INFO: Go-go music is the soul of Washington, but it's slipping away

Go-go music is the soul of Washington, but it's slipping away

By Natalie Hopkinson
Sunday, April 11, 2010; B01

 

It was just another gig at a D.C. area nightclub, one of several shows the band Suttle Thoughts plays each week, drawing hundreds of young professionals in their 20s and 30s -- a self-proclaimed "grown and sexy" crowd. But a club manager stopped the band at the door when he noticed one of the musicians bringing in a set of conga drums, bandleader Chi Ali told me.

If you are in or near the District and you see a young black bandleader trailed by a horn section, guitars, keyboards, cow bells and congas, that can only mean one thing: They play go-go music, the area's unique style of funk. And if you run a club, having a go-go band perform can be complicated. On the upside, the place is going to be packed, and you will rake it in at the bar. On the downside, the crowds can get volatile, drawing extra police scrutiny.

On that day early this year, the club manager didn't want to bother. So he told the band to get its things and go.

This is what it has come to: one of the city's only true indigenous art forms -- the one generations of Washingtonians have grooved to -- unceremoniously cast away. Not only is go-go being shut out from clubs that could still support it, the retail stores that nurtured the music are fading away.

Cities change all the time, but this is about more than mourning what's gone. As go-go shifts to the margins in the District, we are losing something bigger. Go-go may be invisible to much of white Washington, but it's as much a part of the city as the pillars and monuments of its federal face. On any given day, in any number of clubs, parks, community centers, schools and back yards throughout the region, you can find up to a dozen young musicians on a stage, playing before ecstatic, sweaty crowds.

Go-go is Washington. The music never made a real national splash, but it has come to reflect this city, its artistic pulse and the often painful reality of life for many of its black residents.

Now the place that created go-go is shoving it aside.

The U Street NW and H Street NE corridors have gone upscale, pushing out the places where you could buy tickets, hear go-go music live and purchase your neighborhood's unique brand of embroidered sweats. Ibex, a popular Georgia Avenue NW go-go club, has been transformed into luxury condos. The flagship store for local urbanwear designer We R One on Florida Avenue NW went out of business a couple of summers ago. I-Hip-Hop and Go-Go, a store on H Street NE, has been shuttered. The flagship location of P.A. Palace, a chain of go-go stores, has been bulldozed to make way for a Wal-Mart in Landover Hills.

Before the drive-by shooting in Southeast last month -- one of the deadliest shootings in the District in years -- the city was touting the progress it had made in curbing crime. The murder rate was at a 45-year low. When crime statistics were released in January, one of the factors that D.C. Police Chief Cathy Lanier credited for the reduction in violence was her department's "go-go report," a list of all the concerts going on around the city. When I asked a police spokeswoman to explain how the "go-go report" works -- and how monitoring cuts down on crime -- she refused to comment, citing "law enforcement sensitive information."

Of course a police presence is needed at any activity that draws big crowds. But how else to interpret Lanier's comments to reporters, other than that the city is safer because it is reining in the music?

"I can't imagine my life without go-go," said DJ Flexx of WPGC (95.5 FM), a popular hip-hop station. But the music "is on life support," he said.

The city needs to be throwing out an oxygen mask. Without go-go, Washington loses part of its soul and continues its steady march toward becoming richer, whiter -- less funktified.

As with many nonnative Washingtonians, my introduction to the genre came from Spike Lee's 1988 film "School Daze," which spawned one of the few mainstream go-go hits, "Da Butt" by the band E.U. I started hanging out on the go-go scene a decade ago, first as a youth-culture writer for The Washington Post and then as an ethnographer earning my doctorate at the University of Maryland. Go-go is played on D.C. hip-hop stations such as WPGC and WKYS (93.9 FM), but the recordings don't come close to translating the joyous, infectious energy of the live shows.

You know it's go-go by its signature, slow-driving conga beat. The music sounds like a grittier kind of funk, with a "lead talker" calling out fans, a rapper and an R&B vocalist singing original songs and go-go versions of hits by artists from Ashlee Simpson to Ludacris. The most popular go-go bands, such as TCB -- a fixture since the early 2000s -- play as many as four gigs a week and easily draw 500 to 1,000 fans per night, with clubs turning people away at the door.

Nico "the Go-Go-ologist" Hobson, a music historian and collector who is a fixture on the scene, says there are more new bands forming than ever. While not a route to the high life or visits to the White House, for many local artists, becoming a go-go superstar is a more attainable goal than being the next Jay-Z.

But Hobson says keeping the music alive is an uphill battle. Not only is go-go fighting economic and political pressures, it is also suffering from self-inflicted wounds. Violence surged around go-go with the crack trade in the 1980s and 1990s, and over the years, several high-profile tragedies have taken place near the clubs.

Marvin "Slush" Taylor, who invented the "Beat Your Feet" dance craze (and inspired the recent MTV reality show stars Beat Ya Feet Kings) was killed at age 19 after leaving a go-go in 2002. In 1997, D.C. police officer Brian T. Gibson was killed outside Ibex on Georgia Avenue. In 2007, high school cheerleader Taleshia Ford, 17, was killed inside a U Street area go-go by a stray bullet.

Ford's death was the fourth killing connected to dance clubs around U Street within three years, and some clubs were eventually shut down. Among them was Club U, at 14th and U streets, which had helped rejuvenate the neighborhood beginning in the early 1990s, transforming the Reeves Municipal Center into a go-go at night. After a fatal stabbing in 2005, the club lost its liquor license and closed.

Go-go music is not any more violent than, say, punk music. But it does reflect what is going on in a neighborhood. Fans sometimes bring their turf battles, which can include neighborhood rivalries, to concerts. These are exacerbated by the competition to see whose crew or neighborhood will be acknowledged on the mike. As one D.C. police officer once said, it's often simply a matter of youth, immaturity and too much alcohol coming together.

Go-go also channels much of the grief experienced in too many parts of our city. At a Haiti benefit concert in January, Peculiar People Band lead vocalist Dre MayDay, 22, explained how people at the show could relate to the hopelessness on the island since the earthquake. "I know we are not strangers to the pain," he said to the audience filled with teens, many of them hoisting "R.I.P." T-shirts to honor fallen friends. "We are not strangers to the struggle. We gon' sing this song so loud that they can hear us all the way in Haiti. We're dancing in the rain. We're dancing through the struggle and our pain."

Such grim eulogies were not what Chuck Brown, the Godfather of Go-Go, had in mind when he invented the sound around 1976. A jazz guitarist, Brown borrowed some elements from the Los Latinos band he played with, giving the music a Caribbean feel with conga drums, timbales, cow bells and a horn section. (The genre was named after a 1965 Smokey Robinson song, "Going to a Go-Go.")

Go-go helped rejuvenate areas such as U Street that for years were deeply scarred by the riots that erupted in 1968 after the assassination of the Rev. Martin Luther King Jr. Charred and abandoned buildings around the Howard Theatre near Georgia Avenue came back to life as the area filled with go-go shows.

Now, as the city's renaissance approaches full tilt, those venues are being replaced with a new kind of nightlife. The natural ebb and flow of business, fickle youth tastes and the growing incursion of hip-hop are all playing a part. But there is more to it than that: Go-go is also a victim of changing perceptions of what kind of nightlife Washington -- and its developers, business leaders and politicians -- want to have. There is little desire on their part to work with the young, black, sometimes-marginal community that supports go-go. As the authors Kip Lornell and Charles Stephenson wrote in their 2001 book on Washington's go-go scene, "The Beat," the music "wears the mantle of low-class or blue-collar music" and "remains ghettoized."

That's why the D.C. police "go-go report," and the police presence at many clubs, say so much to me about the direction in which this city is pushing the music.

In the late 1990s and early 2000s, hip-hop artists were subject to some of the same police scrutiny after a spate of well-publicized killings -- including the deaths of rappers Biggie Smalls and Tupac Shakur. After years of denying rumors of a "hip-hop task force," New York and Miami police admitted to the Village Voice in 2004 that they had units keeping tabs on hip-hop artists. At this revelation, everyone from rap mogul Russell Simmons to former NAACP leader Ben Chavis Muhammad to Georgetown University law professors got to howling. "Hip-Hop Behind Bars," blared a Source magazine cover.

