PUB: The $5000 Lions International Essay Contest for the Visually Impaired (worldwide) > Writers Afrika

The $5000 Lions International

Essay Contest for the

Visually Impaired (worldwide)


Deadline: 15 November 2012

Lions clubs around the world are encouraged to sponsor students in the Lions International Essay Contest. This contest was created to offer an opportunity to visually impaired young people to express their feelings of peace.

The theme of the 2012-13 Lions International Essay Contest is "Imagine Peace." Students who are visually impaired and who are ages 11, 12 or 13 on November 15, are eligible to participate.

Work with your fellow Lions, local schools and area families to identify young people who are interested in participating and who could benefit from this program. One grand prize winner will receive an award and US$5,000.

ESSAY CONTEST GUIDELINES

Essays are to be no longer than 500 words in length, submitted in English, type-written in black ink and double-spaced. Each essay is to be submitted with a completed entry form, through your local Lions Club.

The contest is open to students who are considered visually impaired according to their national guidelines and will be 11, 12 or 13 years of age on November 15, 2012. One grand prize winner will receive an award and US$5,000.

THE CONTEST THEME IS “IMAGINE PEACE.”

• Only a Lions club can sponsor the contest. The contest may be sponsored in a local school(s) or organized, sponsored youth group(s), or individuals may be sponsored as well. A Lioness club can sponsor the contest through its sponsoring Lions club.

• Essays must be no longer than 500 words in length, submitted in English, type-written in black ink and double-spaced.

• Each essay must be submitted with a completed entry form. Essays submitted without completed entry forms will be automatically disqualified.

• Only one entry per student per year, and each entry must be the work of only one student.

• Essay entries cannot have already been published.

• Any essays found to be plagiarized will be automatically disqualified and the student will be prohibited from entering any future Lions competitions.

DEADLINES

November 15 Postmark deadline for a club to send one winning essay to the district governor. Note: A participating club should notify its district governor in advance of sending an entry.

December 1 Postmark deadline for a club not belonging to a district to send one winning entry directly to the Public Relations Department at Lions Clubs International.

December 1 Postmark deadline for a district to send one winning essay to the multiple district council chairperson is December 1. A district not belonging to a multiple district must send its entries directly to the Public Relations Department at Lions Clubs International (postmarked by
December 1).

December 15 Postmark deadline for a multiple district to send one winning essay to the Public Relations Department at Lions Clubs International.

February 1 International grand prize winner will be notified on or before this date.

TERMS AND CONDITIONS

Participants accept all responsibility for late, lost, misdirected or illegible entries. Entries sent with insufficient postage will be disqualified. Entries cannot be acknowledged or returned;
they become property of Lions Clubs International upon receipt. Essays cannot be published without written permission from Lions Clubs International. However, sponsoring clubs, districts and multiple districts have permission to publish their sponsored essays. In consideration for the opportunity to enter the Lions International Essay Contest, participants agree to allow
Lions Clubs International to use their names, photographs and essays for promotional and publicity purposes. An international grand-prize winner is not eligible to receive subsequent prizes in future Lions International Essay Contests. By entering, participants agree to be bound by these rules and the decisions of the judges and Lions Clubs International. Lions Clubs International may cancel the contest without notice at any time. The contest is void where prohibited, taxed or restricted by law.

Download the entry form here.

CONTACT INFORMATION:

For inquiries: pr@lionsclubs.org

For submissions: essays should be sent to Essay Contest, Public Relations Department, Lions Clubs International, 300 W. 22nd Street, Oak Brook, IL 60523-8842; fax at 630-571-1685; or e-mail to pr@lionsclubs.org (the words “Lions Essay Contest” must appear in the Subject Line of the e-mail)

Website: http://www.lionsclubs.org

 

 

PUB: Call For Papers: An Academic Anthology That Will Explore Acclaimed Haitian Filmmaker Raoul Peck’s Work > Shadow and Act

Call For Papers:

An Academic Anthology

That Will Explore Acclaimed

Haitian Filmmaker

Raoul Peck’s Work


by Tambay A. Obenson

November 9, 2012 

 

 

 

It's unfortunate that his excellent Moloch Tropical isn't yet readily available for rent here in the USA. You can buy it from Sankofa.com for $30, but it's not really available widely, and definitely not as a Netflix rental.

His Lumumba (which was really my intro to his work, about a decade ago) is far more accessible however.

Anyway... the details on the above call for papers follows, from Toni Pressley-Sanon in the Department of Transnational Studies at the University at Buffalo, and Sophie Saint-Just in the Department of Modern Languages and Literatures at Fordham University.

