PUB: The Micro Award

Official Rules

The Micro Award is presented annually for a work of prose fiction written in English, of any genre, not above 1000 words in length.  The following works are all ineligible:
  • Poetry

  • Performance scripts

  • Non-fiction

  • Translated fiction

  • Excerpts from longer works of fiction

  • Visual art with literary texts
Stories considered for the 6th Annual Micro Award must have been published originally in 2012.  Qualifying venues are any form of print or electronic publication designed for public display.  Self-published stories are eligible.  An author may submit one story of his or her own; the senior editor of a magazine or anthology, or any staff member designated by him or her, may submit two stories if both are from his or her own publication and neither is self-written.

 

All submissions must include the full text of the story as originally published and a cover letter with the following:
  • Venue of publication

  • Date of publication

  • Word Count

  • Author's name

  • Author's mailing address

  • Author's telephone number or email address
Submissions should be emailed to admin@microaward.org from Oct. 1 to Dec. 31, 2012.  The text of the story must be inserted in the body of the email or attached as a Rich Text file.  It is also permissible to include the URL information for a story or stories accessible online.

 

On or after Feb. 15, 2013, the administrator will send each judge thirty stories he has chosen from those submitted.  The stories shall be identified only by their titles, and should any story have been written or published by a judge, it will be stricken from the stories sent to that judge.  Not later than Mar. 1, 2013, each judge will return a ballot of five stories, ranking the stories in order of excellence.  The stories shall be ordered by the number of votes, and then by the number of ranking points (five points for the highest ranked story on each ballot, on down to one point for the lowest ranked).  In this way, a winner (story receiving the most votes) and finalists (stories receiving at least one vote) shall be selected.  Should there be any ties after ranking points are tabulated, they will be decided by the administrator.  The administrator may also add one story to the list of finalists.  The winner and finalists will be announced on this website on Mar. 17, 2013.  The author of the winning story shall receive $500 US.

 

The Judge's Choice Rule:  Each judge may add one story to the final thirty so long as it was not written, edited, or published by that judge.  The judge must provide the cover letter in this situation.  Judge's Choice Rule entries must be submitted to the administrator by Feb. 15, 2013.

 

The decision of the Micro Award is final and not subject to appeal.  Any violation of the rules may be grounds for disqualification.  The administrator has authority to appoint and remove judges, amend and interpret rules, and decide any issue not covered in the rules.  The Micro Award is a non-profit organization.  Questions and comments should be addressed to Alan Presley, Micro Award Administrator, at admin@microaward.org.

 

© 2012 Micro Award

 

VIDEO: London Heat > Black Acrylic

London Heat

Good art is often evocative and by that definition London Heat is good art. The short film was written by Ola Masha and directed by Olan Collardy and features young talented British actors Rochelle Neil, Leemore Marrett Jr and Alex Aplerku. I was at the premier of the film on Sunday evening and what I enjoyed the most is how the film was set on a council estate in London, but avoided turning its characters into homogeneous victims of the urban drama genre. I am a huge advocate for diverse portrayals of Black British culture, and that is why London Heat as a project that interrogates cliche’s and uses the urban drama as its chosen medium is a great concept. The decision to use SBTV as a platform for the film was an ideal move as it is the perfect space to engage with young British inner city society. Particularly the young Black British community that are typically the subject of urban films, but are rarely the investors or the primary consumers once these films hit British TV.

 

 

For me, London Heat felt like a free therapy session. A black love triangle, with a beautiful sister called Jasmine at the epicentre. A tug of war ensues between her ex man (who is nameless), and her next man (Malcolm) who she distances herself from emotionally and casually refers to as her friend. Universal themes of love, lust and jealousy are shot beautifully. The close ups and wide shots are executed with such skill that you felt the paranoia and frustration of Jasmine’s ex boyfriend as he cruises the block in his car. Malcolm is not only a threat as a fellow hustler, but a threat to his ownership of Jasmine. Malcolm’s character is developed outside the stereotypical cliche’s of Black masculinity and this is one of the joys of London Heat. Not only is Malcolm enthusiastic about jazz and historical cultural movements like the Harlem Renaissance, he’s a man willing to take care of woman and her child that isn’t his. Jasmine is hurt and non-commital, but he is obviously in love and he handles her with care. My only issue with London Heat is that I wish it was longer. It will be interesting to see how the project develops and how the main characters are humanised in the way Malcolm was.

 

 

The Q&A session that followed the screening featured Ola Masha, Olan Collardy and Rochelle Neil who plays Jasmine on the panel. Q&A sessions provide an opportunity to get closer to the methodology behind a film and the London Heat team were at their best ill prepared for the session and at their worst elitist and flippant. When asked about the challenges of the project Rochelle Neil explained that because she is “well spoken” playing Jasmine was challenging. She went on to tell us that she was “well spoken” in almost every response to every question as if she had contempt for her less “well spoken” character and by extension the urban SBTV audience that will be supporting this project. Olan was asked to define “what is urban?” and explained that when studying sociology in Nigeria he was taught society consisted of “rural” and “urban” spaces as if the question was a joke rather than a genuine enquiry about a genre that is so vague, yet so definitive. At no point did the panelists give London Heat the empathy it deserved. Instead more time was spent personally disassociating themselves from urban culture as if themes such as baby mama drama are contagious. Of course, it is necessary that we interrogate the urban drama as a genre in the same way we critically engage with film as a whole. However, the objective should be a progressive conversation around quality and creativity. I congratulate the team for creating an excellent film, but the authenticity of the project was compromised by the need to constantly devalue the genre that London Heat is a part of.

 

 

 

 

INTERVIEW + VIDEO: Amita Bhatia -Disconsolatus > Briarpatch Magazine

Disconsolatus

An interview with Amita Bhatia

Amita Bhatia, of Vahana Films, is an independent filmmaker. Briarpatch contributor Fathima Cader caught up with Bhatia to talk about Disconsolatus, a full-length science-fiction psychodrama that she wrote and directed. It was inspired by the poetry of Palestinian writer Mahmoud Darwish.

<p>Disconsolatus Teaser from vahana films on Vimeo.</p>

Teaser/Sampler from upcoming feature film "Disconsolatus" that just completed shooting and is currently in post-production. Visitindiegogo.com/disconsolatus and help bring this film to audiences and festivals.

