PUB: Call for Proposals: The Big Picture Digital Journalism Awards for Africa (€15,000 grant | Africa-wide) > Writers Afrika


Call for Proposals:

The Big Picture

Digital Journalism Awards

for Africa

(€15,000 grant | Africa-wide)


Deadline: 21 August 2012

The Big Picture Digital Journalism Project – an innovative new project conceptualized by Internews Europe and funded by the International Press Institute through its Innovative News Contest award - is launching Africa’s first crowdsourced journalism awards. These ‘Big Picture Awards’ will serve to strengthen African journalist’s capacities in the use of crowdsourced journalism tools and techniques by supporting the development of the most innovative crowdsourced journalism project ideas from Africa.

The awards consist of a 15,000 Euro grant, which will be shared out among the top three crowdsourced journalism project ideas from Africa; technical advice on project startup and one-on-one mentoring on project development for the top three concepts.

HOW TO APPLY: Apply online by submitting a brief summary (not more than 2 pages long) of your crowdsourced journalism concept proposal structured as follows;

  • Title

  • Objective (include where and when the project will be implemented)

  • Which crowdsourcing tool(s) will be used / developed

  • Who are the beneficiaries

  • What are the planned activities

  • What are the expected results

  • What resources are needed

All entries should be submitted through the Big Picture Digital Project website. The deadline for submission of entries is close of business on August 21, 2012.

Project concepts which emphasis on partnerships between journalists and technologists; enhance audience engagement; and maximize on the widespread use of mobile phones in Africa, are encouraged. All entries should incorporate the use of crowdsourced tools or techniques for journalism.

WHO CAN APPLY: The awards are open to anyone with an innovative idea for a crowdsourced journalism project. However, preference will be given to entrants from the projects target countries i.e. Central African Republic, Cote d’Ivoire, Uganda, Rwanda and Kenya.

THE JUDGING PROCESS: Winning projects will be selected by a panel of highly esteemed, international journalists and technologists including Ethan Zuckerman – Director of MIT’s Center of Civic Media among others.

NOTIFICATION PROCESS: Announcements on the winning concepts will be made on or before September 10th. An awards ceremony will be held in Nairobi, Kenya on 30th September to promote the winning crowdsourced journalism concept ideas.

CONTACT INFORMATION:

For submissions: apply online here

Website: http://bigpicturejournalism.org

 

PUB: The Witness True Stories of KwaZulu-Natal Competition 2012 (R10,000 top prize | South Africa) > Writers Afrika

The Witness True Stories of

KwaZulu-Natal Competition 2012

(R10,000 top prize | South Africa)


Deadline: 31 August 2012

The 13th annual True Stories of KwaZulu-Natal competition has been launched and there are categories for everyone.

Your story must be true and have a strong link to KZN, and whether it’s an epic event or just a remarkable moment, we’d love to hear about it.

Your subject should bring something new to the discussion about how we are living and where we should be going as a society. Articles should not be longer than 900 words and the winning entry will take home R3 000.

  • There’s a category for schoolchildren.

  • In the Open category, the limit for stories is 1 500 words, with the winning entry bagging the grand prize of R10 000 and the runner-up receiving R3 000.

  • In our Snapshot and Schools categories, we will award R3 000 each for the best tale written in under 800 words.

  • And this year we’ve created a special space for social commentators.

  • In the new Opinion category, we’re looking for an original, crisply written, thought-provoking point of view that fits this brief.

RULES:
  • State clearly what category you are entering — Open, Snapshot, Schools or Opinion;

  • Stories may be submitted via ­e-mail or post. Send your entries to The Witness True Stories of KwaZulu-Natal Competition, P.O. Box 362, Pietermaritzburg, 3200, or e-mail features@witness.co.za;

  • Do not enclose visuals;

  • If you send an e-mail attachment, include your contact details in the same document as the story, not just in the e-mail message field;

  • Be sure of your entry before you send it — “improved” versions won’t be accepted;

  • Editing is at the discretion of The Witness;

  • Manuscripts will not be returned;

  • The competition is not open to full-time employees of The Witness.

