VIDEO + AUDIO: Get to Know: British-Ghanaian Singer Kwabs

Kwabena Adjepong sings at Buckingham Palace in front of an audience including Prince Harry. Filmed in October 2010 for BBC television programme Goldie's Band: By Royal Appointment.


Get to Know:

British-Ghanaian Singer Kwabs


Sounds like: The quiet thunder of a young Donny Hathaway.

The low-down: Real name Kwabena Adjepong, so a Ghanaian Londoner (Yes!). Some of his esteemed audiences so far include Buckingham Palace, where he performed as a participant in BBC2′s music reality TV series Goldie’s Band

The verdict: Do not tar this guy with the same brush as the X-Factor fold. Kwabs actually sings and deserves a career doing it. Look how he out-James Blaked this number…

The take-away: And now he’s officially in the game, signed with Atlantic, and ready to kill shit. Check out his latest track Spirit Fade below and watch him soar!

 

 

PUB: Fountain Media Article Writing Competition (Kshs7,000 top prize | Kenya) > Writers Afrika

Fountain Media Article Writing Competition

(Kshs7,000 top prize | Kenya)

Write an article 800 words long on who you think will win the March 4th elections and why. The writers of the shortlisted articles will be given publishing rights to do so through our website www.fountainmedia.co.ke
 

The article with the most views will win cash awards: Kshs7,000 for the first place, and Kshs5,000 and Kshs3,000 for the second and third placers, respectively.

For queries/ submissions: editor@fountainmedia.co.ke

Website: http://www.fountainmedia.co.ke/ 

 

PUB: Madeleine P. Plonsker Prize : Writing contests for writing people!


Madeleine P. Plonsker Prize

CATEGORIES

for U.S. Writers

for Worldwide Writers

U.S. Writing Contests

For Free | Fiction |



--> Beginning DateTime 1st March 2013 Friday   (Allday Event) -->
DEADLINE 1st March 2013 Friday  
ENTRY FEE Free
PRIZE $10,000 Description -->
Each spring, Lake Forest College, in conjunction with the &NOW Books, sponsors emerging writers under forty years old—with no major book publication—to spend two months in residence at our campus in Chicago’s northern suburbs on the shore of Lake Michigan.

There are no formal teaching duties attached to the residency. Time is to be spent completing a manuscript, participating in the annual Lake Forest Literary Festival, and offering a series of public presentations.

The completed manuscript will be published (upon approval) by &NOW Books imprint, with distribution by Northwestern University Press.

The stipend is $10,000 with a housing suite and campus meals provided by the college.


http://www.lakeforest.edu/


http://www.lakeforest.edu/academics/p ... nglish/press/plonsker.php

Click on the link above and go to the contest official site

 

PUB: Randall Jarrell Poetry Competition


Randall Jarrell Poetry Competition


Written by Administrator   
Monday, 25 February 2008 13:55

Postmark deadline: March 1 (annual)
Submissions accepted: January 15 – March 1

The Randall Jarrell Poetry Competition accepts one-poem submissions. The contest awards the winner $200, publication in storySouth, and an invitation to read his/her poetry at UNC Greensboro’s Founders Day activities. Questions may be directed to Terry L. Kennedy, Associate Director, MFA Writing Program, at tlkenned@uncg.eduThis e-mail address is being protected from spambots. You need JavaScript enabled to view it .

Eligibility and Guidelines

  • The competition is open to any writer who is a legal resident of North Carolina or a member of the North Carolina Writers’ Network.

  • Submissions should be one poem only (40-line limit).

  • Poem must be typed (single-spaced) and stapled in the left-hand corner.

  • Author's name should not appear on the poem. Instead, include a separate cover sheet with author's name, address, e-mail address, phone number, and poem title.

  • Poem will not be returned. Include a self-addressed stamped envelope for a list of winner and finalists. The winner and finalists will be announced in May.

  • An entry fee must accompany the poem. Multiple submissions are accepted, one poem per entry fee: $10 for NCWN members, $15 for nonmembers.

  • You may pay member entry fee if you join the NCWN with your submission. Checks should be made payable to the North Carolina Writers’ Network.