The critically acclaimed filmmaker, Raoul Peck, has a long and impressive filmography that includes both feature films such as Haitian Corner (1987-88), L’homme sur les quais (The Man by the Shore) (1993) and Moloch Tropical (2009) and documentaries, like Lumumba, la mort du prophète (Lumumba, Death of a Prophet) (1992) and Le profit et rien d’autre (Profit and Nothing But! Or Impolite Thoughts on the Class Struggle) (2001). The editors of this proposed volume seek articles for possible consideration in an anthology that will explore Peck’s contributions to several fields. We invite essay proposals from scholars and independent researchers in various disciplines to reflect on different aspects of Peck’s film career. We are interested in a wide range of topics, analytical frames, and comparative approaches.

Questions may include but are definitely not limited to:

• Intersections of feature film and the documentary medium

• The role of orality/oral tradition

• Treatments of history

• Treatments of myth

• Violence, power, trauma

• Narrative voices

• The art of the mise-en-scène

• Peck’s place in the world/third cinema tradition

• Methodologies

• Use of language(s)

Please submit a 400 word abstract and a one-page CV to the editors by February 15, 2013.

Previously published material will be considered. If the editors accept your proposal, final essays must be submitted by October 1, 2013.

Please submit abstracts electronically to: toni.sanon@gmail.com and sophie.saintjust@gmail.com.

 

VIDEO: Alicia Hall and Jason Moran

Alicia Hall and Jason Moran

By KATHRYN SHATTUCK
Published: April 30, 2010

 

ALICIA HALL MORAN is prone to bold pronouncements, and her wedding to Jason Moran in September 2003 was no exception. Where other brides might announce themselves with flutes and strings, she sashayed toward the altar to the pounding of African drums.

“I just wasn’t feeling a German-Romantic stroll down the aisle to Jason,” Ms. Hall Moran, a classical soprano, said later.

An onlooker might have interpreted her fanfare as a declaration of the wifely role she intended to assume: powerful and unflinching, yet evenhanded.

To her future husband, it might have served as one last reminder that she would not be overlooked.

At the time, Mr. Moran, the jazz pianist, already had a Blue Note recording contract and had headlined five albums. Her career was mostly limited to small gigs in small rooms.

But after their wedding, “things got very advanced very quickly,” said Ms. Hall Moran, who had met Mr. Moran at the Manhattan School of Music eight years earlier.

“I would say for both of us it was really the beginning of a truly astounding period of creativity, and of entree into another level of the art world,” she said.

<p>Alicia Hall Moran from Shine Digital on Vimeo.</p>

For a while, they rode ascending stars. Mr. Moran collaborated with the visual artists Glenn Ligon and Kara Walker, and generated buzz like so much nectar.

Ms. Hall Moran turned the parties of complicit friends into performance venues, arriving as a guest before breaking into song — sometimes midconversation — at intervals in a soundtrack she and Mr. Moran had mixed.

Performing together, the couple filled their canon with works like “Milestone,” an art song with words and music by Ms. Hall Moran, who studied composition at Barnard and Columbia.

“Set at first in a stately rubato, it gradually built up to a fury, then subsided again,” Nate Chinen wrote in The New York Times in July 2007. “It ended with a quiet upturn: a major chord, hopeful and serene.”

He could have been writing about their marriage.

That October, Ms. Hall Moran’s trajectory shifted when, just off a tour with the Bill T. Jones/Arnie Zane Dance Company and five months pregnant with twins, she was ordered to a hospital bed in New York, not far from their Harlem apartment. Though Mr. Moran was at his wife’s side, he was due at Duke University to give the premiere the next day of “In My Mind,” a tribute to Thelonious Monk, whose recording of “‘Round Midnight” made him want to become a pianist. He had to leave.

Two weeks later, Mr. Moran arrived back home from Seattle only two hours before the couple’s sons, Malcolm and Jonas, were delivered (total weight: 4 pounds) and then swept to the neonatal intensive care unit, where they stayed for 72 days.

“That was maybe the most trying time of our married life,” Mr. Moran said. “There was this mystery as to whether we’d really get to be parents and hold them.”

His wife said: “The first day I was sad that I was leaving the hospital not in a wheelchair, not with a baby, walking out with no balloons or plants. And then you realize you’re so grateful to have a reason to go back to that room.”

Mr. Moran spends a third of the year on the road, his time less and less his own, or his family’s.

“Right now I feel like I’m in one of the most fruitful parts of my career,” he said. “Part of being a musician is that you continually have to experience and not rest anywhere.”

His absence, he acknowledged, was hard on his wife, whose own aspirations are often sidelined as the sole parent, for days and weeks at a time, to two boys.

“The toughest job in the world is taking care of the kids; it’s a lot of energy,” he said.