CONTACT INFORMATION:

For queries/ submissions: features@witness.co.za

Website: http://www.witness.co.za

 

PUB: Obsidian Prize - High Desert Journal

The Obsidian Prize for Poetry

Through a literary prize, High Desert Journal aims to explore the realm described by poet Jarold Ramsey: “I believe in an ecology of story, memory and imagination as much as an ecology of land.” As an organization focused on a specific place, we at High Desert Journal have discovered that a deep hunger of readers, writers, and artists exists for place-based arts and literature. We believe every place has an ecology of story, memory, and imagination that inspires us, connects us to one another and to a place. We want to offer the best of this “ecology” through the Obsidian Prize.

  • 2012 Obsidian Prize for Poetry
  • Judged by Kim Stafford
  • $1,000 prize and publication in the High Desert Journal
  • Up to 3 poems.
  • $12 entry fee
  • Deadline: August 12, 2012
  • Only unpublished work accepted
  • For writers working in or inspired by the West: big Sky or big city. Send us your best work.
  • Submissions are only accepted via SubmishMash.
  • BLIND JUDGING. DO NOT PUT CONTACT INFORMATION ON MANUSCRIPT PLEASE.
  • Click here to submit.

 

VIDEO: It’s Back! Watch ‘The Unwritten Rules’ Ep. 5 – The Whack Girl > Clutch Magazine

It’s Back! Watch

‘The Unwritten Rules’

Ep. 5 – The Whack Girl

 

Kim Williams and her crew are back with yet another episode of the hilarious work-place web series, The Unwritten Rules.

In case you haven’t been keeping up, the series follows Racey as she navigates the tricky world of being one of the few black women on the job. So far, she’s had to contend with her coworker’s ignorance about her hair, her food choices, and her penchant for privacy.

But will things change when Racey heads downstairs to have lunch with some of her black coworkers?

Watch to find out what happens.

 

MEDIA: Miss Representation > Wondaland Arts Society

Miss Representation

miss_rep

Trailer Courtesy of Girls’ Club Entertainment.

“Like drawing back a curtain to let bright light stream in, MISS REPRESENTATION uncovers a glaring reality we live with every day but fail to see. Directed by Jennifer Siebel Newsom, the film explores how mainstream media contribute to the under-representation of women in influential positions in America and challenges the media’s limiting and often disparaging portrayals of women, which make it difficult for the average girl to see herself as powerful.

In a society where media is the most persuasive force shaping cultural norms, the collective message that our young women and men overwhelmingly receive is that a woman’s value and power lie in her youth, beauty, and sexuality–and not in her capacity as a leader. While women have made strides in leadership over the past few decades, the United States still ranks 90th in the world for women in national legislatures, depression rates have doubled among teenage girls, and cosmetic surgery on minors has more than tripled in the last ten years.

Stories from teenage girls and provocative interviews with politicians, journalists, academics, and activists like Condoleeza Rice, Nancy Pelosi, Katie Couric, Rachel Maddow, Margaret Cho, Rosario Dawson and Gloria Steinem build momentum as MISS REPRESENTATION accumulates startling facts and statistics that will leave the audience shaken and armed with a new perspective.”

If you get the opportunity, see this movie. It’s a must.

MEDIA: Miss Representation > Wondaland Arts Society

Miss Representation

Trailer Courtesy of Girls’ Club Entertainment.

“Like drawing back a curtain to let bright light stream in, MISS REPRESENTATION uncovers a glaring reality we live with every day but fail to see. Directed by Jennifer Siebel Newsom, the film explores how mainstream media contribute to the under-representation of women in influential positions in America and challenges the media’s limiting and often disparaging portrayals of women, which make it difficult for the average girl to see herself as powerful.

In a society where media is the most persuasive force shaping cultural norms, the collective message that our young women and men overwhelmingly receive is that a woman’s value and power lie in her youth, beauty, and sexuality–and not in her capacity as a leader. While women have made strides in leadership over the past few decades, the United States still ranks 90th in the world for women in national legislatures, depression rates have doubled among teenage girls, and cosmetic surgery on minors has more than tripled in the last ten years.

Stories from teenage girls and provocative interviews with politicians, journalists, academics, and activists like Condoleeza Rice, Nancy Pelosi, Katie Couric, Rachel Maddow, Margaret Cho, Rosario Dawson and Gloria Steinem build momentum as MISS REPRESENTATION accumulates startling facts and statistics that will leave the audience shaken and armed with a new perspective.”

If you get the opportunity, see this movie. It’s a must.