DISCONSOLATUS is a non-linear, stylized film in the hybrid genre of psychodrama meets science fiction. It follows a Palestinian-Canadian artist who believes she is infected with a disease that has broken out in a city in lock-down. The film follows her subconscious journey as she struggles to come to terms with her illness. 7 mystical characters help her along the way, and surrealistic imagery is interpreted from the late great Mahmoud Darwish's poem "I didn't apologize to the well..." The Butterfly's Burden (2007).

Please support this film indiegogo.com/disconsolatus

__________________________

Why do you make films?

I write and make films that audiences will find both relatable and challenging. Technologically speaking, filmmaking has never been more accessible – it’s quite feasible these days to make high-quality, feature-length films on a micro-budget. This opens up the industry to stories and filmmakers like never before. A young director whose story doesn’t fit the status quo and whose uncle isn’t so-and-so in the biz might get a chance to sit in the director’s chair. Said director might be a woman (four per cent of feature-film directors are women in Canada), or even a woman of colour.

What’s Disconsolatus about? What’s the story behind the title?

Disconsolatus is a semi-linear, poetic sci-fi that follows the subconscious journey of Dana, a Palestinian-Canadian artist who has become accustomed to popping pills to cope with her depressive state. With her family far away in occupied Palestine, the artist becomes increasingly isolated in her Toronto home. She learns of an outbreak of “Disconsolatus” in the city, which requires mandatory evacuations, medication, and quarantine. The symptoms of this bizarre infection coincidentally resemble that of Dana’s general depressive state. As the lines between her dreamworld and reality become blurred, Dana plunges into a mystical subconscious world riddled with poetry, the supernatural, and interdimensional portals. This subconscious journey ultimately leads to the critical moment of Dana’s personal awakening, one where she must choose between surreality and life.

“Disconsolatus” is a medieval Latin term for someone incapable of consolation. It is relevant to the predicament of our lead character, but it also sounds like an infectious disease, doesn’t it? I think the fictional disease that we portray in this film is something that all audiences can relate to, either directly or through someone close to them. Similarly, the film touches on the themes of the power of big pharma and the institution of psychiatry.

Rumour has it that you made the film in under a week with less than $10,000. How did you pull that off?

It’s true. People see the four-minute teaser we put online and don’t believe that we shot this thing for next to nothing. It definitely wasn’t easy. Once I had a screenplay, I was faced with the challenge of funding a Darwish-inspired poetic sci-fi with a Palestinian lead in Canada. After sharing a few laughs with myself, I decided to enlist some of the smartest people I knew, who were foolish enough to take on the task. We all volunteered our time and devoted funds from our personal savings, primarily toward equipment and location costs. We kept costs low by renting a single camera and some cool lenses, as well as minimal lighting equipment for one week at a four-day rate. We shot 24/7 so that we could complete all the scenes in the seven days. A lot of our scenes were shot between 3AM and 6AM, when we could use the empty streets of Toronto as our film set. Working with a microscopic film budget requires a whole other level of creativity. Our actors rehearsed for a month before shoot week. We planned and planned meticulously so that we could pull off this truly insane challenge. We were all zombies by the end of it.

Why does Darwish’s poetry play such a large role in this film?

In my opinion, the late Mahmoud Darwish possessed unparalleled artistry. Many of his poems utilize surrealistic imagery that blend the personal and political with fantasy. So it is no surprise that many artists have interpreted his work into different mediums. I came across “I didn’t apologize to the well” this summer and I read it over and over again. It moved me deeply and evoked some fantastic imagery: oracles, mystical wells, and gazelles. It inspired me creatively and I put on the hat of a surrealist writer and a couple of days later I had a screenplay in my hand. The only viable film genre that would satisfy this kind of storytelling was the sci-fi genre. So in Disconsolatus, we have a Palestinian artist who actually has Darwish’s poetry and imagery pop up in her subconscious world. This is presented through sci-fi staples like telekinesis, telepathy, and interdimensional travel. The poem, as I read it, also deals with a personal awakening, one that I connected with on many levels.

Why did you want your protagonist to be Palestinian?

It made sense, given the Darwish reference, but it was also a deliberate choice. When we are in times where the very existence of a Palestinian people is absurdly up for debate, it’s very easy for a filmmaker to make a simple choice that challenges such a ridiculous notion. Disconsolatus isn’t overtly political – it’s a sweet little science fiction film that takes a psychoanalytical angle, but organically embodies things that are personal and that I am passionate about. I should note that finding a Palestinian Canadian actress was not easy – hopefully films like this will change that.

What was filming this in Toronto like? Any memorable spots?

Perhaps the only people pleased with the ridiculous summer construction that plagues Toronto every year are guerilla filmmakers. We might not have big studios, but we can be assured that a few major streets will be closed off to traffic year after year, waiting to be filmed. _Disconsolatus_’ plotline involves an empty city under quarantine so we really needed the streets to be completely abandoned. We also shot in some unusual places in the early morning hours. Trinity Square, outside Eaton’s Center, has this beautiful historic well that is unbelievably cinematic, which we used as the mystical water-well from Darwish’s poem. The graffiti alleys on Queen Street West are like a labyrinth straight out of a graphic novel. For the scenes involving infected patients in the psychiatric complex, we used Toronto’s infamous “hedonist” club, Wicked, which just happened to host a number of caged beds. I guess you could say that was memorable.

What are the film’s next steps?

We have finished shooting the film and have put a rough cut together. Right now, we are working in the sound studio. We are looking to crowd-fund the next stages of post-production, which requires some technical expertise and costs that we can’t get around, like colour correction and pro sound. We want to continue the volunteer-based community feel by raising the money from the public to finally get Disconsolatus out to festivals and audiences around the globe. I encourage people who are interested in the film and this kind of filmmaking to contribute what they can to our Indiegogo campaign, even if it’s just coffee change. I’m not going to shock anyone when I say that the film industry in North America isn’t exactly gushing over a film inspired by Darwish with a Palestinian main character, so we are really relying on the support of individuals to help us bring Disconsolatus to the finish line. We can’t accomplish this without you. Fans and contributors can get regular updates off Facebook and Twitter pages.

Do you have any advice for other emerging filmmakers?

