INTERVIEW + AUDIO + REVIEW: Noo Saro-Wiwa

Noo Saro-Wiwa, daughter of the human rights activist Ken Saro-Wiwa
NOO SARO-WIWA

Noo Saro-Wiwa is the daughter of slain Nigerian writer and environmental activist Ken Saro-Wiwa.

She tells host Marco Werman about her difficult journey to bury her father’s bones in his homeland, a trip that inspired her new book, “Looking for Transwonderland: Travels in Nigeria.”

>via: http://www.theworld.org/2012/08/author-noo-saro-wiwas-personal-journey-writin...
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Wiwa vs. Royal Dutch Shell


Author Noo Saro-Wiwa

Author Noo Saro-Wiwa

Noo Saro-Wiwa is the daughter of Nigerian activist Ken Saro-Wiwa, who was executed by the Nigerian dictatorship in 1995. In our interview, we spoke mostly about her new book, “Looking for Transwonderland.”

But afterwards, I asked her about the Saro-Wiwa family lawsuits that they brought against Royal Dutch Shell in 1996.

The family was able to sue Royal Dutch Shell in US federal court through the Alien Tort Statute.

It’s a US law from 1789 which allows for non-US citizens to file suit in US courts when the cases involve international human rights violations.

They also sued the company under the Torture Victim Prevention Act. It allows individuals to seek damages in the US for torture or extrajudicial killing, regardless of where the acts took place.

The Saro-Wiwa family was aiming to hold Royal Dutch Shell complicit in human rights abuses against the Ogoni people in the Niger Delta.

I asked Noo Saro-Wiwa what the basis was for the lawsuit.

The case did drag on for 12 years. But finally in 2009, Shell settled out-of-court with the Saro-Wiwa family for $15.5 million. But the company still denied any culpability in his and his nine fellow activists’ deaths.

>via: http://www.theworld.org/2012/08/wiwa-vs-royal-dutch-shell/

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Africa Utopia is a month long festival of events at the Southbank Centre, celebrating Africa today in film, music, dance, literature, spoken word, theatre, fashion, talks and debates. The festival running throughout July is a cultural summit lead by Baaba Maal to show what Africa has to offer the world, and this week, we’ve joined them on the Southbank for a week of themed posts.


Early this month, I was in the audience for an Africa Utopia event called ‘Nigeria Now’, a discussion about the complexities on Nigeria. The standout voice on the stage belonged to Noo Saro-Wiwa, author of Transwonderland. Noo is an incredible writer. She brought up in England, she was dragged back to Nigeria every Summer – a country she viewed as ‘an annoying parallel universe where she had to relinquish all her creature comforts and sense of individuality.’ Her father, Ken Saro Wiwa, a celebrated writer and activist, was executed for speaking out for environmental change. After his death, Noo didn’t return to Nigeria for several years, until recently. The result is a magnificent travel memoir ‘Looking for Transwonderland’. For this week’s Beyond the Headlines, we talked to Noo about the book, her experiences of travel, and her honest feelings about her homeland.


Why did you decide to write your first book about Nigeria?


My long-term plan has been to write travel books, particularly about African countries. Transwonderland wasn’t actually my first book – seven years ago I wrote about my experiences in South Africa. But my literary agent told me that with a surname like mine, readers might find it odd that I wasn’t concentrating on my homeland. Writing about Nigeria was always in the pipeline, so I decided to make it the subject of my first published book.


I had avoided going back to Nigeria after my father’s death. I was busy travelling everywhere else. Having written travel guides for Lonely Planet and Rough Guide, other African countries were more familiar to me than my country of birth, which was a ridiculous situation, really. But as time passed I became more curious about Nigeria. I started to see it as a potential travel destination, not just that awful place where my father died and where I was forced to spend my childhood summers. The thought of travelling around suddenly seemed intriguing.

 


In your Nigeria Now talk at the Southbank you said the thing you love about travelling was that is ‘confounds your idea of a place’ – what were some of the biggest shocks and surprises going back?


The most surprising thing I encountered was a dog show, held at Ibadan University by veterinary students. I didn’t think Nigerians were dog lovers. It was very entertaining.


Another eye-opener was the Lonely Hearts section in the newspapers. Young men, often students, were looking for middle-aged sugar mummies who could give them financial help with their studies in exchange for sex. The adverts were hilariously frank, and it was a refreshing antidote to the piety and religiosity that dominates Nigerian life.



What did the culture teach you?


People are very tough and enterprising. They get on with life, no matter how hard it is. They find original ways to make ends meet. It’s good to observe that and try to emulate it. Life in the UK can soften you up a bit too much.

 


You don’t apologise for being honest. Do you feel a pressure to be positive about your homeland?


Yes, there’s pressure. Nigeria has a bad reputation, and Nigerians feel negatively judged by a world that often wants its prejudices about Africa confirmed. When I was out there I saw a billboard that said, “Don’t badmouth Nigeria, things are changing”. However, it would be impossible to write a decent book if I bowed to that pressure and only wrote positive things. You have to be honest in your observations if your writing is to have integrity, otherwise you’re simply producing a propaganda piece.


The key thing is to contextualise and rationalise your observations. Human beings are fundamentally the same all over the world, so if things go wrong in one country, there’s always a rational reason for it. Part of your job as a writer is to try and understand those reasons and explain them. Nigeria has a bad reputation because of bad government, so it’s up to our politicians to improve the country and its standing in the world. The burden shouldn’t rest on the shoulders of writers; we don’t have the power to hide all the bad stuff anyway – it would be like sticking a Lilliputian fig leaf on Gulliver’s testicles.



How would you say Nigeria differs from the stereotypes commonly portrayed in the media?