  • Send submissions to:

Terry L. Kennedy
MFA Writing Program
3302 MHRA Building
UNC Greensboro
Greensboro, NC 27402-6170

 

WOMEN + VIDEO: Terrifying, Strange and Beautiful > Indiegogo

Terrifying, Strange and

Beautiful

 

In partnership with Warsan Shire, Live Unchained will host an awards ceremony for women artists titled "Terrifying, Strange & Beautiful."

Vision

Live Unchained, an international arts media and events organization, has featured over 100 women artists from over 16 countries on their growing online magazine at www.liveunchained.com. The organization is now partnering with Warsan Shire to host an awards ceremony titled "Terrifying, Strange and Beautiful", to honor Live Unchained featured artists. The event is named after a line from Shire's poem, "For Women Who Are Difficult to Love" to acknowledge the layers and complexity of women individually and as part of an international community.

Expenses

$15,000 will cover an important portion of the costs for the event including:

 

Promotional/Marketing Material
Venue Rental Fees (Spaces, Insurance, Ticketing Fees, etc.)
Warsan Shire International Travel & Accomodations
Production (Photography & Videography)
Entertainment
Awards Production (We’re having a sculpture artist craft the awards)
Transportation Costs
Decorations
Catering
Miscellaneous

 

Perks

We're grateful for the support of instituions and artists that have already endorsed "Terrifying, Strange and Beautiful" to provide you with great perks in exchange for your contribution.

The talented graphic designer, Shari Neal of Bon Bon Vie, has designed the official "Terrifying, Strange and Beautiful" Awards poster.

Popular fashion artist, Michelle Robinson, of Create.Ture Fashion Studio has designed a limited edition, "Terrifying, Strange and Beautiful" hand drawn American Apparel shirt.

Terrifying, Strange & Beautiful T-Shirt

Terrifying, Strange & Beautiful T-Shirt 2

Eric Benson, the Chair of the Graphic Design department at the University of Illinois at Urbana-Champaign and Live Unchained Chief Visionary Officer, Kathryn Buford, designed a special assignment for his students in which they created art postcards inspired by lines of poetry by Warsan Shire. You'll get an assortment of 10 different high-res 4" X 6" postcards with a contribution of $35. Below are four of these beautiful cards by students Nathalie Rock, Michael Zhang, Lauren Blackburn and Denise Castaneda. View them all at www.liveunchained.com.

Nathalie Rock Postcard

Postcard by Michael Zhang

Lauren Blackburn Postcard

Denise Castaneda Postcard

The talented painter, J'Nell Jordan, is a "Terrifying, Strange & Beautiful" event sponsor. Art lovers will enjoy the perk of a limited Giclée print of Warsan by J'Nell with a contribution of $200.

Warsan Shire by J'Nell Jordan

J'Nell Jordan Painting Warsan

In addition to these exclusive perks, you'll also receive many more, including Live Unchained membership, discounted tickets to the event and advertising space!

You can also help by sharing our campaign video with artists and creative spirits that you think would appreciate Warsan Shire and Live Unchained!

 

__________________________

 

 

Art Postcard Banner

 

When a poem is visualized, you can relate to it in new ways. We’re happy to have the support of the University of Illinois at Urbana-Champaign Graphic Design department in our “Terrifying, Strange & Beautiful” crowdfunding campaign at www.indigegogo.com/liveunchained. Graphic Design students read several poems by Warsan Shire and created artwork based on the lines [...]

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When a poem is visualized, you can relate to it in new ways. We’re happy to have the support of the University of Illinois at Urbana-Champaign Graphic Design department in our “Terrifying, Strange & Beautiful” crowdfunding campaign at www.indigegogo.com/liveunchained. Graphic Design students read several poems by Warsan Shire and created artwork based on the lines that resonated with them.

Eric Benson, Chair of University of Illinois Graphic Design Program and Associate Professor, is a published author, activist and international speaker on sustainable design theory and practice. Eric has been a long-time Live Unchained supporter and collaborated with us to design the Live Unchained “Terrifying, Strange and Beautiful” graphic design assignment for his students as a postcard campaign. Speaking of the project, Eric says: “It’s been great seeing Live Unchained grow over the years. I was happy to share this opportunity with my students. It’s given them the opportunity to design for a diverse community and the Live Unchained website has introduced them to art and artists that many have only begun to know.”