Put it on paper and then film it. Even if it’s with your iPhone. Even if your iPhone is 3G. Then make another one. And get used to eating canned beans, because some of your grocery money is undoubtedly going to pay for your film.

Fathima Cader is a writer and photographer. She holds a degree in law and runs an online design studio, likethewind designs.

 

KENYA: Nairobi Nights by Dayo Olopade > Tomorrow Magazine

Nairobi Nights

One prostitute gets a whole city talking about sex.

Original?2012
Dayo Olopade wrote a book about Africa, technology, and development.

Mutua Matheka is a photographer living in Nairobi.

In 2009, an undersea fiber optic cable linked Africa’s east coast to broadband internet for the first time. The giant sea creature provides high-speed internet to South Africa, Mozambique, Madagascar, Tanzania, Kenya, and Djibouti—the countries along what was previously, according to Kenyan president Mwai Kibaki, “the longest coastline in the world without a fiber-optic cable connection to the rest of the world.”

In Nairobi, the impact was immediate. Just about everyone in the city already had a cell phone, but web access suddenly sped up to global norms. In the years since, Nairobi has become a genuine rival to tech clusters from California to Bangalore. Young Kenyans spend their days glued to social media—mall rats for the web age. And, more impressive than the slick apps and hardware coming from the new e-Africa, technology is sparking the democratization of voice.

When Nairobi Nights appeared in 2011, it was unlike anything else that has appeared in Kenyan media. The blog was a running conversation on selling sex in East Africa’s most bustling city. Purportedly written by a Kenyan prostitute who calls herself “Sue,” the blog chronicled her adventures working Nairobi bars, backrooms, and hotels. It quickly found an audience of ultra-wired and sex-curious youth—which is to say everyone with a pulse and a phone. “When it came out, it blew up. If you were connected, you found out about it,” says Kennedy Kachwanya, a blogger with a large following. “Everyone wanted to know what this was about.” Another Kenyan blogger named Harriet Ocharo recalled when she first heard of the blog: “Somebody circulated a link from Twitter and it went viral that day.”

I first heard about Nairobi Nights on Twitter, too. Of course I clicked through. The heart of the story is Sue’s portrait of Koinange Street, a busy avenue in the center of Kenya’s capital. By day, it’s clogged with traffic, men in suits, and typical downtown commerce. By night, it’s a complex ecosystem of street hawkers, night watchmen, late-night partiers and, we learn, prostitutes.

When you earn a living having sex, like I do, it’s no longer sin. There is nothing to cause the adrenaline rush. [...] But once in a while you will get a man who comes with an out of the ordinary idea that stimulates your pleasure glands..

The other day a man in a new Jeep picked me around 10 pm. He told me to sit at the back. “I want to report my wife" he said as we drove to the Central Police Station. The police are not our best friends and wherever possible we keep our distance. But here he was taking me, almost naked and with prostitute written all over me, to a police station. I didn't feel so good.

He drove straight to the compound, and parked near a bus whose passengers some two policemen were frisking. We had sex there. It didn't last ten minutes, but it was the sweetest and most exciting sex I have had in a long time.

When I moved to Kenya, I would notice skimpily dressed women in bars, or on street corners, who were surely selling something. But I never knew more than that. The rest was guessing.

Sue broke it down. She wrote without being sentimental, or even very graphic, about starting in the low-class, downtown brothels and then working her way up to the street. She explained the going rates: too little. She unpacked what she carries in her purse: condoms and sedatives. She explained the economics, etiquette, and protocols: Cars pull up and girls gather around to let the john pick his prize. One of my favorite entries, “Street Badges” recounts a time when she broke the rules and called another prostitute fat in front of a potential client. The insulted girl forgot her mark and came charging after Sue, who admitted she deserved the beating;

In coy prose, Sue identified herself as a onetime university student who lived a double life. To most people, she was an ordinary girl. To her clients, she was an impulse purchase. To me, she was a revelation: Nairobi’s most obvious secret had an anonymous digital sherpa.

The duration between 3.45am and 5am in the morning is one of desperation. If a man hasn’t picked you by the time, then some despair sets in. That does not mean a girl cannot be picked within those hours, she can, but the quality of men who visit the street at that hour is not the best. Most have been partying all night long, are drunk, demanding and hard to negotiate with. The sober ones are likely to be with emotional problems and rather unpredictable. If there be a serial killer hour, then that is.

Sometime ago a man picked me in his car a few minutes after four. He was in a suit, good looking and sober. He told me he was from outside Nairobi. He was on a business trip but booked in a hotel with his family . He said he only had a thousand on him, not enough to book a room and pay me. Could we go to my house and at the end of it give me the whole amount? he posed. I didn’t think of it twice. I was financially cornered. I said yes, reasoning one man would make no difference.

We had a twenty minutes session. Dressed up he said he couldn’t find the money in his pockets, and then pulled one of the oldest tricks in the book. “I left the money in my car" he said. I followed him to the car, which was parked outside the gate. I stood a short distance away. I watched him bend over as if looking for the money under his seat. Then all at once the engine started, and he was gone before I knew it. I wanted to shout thief and have him stopped before he accessed the main road. But I held my breath. Even if he was stopped someone would ask: “What has he stolen?”

Sue calls the blog posts “episodes,” and like must-see T.V., they were fairly addictive. For months, with thousands of other readers, I refreshed the page constantly to see what she’d say next. Part of the allure lay in her description of the shadow world we all knew about. “There’s never been someone documenting that happening,” says Martin Wamathai, a poet and blogger based in Nairobi. “We see it happening but don’t quite accept it, so that was a different approach.”

But most of the appeal was in the writing. In fact, what was particularly shocking about Nairobi Nights wasn’t that the blog was salacious or graphic but more that it was so well-written and considered. It was intellectual.

Yes, I know how it sounds for a prostitute to talk about spirituality, but I actually mean we are priests of our own kind, ministering to our flock; the men. Ignoring all the hullabaloo, the role of priests is to provide emotional stability to those who congregate. A role we have played, in a more practical way, to many a man we have slept with.

Men come to us because they want to get something out of themselves. And not the product of their balls, for if that was the case, they would fare better, saving time and money by playing with themselves. Its something intangible, what the priests here call pepo, some sort of 'demon.' Men come to us possessed by stress, frustrations, mid-life crisis, career stagnation, work challenges and we exorcise them in a more pleasurable way, which doesn't involve sitting on a pew for hours listening to a man or woman blaming your spiritual afflictions on your refusal to give tithe.