People are much more honest and co-operative than the media might have you believe. We also have lakes where you can go bird-watching; we have rainforests with chimpanzees and gorillas; mist-shrouded mountains, art galleries, fun weddings, ancient artefacts. Pretty much everything you would find in a functioning country. It’s all overlain by political strife and economic underachievement, unfortunately.

 


As a traveller, how do you go about really getting a grip of a place?


Look around constantly. Observe as much as you can. The biggest revelations can be found in the smallest, most mundane places. Pester people with questions and spend more time listening rather than talking. Never make assumptions, no matter how true you might think they may be. Even if you’re sure the sky is blue, check that someone else doesn’t think it’s green!

 


When covering your home country is it difficult to remain objective?


Yes. You love aspects of the country more than foreigners would, and you’re upset by things that foreigners might be more chilled out about. I try to be objective in certain areas of my writing, but I also consider travel writing to be a partly subjective genre. You write in the first-person, and you dwell on your personal feelings and thoughts. So travel writers have licence to be subjective from time to time. But I’m always honest about that. I lay my biases, fears and preferences on the table. And it’s important to remember that I didn’t write a book about Nigeria; I wrote a book about my journey in Nigeria. Sensible readers will recognise the difference.

 


You mentioned in your talk that travel writing is historically dominated by older white male voices, why do you think that is?


Commercial publishing took off in the West, so it’s understandable that travel writing would be dominated by Westerners, especially men. In the last 500 years the emergence of exploration, cartography, photography, colonialism and the ‘civilising mission’ all fed into a hunger among Westerners for information about the rest of the world. The market was, and to some extent still is, dominated by white readers. For them, these books are a vicarious form of travel, therefore they (consciously or subconsciously) want to see something of themselves in the writer. Men like Paul Theroux re-invigorated the modern form of travel writing, so their dominance can only be expected.


Travel writing is often about outsiders visiting somewhere that’s unfamiliar. The establishment of an African diaspora means that people like me are the new outsiders looking in. We’re now getting more involved in the genre. I’m not at all against old, white men writing about the continent – anyone has the right to write about it. But we need a broad range of voices and perspectives.

 


Who are your travel writing inspirations?


The first travel book I ever read was Almost Heaven by Martin Fletcher, a British journalist who travelled around the backwoods of the US, exploring the parts of America that aren’t represented in the media. It opened my eyes to the idea of non-fiction. I also adore Miranda France’s Bad Times in Buenos Aires, in which she describes her experiences of living in Argentina in the late 1980s. Her humour and unapologetic criticism of the country annoyed Argentines, but she was prescient in her negativity – the economy collapsed within a decade. Michaela Wrong’s In the Footsteps of Mr Kurtz was brilliant, informative and a huge inspiration. Viva Mexico by Charles Flandrau was another joy to read, very funny and surprisingly modern for a book written nearly 100 years ago. Ryszard Kapuscinski and Paul Theroux were inspirations too, even though I don’t agree with some of their writing.

 


Finally, if Boat Magazine were to devote one issue to an African city, where would you suggest?


I like big, crazy cities with wealth disparities and heaving populations and lots of culture. Lagos, Kinshasa, Nairobi and Johannesburg would be the prime candidates.


Noo Saro-Wiwa‘s Looking For Transwonderland is published by Granta and is quite frankly brilliant.

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Noo Saro Wiwa Goes Home:

Looking For Transwonderland

– A Review By Magnus Taylor

January 9, 2012

 

Noo Saro Wiwa’s heritage made writing a book about Nigeria a complicated proposition. As the daughter of murdered environmental activist Ken Saro Wiwa, one can imagine how Noo fought the idea of piggybacking on her long deceased father’s fame when, as a fine and dryly observant writer, she would have believed that success could be achieved without such paternal association.

Noo admits that ‘I feel like I’m carrying my father’s name…it’s not just me by myself’ – her words are, in a sense amplified by association, and it is perhaps partly this influence that motivated her to construct a careful and largely non-judgemental account of her homeland. In conversation she is a little more forthright in her opinions about modern Nigeria, expressing exasperation and confusion at the current state of the country. This, she says, ‘affects you on a deep level…[as] it represents who you are.’ And, I sense this is accentuated by being a long-time diaspora Nigerian, inescapably connected to what is perceived by the rest of the world as a failing state.

Another complication is the position she holds as Nigerian by birth but very much English by upbringing. As a child Noo was however taken for uncomfortable annual summer trips back to Nigeria. She tells us that whilst there she always ‘wanted to go back to the place I called home: leafy Surrey, a bountiful paradise of Twix bars and TV cartoons and leylandii trees.’ This attitude is accentuated by the execution of Ken in 1995 at the hands of the thuggish Abacha regime. From this point on, ‘Nigeria sapped my self-esteem; it was the hostile epicentre of a life in which we languished at the margins in England…I wanted nothing to do with the country.’ The pain of losing her father is clearly evident in Saro Wiwa’s writing, and whilst the passage of 15 years has made it possible for her to speak and write with an air of detachment from that horrific event, it is also clear that this book was never just going to be about travel.

Saro Wiwa admits that writing the book was an unexpectedly cathartic process. From setting out to compose a reasonably detached account of her journey, she is noticeably sucked in to her own personal narrative, jolted by the regular recognition of her family name and emotionally affected by the return to the family home in the Delta city of Port Harcourt. She poignantly describes how several years ago the family re-assembled the bones of Ken’s body, unceremoniously returned to them by the newly-installed civilian government in a large bag.

