility--has in affecting its local community.

 

Already there are signs of a "library effect" in the spate of new development projects coming to the area. Lydia DePillis writes in Washington City Paper:

... local ANC commissioner and Friends of the Bellevue Library president Dionne Brown says she's fielded calls from developers excited about the new building, which is totally unlike anything the neighborhood has ever seen. "It created a signal," Brown says. "It created a ripple in the local economy."
She argues:
...the kind of architecture that reinvests neighborhoods with a sense of pride and erases the mistakes of the past is important, even if that means not every neighborhood gets something new. If you start looking at statistics already being collected on the new buildings—the rate of new card registrations in the old libraries vs. the new ones, or overall number of items checked out—you get much better bang for your buck.
Burkinabe architect Francis Kere has shown that rural African communities can also make use of other kinds of scale modern architecture can bring to, for example, a rural school building - as in his now famous design of a primary school building at Gando. Below, Hunter College's Kate Parry reaffirms how the library allows the notions of public space, community wellbeing, community pride and empowerment to all overlap. Using the example of a small village library she's been working with in Southern Uganda, she notes that libraries in rural African communities are not only centers for disseminating literacy but they also double as a hub for other community building activity.

 


FAVL's thoughts on building rural libraries in Africa - here.