So why no outrage when D.C. police mention their "go-go report"? One difference is in the size and power of the targets. Hip-hop is a billion-dollar international industry. Go-go is a network of local black-owned businesses. There are no "go-go intellectuals" in the ivory tower. "Go-Go is an easy scapegoat," said the Rev. Tony Lee, pastor of the Community of Hope A.M.E Church in Hillcrest Heights, who has worked on anti-violence initiatives with groups such as the Go-Go Coalition, the Backyard Band and the W.H.A.T.?! Band. (Last week the District revoked funding for one of these go-go-affiliated groups, the Peaceaholics, because of budget constraints.)

Lee said he has an excellent relationship with the Prince George's County police force, which is busy with its own crackdown on go-go clubs. There are class tensions there, too, since many suburban middle-class blacks are quick to distance themselves from the go-go culture. "We are talking about both generational and class warfare," Lee said.

But "go-go" also means constant motion -- wherever it goes. And lately that means out of D.C. and farther and farther into Maryland. I was recently encouraged by the scene on Martin Luther King Jr. Day at Lee's church. Hundreds of go-go fans, mostly young people, had flocked to the former big-box store in Iverson Mall to hear their favorite bands at the Haiti benefit concert, which raised $5,000 toward relief efforts.

It was go-go at its finest, a night that made it easier to defend the music than it often is. People who've lost loved ones to nightclub violence could care less that the conga player didn't do it; they just want the violence to stop. But despite all the pressures to do so, black people shouldn't walk away from a culture we create. Neither should that culture's city.

Speaking after the show that night, the Peculiar People Band leader, MayDay, told me he is saddened by the plight of go-go. "D.C.-Maryland, we are like our own little island," he said. "We have our own thing. If we were to let it go, we would start to be like the rest of the states."

nhopkinson@hotmail.com

Natalie Hopkinson, a culture and media critic for TheRoot.com, is author of the forthcoming "Go-Go Live: The Musical Life and Death of a Chocolate City."

 

EVENT: Brooklyn—book party for John Oliver Killens: A Life by Keith Gilyard

John Oliver Killens: A Life of Black Literary Activism is the second of Gilyard's books focusing on the Killens phenomenon. His earlier book, Liberation Memories: The Rhetoric and Poetics of John Oliver Killens, is a detailed study of Killens' novels, through which, taken together, we see one whole continuum of historically-rooted fiction

 

 

A Book Party for

John Oliver Killens:

A Life of Black Literary Activism

By Keith Gilyard

 

Skylight Gallery

Restoration Plaza, 1368 Fulton Street

(between New York and Brooklyn Avenues)

 

Thursday, April 29, 2010 - 5:00pm

 

A book party for Keith Gilyard's John Oliver Killens: A Life of Black Literary Activism  (University of Georgia Press), takes place on Thursday, April 29, 2010, at the Skylight Gallery (Restoration Plaza, 1368 Fulton Street, between New York and Brooklyn Avenues), in Brooklyn. The event begins at 5 p.m., and is jointly sponsored by Bedford-Stuyvesant Restoration Corporation, Center for Art & Culture, and Prof. Carole Gregory's "Modes of Analysis" class at the College of New Rochelle, School of New Resources; the program includes discussion with the author along with a panel of former friends and students of the late novelist.

In this first major biography of Mr. Killens, Prof. Gilyard examines the life and times of the man who was perhaps the premier African American writer-activist, with a literary career that spans from the mid-1940s to the late 1980s. An influential novelist, essayist, screenwriter, and teacher, John O. Killens, along with John Henrik Clarke, Rosa Guy and others, co-founded the Harlem Writers Guild, through which workshop no less than 100 books, screenplays and staged dramas were produced during his tenure as Chair (1951-1965). 

Among the Guild's other prominent alumni were Sarah E. Wright, Ossie Davis, Alice Childress, Maya Angelou, Piri Thomas, Lonnie Elder III, Irving Burgie, Loften MItchell, Louise Meriwether, Charles Russell, Sylvester Leaks, et al. Other writers he befriended and mentored outside of the Guild include  Haki Madhubuti, Askia Toure, Nikki Giovanni, Ntozake Shange, Doris Jean Austin, BJ Ashanti, Richard Perry, Elizabeth Nunez-Harrell, Nicholasa Mohr, Thulani Davis, Brenda Connor-Bey, Brenda Wilkerson, Arthur Flowers, Terry McMillan, among many others. 

Prof. Gilyard, however, extends his focus into the social parameters of Killens’ times and literary achievements—from the Old Left to the Black Arts Movement and beyond. Figuring prominently in this biography are the many prominent African American political and cultural workers connected to the author from the 1930s to the 1980s—W.E.B. Du Bois, Paul Robeson, Alphaeus Hunton, Margaret Walker, Langston Hughes, James Baldwin, Malcolm X, Nina Simone, Gwendolyn Brooks, Woodie King, Martin Luther King Jr., Malcolm X, Harry Belafonte, Chinua Achebe, Keorapetse William Kgositsile, George Lamming, and Gil Noble – like so.

Though several of his works,  Youngblood (1954), And Then We Heard the Thunder (1964), Black Man's Burden (1967), The Cotillion (1972), have been translated into well over a dozen languages, Killens, like Dr. Du Bois, has remained among the least studied of American writers.

John Oliver Killens: A Life of Black Literary Activism  is the second of Gilyard's books focusing on the Killens phenomenon. His earlier book,  Liberation Memories: The Rhetoric and Poetics of John Oliver Killens, is a detailed study of Killens' novels, through which, taken together, we see one whole continuum of historically-rooted fiction (from the 1690s to the 1980s)—and from a Black point of view. A literature professor at Pennsylvania State University, Keith Gilyard has fashioned a narrative that allows readers to more fully take note of the complexities of Killens' evolution—from a human rights and union activist to a novelist/dramatist/screen writer and mentor to no less than three generations of African American writers and activists.

The event is free and open to the public. Copies of the book will be available and refreshments served. Take the 'A' or 'C' train to the Nostrand Avenue station.

*   *   *   *   *

Reviews

I congratulate Keith Gilyard for bringing to life, in the pages of this absorbing book, a figure of genuine importance who certainly deserves a full-scale biography.—Arnold Rampersad, author of Ralph Ellison: A Biography

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John Oliver Killens is a genius of the South, and Keith Gilyard has honored this youngblood, civil rights and union activist, novelist, dramatist, and screenwriter in a superb biography. Gilyard’s engaging written voice draws us into a dramatic and important life, and his deep commitment to the highest standards of research inspires our trust and admiration. John Oliver Killens ably documents and brings to life the yearnings and accomplishments of a major figure in our national literature.—Rudolph P. Byrd, Goodrich C. White Professor of American Studies, Emory University

*   *   *   *   *

John Oliver Killens’ politically charged novels And Then We Heard the Thunder and The Cotillion; or One Good Bull Is Half the Herd, were nominated for the Pulitzer Prize. His works of fiction and nonfiction, the most famous of which is his novel Youngblood, have been translated into more than a dozen languages. An influential novelist, essayist, screenwriter, and teacher, he was the founding chair of the Harlem Writers Guild and mentored a generation of black writers at Fisk, Howard, Columbia, and elsewhere. Killens is recognized as the spiritual father of the Black Arts Movement. In this first major biography of Killens, Keith Gilyard examines the life and career of the man who was perhaps the premier African American writer-activist from the 1950s to the 1980s.

Gilyard extends his focus to the broad boundaries of Killens’ times and literary achievement—from the Old Left to the Black Arts Movement and beyond. Figuring prominently in these pages are the many important African American artists and political figures connected to the author from the 1930s to the 1980s—W. E. B. Du Bois, Paul Robeson, Alphaeus Hunton, Langston Hughes, James Baldwin, Martin Luther King Jr., Malcolm X, Harry Belafonte, and Maya Angelou, among others.—Publisher, University of Georgia Press.

*  *  *  *  *

 


 Keith Gilyard -- born and raised in New York City -- earned graduate degrees from Columbia University and NYU. Following stints at several campuses, including Medgar Evers College-CUNY and Syracuse University, he is Professor of English at the Pennsylvania State University, University Park. Gilyard has long been active in professional, cultural, and community organization, and he has lectured widely on language, literature, and education. He also has read his poetry at numerous venues. 