Compelling personal narrative aside, Saro Wiwa, with her history of guide-book journalism (she has written for bothRough Guide and Lonely Planet), is a competent and convincing travel writer with an eye for the absurd. Not many people backpack around Nigeria, but she demonstrates that it is possible to negotiate what is often an intimidating place largely on local transport and with a day-by-day budget that doesn’t allow constant splurges on luxury hotels. Whilst Saro Wiwa does take in some interesting sites – rickety local museums, Benin bronzes and the wonderful bird-filled Chad Basin National Park (steadily encroached upon by the Southward drift of the Sahara desert) – she seems more interested in teasing out the humour of, for example, the University of Ibadan’s somewhat anarchic dog show (‘I beg, don’t run, o!’ the MC implored down the mike. ‘The dog will pursue you if you run.’) Or in dead-pan style pretending (by phone) to be a prospective middle-aged ‘sugar mummy’ replying to newspaper adverts such as the following:

‘Julius, 28, needs a rich, sexy single sugar mummy, aged between 30-45 for financial support in exchange for the fun of her life.’

That is one of the refreshing things about Saro Wiwa’s book. It lacks the po-faced concern of most academic, journalistic or literary accounts of poor old benighted Africa, and concentrates more on the humour of the place. She tells me that despite the depressing poverty and neglect she found in Nigeria ‘it’s impossible not to laugh there.’

‘When you’re raised in two different cultures, you don’t buy into the myths of either’ says Noo. This desire to avoid ‘myths’ about Nigeria – composed from international stereotypes and childhood experience –  is a constant throughout the book. One senses that Saro Wiwa was personally surprised by how much she enjoyed rediscovering the country of her birth. Towards the end of the book she comments that ‘my dislike for the country was softening into a wavering ambiguity’ – a characteristically undemonstrative assertion.

Saro Wiwa doesn’t let us romantically fall for an idealised version of Nigeria. Even if such a thing existed, it was (by her own admission) too expensive to visit all the waterfalls and remote panoramas which always seem to require the traveller to hire a 4×4 (at great expense). In Nigeria money talks and good impressions can be bought. By slumming it a bit, talking to many ordinary Nigerians, and letting us into a little of the Saro Wiwa story, Noo has crafted a highly enjoyable and revealing account of her complicated homeland.

Magnus Taylor is Managing Editor, African Arguments Online.

>via: http://africanarguments.org/2012/01/09/rediscovering-transwonderland-noo-saro...

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Nigerian activist

Ken Saro-Wiwa's daughter

remembers her father


Noo Saro-Wiwa was 14 when she found out

her father, Ken, had another family.

It took years – and his death –

for her to begin to understand him


Noo Saro-Wiwa, daughter of the human rights activist Ken Saro-Wiwa
Noo Saro-Wiwa, daughter of the human rights activist Ken Saro-Wiwa, who was executed in Nigeria in 1995. Photograph: Linda Nylind for the Guardian

To most of us, Ken Saro-Wiwa was a Nigerian activist and a martyr, a brave and inspiring campaigner who led his Ogoni people's struggle against the decades-long defilement of their land by Big Oil, and ended up paying for it with his life.

To Noo Saro-Wiwa, he was Dad. Rather a distant dad, though; for most of her childhood, she saw him only three or four times a year, on his regular visits to England (where she lived with her mother, brothers and twin sister), and during the long summer holidays at the family home in Port Harcourt, where her father lived.

Also, he wasn't always the perfect dad. Certainly not that day in 1990, when the 14 year-old Noo received a phone call from her uncle out of the blue. He revealed that when Noo was to visit to Nigeria that summer, she and her siblings would have two new friends to play with: their half-sisters.

"He got his brother to tell us about them," she says. "About this whole 'other family' he had. They were eight and six by the time we learned they even existed. We were shocked, angry. We felt betrayed. Less valued. Now I see it differently. But at the time ..."

Poised and perceptive, Noo, 35, has written a book – as funny and affectionate as it is honest and, frankly, alarming – about her first prolonged visit to her homeland since that summer 20 years ago. At that point, she says, she and her siblings had rebelled: "For years, we'd been dragged back there for two months every summer. We just said, enough is enough." And after Ken Saro-Wiwa was executed by the country's military dictatorship in November 1995, of course, there was even less of an incentive to return. Nigeria, says Noo, became a repository of all her pain, fears, disappointments and resentments, a place "where nightmares come true". It took time to go back – as it has taken time for her to reappraise her father.

Before he became a world-renowned activist, Ken was "a true polymath", she says. "He had an almost manic energy. He saw potential everywhere. He was a writer, he had interests in retail, property, the media ..." Noo recalls watching episodes of Basi & Co, a satirical TV show her father produced that was for a time the most-watched soap inAfrica.

She had moved with her mother and siblings to Britain in 1977, aged barely one. A successful, self-made and by then relatively well-off man, Ken "wanted us to have the best possible start in life. I don't think there was ever any question of us not going back to Nigeria eventually, but my father wanted his children to do well."

The family settled in Ewell in Surrey, and the children were sent to boarding schools; Noo went to Roedean. "Apart from that, though, I don't recall our life being anything special," she says. "Materially, it felt quite deprived. We really weren't as well off as all that. We didn't have separate bedrooms; I wore my brothers' hand-me-downs."

Ken shuttled across three or four times a year, and the family spent every summer together in Port Harcourt. "As a young child, you of course have little sense of him," says Noo. "He was just this great, energetic, moustachioed presence, with fantastic bedside stories and always lots of presents and chocolates. And permanently with his pipe. When I was very young, I used to think every black man I saw with a moustache was him."

Gradually, though, her parents' marriage began to show signs of strain, noticeable – if not understandable – even to a child. Noo's mother, never particularly pleased at her exile to England, where she spent 17 years working at a Job Centre, became increasingly unhappy, sometimes tearful; rows erupted, during Ken's visits, over clothes bought "for cousins"; her father grew more and more distant.