Needless to say, Sue wasn’t a typical sex worker. Far from being ashamed, she told readers that she—like Coca-Cola—was selling “happiness.” She insisted that prostitution should not be legalized (with a cash flow several  dozen times the daily wage in Nairobi, she wasn’t eager to be taxed). She offered hints of her biography while critiquing society’s expectations of women in Africa:

A female teacher in the mixed boarding school that I attended used to compare us girls to a tin of cocoa; you remember the one which had a foil inside. "The first time you let a man touch your breasts or private parts, then you have opened the lid. The moment you lose your virginity, the foil is gone. After that, every time you have sex, the cocoa gets depleted. If you are not careful the rightful owner will find there is nothing left for him.

At the face of it, it was a polite way to dissuade us from adolescence sex, but a little deeper it implied we girls didn't really belong to ourselves but to some man somewhere, who was supposed to have all the cocoa. Our role in society it seemed was to prepare for this man.

On the blog, she didn’t have to say “fuck that”—we all knew what she meant.

Aside from being feminist in highly patriarchal Kenyan society, one of the more controversial aspects of the blog was just how smart it was. It’s why some readers grew skeptical of the truth of Sue’s claims. (A bouncer who often bailed Sue out of jail and bridged her loans verified to me that she had worked as a prostitute in Nairobi.) Though she had been studying law when she dropped out of school for sex work, Sue linked prostitution and economic theory.

From my economics class I can remember some musings on choice and rationality. That one stops doing something only when the incentive to stop is larger than the incentive to continue. At the face of it there are many advantages of quitting dilly dallying with prostitutes than continuing. On the other hand and from the same economics class I remember something about irrationality. Not all decisions human beings make are rational. There exists irrational compulsion, which makes people act in ways which are thought to lead to their own destruction, but can't resist it even when there are better alternatives.

This post carried a double irony: Sue encountered the theory of rational choice because she attended the best university in Kenya. This made her much luckier than her less well-educated colleagues. Despite the dismal rates of youth employment in Kenya, sex work actually made less rational sense for Sue. She had been pulled, not pushed, into the game.

But what had pulled her? To find out, I had to meet Sue in person.

After a months-long email courtship, I came to befriend and conduct a series of interviews with Sue. I found her story to be one of connection and intimacy as well as disconnection and anonymity. I am lucky for that—her most deeply held secret is now mine to keep as well.

In person, Sue projects the same knowing reserve you read on the blog. She is quieter and prettier than you would think. Sue has “retired” from the game, both on- and offline—but isn’t ashamed of what she’s done. She wasn’t a pornographer. She wasn’t a head case. She was just going to work, like you and I do. For the most part, she enjoyed being a prostitute.

She also enjoys being a writer in Africa’s digital moment. “Since the dawn of the internet and the beginning of blogging as a culture and means of expression,” she says, “I’ve always been writing, journaling, and recording my thoughts and day-to-day activities. So it’s natural that I set up a platform where I could interact with an audience.”

The interaction has been comic and tragic both—Sue receives scolds from local pastors, as well as pleas for appointments from prospective clients who fell in love with her online persona. In the comments section of the blog, readers offer digital applause for her triumphs and virtual regrets when a client insults her.

The viral popularity of her side project came as a surprise to Sue. “I think people just don’t expect you to put some words into reality,” she tells me over breakfast in my apartment, where we can’t be overheard. (She’s an early riser.) “I think too much of a critique of society is a challenge, a criticism of the way we live and the people we are. So we take for granted these things will never be said, so when you tell them, ‘It’s your daughter, wife, sister and mom, these are women providing the services,’ people are shocked. [...] They just don’t expect it ever to be said.” Laughing, she tells me about the dingy brothel where she first had sex for money: “Sabina Joy is the place that we all walk past with our eyes closed. We all know it’s there.”

I actually hadn’t known it was there—and when I paid the Sabina Joy a visit, its name seemed incongruous. The girls I saw selling sex at rush hour were anything but joyful. At another club, Tahiti, I encountered a young girl so drunk—again, in broad daylight—that she was unable to write her name for me.

We take for granted these things will never be said, so when you tell them, people are shocked.

Sue shed light on the disappointment and danger in Nairobi’s shadows. Her dispatches on contradictions and corruption—very often, the police who stop Nairobi prostitutes accept “bail” in cash or in kind—lit up mobile phones and computer monitors around the world. She became a local celebrity. A pirate CD featuring a woman reading her blog posts went for sale in local kiosks in 2011. After purchasing a copy from a salesman who assured her he had met “Sue” “many times,” the real Sue could only smirk. “She has a very high voice, lacking the huskiness of shouting at night in the cold and puffing cigarettes. She reads very fast, as if she is in a hurry,” Sue says. “Not to brag, but I can read better.”

This isn’t the first time a canny sex worker has opened the door to the champagne room. What made Nairobi Nights special was both its timely use of exploding web technology and its specific relationship to conservative African culture. As Sue puts it, “When men want to have sex, women, incidentally, will appear,” she says. When asked why sex workers choose the life, she telegraphs her own logic: Women get into the game “to ease the pressure of being a certain type of women in a certain type of society.”

This is another layer of the spectacle that is Nairobi Nights. Hiding behind her assumed identity online, Sue replicates the false faces and fake names adopted by johns and ladies on the street—while exposing the lies Kenyan society tells itself about sex and opportunity. Her tell-all style mirrors the intimacy—the sometimes-fake intimacy—involved in intercourse. She maintains an irresistible tension between distance and attachment.

But that tension took its toll. Eventually, Sue felt trapped rather than liberated by the sum of her experiences. “What I had a problem with was the duality of the existence,” she said. “Like if I slip up or forget or send the wrong message, or have a certain personality in a certain context, then people will recognize me. So that’s always been the challenge. And a bigger challenge than people would think.”