GO HERE FOR MORE INFO

http://www.missrepresentation.org/#

 

SPORTS: Just a few ways NBC has undermined Gabby Douglas' achievements

pityplease:

dreadedwarrior:

UPDATED: Just a few ways NBC has undermined Gabby’s achievements.

ridemyrevolution:

boehner-trollolol:

“Ally Rainsman really reigned in Gabby in the time of need”— Gabby scored 1/3 of the team’s points. [n-i-h-i-l added]

“She trained with Shawn Johnson which REALLY must have had some effect on her”— many gymnasts have trained under professionals. [n-i-h-i-l added]

“Gabby has a lead…not by much but, we hope she takes advantage of it”—Gabby consistently scored better (on average) than her teammates.[n-i-h-i-l added]

Not to mention they contributed the all-around success to Alexandra saying that she was the clincher… [cum-fraiche added]

and “ooh, lets talk about Jordyn not making the all around ten times more than Gabby being the highest scorer in all four events” [withasideofswag added]

The first Women’s Gymnastics team win since ‘96, but it was deemed “not all that amazing” by NBC.

Airing a commercial featuring a monkey doing gymnastics right after Gabby’s win. During all the commercials for other athletes and their wins they showed appropriate commercials featuring them and their talents. For example: the swimmer Rebecca Soni was featured in her own commercial beating her world record score. Gabby got a monkey. 

Also, when Gabby did her vault:

NBC on Gabby - “That wasn’t great…but she’ll take it” (she gets the highest score on the fucking thing, a 15.966)

NBC on Aly - “That was an AMAZING vault! She’s off to a great start!” (scores very well, but lower than Gabby)

Yeah. NBC hates that a black girl won the whole thing. 

I thought I was the only one who heard this shit… Thank goodness others, too, are paying attention to the bullshit.  FUCK YOU, NBC.

Did anyone notice that they did not talk about Dominique Dawes at all….not even when she attended the gymnastics for Gabby’s last go! They didn’t mention how great she was or what she accomplished when she was in the Olympics. Just nothing…No story.No commercial. Yet they have time to talk about and make a commercial about that white gymnast who got a perfect score back in the 70s or some shit and that other one who was on the same team as Dawes….and anybody else who’s white!…. 

Someone else has pointed out to me that Cullen Jones has been similarly shafted even though he won the gold in swimming. Apparently we can only lick and kiss white dick.

Like I said, there was NOTHING with/on Dominique Dawes all week until just now. Even though every 5 minutes they were throwing out “The Magnificent Seven.” Yes, let’s keep talking about the Fab Five and the Magnificent Seven but have Mary Lou Retton, Carly Patterson, and Nastia Liukin on for interviews -_-. Last I checked, they weren’t part of that team.

And when Cullen Jones won the silver, they DID NOT talk about him at all. They only showed the guy from france and the other guy.

(via karnythia)

Source: pityplease

__________________________

Did NBC Air

a Monkey Gymnastics Ad

Right After Gabby’s Win?

by Dr Boyce Watkins, KultureKritic.com

We can’t imagine NBC deliberately undermining one of the greatest golden girls in the history of sport.  After all, with the sagging ratings that the network has had to endure during these Olympic games, Gabby Douglas has been their hero.

But a recent ad that appeared right after Gabby’s win had some eyebrows crinkled and heads turning.  The ad, which ran right after Bob Costas spoke fondly of Gabby’s accomplishment, consisted of a monkey with an Olympic dream, preparing to perform a gymnastics routine.

Some have called the ad racist, but others are stating that it’s probably just a coincidence.  But then again, NBC was also the network that fueled charges of racism by serving fried chicken in honor of Black History Month.

Assuming that the YouTube video one of our readers sent me is not some kind of sick stunt (several of my Facebook friends recall seeing the ad live), we’re going to assume that if they had it all to do over again, NBC wouldn’t air an ad about a monkey doing gymnastics right after such an historic event.  I even took the liberty this week of dumping Gabby’s nickname, “The Flying Squirrel,” because it reminded me too much of the Flying Monkeys in The Wizard of Oz.

Perhaps since NBC owns TheGrio.com, they can invite some of their staff members to a meeting to explain Offensive Racism 101.   The first rule would be to never portray a monkey engaged in the same activity that a black person just performed right before.  The joke isn’t funny and it’s flabbergasting that a network that controls a major black online news organization would make such a blatant and ridiculous error.  Black people and monkeys just don’t mix….ever.