She countered: “There’s an income so you really cannot complain. And when he’s here, he is here 24 hours a day.”

Early in their courtship, Mr. Moran discovered that Ms. Hall Moran had some serious musical ideas and could improvise freely. It hooked him, he said, for life.

“I think Alicia single-handedly has impacted my career the most,” he said. “We are constantly discussing ideas and criticizing ideas. It can be harsh. But I get so much applause that somebody has to be keeping the knife to the music.”

In “Ten,” his coming album in honor of his 10th anniversary with the Bandwagon, his trio, Mr. Moran captured the vocalizations of his sons, who often accompany him to the studio. Now 2 ½, they are “watching me pack or picking me up at an airport,” he said. “They’re kind of understanding saying goodbye.

“I know a lot of musicians who have children and are trying to figure out the balance between continuing the craft and being there as parents.

“Some just continue the craft,” he said, of those whose careers override their family obligations. Mr. Moran has committed himself to finding the equilibrium between being a husband and father and a performer, and being effective at all three.

Every couple of months, he and Ms. Hall Moran “have really serious conversations to make sure she gets the time she needs to work on her projects, which deserve a lot of attention,” he said.

And for a few days, the tables are turned, as Mr. Moran packs up the boys and leaves his wife to steep in her own creative juices.

“I fight for every 30 seconds that I can apply to my music,” Ms. Hall Moran said. “If you’re fighting for art, what could be a more wonderful problem to have?”

 

VIDEO: Alicia Hall Moran and Jason Moran ‘Bleed’

<p>Phenomenal Listening from tony gannon on Vimeo.</p>

Art, Ancestry, Africa:

Letting It All Bleed

Yana Paskova for The New York Times

Kara Walker performing in “Bleed,” by Alicia Hall Moran and Jason Moran, at the Whitney Museum on Friday. More Photos »

By 
Published: May 14, 2012

<p>BLEED DAY 1 - Alicia Hall Moran & Jason Moran from tony gannon on Vimeo.</p>

<p>BLEED BREAKDOWN from tony gannon on Vimeo.</p>

Alicia Hall Moran is an operatic mezzo-soprano, and Jason Moran is a jazz pianist. They met at the Manhattan School of Music and married in 2003. Since then they’ve made a lot of their work separately. Mr. Moran has toured and recorded for 12 years with his trio, the Bandwagon. Ms. Moran has performed as a singer with Bill T. Jones/Arnie Zane Dance Company and is now the understudy to Audra McDonald in the role of Bess in “The Gershwins’ Porgy and Bess” on Broadway. But they have worked together steadily, too, more than many people know.

From last Wednesday to Sunday on the fourth floor of the Whitney Museum of American Art, from late morning to evening each day, the Morans unspooled an extended collaboration, called “Bleed,” as a limited residency that was part of the museum’s Biennial. (Ms. Moran left every afternoon to report to the Richard Rodgers Theater, as she does six days a week.)

“Bleed” was neither about jazz nor about opera, per se, though it contained some of both, and much else: film, video, dance, poetry, lecture, diary, journalism and alternative medicine. It offered 26 performances, including Ms. Moran’s doing a version of Beyoncé’s “Run the World (Girls),” with Japanese taiko drummers, and singing operatic arrangements of Motown songs backed by harp, piano, guitar and percussion; a talk on “phenomenal listening” by the scholar Radiclani Clytus, who’s working on a film about the Morans; a series of voice-and-piano art songs dedicated to visual-artist friends; an open rehearsal by the Bandwagon, with each musician miked so the audience could hear the conversation; a solo-bass performance by Esperanza Spalding; Charles Blow, an Op-Ed columnist for The New York Times, reading a recent column he wrote on bullying; and Ms. Moran’s receiving acupuncture while talking, sometimes tearfully, about why she makes art. (“I’m looking for the story of me and you,” she said, supine, both to the acupuncturist and by extension to everyone in the room.)

The Morans didn’t write a mission statement for the residency, and when asked during a break one afternoon to sum it up, they both said more or less the same thing: They wouldn’t know how to. Instead they talked about their relationships with their friends. This wasn’t a didactic exercise. They have strong intuition, but they don’t overinterpret themselves.

So I’ll try. “Bleed” was pretty extraordinary in breadth, depth, planning and execution; if you’d seen the Morans only as imposing musicians, it’s time to expand that view. I went four days out of five, and though I’ve followed their work for 15 years or so, I found a lot more to understand.

The work operated on three interrelated levels. One was the basic stuff of postmodern art: exploding genre and format, breaking down the fourth wall, making the private public, exposing process and the self. Another was the meaning and possibility of collaboration — primarily Mr. and Ms. Moran’s, but also many others branching off the main link.