This need for vigilant self-division may be familiar to many of us with virtual—if more virtuous—versions of ourselves online. It’s a feature of an increasingly digitized world that, through the magic of fiber optics, now composes most of Africa. But maintaining this particular double life was unusually trying. Sue offered hints at her frustration on the blog:

…in the formal companies the longer you stay the higher you rise, and the more your pay. In our trade on the streets; the opposite happens; your value decreases as your experience increases. Quoting five years experience is a turn off. Many a girl gets to prostitution telling themselves they won’t do it for more than a few months, maybe six, save some money, start a business, hit it big in some way or get a 'proper' job. But a year goes and another still on the street. The optimal experience is about a year; when one is no longer surprised by the antics of men and all the inhibitions are gone. After a year there is a plateau and then the downward curve starts.

And this is not tied to age. If a girl hit the streets at the age of 18, in two years she will be 20 but streetwise she will be older than the girl who started at 23, and has been at it for five months. Somehow men are able to tell the difference, and the more you stay on the street the fewer men pick you. Eventually you fade away, drop out of the street or change tactic.  The obvious way to do the latter is to go downtown, to cheap brothels and bars; where you charge a tenth of your fees uptown. But it’s not a free ride down there; Duruma road and Latema are overflowing with fresh girls every day. Good Hope along River Road still offers some hope but there is something really boring about sitting on your chair, in a miniskirt, legs wide open waiting for a man to wink at you.

So after a total of 10 years on the streets and a year online, Sue is out. Despite the thrill of web fame, and the release of telling tales she could never reveal in person, she wouldn’t recommend her choices. “There are much easier ways to make money, if it’s about the money,” she says, matter-of-factly. “But there are also easier ways to build a confident and positive sexual culture that I don’t think we are encouraging in our culture. There are ways of being sexual without being an object.”

Nairobi Nights was a sort of object, now preserved in amber online. It enabled fevered projections and speculations from alarmed Kenyan theists and amused cosmopolites alike. I can’t imagine a better way to show up the Kenyan culture of sex, or to show off the digital spotlight now shining on Africa. Nairobi Nights was, for a time, the perfect means to give the world something that we didn’t know—or couldn’t admit—we wanted.

But Sue doesn’t see herself as a revolutionary in message as much as medium. “I just changed the forum,” she says, laughing. “I mean, people are talking about sex all the time everywhere. Sex is an obsession. Even in a society where we assume sex is some sort of wrong. I don’t think I’ve changed the conversation. I was hoping to eventually lead to a different conversation about positive sexuality and the ways we interact. But no, I don’t think I’ve done anything. Just wrote a blog.”

End

 

PHOTO ESSAY: Expanding Africa’s story through photojournalism > Start – A Journal of Arts and Culture in East Africa »

Expanding Africa’s story

through photojournalism

 

The Uganda Press Photo Award (UPPA) ceremony, held November 8th, gave a unique platform to tell a multitude of stories through photographs, in doing so changing the role of photojournalism to both viewers and participants. Serubiri Moses reviews the exhibition and writes about the practice of photojournalism.

 

Posted by start 30 November 2012

 

By Serubiri Moses

Walking through the city of Kampala can sometimes be disturbing—just as any modern city—due to traffic hours, congestion and crime, but what one realizes is that the people of Kampala are quite sociable and agreeable.

Unfortunately, this is not the most prevalent angle told by international media who are more interested in human rights abuse, the anti-gay issue, riots, children dying of poverty, and young mothers dying in labor.

The international press has more or less defined our country like this to the world: Uganda is a place where hundreds of gays are killed every year, and where the average Ugandan does not have any human rights, especially not during riots. Photographs depict us crying with tear gas, caned by the Kiboko squad, or as lesbians who are excluded from the outside world with plans of going into exile.

2nd place News Single. Photo by: ONYAIT ODEKE. All rights reserved.

Subject matter

One must always ask the question: Is this the only story available?

Chimamanda Adichie, the Nigerian writer and winner of Orange Broadband Prize for Half of a Yellow Sun, notably spoke out against the dangers of a single story.

The premise of much of the photojournalism in Uganda is to enumerate a story that has already been told thousands of times: Ugandans are very chaotic people. Which may be true to an extent, but it is one-tenth of the entire spectrum.

Contrary to this assertion, Uganda is actually a country of breathtaking landscapes, such as were captured in the Rwenzori Mountains photography exhibition at MishMash last month. These images showed beautiful vistas in the so-called “Mountains of the Moon”, landscapes that seemed too exotic and serene to be in this country, but this is once again another uncommon story.

Why doesn’t the international media for example focus on the part nationwide celebration of the month of imbalu, the season of manhood, where Kampala, Mbale, Jinja, Mukono and Kamuli people go out on the streets to support these young men’s journey of initiation into manhood; a spiritual and colorfully vibrant celebration.

These are after all the important stories to not only individuals but to entire communities. Stories like that occasionally make the national news, but they also sometimes arrive on the wrong programs, like Eco-talk, a feature series on NTV about the environment.

Simpler, fresher stories

I found working as a feature photographer for the New Vision very tiring. Mainly because all the contrived feature stories blocked out any other simpler, fresher stories that were not deemed necessary to be alloted print space, either by design or political environment, within the media house.

Luckily, such simpler, fresher stories ended up in the Uganda Press Photo exhibition at the Makerere Gallery.

I realized while looking at the entries that there seemed to be a general lack of neutrality. Many of the photographs were the extreme types, which you can find on the front cover of a major newspaper in Uganda. And some others were salient and restrained even, except in specific instances where the photojournalist was probably overwhelmed by the scene, choosing to stay faithful to representing it as he had seen it.

Overwhelming scenes

One such photograph was the winning image by Daniel Edyegu Enwaku, a New Vision stringer based in Mbale. The image is about the much talked about landslides in Bududa earlier this year as a result of heavy rains. It shows a woman moaning over a heap of earth, which we assume are buried family members. Enwaku, like any other watcher at the scene, is overwhelmed by the woman’s helplessness.

1st place Overall Winner. Photo by: EDYEGU DANIEL ENWAKU. All rights reserved.

 

Another photographic essay showed the riot police releasing teargas on a football field, with the players lying on the ground crying, others rushing to collect water nearby. Also here, it showed that the photographer was simply overwhelmed, and chose to capture this hilarious moment, just like anyone else would. In this series, however, we fail to see a precise moment out of all this madness that truly captures the story, you fail to see the photojournalist’s eye for details.

1st place News Story. Photo by: RICHARD MPALANYI SSENTONGO. All rights reserved.