Author of numerous publications, his books include Voices of the Self: A Study of Language Competence (1991), Let's Flip the Script: An African American Discourse on Language, Literature, and Learning (1996) Poemographics (2001), and Liberation Memories: The Rhetoric and Poetics of John Oliver Killens (2003).

 

 

In addition, he edited Spirit & Flame: An Anthology of Contemporary African American Poetry (1997) and Race, Rhetoric, and Composition (1999).

 

*   *   *   *   *

Books by John Oliver Killens

 

 Youngblood  /  And Then We Heard the Thunder  /  The Cotillion  /  The Great Black Russian

A Man-Aint-Nothin But A Man Adventures of John Henry  /  Slaves  / Sippi A Novel /  Black-SouthernVoices: An Anthology 

Great-Gittin-Up-Morning: A Biography of Denmark Vesey  / Black Man's Burden

 

*   *   *   *   *

Books by Keith Gilyard

Voices of the Self: A Study of Language Competence (1991) Poemographics (2001)

Let's Flip the Script: An African American Discourse on Language, Literature, and Learning (1996)

Spirit & Flame: An Anthology of Contemporary African American Poetry (1997) / Race, Rhetoric, and Composition (1999)

Liberation Memories: The Rhetoric and Poetics of John Oliver Killens

 

*   *   *   *   *

 

INFO: The Next Empire > from The Atlantic

May 2010 ATLANTIC MAGAZINE

The Next Empire

All across Africa, new tracks are being laid, highways built,ports deepened, commercial contracts signed—all on an unprecedented scale, and led by China, whose appetite for commodities seems insatiable. Do China’s grand designs promise the transformation,at last, of a star-crossed continent? Or merely its exploitation? The author travels deep into the heart of Africa, searching for answers.

By Howard W. French
Presented By
Click here to find out more!

Photography by the author

A porter helped me with my bags as I made my way, sweating, into the train station in Dar es Salaam. In addition to my normal complement of luggage, I had brought a carton full of provisions, including several gallons of water, for a trip of uncertain duration. With the carton perched on his head, the porter led me through the vast, densely packed concourse and into the waiting salon.

There, a clock sat high on the wall, its hands frozen since who knows when. Around the perimeter of the room, above the upholstered benches, the faded yellow walls bore what looked like a generation’s worth of oily stains, laid down in layers in the shape of heads and shoulders by people leaning back, like me, bludgeoned by the thick afternoon heat and waiting for the call to board.

I was about to embark on one of the world’s great train rides, a journey from this muggy Indian Ocean port city, the commercial capital of Tanzania, to the edge of the Zambian Copper Belt, deep in the heart of southern Africa. The official who’d sold me my ticket had seemed puzzled when I asked when the train would arrive at its final destination, and he refused to guess; in recent years, the 1,156-mile trip has been known to take anywhere from its originally scheduled two days to an entire week.

 


 

 


Slideshow: View more of Howard French’s images

 

 


 

The railroad—known as the Tazara line—was built by China in the early 1970s, at a cost of nearly $500 million, an extraordinary expenditure in the thick of the Cultural Revolution, and a symbol of Beijing’s determination to hold its own with Washington and Moscow in an era when Cold War competition over Africa raged fierce. At the time of its construction, it was the third-largest infrastructure project ever undertaken in Africa, after the Aswan Dam in Egypt and the Volta Dam in Ghana.

Today the Tazara is a talisman of faded hopes and failed economic schemes, an old and unreliable railway with too few working locomotives. Only briefly a thriving commercial artery, it has been diminished by its own decay and by the roads and air routes that have sprung up around it. Maintenance costs have saddled Tanzania and Zambia with debts reportedly as high as $700 million in total, and the line now has only about 300 of the 2,000 wagons it needs to function normally, according to Zambian news reports.

Yet the railway traces a path through a region where hopes have risen again, rekindled by a new sort of development also driven by China—and on an unprecedented scale. All across the continent, Chinese companies are signing deals that dwarf the old railroad project. The most heavily reported involve oil production; since the turn of the millennium, Chinese companies have muscled in on lucrative oil markets in places like Angola, Nigeria, Algeria, and Sudan. But oil is neither the largest nor the fastest-growing part of the story. Chinese firms are striking giant mining deals in places like Zambia and the Democratic Republic of the Congo, and building what is being touted as the world’s largest iron mine in Gabon. They are prospecting for land on which to build huge agribusinesses. And to get these minerals and crops to market, they are building major new ports and thousands of miles of highway.

In most of Africa’s capital cities and commercial centers, it’s hard to miss China’s new presence and influence. In Dar, one morning before my train trip, I made my way to the roof of my hotel for a bird’s-eye view of the city below. A British construction foreman, there to oversee the hotel’s expansion, pointed out the V-shaped port that the British navy had seized after a brief battle with the Germans early in the First World War. From there, the British-built portion of the city extended primly inland, along a handful of long avenues. For the most part, downtown Dar was built long ago, and its low-slung concrete buildings, long exposed to the moisture of the tropics, have taken on a musty shade of gray.

“Do you see all the tall buildings coming up over there?” the foreman asked, a hint of envy in his voice as his arm described an arc along the waterfront that shimmered in the distance. “That’s the new Dar es Salaam, and most of it is Chinese-built.”

I counted nearly a dozen large cranes looming over construction sites along the beachfront Msasani Peninsula, a sprawl of resorts and restaurants catering mostly to Western tourists. Near them, sheltered coyly behind high walls, lie upscale brothels worked by Chinese prostitutes. In the foreground, to the northwest, sits Kariakoo, a crowded slum where Chinese merchants flog refrigerators, air conditioners, mobile phones, and other cheap gadgets from narrow storefronts. To the south lies Tanzania’s new, state-of-the-art, 60,000-seat national sports stadium, funded by China and opened in February 2009 by President Hu Jintao.

“Statistics are hard to come by, but China is probably the biggest single investor in Africa,” said Martyn Davies, the director of the China Africa Network at the University of Pretoria. “They are the biggest builders of infrastructure. They are the biggest lenders to Africa, and China-Africa trade has just pushed past $100 billion annually.”

Davies calls the Chinese boom “a phenomenal success story for Africa,” and sees it continuing indefinitely. “Africa is the source of at least one-third of the world’s commodities”—commodities China will need, as its manufacturing economy continues to grow—“and once you’ve understood that, you understand China’s determination to build roads, ports, and railroads all over Africa.”

Davies is not alone in his enthusiasm. “No country has made as big an impact on the political, economic and social fabric of Africa as China has since the turn of the millennium,” writes Dambisa Moyo, a London-based economist, in her influential book, Dead Aid: Why Aid Is Not Working and How There Is a Better Way for Africa. Moyo, a 40-year-old Zambian who has worked as an investment banker for Goldman Sachs and as a consultant for the World Bank, believes that foreign aid is a curse that has crippled and corrupted Africa—and that China offers a way out of the mess the West has made.

“Between 1970 and 1998,” she writes, “when aid flows to Africa were at their peak, poverty in Africa rose from 11 percent to a staggering 66 percent.” Subsidized lending, she says, encourages African governments to make sloppy, wasteful decisions. It breeds corruption, by allowing politicians to siphon off poorly monitored funds. And it forestalls national development, which she says begins with the building of a taxation system and the attraction of foreign commercial capital. In Moyo’s view, even the West’s “obsession with democracy” has been harmful. In poor countries, she writes, “democratic regimes find it difficult to push through economically beneficial legislation amid rival parties and jockeying interests.” Sustainable democracy, she feels, is possible only after a strong middle class has emerged.

In its recent approach to Africa, China could not be more different from the West. It has focused on trade and commercially justified investment, rather than aid grants and heavily subsidized loans. It has declined to tell African governments how they should run their countries, or to make its investments contingent on government reform. And it has moved quickly and decisively, especially in comparison to many Western aid establishments. Moyo’s attitude toward the boom in Chinese business in Africa is amply revealed by the name of a chapter in her book: “The Chinese Are Our Friends.” Perhaps what Africa needs, she notes, is a reliable commercial partner, not a high-minded scold. And perhaps Africa should take its lessons from a country that has recently pulled itself out of poverty, not countries that have been rich for generations.