The summer before Noo, her brothers and sister were belatedly introduced to their father's "other family", he made one last effort to woo them with the wonders of Nigeria, taking them on a road trip through the central highlands and further into the interior in the family Peugeot. Noo mainly remembers being subjected to endless recordings of Richard Clayderman's neo-classical renderings of 70s pop hits on the car stereo.

What she didn't fully grasp at the time was that her father was by then devoting most of his time and energies to campaigning. Ken was one of the first members of the Movement for the Survival of the Ogoni People (Mosop), a non-violent group militating for greater autonomy, a fair share of oil revenues, and repair of the environmental destruction wrought by the oil majors, notably – and notoriously – Shell.

"He was starting to talk about it," Noo says. "He'd set up the group, published the Ogoni bill of rights. He took us there. He showed us the gas flares burning in the village, the oil spills. He was very passionate about it, I remember that. But we never had any inkling of what it would eventually lead to."

Ken was arrested for the first time by Nigeria's military regime in 1992 and spent several months in prison without trial. The following year, after about 300,000 people – around half the Ogoni population – took part in peaceful marches and demonstrations across the region, the military government of General Sani Abacha sent in the troops and Ogoniland was occupied. Ken was promptly arrested once more, but released after a month.

In May 1994, four conservative Ogoni elders were murdered. Ken was immediately arrested and charged with incitement. After more than a year in jail, he and eight other senior Mosop leaders appeared before a specially convened military tribunal. Most of the Ogoni Nine's defence lawyers resigned at what they protested was the outrageous rigging of the trial; a number of prosecution witnesses later admitted they had been bribed to provide incriminating testimony.

If a guilty verdict came as no surprise, the sentence – death by hanging – most certainly did. Few domestic or foreign observers ever expected it to be carried out. But on 10 November, Ken Saro-Wiwa and his eight co-defendants were duly executed. The resulting wave of international shock and outrage, led by Nelson Mandela, who called the killings "a heinous act", saw Nigeria suspended from the Commonwealth for three years.

Back in Surrey, Noo says she and her brothers and sister were "shielded from a lot of what went on in the time leading up to the execution. My mother shielded us. We knew he was being locked up, but you know … Nigeria is the kind of place where people do spend time in prison."

From solitary confinement, Ken wrote to ask how her end-of-term exams had gone, and which universities she was thinking of applying to.

It was 18 months since she had last seen him, when her mother called with the news. It was, says Noo, "a complete surprise. Just so shocking. Nobody had expected that. Nobody thought the regime would actually carry through. And what was almost as shocking, to me as a 19-year-old, was how huge the news was. It was the front page of every newspaper, the top item on the TV news. I had no idea he was such a big figure. That he meant so much."

In the aftermath she buried herself in her work: a geography degree at King's College London, early travel writing experience on The Rough Guide to West Africa, a year at Columbia's journalism school in New York, a stint at ABC News as a researcher, more African travel with Lonely Planet. She returned to Nigeria only twice in the decade after her father's death: for his official burial in 2000, then for his family burial five years later. That is movingly described in her book. In her father's home village of Bane, next to her grandfather's house, Noo and her relatives painstakingly reassembled Ken's exhumed skeleton, the remains identified and eventually released after lengthy discussions with Nigeria's new and democratically elected government. With the help of an uncle who was a medical doctor, Ken Saro-Wiwa's carefully arranged bones were, finally, laid to rest.

"It's actually surprisingly easy to change one's perspective," Noo says now. "I could either have been all western about it and freaked out at the idea of touching his bones, or think: this is still my father. I shouldn't run away from him or be scared. He needs to be properly buried. So that's what I did."

The decision to go back for a lengthy stay, to lay her many and various Nigerian ghosts, and above all to write about it, was down at least in part to Noo's agent. "Initially I was reluctant; I just wanted to do a straight travel book," she says. "My agent said I really had to deal with the family thing. She was right, of course. The truth is always more interesting, and you have to embrace it all. You can't leave stuff out."

Spending time in Nigeria left her deeply, indelibly impressed by her father's achievements, she says. "It's such an incredibly tough country, just to live in. You see how people struggle. The skills you need merely to survive there … It's just so much more difficult than in the UK. So to truly see what my father achieved, from such a disadvantaged background economically and ethnically, and the challenges he took on over and above that – facing down a massive oil multinational, a military dictatorship. I knew he was brave, but only now do I really understand just how monumental it was, what he did."

She finds herself ever more drawn, too, to her father's work. The Ken Saro-Wiwa Foundation, with the involvement of her brother and uncle, carries on Ken's mission. It's a more complex one now that the oil multinationals, in Noo's words, "at least feel they have to make an effort" (in 2009, Shell agreed an $15.5m out-of-court settlement with the families of the Ogoni Nine – although without admitting any liability in their deaths).

"I would like to become more involved, now, yes," says Noo. "My father wanted to improve the lives of the Ogoni people. I don't have to get involved in the oil stuff to do that; there's education, childcare, other issues. And I certainly want to write about Ogoniland. But I don't want to do it just as Ken Saro-Wiwa's daughter. I want to establish myself as a writer first. Then when I write about what he fought for, it may mean more."

What, though, about Ken Saro-Wiwa as a father – that whole "other family"? Have her feelings changed since she learned, 20 years ago, that she had two sisters she never knew existed? "Human beings are flawed," Noo says. "When you're young, you don't fully understand that your parents are the product of their upbringing. Polygamy complicates things …

"Look, my grandfather, my father's father, had six wives. I've no idea how many children he had. So my father was already a massive improvement; a step on the road to normality. I'm grateful to him."