“We’re collaborating with other artists, but we’re also collaborating with the people running the lights and microphones here,” Mr. Moran explained between performances to a group of Brooklyn high school students on Wednesday. “You collaborate with your family too. You and your mother is the biggest collaboration you’ll ever have.”

The third level: family, community and ancestry. Parents, children, friends, colleagues, diaspora. That’s a lot of linking, and it might have led to glibness in the artists and fatigue in the viewer — a what-is-this-project-not-about feeling — if the Morans hadn’t presented all those links as necessary for the survival of culture. A short film by the critic Maurice Berger, “Threshold,” showing in the corner of the room, strung together clips from movies and television shows of African-Americans beginning various journeys, passages or challenges: Diana Ross and Michael Jackson on the yellow brick road in “The Wiz”; dancers on “Soul Train”; Denzel Washington as Malcolm X stepping up to a podium. The mood of that film carried through the whole week: moving forward, crossing lines, evolving.

“Bleed” wasn’t all about black art, but when it was, it was deeply so — especially on Sunday, with a triple-header of new-world Africana. At 11:30 that morning came a pretty stunning hourlong suite by the Bandwagon, with Ms. Moran and the guitarist Bill Frisell, called “Live:Time,” first performed in 2008 and inspired by the Gee’s Bend quilters from southern Alabama. (It also contained readings from Asali Solomon’s story “Cold Water for Blood Stains” and a letter by Mr. Frisell to Mr. Moran — read by Mr. Frisell between solos — on how to find the quilters when you arrive in their town.)

It was a work of coordinated themes often leading to a kind of trance music: somewhere among Miles Davis’s “In a Silent Way,” the Grateful Dead’s second-set jams in the early ’70s, the polyphony in slow gospel hymns and the most volatile parts of Mr. Moran’s own club gigs. That was something I won’t forget.

Likewise with “Rain,” a piece from 2005 that was inspired by ring shouts and blues, in which the trumpeter Ralph Alessi walked in a circle around the audience, playing a melodic line developed by the Senegalese kora player Abdou M’Boup. And the same again with the closing performance of the day and week, “Run, Mary, Run,” a piece by the choreographer Rashida Bumbray and Dance Diaspora Collective, with several percussionists and Mr. Moran on piano.

“Run” also draws on the ring shouts and circle dances that came to the southern United States from West Africa. To a steady rhythm more than a dozen dancers moved and sang in call-and-response patterns — both old chants and lines from Parliament’s “Mothership Connection.”

I’ll also never forget Karaoke Walkrrr, the stage persona of Kara Walker, a MacArthur fellow like Mr. Moran and a visual artist best known for her paper silhouettes of images from America’s racist past: slaves and masters, power, sex and cruelty. (She had a film installation in another corner of the room, using those silhouettes as puppets in a drama, scored by Mr. Moran’s solo piano.)

On Saturday night, in shorts and a baseball cap, she joined Bandwagon for a performance called “Improvisation With Mutually Assured Destruction,” reading a text of jarring and violent words: the sex-race-power themes in another medium. Then she clicked a button on her laptop and out came “Brown Sugar” by the Rolling Stones, which Bandwagon played along with, strictly at first, then pushing against it, making a general disturbance.

Ms. Walker had composed a video backdrop for the occasion: quick, strobing images of Mick Jagger and words and phrases from the song — suggesting, either vaguely or directly, slavery, rape and heroin — and her own words and phrases: “slit,” “blood,” “smoke,” “stuck,” “crawl,” “beg,” “grovel.” She’s no kind of singer, but it didn’t matter. The piece was short and powerful and disturbing, a kind of head-exploding multimedia essay, and the Morans had built the right place for it to happen.

 

 

VIDEO: James Baldwin going the fuck off... • Son of Baldwin

homonoire:

James Baldwin going the fuck off and snatching edges, roots and all, on the Dick Cavett Show. 1973. 

This was brilliant.

One of the most interesting things to me about this clip is Baldwin’s assumption of heteronormativity. “Myself, my wife, my woman, my sister, my children….” He knew who his audience was and he knew what they would and would not accept.

I think Baldwin’s saddest burden was his being a rather effeminate man who despised other effeminate men. He consistently threw effeminate gay men under the bus in order to maintain his standing in the black community.

I love him dearly, but he was an effemiphobe.

 

 

EDUCATION: A call for President Obama to change course on education

A call for President Obama to

change course on education

Education Secretary Arne Duncan(left) and President Obama. (Yuri Gripas/REUTERS)

 
President Obama’s re-election likely means four more years of Arne Duncan as education secretary. In the following post, Arthur H. Camins,  director of the Center for Innovation in Engineering and Science Education at the Stevens Institute of Technology in New Jersey, makes a call for Obama to rethink his attachment to Duncan’s education policies.