“I would say this is a transformational moment for Africa,” Moyo told me from London last spring. “I see the explosive development of infrastructure. I see people producing more food and having more jobs … And besides, I don’t see how otherwise you are going to get a civil society, except by building up a middle class.”

Even taking the recent global downturn into account, this has been a hopeful time for a historically downtrodden continent. Per capita income for sub-Saharan Africa nearly doubled between 1997 and 2008, driven up by a long boom in commodities, by a decrease in the prevalence of war, and by steady improvements in governance. And while the downturn has brought commodity prices low for the time being, there is a growing sense that the world’s poorest continent has become a likely stage for globalization’s next act. To many, China—cash-rich, resource-hungry, and unfickle in its ardor—now seems the most likely agent for this change.

But of course, Africa has had hopeful moments before, notably in the early 1960s, at the start of the independence era, when many governments opted for large, state-owned economic schemes that quickly foundered, and again in the 1970s, another era of booming commodity prices, when rampant corruption, heavy debt, and armed conflict doomed any hopes of economic takeoff.

China’s burgeoning partnership with Africa raises several momentous questions: Is a hands-off approach to governmental affairs the right one? Can Chinese money and ambition succeed where Western engagement has manifestly failed? Or will China become the latest in a series of colonial and neocolonial powers in Africa, destined like the others to leave its own legacy of bitterness and disappointment? I was heading south on the Tazara—through the past and into the future, to the sites of some of China’s most ambitious efforts on the continent—to try to get some early sense of how the whole grand project was proceeding.

The call to board the train came early, and I took my place in an orderly embarkation line in the departure hall, eventually walking down the central platform and past the luridly disheveled wreckage of a long-immobilized train. On the adjacent track, my train, the Kilimanjaro Express (which, curiously, goes nowhere near Mount Kilimanjaro), looked natty by comparison, its dark-olive paint unmarred. I clambered aboard and, after a brief confusion over seating assignments, settled with my three cabinmates into a tight little space with twin bunk beds along both walls and a table in the middle.

Isaac Mpotia, a 50-year-old Tanzanian electrical engineer who had studied in Germany, sat by the window, directly across from me. He was taking the train home to Iringa, in southern Tanzania, I later learned, after a long stint doing engine work for the Tazara in Dar. He was quiet and a little somber while the train sat in the station, but as it lurched away from the platform at 3:50 p.m., right on time, he smiled. “Today,” he said, “we are operating on German time.” With a look of mischief, he added: “From here out, we can break down at any time.”

The slums on the southwestern edge of Dar, where women pounded their evening meals in mortars and half-naked children waved, quickly fell away, giving over to thickening bush. With nightfall’s approach, we would be entering the Selous Game Reserve, one of the largest in Africa. (I had heard stories of collisions with elephants causing trains to derail.) All along the way, wreckage was strewn beside the tracks—railway cars hauled from where they’d derailed or broken down, and left to decay like great, dead beasts.

As we looked out at these rusting carcasses, my cabinmates began talking about the railroad, and what it said about their societies. “This is a good train,” said Isaac, with a trace of bitterness, “but like any piece of equipment, it needs maintenance.” Daniel Simwinga, a voluble, Bible-toting Zambian, responded, “Everyone knows you can’t keep getting milk from a cow without feeding it grass.” (Daniel was bringing a shipment of auto parts and other goods south. As a commercial trader, he rides the Tazara as often as twice a month, and is well versed in its shortcomings.)

“As soon as we have problems, we ask someone else to take care of them for us,” Isaac continued. “We ask the Europeans. We ask the Americans. We ask the Chinese. We will run this train into the ground, and then we will tell the Chinese we need another one. This is not development.” I thought of the wreckage by the tracks. In China, there is no such thing as metallic waste. Armies of migrant workers scour the countryside with hammers and chisels, collecting and selling every scrap to the insatiable smelters that feed the country’s industries. Here, by contrast, was a land without industry.

The World Bank and the United Nations did surveys for a Tazara-like line in the early 1960s, and both concluded that such a railway would be neither economically feasible nor sustainable. But China built the line, between 1970 and 1975, at the behest of two African leaders: Julius Kambarage Nyerere, the first president of Tanzania, who wanted to open up the remote south of his country and bolster his pan-African credentials; and President Kenneth Kaunda of Zambia, whose landlocked country was seeking an alternative to the trade routes south through white-ruled Rhodesia.

Within a decade, the line was suffering from repeated breakdowns, landslides, and management failures. Planners had envisioned running 17 trains a day, but by 1978 there were only two. Tanzanians and Zambians tend to lay the railway’s chronic operational problems at the doorstep of official corruption. Isaac and Daniel joked about this throughout the trip. For them, revenue-skimming explained every woe, from an unscheduled stop on our first night to replace a part, to an electrical short that plunged our stifling cabin into darkness after Daniel tried to turn on the cabin’s antiquated fan.

As an example of top-down, state-driven development, the Tazara had also come up short. Planners had envisioned a new agricultural corridor nearly 10 miles wide on either side of the tracks, doubling regional food production. Yet much of the land—moist black soil and extraordinary verdure—was all but empty. The government had never invested in electrification, schools, or roads near the railway, nor had it provided access to credit so that farmers could buy fertilizer or good seed. During one 90-minute stretch in northeastern Zambia, beginning at Mkushi, I did not see a single farm or village.

The unrealized value of this fallow earth seemed to pain Daniel. And he was quite aware of the opportunity that it represented to foreigners, especially with crops in rising demand worldwide. “The Chinese have already begun coming,” he said. “They covet our land. It seems there’s no space for people there.”

Chinese farmers have been trickling into Africa for years, buying small plots and working them using Chinese techniques. But China began to prioritize large-scale agricultural investment in Africa around the time of the lavish 2006 China-Africa summit in Beijing, a milestone in China’s courtship of the continent. At the time, China promised to establish 10 agricultural demonstration centers promoting Chinese farming methods, and to send experts far and wide. Last June, the Economic Observer, an independent Chinese weekly newspaper, reported that China, “faced with increasing pressure on food security,” was “planning to rent and buy land abroad to expand domestic food supply.” Beijing had earmarked $5 billion for agricultural projects in Africa in 2008, with a focus on the production of rice and other cash crops.

Many Chinese agricultural initiatives are shrouded in mystery. In 2006, for instance, China offered a $2 billion soft loan to Mozambique for a project to dam the Zambezi River Valley, amid some of the continent’s most fertile soils. The following year, Chinese and Mozambican officials reportedly signed a memorandum of understanding allowing 3,000 Chinese settlers to begin farming in the area. But following a local uproar, Mozambique’s government denied all reports of the plan, and little has been heard of it since.

Officials in Chongqing province—home to roughly 12 million farmers whose land either has already been lost in the flooding that accompanied the construction of the Three Gorges Dam, or is under pressure from urban growth in the province—have publicly encouraged mass emigration to Africa. In September 2007, Li Ruogu, the head of China’s Export-Import Bank, told the South China Morning Post,

 

“Chongqing is well experienced in agricultural mass production, while in Africa there is plenty of land but food production is unsatisfactory … Chongqing’s labour exports have just started, but they will take off once we convince the farmers to become landlords abroad.”

 

Li pledged full financial support to those farmers at the time, but has since distanced himself from those remarks.

“China’s interest in agricultural investment—in land—is a hot-button issue,” wrote Deborah Bräutigam, a professor at American University and a leading expert on China’s economic relations with Africa, in a recent paper. “For many, land is at the heart of a nation’s identity, and it is especially easy to raise emotions about outsiders when land is involved.”

The stop-and-go quality of major Chinese farming deals and the strong feelings that they’ve produced suggest that the honeymoon between the Chinese and Africans may not last long. During the course of my trip, land issues seemed to bring out the ugliest biases in the people I spoke to. “If you gave this land to Chinese people to work it, this place would be rich overnight,” said one Chinese woman immigrant, a middle-aged trader in southern Congo: “They’re too lazy, these Africans.” Many Africans, for their part, were intensely wary of Chinese immigration; Daniel told me that this was a particularly raw issue among many of his friends. Conspiracy theories echoed frequently. In Dar, for instance, rumors had spread that the new national sports stadium was part of a secret deal to grant land to Chinese farmers in Tanzania.