Looking for Transwonderland: Travels in Nigeria by Noo Saro-Wiwa is published by Granta, £14.99. To order a copy for £11.99 with free UK p&p, go to guardian.co.uk/bookshop or call 0330 333 6846

>via: http://www.guardian.co.uk/lifeandstyle/2011/dec/31/noo-saro-wiwa-kens-daughte...

 

 

HISTORY: Statue of a Ptolemaic Queen © Franck Goddio > that one suheir hammad

 Statue of a Ptolemaic Queen © Franck Goddio / Hilti Foundation Statue of a Ptolemaic Queen  Black Granite  3rd Century BC  H. 150 cm / W. 55 cm / D. 28 cm Cut in hard, dark stone, this feminine body has a startlingly sculptural quality. Complete, it must have been slightly larger than life-size. The statue is certainly one of the queens of the Ptolemaic dynasty (likely Arsinoe II) dressed as the goddess Isis, as confirmed by the knot that joins the ends of the shawl the woman wears, which was representative of the queens during this time period. The statue was found at the site of Canopus.

 

VIDEO: Aretha Franklin in Amsterdam 1968 > Open Culture

The Queen of Soul

Conquers Europe:

Aretha Franklin

in Amsterdam, 1968


In May of 1968 Aretha Franklin was at the top of her form. It was only a year since she had switched record companies and exploded into fame with a string of top-ten hits that have since become classics. Her third album with Atlantic Records, Lady Soul, had just come out and Franklin was on her first-ever tour of Europe. On the second night she performed at Amsterdam’s historic Concertgebouw, or “concert building,” and fortunately for us a camera crew was there to record the show.

The resulting 42-minute film is a remarkable document of one of pop music’s most important artists performing to a wildly appreciative audience. The film opens with an awkward backstage interview, but the real excitement begins at the 6:30 mark, when Franklin and her backing singers hit the stage to thunderous applause and launch into an rhythm and blues arrangement of the Rolling Stones’ “Satisfaction.” The audience rushes the stage and begins pelting Franklin and the other singers with flowers. The musicians manage to finish the song, but before the concert can continue the master of ceremonies has to come back out and demand that everyone take their seats. Here is the set list:

  1. Satisfaction

  2. Don’t Let Me Lose This Dream

  3. Soul Serenade

  4. Groovin’

  5. A Natural Woman

  6. Come Back Baby

  7. Dr. Feelgood

  8. Since You’ve Been Gone (Sweet, Sweet Baby)

  9. Good To Me As I Am To You

  10. I Never Loved A Man (The Way I Love You)

  11. Chain of Fools

  12. Respect

Although the concert was billed as “Aretha Franklin with the Sweet Inspirations,” Franklin’s backing singers in the film are her sister Carolyn Franklin, Charnissa Jones and Wyline Ivey. It’s a fast-moving, energetic performance. Franklin’s voice is strong and beautiful, straight through to the triumphant show-closer, “Respect.”

 

VIDEO + INTERVIEW: Lionel Loueke: Honoring Your Heritage > The Revivalist

Lionel Loueke:

Honoring Your Heritage

Lionel Loueke is a different type of musician. Not bound by the conventional techniques and thought processes, Loueke has pursued music his entire life through an entirely original set of eyes. Even upon moving from Benin to France and on to Boston where where he was exposed to the history behind the music he pursued, Loueke managed to keep his mind open to the endless possibilities the music allowed him and that has translated into an unmatched sense of originality, rhythmic innovation, and musical bliss. On August 28th, 2012 Lionel will release his most recent endeavor entitled “Heritage” which features co-proudcer and pianist Robert Glasper, bassist Derrick Hodge, and drummer Mark Guiliana. In collaboration with Blue Note Records, Revive Music was there to capture the intense moments that led to the creation of this incredible album. Check out our interview with Lionel as well as some footage from the sessions.

Photograph by Eric Sandler

Lets start off talking about the new record and how you brought this group together.

I had a meeting with Don Was about two different projects. The project that he liked and I liked was this one. It was clear that this time I wanted to do something more electric. I had a chance to play with Robert Glasper many times here in New York. The whole idea I think came from when I was a special guest with the Experiment, his group. Don Was was there. I played with Herbie and then I was a special guest with Glasper. We played some of my old compositions that they knew. It was great. So I was like, “That’s the band,” you know? Don Was was like, “What about recording with these guys?” I thought it was a great idea because I was thinking the same, you know? But having a different drummer, Mark Guiliana, made a big difference as well. It changed the way Robert sounded. Bringing in a new drummer brings something different. It’s a whole new approach to the music. For me it’s a real dream come true.

What went into creating the compositions for the album?

To start with, I wanted to have simple melodies that people can remember. If you think about it, the most beautiful songs are actually very simple. One of my favorite composers of all time is Wayne Shorter. Wayne taught me that melodies are simple, your harmony may be very complicated, but the harmony is musically like the basement. It makes melodies stick out better because the foundation is strong. So you can write simple melodies if you know how to write harmony behind it. On this particular CD, most of the songs I wrote from the melodies. Usually I may start from the bass line or harmony, but most of this one was on piano. I started from the melody.

 

 

The album is called Heritage; where did that name come from?