These kinds of major screw-ups on a global stage should be wake-up calls for companies like NBC to understand what true diversity really means.  When you put out an ad about a monkey doing gymnastics right after presenting one of the greatest black female athletic performances in history, it’s clear that there could NOT have been an intelligent black person in the room.

Maybe NBC needs to go hire a few more black people.  This should never have happened and they know it.

The video is below:

Dr. Boyce Watkins is a professor at Syracuse University and founder of the Your Black World Coalition. To have Dr. Boyce commentary delivered to your email,please click here.

>via: http://www.kulturekritic.com/2012/08/news/did-nbc-air-a-monkey-gymnastics-ad-...

__________________________

 

NBC Explains The Monkey Ad

They Ran Right After

Gabby Douglas’ Win,

But Doesn’t Apologize

by Dr Boyce Watkins, KultureKritic.com


NBC has issued an excuse and explanation for their recent ad with a monkey doing gymnastics that was shown right after a Bob Costas tribute to gold medal winner Gabby Douglas.  The ad set off a firestorm of controversy, as the timing of the ad was incredibly poor and highly offensive to millions of Americans.  The ad featured a “monkey with an Olympic dream” lifting himself up on still rings, with flashing cameras in the background.  I don’t need to tell you about the flaws of mixing the imagery of black people and monkeys.

NBC came forth with their explanation for what happened shortly afterward:

“Gabby Douglas’ gold medal performance last night was an historic and inspiring achievement,” NBC Universal spokeswoman Liz Fischer said. “The spot promoting `Animal Practice,’ which has run three times previously, is one in a series with an Olympic theme, which have been scheduled for maximum exposure. Certainly no offense was intended.”

I refer to the statement an “explanation” and an “excuse” because it clearly was not an apology.  I find it interesting that NBC would go out of their way to tell us that they didn’t intend to offend us.  Did anyone think that they offended us deliberately?  What the network needs to understand is that most offensive organizations are not deliberately ignorant, and even in the case where you accidentally offend or insult another party, an apology is more meaningful than simply thinking that your lack of intent lets you off the hook.

The tone of the NBC excuse is consistent with the manner by which many organizations clean up after offending the black community (there isn’t much of a penalty for offending black folks). In situations where a sincere apology seeking humility and understanding is called for, we instead get the insinuation that we are simply being too sensitive and that the lack of intent should exonerate the offender from what they’ve done.  That’s like my saying “I don’t have to apologize for running you over with my car because it’s clear that I didn’t see you in the street.  Therefore, you have no reason to be angry with me. ”

Perhaps NBC should consider an alternative statement that goes something like this:

“Gabby Douglas’ gold medal performance last night was an historic and inspiring achievement. It has been brought to our attention that the spot promoting `Animal Practice’ was offensive to some, who see the ad as a reminder of America’s painful racial history.  To those who were offended by the ad, we sincerely apologize.  Certainly no offense was intended.”

Do you see how easy that was? You see, a person who refuses to apologize for a wrong they’ve committed against another person is actually committing a second offense by turning the blame for the turmoil onto the injured party.  When I say, “Oh, I wasn’t trying to offend you with the monkey ad that came on right after your African American hero,” I am effectively saying that it is your perception of the situation that is flawed, not my actions.

Let’s be clear:  What NBC did was horrible and humiliating for everyone.  A simple apology was all that the situation called for, not a tongue-twisting explanation for all the reasons that it wasn’t your fault.  All throughout our history in this country, African Americans are consistently told that slavery wasn’t a big deal, that we get offended too easily and that racial bias is the social boogeyman only seen by those who are determined to harbor delusional conspiracy theories.  But the truth is that the rest of world can clearly see (as the United Nations has cited our country for blatant human rights violations in our education, economic and criminal justice systems) that the most delusional among us are those who somehow believe that American racism is a thing of the past.

The first step toward racial healing is accountability.  We’re tired of being manipulated.

Dr. Boyce Watkins is a professor at Syracuse University and founder of the Your Black World Coalition. To have Dr. Boyce commentary delivered to your email,please click here.

>via: http://www.kulturekritic.com/2012/08/news/nbc-explains-the-monkey-ad-they-ran... 

 

 

LITERATURE: Arundhati Roy > Racialicious

August 3, 2012

By Andrea Plaid

Arundhati Roy. Photo: Sanjay Kak. Courtesy: pcp.gc.cuny.edu

 

If Arundhati Roy was a rock star and I was at her concert, I’d be that fool who’d shout, “I LOVE YOOOUUU!” from the cheap seats while she was doing her between-song banter.