Same old story

Going back to my previous argument of the single story, it seemed to me looking at the various entries into this competition that they had been influenced in someway to tell the same story over and over again. They had been tragically pulled into the cycle of thinking that there was only one story to tell: The shocking story that you can sell readily to a buyer like the photo editor at the Red Pepper.

Photojournalists must make a living, and they do this by giving in to the demands of the media houses who are all about sensationalizing events, creating fiction and thereby losing a position of neutrality.

“The true mark of a photojournalist is neutrality in storytelling.”
- AFP Chief Photographer and judge, Carl De Souza.

In my opinion, the taste for the extreme in Ugandan photojournalism is notable, as there is a sense of nothing in between sensationalism and banality. The images churned out of the Red Pepper every other day are extremely vague and trite images that are superimposed with outrageous captions to captivate the tabloid market.

A few months ago, the New Vision and NTV distributed an equally trite image showing FDC Women’s League leader Ingrid Turinawe being grappled on the breast by the riot police. Many people on social media took to making jokes about the police’s act of grabbing the leader’s breast.

Such photographs have the ability to ruin the seriousness of photojournalism, which is the ability to make statements using journalistic and photographic techniques. The act of storytelling, is turned into something contrived, misleading and untrustworthy.

Photos that work

Unlike the blatantly shocking image of the riot police grappling Turinawe, the public got to see some more subtle images at the ‘Art at Work’ pavilion curated by Simon Njami this past September. These were so straight to the point that the Monitor printed an article which declared that this exhibition told the story of Africa.

The exhibition put some seriousness back into the act of picture making, photojournalism as well as visual art. Through image after image the exhibition showed decent, statement-making photographs which kept the viewer engaged, and which were not biased by media politics.

Curator Simon Njami at the Art at Work-pavillion in Kampala, September-October 2012.

 

Simon Njami, novelist and international art critic, challenged Ugandan art practitioners to escape their small boxes and to awaken to the greater dialogue of modern contemporary art in Africa and the world.

Many were hesitant to heed his words. Many accused him of being a fake. But wasn’t a “fake” really ‘telling the story of Africa’ as the newspaper had said?

Perhaps because the Ugandan fine artists found the exhibition too simplistic in its approach to the fine arts, as well as its sense of journalism. They probably believed that Njami was misleading them to think that fine art could be equated with journalism; a similar debate happened in the conference attached to the exhibition, in which artists complained about how architects look down on painters.

“The relationship between art and photojournalism is difficult.”
- Carl De Souza.

Fusing fine arts and photojournalism

In the end, those who succeed in fusing fine art and photojournalism are always the most original practitioners of photojournalism. Their photographs make more of an impact on the greater audience, simply because their stories are told with such profound artistic techniques.

In the UPPA exhibition, Joel Nsadha, who won first place in the portrait category, had attended and graduated from Margaret Trowell School of Fine Art, an institution which stresses the skills of classical portraiture. Much as this was a strength, it became a weakness in that Joel compromised storytelling for his fine art background to create visually stimulating but boring photographs.

1st place Portrait. Photo by: JOEL NSADHA. All rights reserved.

 

At the other end of the spectrum were photographers who submitted underexposed images, poorly cropped and with bad contrast lacking any artistic merit; in these cases the editing skills of the judges were absolutely necessary, turning sometimes mediocre images into outstanding shots.

An intimacy between the photographer and the subject

I discovered that Ishmael, the subject of the photograph by Santu Mofokeng (exhibited in Art at Work) was actually his own brother, preparing to deliver newspapers to white neighborhoods in winter time.

‘Raflaga Matau Batong’ by SANTU MOFOKENG (South Africa) ca 1986. All rights reserved.

 

In an interview from 2004, Santu talks about another image of Ishmael that had made his children cry, which even as it showed very little of the subject revealed much more of the struggle his brother faced dying from HIV. It started to occur to me that Santu’s photographs were about a specific intimacy with his subject.

“I don’t usually subscribe to taking pictures of misery.” – Santu Mofokeng.

Here, Santu talks about some of the images which he highly protested against in the 80s; of the Somalia famine, with children with their rib cages showing, as well as the Biafra civil war in Nigeria.

These images aimed to shock the viewer into accepting the reality that the photojournalist created, which unfortunately cemented the history of photojournalism in Africa in depictions of AIDS victims, rioting against governments, endless civil wars and famines.

Santu’s photographs tell the same story of Africa as other international photojournalists he has protested against in the 1980s, whose images generalize Africa in Somalia’s famine as well as the effects of Biafra in Nigeria. But the major difference is in focusing on the intimacy between himself and his subject, in order to tell a unique and powerful story.

Stories with a twist make powerful photographs

Because of this lack of artistic maturity in the submissions for the UPPA, the judges could not base their selections on artistic merit. Instead, they chose photographs that could tell some important stories.

An intriguing story was in the photo essay on street theatre, which provided a twist by showing strangely dressed actors—a rare sight—out on the streets of Kampala. Actors walked and performed on the sidewalks and beside Pioneer buses to a stunned audience.

1st place Daily Life Story. Photo by: ABDUL KINYENYA. All rights reserved.

 

The huge flock of migrating birds that covered the majority of a winning environment shot was extraordinary in its approach to detail. Birds; chickens, turkeys and marabou stalks are often seen in Ugandan newspapers, but the twist in this was the huge mass of them migrating; their collective color shimmered off the print.

2nd place Environment Single. Photo by: MATTHIAS MUGISHA. All rights reserved.

 

The winning environment photo, showed a man seated underneath a tree. It was such a universal image, but the fact that the tree was dried up with sandbags and sheets of cloth in place of leaves for shelter was an interesting twist. The semi-arid environment seemed to be alas bearable and relatable.

1st place Environment Single. Photo by: EDYEGU DANIEL ENWAKU. All rights reserved.

 

Stories with a twist make powerful photographs; like the freaks by Diane Arbus in the 1950s and 1960s New York, which created a stir in the world of photography for the unconventional depictions of happy midgets at parties. Her work also utilizes very skilled artistic techniques and the relationship between object and surrounding. In doing so, her photographs not only make statements about New York, but the greater world and a life little known exists.

And the winners are…

The winning images, Edyegu Enwaku in 1st and 2nd place and Simon Naulele in 3rd, were contrasts of one another.

Whereas one depicted a crying woman hugging the earth after a landslide that buried her home and family, another showed a disabled man riding to first place in a tricycle competition.