It’s about where I come from, the culture I have today. I definitely see a big African influence, but also I have the influence of the West, from Europe, from the United States. A simple way of explaining it is I’m speaking English [laughs]. English is not part of my original roots. Benin was French. I speak French because of that colonization. The colonization, though it had the slavery and everything else, was not completely bad. We learned a lot from the slavery. Culturally speaking we learned a lot about the culture of the West. We learned the language and everything. There was a positive side. There is a good side and a bad side in everything. On this album I’m talking about the good side. I learned to speak French. I learned to speak English. I travelled around the world. I have a big Brazilian culture too because Benin in the beginning was Portuguese and French. One of the songs is called “Ouidah” which was the slave trade in Benin. The place is called Ouidah. It’s the village of my mom. My mother’s grandparents came from Brazil. Believe it or not, my mom’s last name is Montego. In this village Ouidah, you have all Brazilian and Portuguese names. Montego, Santos, all those names. They play music and sing Samba in Portuguese, but they don’t understand it. What happened was, after the slave trade, some of the slaves went back home and brought back the culture with them. So all of those influences are on this CD. “African Ship” is basically the ship going back to Africa after the slavery. I tried to bring in all the emotions of happy, crazy, everything. That tune is very crazy. “Goree” is another slave trade inspired tune.

“Bayyinah” translates into brilliance or a truth. What inspired that?

That’s Glasper’s tune actually. He wrote this song for his aunt-in-law who passed away I think. It’s a beautiful song. He never recorded it, so he came to my place and played it for me. I was like, “We have to record this one.” You know how somebody writes a tune and you can see yourself in it. You’re like, “Oh man, I wish I wrote this one. It’s beautiful.”

The resounding comment made by your bandmates was your unique sense of rhythm. How did that play out in the studio?

[Laughs] These guys are being nice. They all have good sense of rhythms. I guess being from Africa, rhythm is the one element of music I never really worked on seriously. I grew up in Africa and played percussion as a kid. But actually that was pretty much my homework, you know? I didn’t realize that it would serve me to this day. I’ve been to different music schools, but my teachers always talked about my sense of rhythm. For me it is so natural that it’s not something I work on. I’m working on other things I don’t have at that level. I’m working on harmony or melody. But yeah, it’s just my natural way of playing.

What is it about the culture in Africa that instills such rhythm? You could grow up in America playing drums from a young age and have a very different experience.

It took me a while to make the connection between the traditional rhythms in Africa and jazz, but actually there is a big connection. It’s all coming from the same source. So once I found that connection, I could realize that all of these rhythms come from Africa, no doubts. The big difference is the harmony and how you use it. But the essence of jazz music, that’s rhythm and it comes from Africa.

Africans approach the rhythm differently because it’s part of the language. There is already a rhythm to our dialects. There is even a language in South Africa that has the click sound. If you listen to that language, you may dance, you know? It’s all part of our dialects, you know, the way we phrase the rhythms. For me it all comes from Africa.

You sing with clicks and other sounds in your music frequently. Did you actively study the South African languages and dialects?

No, I don’t really speak that language. I use the click sound my own way to play music. I grew up listening to lots of different types of music from Africa and some of it came from South Africa. I listened a lot to Miriam Makeba who speaks Xhosa which is the click language. I’m a big fan of different rhythms in Africa, so I did do my homework checking out the different ones from Mali, from Senegal, from Congo. They all have different approaches rhythmically or even the guitar playing and harmony. I use all of those influences today.

You moved to the Ivory Coast to study music in your youth. At what point did you realize you wanted to pursue music intellectually and as a career?

To be honest, it was clear from the first year I played guitar. I started playing when I was 17; I started late. It took me a while because I was expected to be a doctor or a lawyer or something intellectual. So it took me a while to say, “You know what, this is what I want to do.” Knowing that I started late, I told myself, “Well, if this is what I want to do, then I have to give all my energy to make it happen.” I don’t want to be a musician and serve pizza on the side. If it came to it I would do it. But I wanted to focus completely on music though and that’s what I did. It was clear from the first year I played guitar. This is what I want to do. I just have to work hard because I started late.

Music led you to move to France and then on to America. If you were not a musician, do you think you would have ever left the country?

Maybe not. If I wasn’t doing music, I would be doing what my parents wanted. Today I would be a teacher or a lawyer or something. Maybe I would leave the country, but I don’t see a reason why. Music, of course, led me to travel to work and discover something different.

What was your time in France like?

It was like coming out of the tunnel. It was like coming out of the dark tunnel. Until I went to Paris I was learning everything by myself musically speaking. I was studying classical music in Africa, so Paris was the first jazz school I had ever been to. It was incredible. Just to start with, I could buy guitar strings. I could buy some books. I had teachers who could answer the questions I had for years. It was enlightening.

So I was learning from my teachers, from books, from CDs. I listened to music I had never heard and people I had never heard of before. I was discovering so much that I had to lock myself in my room and just digest it.

Now, you started the guitar because that was all you could get at the time, correct?

My older brother was playing guitar, so guitar was the first instrument I had. I had to play guitar, but I guess it could have been piano if it was a piano or bass or whatever. I would prefer, I mean I love guitar, but I think I could be a piano player or a drummer. I could be a good drummer [laughs]. I have played percussion pretty much my entire life, so I wanted to play something different. For me drums weren’t fun at the time. It wasn’t that fun compared to guitar, which is a modern instrument. That was my mistake. Now I’ll play drums on the guitar or something [laughs].

You’ve been working on bringing piano-like concepts to the guitar in terms of working in the melody and harmony together. Is that something you are still pursuing?

Oh yeah, that’s what I’m doing. That’s what I’m trying to do every day. I’m not a conventional guitar player. My approach to the instrument is different and I’m still developing. I have a different tuning of the instrument, first of all. I don’t tune my guitar like everybody else. So that’s helped me to do other things like finding some interesting voicings close to the sound of the piano. Having my master, my all-time idol, Mr. Herbie Hancock, working with me for the past nine years has been amazing. I learn so much from him. So my approach to the instrument is that I want to use all of those elements across the instrument. I also switched from playing with a pick before to playing with my fingers the past few years. That gives me more polyphonic approaches to the music. The rhythm too is more polyrhythmic because I’m not using the pick, I’m using four fingers. I think my goal is to play the guitar but have a different approach rhythmically and harmonically to the instrument. I’m still searching.