 

 

By Arthur H. Camins

With the election behind us, it is time for the Obama administration to step back from its education policy and access whether its foundation is sound and supported by evidence. It is a moment to summon the courage to change course.

 We have had wars on drugs, poverty and terrorism. Now, depending on perspective, we have a war either for or on education. Certainly, many educators feel under siege. Popular slogans like, “Whatever it takes,” sound like battle cries.  This brings to mind the documentary film, “The Fog of War,” as a metaphor for education reform.

In the hopeful 1960s, the nation’s focus on poverty was undone by a president fearful of accusations of being weak on defense and soft on communism and trapped by unexamined cold war logic. Lyndon Johnson failed to heed President Eisenhower’s prescient warning to beware of the influence of the military industrial complex.  As many presidents who succeeded him, Johnson permitted the defense industry to have undue influence in the making of foreign policy.

In the “Fog of War,” an aged and surprisingly reflective war architect, Robert McNamara, makes a compelling case that once the United States found itself enmeshed in war, an intellectual shroud clouded the ability of policy makers to see the evidence in front of them.  Vietnam War-era policy makers understood North Vietnam as a tile in a row of falling dominoes that would lead to the worldwide communist domination.  While it was readily apparent that their assumptions about the motivations of the North Vietnamese and the Viet Cong were entirely mistaken, Johnson and his advisers could not recognize or admit that they were wrong. Nor could they summon the courage to change course.  Such is the distorting power of unexamined ideology.

I think many of the powerful supporters of market–driven education reforms are caught in the fog of their self-made education war.  In classic ends-justifies-means thinking, they dismiss the negative impact of over-testing on students learning and the injustice of using  imprecise value-added modeling for teacher evaluation and dismissal.

During the Vietnam War many people used evidence to show that the United States government did not understand its declared “enemy” and that the war was counterproductive though Johnson, McNamara and those in the defense industry who profited from the war were not persuaded.  Listening to McNamara’s telling of the tale, it is not clear whether their failure to change course was because no one inside the decision circle was willing to challenge the conventional thinking, or because there was an unwillingness to admit defeat and cede power or influence to their perceived internal enemies. By the time McNamara voiced any doubts, the course of action was too deeply set. 

 Similarly, I have been trying to understand the persistence of education reformers, especially those in federal and state government, in the light of so much contrary, well-articulated evidence.  I have been trying to understand how teachers who oppose charter schools and merit pay, or who make the case that schools alone can’t undo the effects of poverty, have come to be defined by education reformers as the enemy  –  supporters of and apologists for the status quo.  Somehow, educators who do not support the reformers’ ill-conceived version of disruptive innovation, but who have proposed myriad significant improvement, have been cast as defenders of bad teachers who supposedly believe poverty is destiny. Reformers have become so enamored by their own ideology and so invested in their own course of action that they are unable to recognize the evidence that challenges their policies and unable to recognize the damage it is causing to students.

 I conclude that, as with the Vietnam War, eventually some combination of unrelenting organized opposition and the weight of the failure of the policy itself will eventually bring the folly to an end… but not before inflicting considerable damage on students and their teachers.  President Obama, what education legacy do you want to leave?

In a recent interview for NBC’s “Education Nation” President Obama said, “You know, I’m a big proponent of charter schools, for example. I think that pay-for-performance makes sense in some situations.” Later in the interview, he said,  “What we have to do is combine creativity and evidence-based approaches. So let’s not use ideology, let’s figure out what works, and figure out how we scale it up.”

 I want to believe the president’s statement about ideology.  But, frankly, I am not reassured. What logic and evidence is behind his support for scaling-up charter schools, merit pay, or for sanctions that require the firing of administrators at struggling schools typically inhabited by poverty-stricken students?  Mr. President, are you open to the possibility that maybe your assumptions are wrong?

 Following are several big ideas behind current education reform.  Each of them is either not supported by evidence or is inapplicable to education.

 Failing School Systems: The popular myth is that K-12 education in the United States has not changed much for the last hundred years and that we have made only incremental improvements in outcomes. We certainly do not yet have the outcomes we want, but in reality, NAEP reading and math scores are at their highest levels as are graduation rates. In fact, many of the effective teaching strategies that lead to deeper learning and are common in high-scoring countries such as Finland are also found in many U.S. classrooms.  Powerful professional learning strategies such as lesson study, common in Japan, have become more widespread in the United States.  What limits the spread of these practices is not educator resistance, but insufficient funding and an overemphasis on test scores as the central outcome goal.