Ultimately, the combustibility of Chinese farming initiatives may limit the plans’ reach. Even so, Chinese investment in other industries has not slowed, and there’s no reason to believe it will. The acquisition of the ores and oil underneath African soil is more easily hidden from public view than that of the land above.

To fully grasp China’s economic approach in Africa, one must study European imperial history—as Beijing itself has been doing. “Recently, a very interesting Chinese delegation visited Brussels,” I was told by Jonathan Holslag, head of research for the Brussels Institute of Contemporary China Studies. “And they asked to see all the old colonial maps of the Congo. These are the only maps that reflect reasonably accurate surveys of Congo’s underground, and they want to use them for development plans in Katanga and elsewhere. If you look at Chinese policy documents, it is very obvious that they are focused on opening up the heart of the continent. There is clearly a long-term strategy for doing this, and it seeks to break up the north-south flow of minerals, to build east-west lines that will allow them to bypass South Africa.”

Jamie Monson, a historian of the Tazara line, writes lucidly about this strategy:

 

To construct a railroad was to command a region—the most famous manifestation of this being Cecil Rhodes’s dream of linking “Cape to Cairo” through a continent-wide rail connection. To control a region in turn was to keep rivals out, or at least to restrict their trade participation through tariffs and other regulatory interventions.

 

The truest intellectual forerunner of China’s strategy seems to be a plan once pursued by Germany. Before its defeat in World War I, Germany’s leaders had dreamed of a continental empire, a Mittelafrika stitched together by railways stretching from Dar es Salaam to the Atlantic Ocean. A northern line from Dar to Moshi was completed in 1912. German surveys of a southern route, essentially the forerunner of the Tazara line, were carried out between 1904 and 1907, but the project was abandoned after a local rebellion against German rule.

Germany’s railway schemes were driven by intense competition with Britain. Although China may claim to be a new kind of power, its plans, too, have always had a strategic component, including rivalry with the West, and lately a desire to circumvent the regional economic powerhouse, South Africa, and ultimately control the markets for key African minerals.

To succeed, Germany’s Mittelafrika would have required cooperation from Belgium and Portugal in order for its trains to traverse the expanse of Congo and Angola on their way to the Indian Ocean. In five short years, China has solved this problem, rebuilding Angola’s Benguela railroad and laying the groundwork for a vast new rail-and-road network to be built in Congo, Zambia, and other peripheral countries. China will not turn these railways over to African governments, as it did with the Tazara. Rather, it will retain majority control of its rail investments, operating the railways until its money is recouped by ticket and cargo revenues and by other fees.

The Zambian end of the Tazara line, Kapiri Mposhi, roughly marks the southeastern edge of southern Africa’s vast copper belt, one of Mittelafrika’s choicest prizes. The Kilimanjaro Express pulled into town 72 hours after leaving Dar—we’d had two big delays along the way, but had been lucky to suffer no major breakdowns.

A scrum of porters and drivers beset the weary, baggage-laden travelers on the platform, competing noisily for the chance to haul the merchandise brought from Tanzanian ports. I met Daniel’s wife and son as we disembarked, and we eventually said our goodbyes (Isaac had gotten off the train farther north).

The town itself is a dismal backwater. A desolate market sits behind the giant train station, a jumble of cinder-block storefronts, almost all abandoned and strewn with rubbish. The commerce, such as it is, takes place in a muddy square facing these deserted buildings. There, a handful of crude stalls have been made by lashing rough-hewn wood planks together with cord. Women sit wanly before little pyramids of tomatoes, onions, and oranges. The train, evidently, has not brought prosperity to this place.

Nonetheless, Kapiri Mposhi is a gateway to perhaps the most significant hubs of Chinese activity on the continent. About 120 miles to the south lies Lusaka, where Beijing’s presence is long established and Chinese businesses abound. And about 45 miles to the north lies Congo, the stage for China’s grandest experiment—and biggest bet—on the continent. I was heading to Lubumbashi, a Congolese mining city of 1.2 million people, where billions of dollars of Chinese investment are, for good or ill, just beginning to make themselves felt.

One of the largest and most populous countries in Africa, the Democratic Republic of the Congo is also perhaps the most star-crossed. It gained independence from Belgium in 1960 and promptly became the site of Africa’s first coup d’état. It then suffered for 32 years under the dominion of the American-backed dictator Mobutu Sese Seko, the continent’s most corrupt and influential despot. Over the past 10 years, it’s been the scene of the world’s deadliest conflict since World War II.

In spring 2008, Congo’s beleaguered government unveiled a package of Chinese investments totaling $9.3 billion, a figure later reduced, for complex reasons involving International Monetary Fund pressure, to $6 billion—still roughly half of Congo’s GDP. China will build massive new copper and cobalt mines; 1,800 miles of railways; 2,000 miles of roads; hundreds of clinics, hospitals, and schools; and two new universities. Speaking before the parliament, Pierre Lumbi, the country’s infrastructure minister, compared the package to the Marshall Plan, and called it “the foundation on which the growth of our economy is going to be built.”

In exchange, China will get almost 11 million tons of copper and 620,000 tons of cobalt, which it will extract over the next 25 years—a “resource for infrastructure” swap that China first pioneered, on a smaller scale, in Angola in 2004. Congo will choose from a menu of Chinese construction companies—pre-vetted and supplied with credit by China’s Export-Import Bank—which typically begin (and end) their work quickly, dispatching hundreds or thousands of workers to do the job.

Much of the Chinese mining activity will center around Lubumbashi, founded by Belgium in 1910 and built up with forced labor in the 1930s. Lubumbashi has long lived by the whims of distant global markets, its booms unfailingly followed by busts. The Belgians, British, Americans, South Africans, and even the Congolese themselves, under Mobutu, have all enjoyed runs there.

During my visit, the city was drenched in seasonal rains, but it bathes year-round in a deep-set shabbiness. Still, traces of charm and bygone ambition survive. An imposing whitewashed courthouse faces a large traffic roundabout circling an antiquated steam locomotive once used to haul copper-laden cars. The once grand European-style post office still stands, though its concourse is given over to Chinese merchants selling cell phones from rickety glass cabinets.

Evidence of Chinese industry is not hard to find in Lubumbashi. In many neighborhoods, Chinese road crews are busy sealing muddy, potholed avenues with asphalt. They’re also paving an old dirt route east to Kiniama, and building another road west, to copper-rich Kipushi.

Well before the new ore-for-development deal was signed, the city and its surroundings had become a sort of new Promised Land for Chinese fortune seekers. As copper prices rose fourfold between August 2003 and August 2008, thousands of migrants descended on the region, like forty-niners during the American gold rush. They were drawn by word of mouth about the mineral riches and the ease of doing business here. Congolese officials were reputedly easy to bribe. Visas could be cheaply bought, and so could mining permits, often in the name of poor Congolese front men.

Under a white-hot afternoon sun, I made my way to a vast, Chinese-dominated industrial zone at the city’s northern edge, where copper-smelting operations sat behind high walls. There, I met Li Yan, a brisk, 30-ish man who manages a medium-size copper-mining company. Li’s company, with its giant smelting oven, heavy rock-crushing equipment, and half-dozen oversize trucks, looks well funded and well run. But he shook his head in disgust as he spoke to me about the copper rush. “There’s a belief among Chinese people that they can realize anything,” he told me. “But the people who came here had no experience and no preparation. It was like children running around, really a mess.”

Many Chinese fortune seekers had hired African work gangs to dig for copper, sometimes even in Lubumbashi’s red-clay streets. “They were profiteers and speculators,” said one local businessman. “Congo got nothing from them.” Most of them dug “no more than 20 feet deep, which requires no investment at all.” The government belatedly tried to reassert control, requiring all those who mined copper to smelt it as well, and to make more-substantial investments in equipment, in order to generate more jobs and tax revenue and to make the industry more sustainable. In response, small operators scrambled to build small, inefficient furnaces. In 2008, as prices tumbled from $9,000 a ton to a low of $3,500, the makeshift smelters closed down and the Chinese owners fled, leaving their Congolese workers unpaid and the landscape littered with industrial refuse.