How much time do you get to practice? Are you too busy or do you make time to work on these things?

To tell you the truth, practice is what I miss the most. At some point I will take like six months to just practice, not really gig or anything. I’m developing my own sound, so what I want to work on is very clear in my mind. I just don’t find the time to do it. It’s not like I can’t figure out what to do. I know exactly what to do. When I’m playing I can hear in my mind something, but maybe my fingers cannot do it. I need to practice to coordinate my mind to be able to get that sound out. So I have to start practicing. I miss that.

What would it take for you to have that break; is it a plausible scenario while you are on a record label?

It’s hard in many ways. The first thing is that obviously I have a record coming, so I have to tour. I have to keep touring. I can’t just put a record out and stay home. And even before I had the record, I’m a musician. I’m not like a world superstar and have endless income. By not playing I have no income, so I have to get out. I have to live and pay my rent. This is what I do. I’m thinking maybe six months is too long. Maybe I start with one week and see where that gets me. I’ll practice morning, afternoon, and night. I think I’m going to do that. If I can do one week or two weeks, maybe three months that’d be really good.

Speaking of practicing, you use so many unconventional sounds within your music. Are these sounds you hear in your head or are they from outside influences?

Yeah they are in my head. Just like I was saying I would start playing percussion on my instrument, it’s because I’m hearing it in my head. I’m hearing it because of the percussion I had as a kid. I always wanted to bring it into my music. It’s not like I’m hearing something specific though; I’m just hearing sound. Basically whatever I hear, I let out. It may not be the best thing at the moment, but to tell you the truth, one of my first rules is not to be afraid, to try. That’s how I discover so many different aspects of my technique. My click sound came from a gig where I started one of my tunes with clicks and afterwards everybody was like, “Wow, what was that?” I don’t know, I just hear it. I’m not afraid to try. I used to be very mad at myself when it wasn’t working the way I wanted. I’m not anymore though because that’s how you learn. I want to learn and you can’t learn by doing what has been done. You can’t create really. Charlie Parker didn’t do it. John Coltrane was influenced by Charlie Parker, but he has his sound. Miles was influenced by Dizzy. You have to know who you are, where you came from and what you have. But most importantly you have to know what you don’t have.

What’s on the horizon for you in terms of new projects?

I’ll be touring all fall and then we will see. I have another project in mind, but right now I’m focused on Heritage.

Interview & Photos by Eric Sandler

 

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PUB: American Antiquarian Society Fellowships for Creative Writers > Poets & Writers

American Antiquarian Society

American Antiquarian Society

Fellowships for Creative Writers

Deadline:
October 5, 2012

Fellowships are given annually to poets, fiction writers, and creative nonfiction writers for monthlong residencies at the American Antiquarian Society in Worcester, Massachusetts, to research pre-twentieth-century American history and culture. A stipend of $1,350 and on-campus housing is provided; fellows residing off-campus receive $1,850. The fellowships support research for creative work that informs the general public, such as historical poems and novels. Residencies may take place any time in 2013. Submit 10 copies of up to 25 pages of poetry or prose, a résumé, two letters of recommendation (sent directly to AAS by the references), and a five-page project proposal by October 5. There is no entry fee. Send an SASE, call, e-mail, or visit the website for complete guidelines.

American Antiquarian Society, Fellowships for Creative Writers, 185 Salisbury Street, Worcester, MA 01609-1634. (508) 471-2131. James David Moran, Director of Outreach.

via pw.org

 

PUB: Call for Applications from Foreign Nationals: 2013-2014 Writers' Fellowships at Cullman Center, NY > Writers Afrika

Call for Applications from

Foreign Nationals:

2013-2014 Writers' Fellowships

at Cullman Center, NY

(up to $65,000 stipend | international)


Deadline: 28 September 2012

(Note: Foreign nationals conversant in English are welcome to apply for fellowships at the Cullman Center. The Cullman Center’s Selection Committee awards up to 15 fellowships a year to outstanding scholars and writers – academics, independent scholars, journalists, and creative writers.)

The Dorothy and Lewis B. Cullman Center for Scholars and Writers offers fellowships to people whose work will benefit directly from access to the research collections at the Stephen A. Schwarzman Building at Fifth Avenue and 42nd Street (formerly the Humanities and Social Sciences Library). Renowned for the extraordinary comprehensiveness of its collections, the Library is one of the world's preeminent resources for study in anthropology, art, geography, history, languages and literature, philosophy, politics, popular culture, psychology, religion, sociology, and sports.

Criteria and Terms

The Cullman Center’s Selection Committee awards up to 15 fellowships a year to outstanding scholars and writers – academics, independent scholars, journalists, and creative writers. Foreign nationals conversant in English are welcome to apply. Candidates who need to work primarily in The New York Public Library's other research libraries – The New York Public Library for the Performing Arts, the Schomburg Center for Research in Black Culture, and the Science, Industry and Business Library – are not eligible for this fellowship, nor are people seeking funding for research leading directly to a degree.

The Cullman Center looks for top-quality writing from academics as well as from creative writers and independent scholars. It aims to promote dynamic communication about literature and scholarship at the very highest level – within the Center, in public forums throughout the Library, and in the Fellows’ published work.