Well, Roy is a literary rock star. I fell for her writerly riffs when I caught up with her 1997 semi-autobiographical debut novel, The God Of Small Things, a couple of years ago:

May in Ayemenen is a hot, brooding month. The days are long and humid. The rivers shrinks and black crows gorge on bright mangoes in still dustgreen trees. Red bananas ripen. Jackfruits burst. Dissolute bluebottles hum vacuously in the fruity air. Then they stun themselves against clear windowpanes and die, fatly baffled in the sun.

The nights are clear , but suffused with sloth and sullen expectations.

But by early June the southwest monsoon breaks and there are three months of wind and water with short spells of sharp, glittering sunshine that thrilled children snatch to play with. The countryside turns an immodest green. Boundaries blur as tapioca fences take root and bloom. Brick walls turn mossgreen. Pepper vines snake up electric poles. Wild creepers burst through laterite banks and spill across the flooded roads. Boats ply in the baazars. And small fish appear in the puddles that fill PWD potholes on the highways.

The God Of Small Things brought Roy, who previously worked on screenplays and movie criticism and trained as an architect, incredible acclaim in the US. She also won the Booker Prize for Fiction in 1997 for the book, though some folks threw serious shade about it. However–perhaps presciently–she had to answer for obscenity charges back in Kerala, where she grew up, for the book’s descriptions of sexuality.

 

Instead of creating a catalog of novels, Roy shreds as a essayist-activist on topics like environmental justice and the cost of damming the Narmada River in Gujarat, India, to which Roy donated her Booker Prize award and the profits from her books and for which India’s Supreme Court issued a contempt charge to Roy and her anti-dam compatriots:

In the fifty years since Independence, after Nehru’s famous “Dams are the Temples of Modern India” speech (one that he grew to regret in his own lifetime), his footsoldiers threw themselves into the business of building dams with unnatural fervour. Dam-building grew to be equated with Nation-building. Their enthusiasm alone should have been reason enough to make one suspicious. Not only did they build new dams and new irrigation systems, they took control of small, traditional systems that had been managed by village communities for thousands of years, and allowed them to atrophy. To compensate the loss, the Government built more and more dams. Big ones, little ones, tall ones, short ones. The result of its exertions is that India now boasts of being the world’s third largest dam builder. According to the Central Water Commission, we have three thousand six hundred dams that qualify as Big Dams, three thousand three hundred of them built after Independence. One thousand more are under construction. Yet one-fifth of our population – 200 million people – does not have safe drinking water and two-thirds – 600 million – lack basic sanitation.

Big Dams started well, but have ended badly. There was a time when everybody loved them, everybody had them – the Communists, Capitalists, Christians, Muslims, Hindus, Buddhists. There was a time when Big Dams moved men to poetry. Not any longer. All over the world there is a movement growing against Big Dams. In the First World they’re being de-commissioned, blown up. The fact that they do more harm than good is no longer just conjecture. Big Dams are obsolete. They’re uncool. They’re undemocratic. They’re a Government’s way of accumulating authority (deciding who will get how much water and who will grow what where). They’re a guaranteed way of taking a farmer’s wisdom away from him. They’re a brazen means of taking water, land and irrigation away from the poor and gifting it to the rich. Their reservoirs displace huge populations of people, leaving them homeless and destitute. Ecologically, they’re in the doghouse. They lay the earth to waste. They cause floods, water-logging, salinity, they spread disease. There is mounting evidence that links Big Dams to earthquakes.

Big Dams haven’t really lived up to their role as the monuments of Modern Civilisation, emblems of Man’s ascendancy over Nature. Monuments are supposed to be timeless, but dams have an all-too-finite lifetime. They last only as long as it takes Nature to fill them with silt. It’s common knowledge now that Big Dams do the opposite of what their Publicity People say they do – the Local Pain for National Gain myth has been blown wide open.

For all these reasons, the dam-building industry in the First World is in trouble and out of work. So it’s exported to the Third World in the name of Development Aid, along with their other waste like old weapons, superannuated aircraft carriers and banned pesticides.