Beijing’s giant construction package, of course, is on an entirely different scale than the fly-by-night mine operations that have come and gone in Lubumbashi. But the conditions under which the deal was signed were in many ways similar to those under which many Chinese fortune seekers had obtained their permits. Negotiations, conducted in secret, were entrusted to one of President Joseph Kabila’s close personal confidants, a man without a government portfolio. Since then, questions about whose interests are being served by the deal—those of everyday Congolese, or merely those of Kabila’s cronies—have multiplied.

In the center of Lubumbashi, just off the roundabout with the old locomotive, I met with Kalej Nkand, director of the Congolese Central Bank for Katanga province. Inside, the bank faintly resembles a musty warehouse—cavernous, dimly lit, and mostly open. It was getting toward lunchtime, and a half-dozen employees sat at metal desks scattered about the office’s large open floor. One woman pecked at an antiquated computer; the rest read old newspapers or dozed.

Kalej, a dapper young technocrat in a finely tailored olive suit, welcomed me into the deep chill of his office. In polished French, he told me that Congolese desperation had enabled the worst aspects of the early Chinese copper rush. “Most of these arrangements were negotiated at a time of great difficulty for the Congo because of the war,” he said. “It was too easy for people to come, get their product, and take off.” He described the big new Chinese package as “bait,” with “terms that were a bit unconventional,” but nonetheless appealing to a war-torn and bankrupt country.

For the rest of our conversation, Kalej studiously avoided criticizing the deal, often leaning forward and rocking slightly with his hands clasped before his face as he weighed his words. In Congo it was commonly said that President Kabila had bet his presidency on relations with China; for an official to say anything critical could be career-ending, or worse.

“We’ve got to remember the expectations of the populace,” Kalej said. New roads built under the auspices of the deal will link “rural areas with urban centers. People will be able to get their goods to market. The price of produce and other goods will go down.” Such were the dreams for Tazara, too, I thought, remembering the depressing little market in Kapiri Mposhi.

There was also the nettlesome question of where the new roads would actually go. Many of the package’s details have not been released publicly. Word on the street has it that the first, 275-mile section in the long, arching route chosen for the gigantic highway project will lead from Lubumbashi to Pweto, a one-gas-station town of 20,000 people on Lake Mweru that has no industry and few natural resources. Pweto is the hometown of Augustin Katumba Mwanke, the man who negotiated the deal, and he has reportedly built a palatial residence there; with the highway in place, he’ll be able to get to it from Lubumbashi in a few hours rather than the two days or more required now.

The company that will build the highway, China Railway, has been laying down another road leading out of Lubumbashi. It stretches eastward, and a crew of dozens of Chinese is working fast to scrape the existing dirt track smooth and complete the building of drainage culverts, before laying asphalt. This one, I discovered, leads to the regional police chief’s estate, an immense domain complete with artificial lakes and luxurious guest houses, all enclosed behind a 10-foot-high electrified fence. As we passed, my driver warned nervously that the area was under electronic surveillance and stopping or slowing down would not be prudent.

A prominent Congolese lawyer who is part of a loose citizens’ network that is investigating the Chinese package said the deal will leave Congo in the same position it was in after decades of exploitation by Belgium. “We could have said, ‘You can have our copper, but we want some of it transformed here.’ We’ve negotiated for billions of dollars without determining if those investments are productive, without thinking through the sequencing of things, without thinking about the creation of a metallurgy industry. We have cheap labor and abundant electricity,” so refining would make economic sense. “But we negotiated without experts and without analysis.”

I asked whether the huge building program—the roads and schools and hospitals—would produce dividends, and he shook his head grimly. “Six billion dollars in infrastructure is not development. Schools with desks are not going to educate our population. A road is not going to develop this country … Schools require a school system, and they need teachers. In this climate, roads last only 10 years without maintenance, and the Congo has no capacity in this regard.”

Gilbert Malemba N’Sakila, a former law-school dean in Lubumbashi, expressed similar doubts: “The Chinese are not even making use of Congolese talent. They hire laborers, and that’s it.” Management and technical expertise are provided almost exclusively by Chinese workers. “When they pack up and go, the Congo will be left with nothing, not even an upgrade in our human resources. Our earth will be dug up, emptied, and left that way.”

These views echo—and are informed by—those in Zambia, Congo’s copper-rich neighbor to the south, which has a much longer record of business dealings with newly capitalist China. Zambians enthusiastically welcomed investment in 1998, when the China Non-Ferrous Metal Mining Company bought a mothballed copper mine at Chambishi, near the Congo border, for $20 million and promptly invested $100 million in its rehabilitation.

Things turned sour, though, when the new Chinese managers banned union activity and began paying Zambian employees less than the $67-a-month minimum wage. In 2005, more than 50 Zambians were killed in an accidental blast at an explosives factory that served the mine; witnesses said that Chinese staff members had fled the scene moments before the explosion, failing to warn the African employees. A year later, during protests over back pay and work conditions, a Chinese supervisor opened fire on Zambian workers with a shotgun, wounding several.

The turmoil at the Chambishi mine quickly bled into Zambian politics. Michael Sata, the leader of the Patriotic Front party, made China’s business practices and growing presence in the country big issues in the presidential election of 2006; China threatened to cut off relations with Zambia if he won. Sata, whose party was young and relatively small at the time, won 28 percent of the vote. In the 2008 election, he won 38 percent, losing the election by just two points.

Few Zambians have been lifted into the middle class by Chinese mining activity, and today, Sata remains unrelenting in his criticisms of China. “Our [Chinese] friends are too numerous, and we know their resources cannot sustain them,” Sata told me in his Lusaka office, taking phone calls from constituents and filling out a lottery card as he reeled off a catalog of reproaches. “Zambians do not need labor being dumped here. The Chinese are scattering all over the world, but there is no such thing as Chinese investment, as such. What we’re seeing is Chinese parastatals and government interests, and they are corrupting our leaders.”

“The idea that big influxes of wealth will help Africa has never really panned out,” Patrick Keenan, an Africa specialist at the University of Illinois, told me. “When the path to wealth goes through the presidential palace, there are enormous incentives to obtaining power and to holding on to it. This kind of wealth incites politicians to create economically wasteful projects, and it relieves them of the need to make politically difficult choices, like broadening the tax base.”

Indeed, the same objections raised by the Zambian aid critic Dambisa Moyo—that foreign aid breeds corrupt, lazy, and ineffective government—can be applied toward any foreign investments that focus on mineral extraction, especially ones that deliver cash and services directly to governments with no conditions attached. All things considered, resource-based or infrastructure-driven development—even development as massive as the ongoing Chinese wave—appear unlikely to lead to a meaningful African renaissance.

China’s rise, it is worth noting, did not begin with highways or factories or gleaming cities. It began with agriculture and rural development. “It is true that China has pushed infrastructure development, but that only began two decades after economic growth had taken off,” says Justin Yifu Lin, who is the chief economist of the World Bank and the highest-ranking Chinese national in any international financial institution. “Providing economic incentive to farmers, incentives to workers, attracting foreign investment—those were the priorities at the beginning.”

Many African farmers, Lin told me, “would strongly benefit from simple technology, like cheap diesel pumps to irrigate their fields.” Chinese involvement in agriculture, he believes, could make a big difference. Through investment and demonstration, Chinese farmers could serve as an important catalyst in an African economic takeoff, much as they did a generation ago in China itself.

But agricultural transformation is the most unlikely part of the Chinese project. Farming, of course, takes place in plain view, and foreign encroachment on fertile land raises passions; African governments are likely to find it easier and more profitable to sell oil and mineral rights. Song Tingming, an official at a Chinese agricultural trade group, told the Economic Observer that he believes the best time for China to develop agriculture overseas has probably passed, because the purchase of farmland has become a hot-button issue, with Korea and some Persian Gulf states having already made or attempted big farmland investments in Africa.

And ironically, while Beijing is extremely well-positioned to help Africa improve its governance—a second area of great need throughout much of the continent—it seems deeply reluctant to do so. No developing country has understood the importance of a strong, results-oriented public administration better than China. But so far, in part because of China’s history of subjugation by Westerners, as well as its defensive stance over its human-rights record, Beijing has remained attached to its rhetoric about noninterference.

Everywhere I traveled in Africa, people spoke in defense of conditionality—the attachment of good-governance strings to loans from the West. “Many people look at Western conditions as a good thing, because nowadays so many things can be discussed openly, unlike the past—like corruption, for example,” said John Kulekana, a veteran Tanzanian journalist. “There are no more demigods here, and that is because of the growth of civil society, which has received lots of help from the West. Former ministers are called to account for their behavior. We are building accountability.”