We think you’ll love this art as much as we do. You can collect all 16 cards with our newest perk, “Art Cards,” for a contribution of $35. Please pin, tweet, tumblerize and post these images everywhere online to help spread the word about the “Terrifying, Strange & Beautiful” campaign. The official “Terrifying, Strange & Beautiful” hashtag is #liveunchained.

Inspired by the poem, “Residue” by Warsan Shire | Designed by: Nathalie Rock

Inspired by the poem: “Day 7,” by Warsan Shire | Designed by: Eduardo Diazmuñoz

Inspired by the poem: “The Letter Your Mother Couldn’t Write,” by Warsan Shire | Designed by Michael Zhang

Inspired by the poem: “Haiku on missing,” by Warsan Shire | Designed by: Evan Jarzynski

Inspired by the poem: “The Fire,” by Warsan Shire | Designed by Monique Marchwiany

Inspired by the poem: “My hair is falling out, but there are worse things to lose,” by Warsan Shire | Designed by Derek Steinweg

Inspired by the poem: “Untitled,” by Warsan Shire by Elaine Palutsis

Inspired by the poem: “For Women Who Are Difficult to Love,” by Warsan Shire | Designed by Michael Wernert

Inspired by the poem: “Be small for me,” by Warsan Shire | Designed by Audrey Javier

Inspired by the poem: “34 excuses for why we failed at love,” by Warsan Shire | Designed by Daryl Quitalig

Inspired by the poem: “Be small for me” by Warsan Shire | Designed by Heather Stickney

Inspired by the poem: “Crude conversations with boys who fake laughter often,” by Warsan Shire | Designed by Vanessa Burritt

Inspired by the poem: “What did we even talk about” by Warsan Shire | Designed by Ellen Claire Winston

Inspired by the poem: “What they did yesterday afternoon,” by Warsan Shire. Designed by Denise Castaneda

Inspired by the poem: “Residue,” by Warsan Shire | Designed by Courtney Lai

Inspired by the poem: “I am a lover without a lover,” by Warsan Shire | Designed by: Hyo Ri Nam

Inspired by the poem: “The inanimate daugher,” by Warsan Shire | Designed by Lauren Blackburn

We can’t make “Terrifying, Strange and Beautiful” a reality without your support. Any amount you can contribute would be much appreciated. Please spread the word aboutwww.indiegogo.com/liveunchained!

Written by Kathryn Buford 

>via: http://www.liveunchained.com/inspired-by-the-poetry-of-warsan-shire-design-st...

 

 

__________________________

 30 Days Unchained/#30

 

Unchained | Day 24 - 2/2/13 

 

Inspiration: Jepchumba

 

When Jepchumba, a Kenyan digital artist, found a general dearth of African productions in the digital media industry, she created African Digital Art, a virtual community for African visual artists to connect and cooperate. She believed in the power of the collective and utilized modern [...]

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Jepchumba

When Jepchumba, a Kenyan digital artist, found a general dearth of African productions in the digital media industry, she created African Digital Art, a virtual community for African visual artists to connect and cooperate. She believed in the power of the collective and utilized modern digital tools to link African artists across time and space. African Digital Art showcases work by current artists as well as serves as a platform for those aspiring to share and improve their work. In addition to the online magazine, Jepchumba describes African Digital Art as “ a network that is bringing artists and professionals together to really synthesize the digital media industry.”

As much as art is a medium of individual expression, it can also be a tool of social empowerment and mobilization. For Jepchumba, tells Live Unchained that the artist’s social responsibility is: “… to continue to be truthful and honest in their art and be true to themselves first above anything else.” Jepchumba’s  commitment to truthfulness is the inspiration for today’s challenge… 

 

Share your image(s) on Facebook, Twitter and Pinterest and be sure to tag @liveunchained and use the hashtag #30unchained so we can shout you out! Be sure to follow us on FacebookPinterest and Twitter to keep up with the latest #30unchained news. 

 

“Attack of Jepchumba” by Jepchumba

Live Unchained: How did you become interested in digital art?