The US invading Afghanistan in 2001 and using September 11 as the reasoning for it:

Speaking at the FBI headquarters a few days later, President Bush said: “This is our calling. This is the calling of the United States of America. The most free nation in the world. A nation built on fundamental values that reject hate, reject violence, rejects murderers and rejects evil. We will not tire.”

Here is a list of the countries that America has been at war with – and bombed – since the second world war: China (1945-46, 1950-53), Korea (1950-53), Guatemala (1954, 1967-69), Indonesia (1958), Cuba (1959-60), the Belgian Congo (1964), Peru (1965), Laos (1964-73), Vietnam (1961-73), Cambodia (1969-70), Grenada (1983), Libya (1986), El Salvador (1980s), Nicaragua (1980s), Panama (1989), Iraq (1991-99), Bosnia (1995), Sudan (1998), Yugoslavia (1999). And now Afghanistan.

Certainly it does not tire–this, the most free nation in the world.

What freedoms does it uphold? Within its borders, the freedoms of speech, religion, thought; of artistic expression, food habits, sexual preferences (well, to some extent) and many other exemplary, wonderful things.

Outside its borders, the freedom to dominate, humiliate and subjugate ­ usually in the service of America¹s real religion, the “free market”. So when the US government christens a war “Operation Infinite Justice”, or “Operation Enduring Freedom”, we in the third world feel more than a tremor of fear.

Because we know that Infinite Justice for some means Infinite Injustice for others. And Enduring Freedom for some means Enduring Subjugation for others.

Contextualizing the attacks in Mumbai in November, 2008, out of a 9/11 frame of reference and into the region’s military conflicts and poverty:

The Mumbai attacks are only the most recent of a spate of terrorist attacks on Indian towns and cities this year. Ahmedabad, Bangalore, Delhi, Guwahati, Jaipur and Malegaon have all seen serial bomb blasts in which hundreds of ordinary people have been killed and wounded. If the police are right about the people they have arrested as suspects, both Hindu and Muslim, all Indian nationals, it obviously indicates that something’s going very badly wrong in this country.

If you were watching television you may not have heard that ordinary people too died in Mumbai. They were mowed down in a busy railway station and a public hospital. The terrorists did not distinguish between poor and rich. They killed both with equal cold-bloodedness. The Indian media, however, was transfixed by the rising tide of horror that breached the glittering barricades of India Shining and spread its stench in the marbled lobbies and crystal ballrooms of two incredibly luxurious hotels and a small Jewish centre.

We’re told one of these hotels is an icon of the city of Mumbai. That’s absolutely true. It’s an icon of the easy, obscene injustice that ordinary Indians endure every day. On a day when the newspapers were full of moving obituaries by beautiful people about the hotel rooms they had stayed in, the gourmet restaurants they loved (ironically one was called Kandahar), and the staff who served them, a small box on the top left-hand corner in the inner pages of a national newspaper (sponsored by a pizza company I think) said “Hungry, kya?” (Hungry eh?). It then, with the best of intentions I’m sure, informed its readers that on the international hunger index, India ranked below Sudan and Somalia. But of course this isn’t that war. That one’s still being fought in the Dalit bastis of our villages, on the banks of the Narmada and the Koel Karo rivers; in the rubber estate in Chengara; in the villages of Nandigram, Singur, Chattisgarh, Jharkhand, Orissa, Lalgarh in West Bengal and the slums and shantytowns of our gigantic cities.

That war isn’t on TV. Yet. So maybe, like everyone else, we should deal with the one that is.

Calling out Sri Lanka for its “openly racist war”against the Tamils–and the media in Sri Lanka and the world–for not covering it:

2

From the little information that is filtering through, it looks as though the Sri Lankan government is using the propaganda of “the war on terror” as a fig leaf to dismantle any semblance of democracy in the country, and commit unspeakable crimes against the Tamil people. Working on the principle that every Tamil is a terrorist unless he or she can prove otherwise, civilian areas, hospitals and shelters are being bombed and turned into a war zone. Reliable estimates put the number of civilians trapped at over 200,000. The Sri Lankan army is advancing, armed with tanks and aircraft.

Meanwhile, there are official reports that several “welfare villages” have been established to house displaced Tamils in Vavuniya and Mannar districts. According to a report in the Daily Telegraph, these villages “will be compulsory holding centres for all civilians fleeing the fighting”. Is this a euphemism for concentration camps? Mangala Samaraveera, the former foreign minister, told the Telegraph: “A few months ago the government started registering all Tamils in Colombo on the grounds that they could be a security threat, but this could be exploited for other purposes, like the Nazis in the 1930s. They’re basically going to label the whole civilian Tamil population as potential terrorists.”