Well-governed states—where the people have a real say in choosing their leaders, where national priorities are openly discussed, and where legal institutions are strong—will undoubtedly benefit in lasting ways from Chinese commercial partnerships. But commercial partnerships alone seem unlikely to lead to good governance or enduring prosperity. A see-no-evil approach to governance would leave many countries with depleted resource bases and stunted political institutions, even as their population continues to grow rapidly.

Africans’ attitudes toward China’s recent initiatives on their continent are perhaps inevitably riddled with ambivalence. Many African intellectuals bridle at Western criticism of China’s African full-court press. The West, they say, has long patronized their continent, and since the end of the Cold War, has subjected it to outright neglect. And all of that is true. But the question remains: How does their continent overcome a pattern of extractive foreign engagement—beginning with its first contact with Europe, when gold or slaves were acquired in exchange for cloth and trinkets—that is still discernible today?

This question, which one hears almost everywhere, was addressed most powerfully by the Congolese lawyer I met in Lubumbashi. He received me in his office in his downtown home, where he bathes in water collected from an old parabolic satellite dish, and where he says the mail gets delivered once or twice a year, after he pays a bribe to the post office.

I asked him if the arrival of the Chinese was a new and great opportunity for the continent, as some have said. “The problem is not who is the latest buyer of our commodities,” he replied. “The problem is to determine what is Africa’s place in the future of the global economy, and up to now, we have seen very little that is new. China is taking the place of the West: they take our raw materials and they sell finished goods to the world What Africans are getting in exchange, whether it is roads or schools or finished goods, doesn’t really matter. We remain under the same old schema: our cobalt goes off to China in the form of dusty ore and returns here in the form of expensive batteries.”

 

VIDEO: Femi Kuti & The Positive Force - Casino de Paris (12/04/10) > from Vibes4YourSoul

April 13, 2010

V4YS Concert Review - Femi Kuti & The Positive Force - Casino de Paris (12/04/10)

 Femi Kuti and his band were playing yesterday night at the Casino de Paris, which is a beautiful classical mid-sized theather in central Paris.
A long-time fan of Femi's work, I had not been attending one of his gig for at least 3 or 4 years, so I could not resist the temptation!

Femi and his Positive Force band were 14 on stage. Most band members were rather young, probably coming from a new generation of musicians that Femi, true to the tradition of his father, keeps nurturing in his legendary homebase, "The Shrine" in Lagos, Nigeria.

The band  focused on tunes from their latest release "Day By Day" but also played tracks from previous albums.
They alternated between some of their killer afrobeat classics such as "Sorry Sorry", "Beng Beng Beng" or "Shotan" and lighter west-african grooves, typical of Femi's style and omnipresent in the "Day By Day" album. For instance please check in the live video below like the wonderful version of "They Will Run", which was my favorite song in the show.

French slam artist Abd-Al-Malik also joined the band as a guest to add his fresh and spontaneous lyrics flow on the track "Do You Know".

As usual with Femi, his stage presence, charisma and powerful voice were outstanding. His unique alto-sax and clarinette sound and the sincerity of his humanist and fraternal message also made of this concert a great moment.

There is only a small hitch to me : I've always found that Femi's concerts lack a bit of improvisation. His band is mostly "supporting" him, they do it very well for sure but I would enjoy a bit more "crazyness", which you often find in many contemporary afrobeat bands shows. This was the case again this time, apart from 3 or 4 planned solos from his guitarist, trombone and tenor sax players, there were no moment of improvisation.

This small remark apart, the man confirmed again yesterday that he is a cornerstone of the current musical afro scene.

And good news for you! If you were not there you can still enjoy this evening as the always tasteful french-german tv network Arte had the good idea to make a video recording of the gig and broadcast it for free on its website, (or player below) :

Attempt of tracklisting (I need help at the end! Use the comment section) :
- Do Your Best (start to 10mn31s)
- They Will Run (splendid version) (10mn32s to 16mn44s)
- Do You Know Feat. Abd Al Malik (16mn45s to 29mn10s)
- You Better Ask Yourself (29mn11s to 35mn31s)
- Eh Oh (35mn32s to 38mn52s)
- Oyimbo (38mn53s to 42mn32s)
- If Them Want To Hear (with long intro speach) (42mn33s to 50mn10s)
- Can't Buy Me (50m11s to 56mn04s)
- Shotan (56mn05s to 62mn50s)
- Inside Religion (62mn51s to 73mn01s)
- Sorry Sorry (73mn02s to 81mn59s)
- Beng Beng Beng (with long funny speach inside) (82mn00s to 92mn00s)

Encore part :(need some help to identfy the tracks here, they may be new actually) :
-Beng Beng Beng Break (92mn08s to 95mn01s)
-Did not recognize this one! (95mn02s to 98mn54s)
-This one neither (98mn55s to 102mn23s)
-This one neither (102mn24s to 106mn04s)
-Final Instrumental break : (106mn05s to end)

PUB: Bottle Tree Productions: One Act Play Competition For Writers

Bottle Tree One Act Play Competition for Writers 2010


First Prize $1,000
Second Prize $250
Third Prize $100

Bottle Tree Productions is a writer-driven production company. Charles Robertson has received Ontario Arts Council and Davies Foundation grants for writing. His production of "Ghost of the Tree" won numerous awards in various festivals and has been commissioned for performance at a national conference on Gender related violence and by a national conference on Homelessness. "The Hack" is a gritty look at being a night-time cab driver. "Pretty Pieces" is a very dark look at a toxic relationship on the fringes of society. Both shows were toured. His "Sir John A. McDonald" about Canada's first prime minister had audiences with Canada's Prime Minister and Canada's External Affairs Minister. Charles also teaches drama and has written numerous productions for kids. His fairy tales have played all over Ontario. He has written many educational in-school shows based on history, and anthology shows based on Dickens and Shakespeare. In his teaching he has developed scripts around the children. Having worked for years with actors, he believes that good actors can be an inspiration for good scripts.


Winners of the 2009 competition:

First place - "American Blues" by Evan Guilford-Blake.
Second Place - "Demons of the Mind" by Talia Pura.
Third Place - "Sister Aimee" by Richard Rossi.


Bottle Tree One Act Play Competition Details

The contest is open January 30th, 2010. It closes November 30th 2010.

Scripts can be emailed to contest (at) bottletreeinc (dot) com.

For Overland Delivery, Scripts need to be bound and should be mailed to Bottle Tree Productions at 445 Southwood Drive, Kingston, Ontario. K7M-5P8 A manuscript-sized SASE should be attached if the script needs to be returned

 

Bottle Tree One Act Play Competition for Writers Entry Fee

There is a twenty-five dollar entry fee in Canadian or American dollars.

For email submissions use our PAYPAL account A twenty-five dollar cheque should be enclosed with hard copy submissions and made payable to Bottle Tree Productions. No entry will be considered until the entry fee has been paid. You may enter as many scripts as you like but there is a twenty-five dollar fee for each entry. Previously produced and/or work-shopped scripts will be accepted as long as they weren't produced or work-shopped by an equity company. Scripts should be no longer than 70 minutes. The format is immaterial. As long as it is typed and readable. International entries are welcome!

Script contest/ Critique
Entry fee $25.00 Critique only $50.00 Entry fee and critique $75.00

 

PUB: Southport Writers' Circle International Poetry Contest

Southport Writers’ Circle International Poetry Competition 2010

ADJUDICATOR: Alison Chisholm
First Prize: £200, Second Prize: £100, Third Prize: £50
(In addition: £25 Humour Prize; £25 Local Prize)

RULES: Please read carefully

1. Poems should bear no identification of the poet. Local entrants (Liverpool and Preston postcodes) should mark poems with an ‘L’ in the top right corner. Please enclose a sealed envelope marked with the titles of your entries and containing a stamped, self-addressed envelope.
2. All entries must be typed on A4 paper, in English, and must be the original, unpublished work of the entrant.
3. Each entry should be accompanied by the appropriate fee of £3 per poem. Cheques/Postal orders should be in sterling and payable to SOUTHPORT WRITERS’ CIRCLE.
4. A maximum of 40 lines per poem is allowed.
5. The closing date for entries will be 30th April 2010
6. Please keep a copy of your poem(s) as manuscripts cannot be returned.
7. The adjudicator’s decisions are final and no correspondence will be entered into. Entrants will receive a copy of the adjudicator’s report.