J: My journey into digital art was a reluctant one. Since I could remember I was always interested in graphic art, I think I get it from my Mom, she is the creative one in my family. However, I never considered myself an artist mainly because I didn’t recognize that I had any talent in it. When I went to college for my undergrad, I majored in Criticial Social Thought and we were always required to write long long papers, I found that I always ended up doing some sort of creative project to express my ideas rather than just using words. I soon found out that I had successfully completed a large amount of digital projects from films, animations, web design projects, games and more. I recognized that I actually loved combining technology and art and pursuing digital art would only be a natural progression.

Digital Art by Jepchumba

LU: You’ve linked your appreciation for digital art with your love of Africa on African Digital Art. Can you tell us about the African Digital Art website? Why do you think it is so important to curate this space online and bring together African artists?

J: African Digital Art Network really came out of a real need to showcase Africa’s talent. For too long the digital media industry had largely ignored Africa as a source for digital art, even though Africa has along and strong visual artistic culture. African digital art is not merely an online magazine it is a network that is bringing artists and professionals together to really synthesize the digital media industry. This network is comprised also of a social networking component which we are calling the community where you can upload your profile and communicate with fellow artists, professionals and enthusiasts.

African Digital Art Network is crucial because it not only fosters the creative community it also helps strengthen and develop a creative economy that is much needed in Africa.

LU:  Do you think artists have certain social responsibilities?

J: Artists are no different than any other group of people and with that does come social responsibilities. For centuries, artists have often been looked at as the truthful voice of society, which is why many of them have been persecuted in the ages. I would say their main charge is to continue to be truthful and honest in their art and be true to themselves first above anything else.

However, we as consumers of art should also take responsibility in preserving our culture and appreciating the great work that artists do as well. This is especially true in Africa where we don’t take much interest in the art world. It is unfortunate that most of our cultural houses are supported by outside, and often, foreign entities, rather than our own. The world certainly appreciates African art and we need to do the same by supporting local artists and institutions.

LU: Finally, what does living unchained mean to you?

J: Oh wow, that is such a great question. I think living unchained means being unchained from conformity.

This interview is excerpted from a full feature with the artist. View the original article here.

30 Days Unchained/#30unchained is an interactive creative countdown to the Live Unchained Anniversary Celebration . Everyday for 30 days, we’ll share some of our most popular interviews with Live Unchained featured artists. They include women creatives of various disciplines from across the African diaspora. Her creative journey will be the inspiration for your challenge. To participate simply respond to the challenge question with images (not words). Share it on Facebook, Twitter or Pinterest and be sure to tag @liveunchained so we can shout you out – it’s that simple. Learn more about 30 Days Unchained, including rules and prizes hereGet your daily challenge from Thursday, January 10th through the day of the big bash on Friday, February 8th at www.liveunchained.com.

Written by Kathryn Buford and Nesrien Hamid 

>via: http://www.liveunchained.com/jepchumba-reveals-the-truth-about-artists-30-day...

 

 

 

 

 

 

 

WOMEN: “Let your voices be heard” > inkanyiso-org

2013 Feb. 8:

“Let your voices be heard”

by Charmain Carrol

Given an opportunity to tell my story I will talk about where I’ve been and what I have done and the remarkable people I met along my journeys. This remains in my archived memories. It was an ardent path that any other youth might have gone through without much guidance and support from parents and relatives. One had to rely on strangers and friends who then became my extended family. People who loved and embraced me as their daughter, younger sister, who loved my daughter as theirs and fed me when there was no food on the table.

Charmain Carrol  (14-02-2013) Photo by Maureen Velile Majola

Charmain Carrol
(14-02-2013)
Photo by Maureen Velile Majola

 

My name is Charmain (without an ‘e’).

My surname is Carrol.

I’m a gender activist, a lesbian mother, a partner, a media activist, a homemaker, a writer, a motivational speaker, a counselor and facilitator.

Currently I work for the bank as an External Sales Manager and part-time for Inkanyiso productions as a volunteer reporter and project administrator.

I was born on the 7th July 1977, Durban. KwaZulu Natal.

Birthed by mixed parents, an Indian father and a Xhosa mother which makes me be classified as colored according to the South African color bar.

I don’t like that much but prefer to be just ‘Black’.

I speak English, Xhosa, Zulu and Afrikaans.