In showing a variety in the stories available about Africa, these contrasts are what create the power of photojournalism.

The competition will open again next year in August.

2nd place Overall Winner. Photo by: EDYEGU DANIEL ENWAKU. All rights reserved.

3rd place Overall Winner. Photo by: SIMON NAULELE. All rights reserved.

 

Serubiri Moses has been published in The New Vision reviewing live music. As a poet, he is featured on the pan African website, Badilisha Poetry Exchange.

To see all the winners, please visit Foreign Correspondents’ Association of Uganda. All photos by courtesy of FCAU. A special thanks to Anna Kucma, organiser of UPPA.

More from the same author

Serubiri Moses writes regularly for startjournal.org. Read also some of his recent articles:

 

HISTORY + VIDEO: Fuelling Poverty in Nigeria > Africa is a Country

Documentary:

Fuelling Poverty in Nigeria

Kicking off with an introduction from Nobel Laureate Wole Soyinka, the short documentary Fuelling Poverty amounts to a very brief Nigerian Fuel Subsidy 101 course. In thirty minutes, it covers the history of the issue and methodically explains how the government (encouraged by the IFIs, by the way) failed its people. By removing the subsidy as it did, the government shocked the informal economy and made life more miserable for a huge segment of the population. Subsequent investigations into the complex workings of the subsidy regime revealed a massive corruption cover-up to the tune of US $7 billion annually.

Written by Ishaya Bako, produced by Oliver Aleogena, and funded by the Open Society Institute for West Africa, Fuelling Poverty looks good, sounds good, and says all the right things. Its interviews, featuring those affected by the subsidy removal and those that participated in Nigeria’s nationwide protests in January 2012, are affecting. The fuel subsidy was, as the film argues, the only real social spending the government did. Its removal cast a wide net.

The filmmakers hope to move the nation out of its current standstill, back toward action. “Nigerians need to hold government accountable and the way to do that is to organize,” they said at the film’s premiere at the Silverbird in Abuja last weekend. “The consequences of a docile public with the current challenges facing the country will be disastrous. This documentary, if well distributed, is going to trigger anger and demand for change. Our job is to manage that anger and make it a constructive force for social change.”

 

AUDIO: A Dollar a day > DextrawStudio

A DOLLAR A DAY

A dollar a day, the proverbial phrase often used to describes life in Africa by western media, may have found a new meaning. In the summer of 2011 through an exchange program between Maisha Yetu and PAYT, NGOs from Kenya and south Africa respectively, collaborated on the production of A dollar a day, an 19 track album produced by Akili Blaq (MM3rd) and overseen by Kenya's Hip-hop artist, activist Muki Garang.

The music in the album is prominent with a mixture of cultures from East, west and Southern Africa, with innovations in contemporary Hip-hop even fusing Setswana and Swahili to coin a slang known as Tswahili.

 

South Africa's Platinum Africa Youth Tourism founder Lerato Mosimane who also Executive produced the project describes it as, "It was more than just music, the Audio book encompases the views, opinions and reflections of our Society demands” Lerato says. “I'm very impressed by the reception so far as it shows that music is one of the easiest ways of shairing with people all over the world. The songs are currently getting major hits a week,” Muki said. The album contains interviews with policy makers and stakeholders from the post apartheid region and also topics on HIV, love, xenophobia, land reform policy and ethnicity and the Idea to share it with the folks this way made it even better.

'A Dollar a day' (Deluxe Edition 2012) Tracklisting

In an interview with Maisha yetu, MM3rd said “Unlike Cruz Control, the content in the musical compilation is not isolated to the youth but also accommodates the wider African society. It covers a wider scope and and other African issues the youth are facing. Theres so much we wanted to cover that time and we always hoped whoever walked through the studio for whatever reasons had something and anything they’d want to share on the mic”

 

This project involves renown artists from the regions, Mpho ya Badimo (Mahikeng), Lerato Mosimane, Apu, TLS, Relevant source (SA), Handsaloof (Botswana), Bra Sam Bass (Zimbabwe) Ngozi Chukura (Botswana),Omodada (Nigeria) and Kenya’s Muki Garang & Akili Blaq whose not only the producer of the album, but also a sayer.

Lastly the album contains interviews with policy makers and stakeholders from the post apartheid region mainly Sylvia Liabile (Business Women Association of South Africa ). The Project was produced during the month of December 2011 at Dextraw studios in Mahikeng in the Platinum province of South Africa. The Freshly mastered version which was tagged as the 'Deluxe edition 2012' of the project has been available here and a dozen other Blog sites  since 20th November 2012. Get the full length project >>> FREE DOWNLOAD 

This is a gesture of unity amongst African youth and was an initiative by: PAYT & Maisha Yetu

 

 

AUDIO: No Limit/Cash Money icon Mystikal gets funky on the live wire ‘Hit Me’ > FACT Magazine

No Limit/Cash Money icon

Mystikal gets funky

on the live wire ‘Hit Me’

7 Dec 2012

No Limit/Cash Money icon Mystikal gets funky on 'Hit Me'

Mystikal channels the spirit of James Brown on his latest track.

Imagine James Brown, but born about 40 years later, a product of the Dirty South rap scene, and a (former) No Limit Soldier, and you just might get Mystikal’s ‘Hit Me’. The rapper behind ‘Shake Ya Ass’ and ‘Danger (Been So Long)’ spent most of the last decade serving time for a variety of charges, but he’s ready to re-enter the game.

‘Hit Me’ is built over a rollicking soul-funk instrumental that recalls Soul Brother No. 1 long before Mystikal entreaties the listener to “Say it loud / I’m black and I’m loud.” Other than his “white-voiced” adlib, the highlight is his stream of consciousness near-rhyme “Madonna designers iguanas Rihanna vaginas piranha”.

Stream the song below. Last year, Mystikal signed to Cash Money, and his first album since 2001′s Tarantula is due out next year.

 

PUB: Perfume River Poetry Review > Tourane Poetry Press

Perfume River Poetry Review

Named after the river that flows through the Vietnamese imperial capital city of Huế, Perfume River Poetry Review is a new print literary journal that will publish its first issue in February 2013.  The magazine was begun by Vuong Quoc Vu in 2012 to showcase and celebrate the best in new and emerging poetry.  Vu, a graduate of the MFA in Creative Writing Program  at Fresno State Univeristy, has been an editor of Reed Magazine, the San Joaquin Journal, and Caesura before embarking on his own poetry adventure on the Perfume River.