No application form is required. Envelopes should be marked ‘POETRY COMPETITION’ and sent to: -
Southport Writers’ Circle
18 Ditchfield
Formby
Merseyside
L37 4EQ
Please DO NOT send entries by recorded delivery.

PUB: Camber Press Fiction Chapbook Contest

Submissions
Camber Press is pleased to announce our Second Annual Fiction Chapbook Award. Our ethos is to publish contemporary fiction exhibiting lucid delivery while not sacrificing emotional depth, mastery of craft, or originality.

The Camber Press
Fiction Chapbook Award

Deadline:
May 30, 2010

First Prize:
$1,000 and publication of chapbook

Judge:
Chuck Kinder


Submission guidelines:

The winning fiction writer will receive $1,000 and have his or her manuscript published by Camber Press, Inc. The winner will also receive ten copies of the book. Only typed manuscripts no greater than 10,000 words of original English-language fiction will be considered. Manuscripts must include a cover page listing the author's name, address, phone number, e-mail address, word count, and manuscript title. Names should not appear anywhere else. A title page with no biographical information should follow. Simultaneous submissions are allowed if Camber Press is immediately notified of acceptance elsewhere. Submissions will be recycled, not returned. Include a self-addressed, stamped postcard if you wish acknowledgment of receipt. A $15 entry fee payable to Camber Press must accompany all submissions. International submissions are $15 provided they are in US funds. Submissions must be postmarked no later than May 30, 2010. The winner will be announced on or before August 1, 2010 via our Web site, Twitter feed and Facebook page. E-mail us for more information. Send entries to:

Fiction Award
Camber Press
807 Central Avenue
Suite 2
Peeksill, NY 10566


Other details:

  • If your story has been previously published in a literary journal or review, please include this information in an acknowledgments page. Any manuscript previously published as a whole in book form is not eligible.
  • Multiple manuscripts by the same writer will be accepted if submitted with a corresponding entry fee for each work.
  • If the writer's name is present anywhere on the manuscript aside from the cover page, the entry will be disqualified.
  • If the writer needs to refer to his/herself in the story, a pseudonym must be used.
  • Please do not send corrections or additions. The winner will be allowed to make revisions before publication.
  • Submissions postmarked after May 30, 2010, will not be considered for the competition.
  • At 10,000 words maximum, this award could qualify for that much-neglected fiction form of a "long story" or "novelette." This award isn't limited to that genre. Word counts for short stories (generally considered up to 7500) will also be accepted.
  • Using the industry standard of approximately 250 words per page, your manuscript should not be over 40 pages. Line length, chapter sections, type size, margins, and other factors affect the number of pages both a manuscript and a finished book will be. Please rely on the word count feature of your word processing application.
  • Covers, tables of contents, dedication pages, acknowledgements pages, etc., do not count toward the total number of pages.
  • "No greater than 40 pages" does not mean your manuscript need be 40 pages. Please think of the quality of your writing first, and "40 pages," if ever, last. An excellent story of 7400 words will beat a padded 10,000 word story every time.
  • If you wish to bind your manuscript(s), please use a paperclip. Folders, binders, "bullnose" clips, and staples are strongly discouraged.
  • Please do not send your manuscript via a carrier requiring a signature for delivery. Not only is this is an unnecessary expense for writers, we find the USPS does a more than adequate job of delivering to our location.
  • Submissions will be recycled, not returned. Do not send a return envelope or return postage. Do not send the only copy of your manuscript.
  • To be advised of future Camber Press news, please join our e-mail newsletter list. Camber Press will not sell, trade, or distribute your e-mail address to any other company, organization, or individual. We don't like spam, either. An e-mail to the same address will remove you from our future mailings.

About our judge, Chuck Kinder

Chuck Kinder Chuck Kinder is the Director of the Writing Program and the author of the novels, Snakehunter (Alfred A. Knopf), The Silver Ghost (Harcourt Brace Jovanovich) and Honeymooners: A Cautionary Tale (Farrar, Straus & Giroux), a 2001 New York Times Notable Book. Kinder's most recent book is titled Last Mountain Dancer: Hard Earned Lessons In Love, Loss, And Honky-Tonk Outlaw Life, which was published in 2004. Kinder's awards include a National Endowment for the Arts Grant in Fiction, a Pennsylvania Council on the Arts Award in Fiction, a Dorothy & Granville Hicks Residence in Literature from the Yaddo Foundation, an Appalachian Heritage Dennis C. Plattner First Place Award for Nonfiction, a W.V.U. 2008 Eberly College of Arts and Sciences Distinguished Alumni Recognition Award, and a 2009 University of Pittsburgh Chancellor's Distinguished Teaching Award.

A PDF of the above submission guidelines is available here.

Last year, Ron Carlson chose Rob Davidson's Criminals in a blind submission similar to the above guidelines. It will be available shortly.

Camber Press is thoroughly devoted to maintaining the integrity of our competitions. Judges are directed to discard any manuscript where the writer of the work can be identified, where they have had a personal relationship with the writer, or if they have contributed in the making of the manuscript.

Camber Press does not choose writers or judges based on race, sex, color, religion, age, national origin, physical ability/handicap, political affiliation, sexual orientation, gender identity or geographic location. Manuscripts are chosen for publication based solely upon quality of work. Judges are chosen because we feel given their style and reputation, they will choose a manuscript accurately reflecting the ethos of Camber Press.

We thank you for your interest in submitting your work. Camber Press looks forward to publishing new, talented writers for the rest of the world to discover along with us. At this time we have several other manuscripts in production for publication, and we are not accepting unsolicited manuscripts outside this competition. Watch our Web site for announcements on the winning manuscript and forthcoming awards in both poetry and fiction.

VIDEO: Black Arts Movement Star Carolyn M. Rodgers Dead at 69 - BV Black Spin

Black Arts Movement Star Carolyn M. Rodgers Dead at 69

Comments (1)

Carolyn M. Rodgers Dead at 69The Black Arts Movement and the African-American community both lost one of each group's biggest boosters recently. Carolyn M. Rodgers, a poet, activist and co-founder of one of the most important and largest black-owned publishing companies, died April 2nd, after battling cancer.

Rodgers authored nine books, including "How I got Ovah," and often delved in to issues facing black women.

"Carolyn Rodgers was one of the finest poets to come out of the Black Arts Movement," Haki Madhubuti, a professor, publisher of Third World Press and poet told the Chicago Tribune.

The movement provided a fresh new voice for the African-American community and included artists, such as Amiri Baraka. Rodgers became a voice for black women, writing about relationships, identity and the strong spirit of black women.

"Her work always positions black women, in particular, as strong and not as victims but as survivors," Quraysh Ali Lansana, director of the Gwendolyn Brooks Center for Black Literature and Creative Writing at Chicago State University, where he is also an associate professor in English, told the Tribune.

A Chicago native, Rodgers studied with the Pulitzer Prize-winning Brooks and founded the Organization of Black American Culture. In addition to her poetry, she wrote short stories and criticism.

"She was a militant voice, but also more introspective, especially as it related to the role of the black woman," Useni Eugene Perkins, a friend who teaches playwriting at Chicago State University, told the Tribune.

Rodgers, along with Madhubuti and several others founded Third World Press, an important outlet for African Americans and other repressed voices during a crucial period.

In the poem "Breakthrough," Rodgers penned these lines:

"How do I put my self on paper/The way I want to be or am and be/ Not like any one else in this/Black world but me."

What strikes me about Rodgers is the way she used artistic expression to struggle with the issues of her day. And she tackled these issues during a period when race relations, the role of the female in American society and the ideals of American society in general, were all in full upheaval.

It is a model for young people to follow today. I often think that some young people turn to destructive activities and behaviors, because they have feelings bottled inside that they do not know how to express.

Rodgers struggled with the changing roles of women and black women using a creative outlet. Along the way, she spoke to millions of women struggling with the same issues and opened up doors for future artists.

Check out some more of Rodgers' work here.