Given its stated objective of “wiping out” the Liberation Tigers of Tamil Eelam, this malevolent collapse of civilians and “terrorists” does seem to signal that the government of Sri Lanka is on the verge of committing what could end up being genocide. According to a UN estimate, several thousand people have already been killed. Thousands more are critically wounded. The few eyewitness reports that have come out are descriptions of a nightmare from hell.

What we are witnessing, or should we say what is happening, in Sri Lanka–and what is being so effectively hidden from public scrutiny–is a brazen, openly racist war. The impunity with which the Sri Lankan government is being able to commit these crimes actually unveils the deeply ingrained racist prejudice that is precisely what led to the marginalisation and alienation of the Tamils of Sri Lanka in the first place. That racism has a long history – of social ostracism, economic blockades, pogroms and torture. The brutal nature of the decades-long civil war, which started as a peaceful protest, has its roots in this.

Roy’s criticisms, as one may expect, has drawn their own: one writer calls her earlier excerpted comment on the Mumbai bombings “the latest of her series of hysterical diatribes against India and all things Indian.”  Author Salmon Rushdie says in an video interview that he had a “moral problem” with Roy’s post on the Mumbai bombings and that her “simple choice of justice or civil war…is unintelligent.” And, as mentioned, the courts have issued their own style of criticizing Roy’s words.

However, Roy has been awarded for her literary advocacy: the Lannon Foundation Cultural Freedom Award in 2002, the Sydney Peace Prize in 2004, and the Norman Mailer Prize in 2011.  She declined the Sahitya Akademi Award from India’s Academy of Letters because she refused to support the country’s policies:

“I have a great deal of respect for the Sahitya Akademi, for the members of this year’s Jury and for many of the writers who have received these awards in the past. But to register my protest and reaffirm my disagreement — indeed my absolute disgust — with these policies of the Indian Government, I must refuse to accept the 2005 Sahtiya Akademi Award…This present government, too, has seen it fit to declare itself an ally of the US, thereby condoning the American invasion of Afghanistan and the illegal occupation of Iraq, which, under the Nuremburg principles, constitutes the supreme crime of a war of aggression.”

Like I said, Arundhati Roy rocks hard. And I say, “Rock on, sis…and I LOVE YOOOUUU!”

 

HISTORY + VIDEO: Forgotten Rebellion > words of eloquence | theturnstyles


theturnstyles:

Forgotten Rebellion:

Black Seminoles and the

Largest Slave Revolt

in U.S. History

 

 

#knowyourhistory

I have been a student in America for almost 18 years. I’ve taken a plethora of history courses and 90% of them were on the exact same shit. According the history I was taught in school, these few things are certain

  1. Black people were slaves in America

  2. Then they weren’t

  3. Harlem Renaissance

  4. Rosa Parks

  5. Martin Luther King

The sad part is that I’m well-versed in a history that isn’t my own because I had to be. But not everybody has to learn about my history so we are trained to think its less important. Much of my knowledge comes from my will to learn about it, but I can’t say that everyone feels the same.

There are so many reasons why this video is so perfect. Besides the fact that its a great story that would probably make a sick feature film,  the historian answers a question that most historians don’t answer: Why isn’t this a well-known event? The historian had her answer but I have mine…

…First, we see how America got chumped by its next-door enemy, Mexico. America usually has to be the good guy, right?

….Second, the slave revolter got away scotch free, and was recognized as a HERO!

That’s my two cents. Remember, like my man Paul Mooney says #knowyourhistory!

(via mujerdorada)

 

VIDEO: Chocquibtown, Oro > Wondaland Arts Society

Chocquibtown, Oro

oro

I’m obsessed with Chocquibtown.

I first caught wind of the Fugees-esque trio three years ago right as they were dropping their sophomore album Oro on Nacional Records to what would soon be massive critical acclaim. Hailing from Colombia’s Pacific Coast, Goyo, Tostao, & Slow were making major waves with their uniquely infectious blend of hip hop, funk, and alternative rock with the traditional salsa and marimba sounds of their homeland. Chocquibtown’s raw energy and honest lyrics were resonating with audiences of all types, both inside and outside of South America; suddenly, the group found themselves painting a different, more accurate, more African face of Colombia (recent estimates place the number of Afro-Colombians near 10.4 million, yet they are rarely represented on a national stage, including in both media and politics) and by 2010, they had won a Latin Grammy award in the “Best Alternative Song” category for De Donde Vengo Yo. Their win certainly propelled them onto an even larger stage, and audiences–from SXSW to Glastonbury–were treated to the talented group’s amazing live stage performances.