We are happy to announce that we are accepting submissions for our first issue, which will feature the Perfume River Poetry Prize.  The winner of the contest will be awarded $500.

For submission to the Perfume River Poetry Prize:

  • Submit 3-5 of your best poems

  • We accept simultaneous submissions, but please inform us when your work is accepted elsewhere.

  • Reading Period: September 1 to December 15

  • Deadline: December 15

  • Please include a cover letter with your contact information and a short bio

  • Please include a reading fee of $15 (make checks out to Tourane Poetry Press)

  • Please include a self addressed stamped envelope for notification of contest results

  • Send your submission to:
Perfume River Poetry Review
Tourane Poetry Press
P.O. Box 2192
Cupertino, CA 95015-2192
 
  • We are sorry we cannot accept email submissions at this time

For general submissions to Perfume River Poetry Review, please follow the guidelines for the contest; however, the reading fee does not apply.  In fact, all manuscripts without a reading fee will be regarded as a general submission and will not be eligible for the Poetry Prize.  All entries will be considered for publishing.  The first issue of Perfume River Poetry Review will be released in February 2013.

 

PUB: cfp: Dealing with Crisis: Community, Alternative, Citizens’ and Social Media in Times of Change > Feminist Memory

cfp: Dealing with Crisis:

Community, Alternative, Citizens’ and

Social Media in Times of Change

CALL FOR PROPOSALS

Dealing with Crisis: Community, Alternative, Citizens’ and Social Media
in Times of Change

An OURMedia event in collaboration with the Community Communication Section of the International Association for Media and Communication Research (IAMCR), the Global Communication and Social Change Division of the International Communication Association (ICA), the Community Radio Forum of Ireland (CRAOL), and Irish community media activists

Dublin, IRELAND
JUNE 24-25, 2013

‘Crisis’ has become the word most widely used to describe our shared
global condition. Crisis highlights the urgency for change and for
alternatives to established political, economic and media practices. For
alternative, community, citizens’ and social justice media makers,
crisis brings together many of the themes usually considered – from
inequality of all kinds to ecological destruction, the need for
political transformation and reconciliation.

The dominant media and news services are facing their own crises, and
especially their failure to change the corporate commercial model and
adapt to technological change. Non-profit media provide useful
alternative models; citizens’ media have long demonstrated inclusive
forms of user participation; and online activist projects have offered
crucial solutions for crisis communication. But crises are also
affecting grassroots media and communications organizations as their
already precarious resource bases shrink further. And with social
justice movements and citizens increasingly moving to commercial social
networking platforms for their communication needs, the classic
collective forms and relevance of alternative and community media are
themselves challenged.

The various dimensions of crisis and change deserve closer investigation
from the perspective of grassroots, participatory, civil society-based,
community, alternative, radical and citizens’ media. The 2013
International Association for Media and Communication Research (IAMCR) conference provides an important opportunity. Under the theme “Crises, ‘Creative Destruction’ and the Global Power and Communication Orders”, it will run from June 25-29 at Dublin City University in Ireland. This
OURMedia event will be held as a pre-conference to the IAMCR meeting,
and will also connect with the International Communication Association
(ICA) conference in London, UK, 17-21 June 2013.

Questions that will be discussed include the following:

• Reporting crisis: How do community, alternative and citizens’ media
engage with crisis messages? How do they spotlight the kinds of
political, economic, ecological and social crises that affect the
majority but continue to be marginalized by dominant media? How do they
highlight the effects of the crisis?

• Building alternatives: Are alternative forms of media – including
participatory, commons-based and non-commercial media – the answer to
the media crisis? How are people using grassroots and citizens’ media to
develop calls for social/ economic/political change, and share them
locally and around the world?

• Dealing with social division: How are grassroots alternative and
citizens’ media dealing with the increasing social divisions exacerbated
by the global crises and the pursuit of austerity policies? What kinds
of programming and innovative forms of media activism are helping to
bridge gaps related to the treatment, for example, of immigrants and the
poor, and of persistent racism and sexism?

• Practical crises of ‘our media’: How does the financial crisis affect
community media? How can we develop models for sustainable citizens’
communication? What are the most pressing political and policy problems
and openings for change? Are activist groups and social movements
increasingly using commercial online platforms instead of self-organised
media?

• Conceptual crises of ‘our media’: With the rise of DIY social media
and p2p communication, how do our traditional understandings of
community and alternative media need to be revised? How do we examine
the move from commons-based community media to corporate social media?

Are collective self-organised forms of alternative media still relevant?
How do we re-think concepts of citizens’ participation, the commons, etc.?

• Towards new media models: What innovative approaches exist to connect the ideas and experiences of commons-based community media with new social media and emerging forms of digital (counter) culture? How can we create effective hybrid media types, cross-platform connections, and alternative forms of social networking?

Structure

This event will bring together academics and practitioners, scholars and
activists, researchers and advocates. It will include academic paper
presentations, skill-sharing workshops, strategy meetings, and public
debates. Its components and activities will depend on the proposals that
you submit!

Submissions

We call for a variety of proposals:

1. Academic paper presentation: Submit a 300-500 word abstract on one of the conference themes.

2. Panel discussions and workshops: Submit a statement of purpose
(300-500 words), and a list of panel participants. We are particularly
interested in innovative forms of sessions that allow for constructive
collective debate among all participants.

3. Video screenings, technical showcases, webcasts, music and theatrical
performances and public/street art: The event should include a wider
range of practical presentations and activities. Please submit a 300-500
word statement of purpose and a description of activities, as well as
any infrastructure requirements (space, projectors, etc.).

Deadline for submissions: 28 February 2013.

Submit proposals to the following email address: ourmedia@iamcr.org

This 2-day event will be held as a pre-conference to the annual IAMCR
conference. Please consider also to submit paper proposals to the
Community Communication Section of the IAMCR, where the discussion on these and other topics will continue.

Information on IAMCR

IAMCR: http://www.iamcr.org
Dublin Conference: http://iamcr2013dublin.com/

IAMCR Community Communication:
http://www.iamcr.org/content/blogcategory/51/201/