I embrace Xhosa and Zulu traditions and thus perform rituals from both tribes. Ngingumuntu nje!

You know it stunt me to see that some people will stand in front of me in the queue and gossip in Zulu assuming that I don’t hear them. I know that my long hair and complexion confuse them. Surprisingly I hear(d) them quite well. Sometimes I respond but most of the I just keep quiet.

Worst of is when some lesbians assume that I’m a heterosexual women. Ok, I’m not.

I was raised in the Eastern Cape by my grandmother. My mother worked in Durban as a domestic worker and my father remained in Durban working as a Private Investigator for a private company. I was two months old when my parents separated. I’ve heard that my father was too violent towards my mother and she could not take it and left him.

Later, my uncle told me that racial differences sparked that gender based violence.

He was mixed race himself, born and grew up Qumbu. He was such a jealous man. That’s the men who met his mom at 16 and I met him when I was 9 years old for the first time. You can only imagine what does that do to an only girl child longing for paternal love.

With all that said, my grandmother was there for me throughout. She mother, my father, my all.

I’m grateful to her for all the teachings she taught me. Unfortunately my gran died in 2007 at the age of 100 plus which was a blessing for a black family.

After meeting my father, I was moved to Durban to be with my father and his other children (born by different mothers). It is where I attended coloured school in Wentworth. I was there until I was 17 years old. My father died in 1995, he was murdered.

So all the children were returned to their mothers. My mom came for me as well, who I last saw at the age of 9 when she left and dropped me off at my father’s.

In 1995 my mother was selling second hands clothes and own a shebeen in Philipi, Cape Town.

I fell pregnant before my 18th birthday. I gave birth to Lynne my only daughter in 1996, Cape Town. I must confess that it was a natural birth with no complications even though my body tender or not matured enough. I was young and a teenager at that time.

I was not raped like how most lesbians would say to shun away from the fact that some of  us do not conceive due sexual assault or have the luxury of artificial insemination and other birthing processes. With that said my sexuality did come from  the point of abuse.
 

Period!

I’ve been intimate with women before I gave birth to my child and continued thereafter.

Hence, I won’t judge those who want to use the abuse or rape as means of protecting their sexual identities.

Different strokes for different folks. Amen to that!

My child has a father that she met later on in life just like I did with my own father.

Contact between them is not that good because he was not involved in her upbringing and maintenance – papgeld was a big issue like some men in South Africa who refuse to take responsibility of their offspring. I had to admit that we were both young and got involve in teenage sex without an understanding of the consequences. I then started working from an early age to support my child. My mother could not assist much because she had her own challenges.

I don’t stop my daughter to be in contact with her father. She has a right to communicate with him. He also knows of his child’s existence. The guy is also fully aware of my lesbianism.

If I remember well my first encounter with same gender love was with my cousin sister who was a year older than me. She is a heterosexual woman with kids, probably do not recall what we did but I remember very well cause that excited me very much.

I will later narrate on how I fell pregnant which is a life story on it own!

Important people I met along the way

In 1996 I met Kali van der Merwe, filmmaker, who trained me in Media Activism and conducted Radio Training. She came to the Onsplek, which was a place of safety for girls in Albertus Str, Cape Town central. Where I lived for two years with my daughter because mother did not accept that I fell pregnant early.

Read more on:  http://www.otherwise.org.za/pages/radioparticip.html

The crew featuring Charmain Carrol (blue dress) and Funeka Soldaat (light yellow polo t-shirt)

The Inkanyiso crew featuring Charmain Carrol (blue dress) and Funeka Soldaat (light yellow polo t-shirt).                            Photo by Zanele Muholi. (2012 Dec. 8, Hector Pietersen Museum at the Iranti – 16 Days of Activism event)

Another person I was lucky to share my life with was Funeka Soldaat, gender activist, who guided and mentored me.

Soldaat is currently involve with Freegender - (http://freegender.wordpress.com)
now, but at that time she was working for Triangle Project.

Not forgetting Gabrielle le Roux, an art activist, who worked for Media Watch.

Le Roux and van der Merwe taught us life skills, media skills and how to conduct interviews and deal with public related projects.

In 1998 I worked for Idol Pictures which was headed by Jack Lewis, filmmaker, producer and director, some of his productions is Siyanqoba/ Beat It!