A Cullman Center Fellow receives a stipend of up to $65,000, an office, a computer, and full access to the Library's physical and electronic resources. Fellows work at the Center for the duration of the fellowship term, which runs from September through May. Each Fellow gives a talk over lunch on current work-in-progress to the other Fellows and to a wide range of invited guests, and may be asked to take part in other programs at The New York Public Library.

CONTACT INFORMATION:

For submissions: via the online application

Website: http://www.nypl.org/

 

PUB: Fall 2012 Story Contest > Narrative Magazine

Fall 2012 Story Contest

 

Our fall contest is open to all fiction and nonfiction writers. We’re looking for short shorts, short stories, essays, memoirs, photo essays, graphic stories, all forms of literary nonfiction, and excerpts from longer works of both fiction and nonfiction. Entries must be previously unpublished, no longer than 15,000 words, and must not have been previously chosen as a winner, finalist, or honorable mention in another contest.

 

Prior winners and finalists in Narrative contests have gone on to win other contests and to be published in prize collections, including the Pushcart Prize, Best New Stories from the South, the Atlantic prize, and others. View some recent awards won by our writers.

 

As always, we are looking for works with a strong narrative drive, with characters we can respond to as human beings, and with effects of language, situation, and insight that are intense and total. We look for works that have the ambition of enlarging our view of ourselves and the world.

 

We welcome and look forward to reading your pages.

 

Awards: First Prize is $2,500, Second Prize is $1,000, Third Prize is $500, and ten finalists will receive $100 each. All entries will be considered for publication.

 

Submission Fee: There is a $22 fee for each entry. And with your entry, you’ll receive three months of complimentary access to Narrative Backstage.

 

All contest entries are eligible for the $4,000 Narrative Prize for 2013 and for acceptance as a Story of the Week.

 

Timing: The contest deadline is November 30, 2012, at midnight, Pacific standard time.

 

Judging: The contest will be judged by the editors of the magazine. Winners and finalists will be announced to the public by December 31, 2012. All writers who enter will be notified by email of the judges’ decisions, which will be final. The judges reserve the option to declare a tie in the selection of winners and to award only as many winners and finalists as are appropriate to the quality of work represented in the magazine.

 

Submission Guidelines: Please read our Submission Guidelines for manuscript formatting and other information.

 

Other Submission Categories: In addition to our contest, please review our other Submission Categories for areas that may interest you.

 

 

VIDEO: The Making of Apocalypse Now Remixed/Revisited > Open Culture

The Making of

Apocalypse Now

  Remixed/Revisited

In an interview aired on San Francisco radio last week, Francis Ford Coppola acknowledged that he could no longer compete with himself — that he couldn’t make the kind of films that made him famous during the 1970s. The Godfather (1972), The Godfather II (1974), and Apocalypse Now (1979) — they were big, sprawling, masterful films. And they sometimes pushed a young Coppola to the physical and financial brink.

The making of Apocalypse Now is a legendary tale. Shot in the Philippines in 1976, the production ran into immediate problems. After only two weeks, Coppola fired Harvey Keitel, the lead actor, and replaced him with Martin Sheen, who stumbled into chaos upon his arrival. As biographer Robert Sellers noted in The Independent, “Coppola was writing the movie as he went along and firing personnel, people were coming down with varioustropical diseases and the helicopters used in the combat sequences were constantly recalled by President Marcos to fight his own war against anti-government rebels.” And things only got worse from there. Marlon Brando showed up enormously overweight and not knowing his lines. Then, during the difficult filming, Sheen suffered a heart attack, and Coppola himself had a seizure and eventually a nervous breakdown, apparently threatening to commit suicide on several occasions. Speaking about the whole experience years later, Coppola’s wife, Eleanor, said:

It was a journey for him up the river I always felt. He went deeper and deeper into himself and deeper and deeper and deeper into the production. It just got out of control…. The script was evolving and the scenes were changing — it just got larger and more complex. And little by little he got out there as far as his characters. That wasn’t the intention at all at the beginning.

Yes, it’s no wonder that Coppola, now 73 years old, might not have another epic film in him.

Apocalypse Now hit theaters exactly 33 years ago this week. And to commemorate that occasion, we’re serving up a short remix film, Heart of Coppola, that weaves together scenes from the film, footage from behind the scenes, and audio of the great Orson Welles reading from Heart of Darkness, the Joseph Conrad novella upon which Apocalypse Now was loosely based. (Find it in our collection of Free Audio Books and Free eBooks.)

 

POV: Bert Heller, portrait of Bertolt Brecht, 1955-56 ... > The Cabinet

Bert Heller, portrait of Bertolt Brecht, 1955-56  “The worst illiterate is the political illiterate, he doesn’t hear, doesn’t speak, nor participates in the political events. He doesn’t know the cost of life, the price of the bean, of the fish, of the flour, of the rent, of the shoes and of the medicine, all depends on political decisions. The political illiterate is so stupid that he is proud and swells his chest saying that he hates politics. The imbecile doesn’t know that, from his political ignorance is born the prostitute, the abandoned child, and the worst thieves of all, the bad politician, corrupted and flunky of the national and multinational companies.”  Bertolt Brecht

Bert Heller, portrait of Bertolt Brecht, 1955-56

 

BERTOLT BRECHT

-German playwright


“The worst illiterate is the political illiterate, he doesn’t hear, doesn’t speak, nor participates in the political events. He doesn’t know the cost of life, the price of the bean, of the fish, of the flour, of the rent, of the shoes and of the medicine, all depends on political decisions. The political illiterate is so stupid that he is proud and swells his chest saying that he hates politics. The imbecile doesn’t know that, from his political ignorance is born the prostitute, the abandoned child, and the worst thieves of all, the bad politician, corrupted and flunky of the national and multinational companies.”

Bertolt Brecht