 What separates education in the United States from so-called competitor counties is that on average, socioeconomic status explains far more of the variation in test scores in the United States than in other industrialized countries.  But, as many researchers have pointed out, it is not the presence of unions, tenure, or collective bargaining that explains that difference.  A more plausible explanation is that the more successfully scoring countries have far more substantial social support systems to mediate the negative effects of poverty.  A far stronger argument can be made that we need to change our focus — especially in struggling schools — from the drudgery of high consequence driven test-prep to engaging students to be critical thinkers and active investigators in meaningful subject matter. Or, even better, from spending millions on testing to spending millions on support services.  In addition, the evidence is mounting that schools can also teach essential non-cognitive competencies, such as persistence, ethics, empathy and collaboration. Since the latter are not easily subject to measurement, the continued focus on testing narrow, more easily measured subject matter diverts important attention from their development.

 Disruptive Innovation:  Innovative companies such as Microsoft, Google, Facebook, and Apple have rapidly revolutionized how we all communicate.  Their success is not just the result of invention, but rather in designing the integration of multiple technical and process innovations, as well as successful marketing to the public.  Their transformative power is measured not only in winning over customers from rivals, but in changing the entire landscape so that their rivals must change what they offer and how they operate in order to survive. The thinking of market-based reformers is that we need to make similar rapid and dramatic change in how we educate students.  The need for dramatic improvement, especially for children from low-income families, is assailable. But, for every new private sector idea that was transformative, there were thousands generated that were not. In addition, not every idea that is transformative is necessarily good for society.   For example, market-supported product and process innovations in the fast food industry have transformed how and what families eat.  Consumers “choose” MacDonald’s.  Is this a healthy desirable outcome? Ideas rise and fall, as do the fortunes of their developers and investors. This is, I think what reformers have in mind when they push for increasing the “market share” of charter schools that will need to compete for enrollees.  Customers decide whether they want to buy an iPhone or a Blackberry.  As a result, Apple stocks flourish and RIM’s plummet. For reformers, schools are just another market choice. However, is this the best way to decide on the form and content of schools for children in a democracy?  What happens to kids when schools open and close?  Instability in the restaurant marketplace may be acceptable, but disruption in schools and teachers is a disaster for students whose lives are already too chaotic.

 There is no evidence in the United States or anywhere in the world that market-driven choice among competing charter schools is a successful systemic strategy to improve learning for all students — not anywhere! Arguably, the likely result of charter school proliferation is that some students will get to go quality schools, while many others will not.  This is hardly transformative.  It is a replication of what we have now. In addition, rather than mediating current geographic segregation patterns through more integrated schools, it will exacerbate racial and socioeconomic isolation.

The Sword of Damocles: In a recent New York Times column, David Brooks argued that it was the absence of the proverbial sword hanging by a thread over the heads of teachers that explained presumed lack of innovation in schools.  Is there evidence to support the notion that private sector innovation in product quality – not short-term profit — is advanced by fear?  Is there evidence that fear and competition will spur more effective teaching?  If anything, the evidence suggests the opposite.  There is no credible evidence to support the reformers’ theory of action that merit pay and of the threat of firing of presumably low-performing teachers will drive systemic improvement.  It is pure unsubstantiated ideology. 

 In his popular book, “Drive,” Daniel Pink summarizes the research regarding motivation.  Extrinsic rewards are only effective to improve performance for short-term, simplistic tasks.  Performance and learning with respect to complex tasks (teaching, for example) is undermined by reward systems.  In addition, research shows that once a threshold of “fair pay” is reached, rewards for performance provide no benefit and may be counterproductive. Arguably, the result of reward systems – especially with untrusted metrics – is ethical lapses. We have known all of this for a long time, yet the reformers keep insisting on it as policy in the name of innovation. This is yet another case in the fog of the education war in which ideology trumps evidence.          

Fire the Bottom 10 percent: Another pillar of current education reform, made famous by Jack Welch, former CEO of General Electric, is that annual firing of the lowest performing 10 percent of managers drives improvement. Presumably, this is what is behind the push to annually rank teachers across four or five normative performance categories. The charge is that tenure, inadequate teacher and principal evaluation systems, the absence of clear outcome-based performance metrics and lack of competition makes educators complacent about making needed change. By this way of thinking, the relatively low percentage of teacher firings and persistent poor student performance are prima facie evidence to support this strategy.  This appears to be the justification for firing 50 percent of the teachers and the principal as a turn-around strategy in Title 1 schools. However, except with reference to anecdotal outliers, there is no evidence to support this idea. 