My obsession with Chocquibtown doesn’t start with their Latin Grammy, or the first time I heard Somos Pacificos, or even the first time that I saw the jaw-dropping video for De Donde Vengo Yo, filled with beautiful, energetic Afro-Colombians celebrating the history and geography that gave rise to them. Nah, for me the story begins a bit earlier.

It starts when I’m five years old, and my lil homies are demanding to know why my very dark-skinned mother has that “funny” accent and how in the world she is speaking Spanish.

Or perhaps a more accurate place to start is that time in seventh grade when my teacher had us work on a project that entailed researching our parents’ educational background. I can still remember how shocked I was at hearing my mother say, “I never went to high school; I went to sewing school. Where I’m from, people who look like me don’t get to go to school.”

It lies in every single time I would try and heed my father’s advice to have pride in my Central American roots but would simultaneously have to battle the racial slurs that many of the non-Black Latino kids at school would call me on a daily basis. Or always having to hear a variation of “Don’t worry, you’re not Black. You’re Panamanian,” when someone needed an excuse to kick it with me. And how I wanted to shout from the rooftops, “I’m BOTH! I’m BOTH!” but could never find the voice to do so.

And as a child, how I would constantly sit through my aunties’ and uncles’ stories about how great their country was; how where they were from, people weren’t so capitalistic and self-serving; how people there would share their last piece of bread with their neighbors if they were hungry. And me, wanting so badly to be there, to magically transport myself to the little casa in Rio Abajo, patacones frying on the stove, beads of sweat crowding along my brow, agua de pipa juice dripping down my chin and arm, crashing into a tiny stream around my toes; I wanted to be THERE. I wanted to discover the landscape that, by then, existed mainly in my people’s memories; the landscape that I felt I would never have access to.

It’s the story of identity and survival.

De donde vengo yo // La cosa no es fácil pero siempre igual sobrevivimos

Of attempting to cultivate pride when what seems like the entire world is telling you in not-so-subtle-ways that you should feel shame for what you look like, and how you move, and how you sound.

Con raros peinados o con extensión // Critíquenme a mí o lo critico yo

It’s the struggle to find the voice to sing, to boast to those around you that your heritage is, in fact, beautiful.

Y aquí se habla mal pero todo está mucho mejor

And it’s a story that took me a long time to realize is not only mine. The story is universal, one that I share with millions of dark-skinned Latinos in countries around the world, countries with governments that try desperately to ignore their existence.

Invisibilidad nacional e internacional // Auto-discriminación sin razón // Racismo inminente mucha corrupción

It’s the story of an almost super-human resilience of a people who, through it all, choose life over death, and joy over despair.

Tenemos problemas pero andamos happy

I’m obsessed with Chocquibtown.

Because not only do they represent so much of the struggle and triumphs of my people, but they’re also unbelievably fucking talented. They rhyme; Goyo (the girl) can sing her ass off; Slow takes the reigns on production, handling many of the group’s beats; and Tostao has a flow that few raperos today can contend with. The album runs the gamut–from the title track Oro that tells the familiar tale of a land being robbed of its riches and Pescao Envenenao, a metaphorical song about resisting institutionalized plans to both corrupt and destroy, to the record’s love song, Alguien Como Tu, and everything in between. The variety in their songs’ subject matter, coupled with the brave experimentation of genre mixing, creates a sound that feels progressive and complete.

It is so refreshing that Oro isn’t formulaic. It breathes easily from one track to the next: steady, eclectic beats, intelligent arrangement, brave composition. Nearly three years after the LP’s initial release date and the group’s subsequent studio album, Eso Es Lo Que Hay, Oro continues to stand head and shoulders above much of today’s urban music releases throughout the African Diaspora.

 

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MUY MAS (Much More)

<p>ChocquibTown Music Video "oro" from Renzo Devia / Creador Pictures on Vimeo.</p>

<p>calentura - chocquibtown from plan9 on Vimeo.</p>