 In addition, firing as a systemic strategy fails the logic test.  There is no substantial evidence that there are so many ineffective teachers or that this is the principle cause of low student performance. Unless it is inexplicably assumed that there is a pool of more effective teachers just waiting to be hired, replacement can only work for a minority of schools. GE might beat out Frigidaire for best refrigerator engineers, but that is only a winning strategy for GE’s bottom line, not the consumers. Once again, applied to schools, this is unexamined ideology driving policy.

 I hope it will not take decades to see our way out of the fog of the education war.   I hope some inside government official will not wait as long as McNamara to speak up. However, reasoned argument is not enough. Without massive organized opposition these policies are unlikely to change.

 

 

VISUAL ARTS + VIDEO: Barack Obama Mock-up Album Covers

What if President Barack Obama were a recording Blue Note Jazz artist?
 

www.facebook.com/barackobamajazz to see more covers.


President Barack Obama album covers inspired by classic Jazz greats.
 

Video celebrating Barack Obama's love for Jazz and (let's face it) for being as cool as the music itself. A way to support the President visually in this great American art form known worldwide as JAZZ. 
 

—JC Pagan


Barack Obama

Mock-up Album Covers

EMI and Blue Note Records asked me to create my Ultimate Blue Note Playlist on Spotify. Over 6 hours of “The Finest in Jazz”.  >http://open.spotify.com/user/emimusicus/playlist/6Y8m75KyuR1yPVJBcurl4x

EMI/Blue Note Records Presents JC Pagán - The Ultimate Blue Note Playlist From the artist behind the recreations of classic and modern Blue Note album covers featuring The President of the Unites States. Over 6 hours of music from John Coltrane, Horace Silver, Jason Moran, Robert Glasper and many more. Check out all the album covers recreations at www.facebook.com/barackobamajazz.

VIDEO: Happy Birthday Minnie Riperton

• November 8, 1947 Minnie Julia Riperton, singer and songwriter, was born in Chicago, Illinois. As a teenager, Riperton received operatic vocal training and was urged to study the classics. However, she became interested in rhythm and blues. Riperton’s first solo album, “Come to My Garden,” was released in 1970 and although commercially unsuccessful, is now considered a masterpiece by music critics. In 1974, the album “Perfect Angel” was released and included the single “Lovin’ You,” which went to the top of the charts in the United States and number two in the United Kingdom. In 1976, Riperton was diagnosed with breast cancer and in 1977 became a spokesperson for the American Cancer Society. She was presented with the Society’s Courage Award by President Jimmy Carter in 1978. In April, 1979, her final album, “Minnie,” was released which included the single “Memory Lane” which many consider her greatest work. Riperton died July 12, 1979.

MINNIE RIPERTON

AUDIO: Stephen Rigmaiden > SOSO DEEP RECORDS

STEPHEN RIGMAIDEN

Stephen Rigmaiden, hailing from the Bay Area in California, plot’s and plans to steal your heart through hypnotic rhythms and blissfull drums wrapped in layers of fine textured sounds. With such a versatile sound u can never really tell which direction Stephen will be coming.

“I think as a music maker, you have to always push the envelope, take chances and just see where it takes you. That’s why you will always hear something different from me. I always want to keep you guessing.”

With influences ranging from Funk, Soul, Salsa, Jazz, Soul, R&B,  Trip Hop , and African Rhythms, it’s no wonder why his sound is so ever changing, gaining quick acclaim from House Music heavy-weights such as Ian Friday , Jamie Thinnes , Dixon , Culoe De Song, Osunlade, Dennis Ferrer, Halo and Boddhi Satva. With a roster of supporters such as this, Stephen has definitley made an impact on Deep House as we know it. “It’s all about building relationship’s for me. I am grateful to be able to work with some of the people who have helped to shape me and my perspective through their music. It’s almost surreal to get the respect from your heroes and peers. There’s nothing like it.” Having a countless number of remixes and Original EP’S,  he is no starnger to hard work. Stephen has worked for some of the finest labels to date such as Jellybeansoul, Offering, Centric, Ocha, Chez, Abicah Soul Project, Earthrumental and City Deep Music. In 2009, Stephen was also featured as one of the Top Next Generation Producer’s at the Traxsource.com digital store. Catching the ears of the world through great songs like “Sent From Above” (devotion) , “Black Sun” (Chez) , ”Mahuwelele” (Ocha) , & “Rise Up” (Centric), Stephen is here to Stay. With much hard work and sweat ahead The record Label is what is on Stephens Mind currently. Also bringing up the finest camp of producers (Folarin Tallman (LV) , Andy London (LA), & Randy Torrance (SF), Stephen has his hands quite full. Bringing light to the masses through his Soso Deep Record Label is the Major Task at hand. Stay Tuned.

With releases on Traxsource.com and Afrodesiamp3.com, there has already been quite a buzz for Rigmaiden’s new label, Soso Deep. With many projects in the works and releases slated to drop, Stephen plans to stay busy and keep spreading the Good Word.

Dj dates and tours are planned,  so don’t miss your chance to experience the Vibe Stephen has to offer, the vibe that is “Soso Deep”.

 

PUB: Call for Applications: Diaspora Dialogues 2013 Emerging Writers Mentoring Program (Toronto, Canada) > Writers Afrika

Call for Applications:

Diaspora Dialogues 2013

Emerging Writers Mentoring Program

(Toronto, Canada)


Deadline: 16 November 2012

Diaspora Dialogues is excited to announce the 2013 spring mentoring program, focusing on the creation of long-form manuscripts and offering emerging writers greater in-depth opportunity to hone their craft, and prepare a book-length project for publication.

Through an adjudicated process, the most promising emerging writers will be chosen for the opportunity to work over a six-month period with a mentor.

These Writer’s Residencies will take place by correspondence between January and June 2013. In addition to the mentoring process, each emerging writer will get a specialized professional development program, as well as targeted introductions to agents and/or publishers.

Diaspora Dialogues is inviting submissions of original full-length novels or collections of short stories up to 85,000 words or 300 double-spaced pages; or full-length poetry manuscripts of up to 25 poems (no more than 50 pages maximum) from emerging writers. Some of the Writer’s Residencies will be reserved for youth writers aged 16 to 25.

Note: these Writer’s Residencies are open to all emerging writers who fit the eligibility requirements below, regardless of any previous participation in Diaspora Dialogues programs.

Diaspora Dialogues is committed to supporting a literature of Toronto that is as diverse as the city itself. Writers are encouraged to keep this mandate in mind, but addressing this theme directly is not essential in the submission. The setting of the works must be, at least in part, the greater Toronto region.

The writers chosen will have a complete or near-complete draft of a novel, collection of short stories or poetry manuscript and will be mentored via correspondence (either email or post.) If a manuscript exceeds the length limit (see above,) the emerging writer will be asked to omit chapters, poems or stories of their choice and submit brief bridging material where necessary. The mentoring process will address character, story, structure, pace, writing style and substantive aspects of the work, and no copy editing (ie, spelling, grammar, word usage etc.) will be provided.

After the mentoring process, DD will meet with each of the writers, to create and facilitate a plan for manuscript submission (publication, however, is not guaranteed), leveraging our relationships within the Canadian publishing community.

SUBMISSION GUIDELINES:

  • The greater Toronto region must exist in each novel or collection. This can mean using the city as a physical setting. It can mean exploring what the city means to you in a psychological or metaphorical way. It can mean writing about a person, issue or geographic location that is Toronto-specific. The definition is broad, but Toronto must be somehow present in the work.

  • The work must be original and not previously published.

  • Submissions must be in English.

  • Submission writing samples can be one chapter of a novel or one short story from a collection up to but not exceeding 6,000 words; poetry can include up to 10 poems but not exceed 15 pages.

  • Submissions must include a one-page description of the novel or collection.

  • Submissions must include a short biography in paragraph form (no more than 250 words.)

  • Submitted work must be in a full draft or near full draft stage.

  • A completed submission form must be included.

  • Submissions will not be accepted electronically or by fax.

  • If you would like your submission returned, please include a self-addressed envelope with correct postage.

  • Commentary/feedback is not available on submissions.

  • Each writer may submit only one manuscript.

FORMATTING YOUR SUBMISSION:
  • All submissions should be on standard, white, 8.5x11’’ pages.

  • All submissions should be in a type face size 11 or larger, no particular font style preferred.

  • Please do not staple or bind any pages of your submission (paper and binder clips are acceptable.)

  • Please do not double-side print your submission—print on one side of each page.

ELIGIBILITY:
  • Writers must not have a previously published full-length manuscript (although appearances in magazines and/or anthologies are acceptable.)

  • Any writer of any age can apply—alumni of Diaspora Dialogues mentoring program are eligible.

  • Writers must be living in the greater Toronto region, which includes York, Halton, Peel and Durham.

Submissions will not be accepted after the deadline (they must arrive, and not just be postmarked by November 16th.) Decisions will be made by and mentoring will begin in mid-January 2013. Please read through all of the guidelines carefully before submitting.

Download: open call application form

CONTACT INFORMATION:

For queries: contact Fanny Martin at fanny@diasporadialogues.com or 416-944-1101 ext 277

For submissions: mail or drop off submissions to Diaspora Dialogues, 170 Bloor Street West, Suite 804, Toronto, ON M5S 1T9

Website: http://diasporadialogues.com