I did voice over for the Gugu Dlamini, HIV activist who was brutally murdered in December 1998, Durban for disclosing her HIV status.

After that I was later appointed by Media Watch…

In 1999, I represented the gay and lesbian youth at International Lesbian Gay Association  (ILGA) conference held in Johanneburg, on behalf of UManyano, the defunct black lesbian organisation which was based in Khayelitsha.

_____________________________

Read previous activities

Message

My message to the youth is: “Let your voices be heard”.

Charmain Carrol

Charmain with her daughter Lynne recording at a creche (1997)

I was first introduced to Other-Wise in 1996.

I worked with a group of girls from Ons Plek. We did a series of programmes: “Nontlupeko”, “The Break Through Girls” and “The Street Educators”. During that time I learnt how to work with people also finishing what I started. I was very Interested so I carried on the following year to work with Other-Wise (1997). We sat down to write proposals. We each had a copy of the proposal. One day Kali said we were going to see the person who is funding our work but we had already started with the recordings. We went to meet Jean from the Open Society. I was at first scared but when she started speaking I felt at ease.

She is a very nice person and it was a pleasure meeting her.

Idea

The reason why I chose Iintsomi Programme was because I feel that our culture seems to be fading away. Our grannies these days never tell us iintsomi. there are different reasons why some of the grannies don’t tell these stories: some have forgotten them, television also plays a major role today, the family’s spare time these days is spent in the living room in front of the TV.

I want our culture to survive if we communicated better then we would know each other better. What is better than telling iintsomi. The children in those days knew if they go somewhere or next-door they would not steal or do something wrong because they knew there was going to be a punishment, something scary would happen to them. I think if we communicated this way than the rate of street kids would be fewer. Iintsomi are stories told by grandmothers just before bedtime these stories could be things that happened long ago and are told from generation to generation. It is also a form of communication between the whole family.

The training and making of the programme

The training was very interesting and tiring . We had to know exactly what we are working with e.g. the four track mixer we had to know the field recorder when and how to decrease or increase the volume . Getting contacts and phoning the people to make appointments. We also travelled to the Transkei to get some stories   which was fun until the equipment got moist and we could not record for that day, one set back for the day. The transport was terrible we could not go to as much places because off transport the day we were returning from Enxabaxa we had to walk to the main road and still wait an hour for a hike. We did manage to come with our stories .When we sit and talk about the trip to Transkei we can laugh for hours.

Other projects

At this moment I have just passed my matric at cape college. This year I am doing marketing management N4 at the Cape College.   I am also a member of Media Watch.
I also sometimes take the minutes of the meetings that we have and type them out .I joined Media Watch because I am very interested in the representation of women in the media.
I will be interested in taking part in their next course as I missed the last Gender and communication course.

Plans for the future

Charmain recording Iintsomi (children’s tales) with grandmothers at an old age home (1997)

My plans for this year is to do a programme on Gay and Lesbian rights and what the community thinks about them. This will include a radio drama. It’s time they let their voices be heard too. I also plan to pass the course that I am doing in Marketing Management with flying colours. I believe this course and this knowledge that I have about radio productions will take me somewhere some day soon.  My plans for the future also include being the best mother to my daughter Lynne who is 2 years.

My advice to youngsters is if you set your mind to doing something you can do it.
Make it happen!

Another interesting link from previous:

Radio Training

http://www.otherwise.org.za/pages/radio.html

_____________________________________
TO BE CONTINUED…
__________________

 

VIOLENCE: Stop the War On Women AND GIRLS! - Viva Quvenzhané Wallis

We Were Never Meant

To Survive:

On Quvenzhané Wallis,

Intersectionality,

& Drones…

 

This was going to be a post about the roots of racism and their implications for organizing to end mass incarceration. Then I “watched” the Oscars on Twitter and saw a tweet by the Onion about 9 year old black actress, Quvenzhané Wallis:

onion

My head exploded. I took to Twitter to rant about how disgusting I felt the Onion was to say such a vile thing about a child. I tried to stop there but then went on a tirade about the historical context for this sexual objectification of a black girl. I suggested that originating in slavery, the idea that black women are loose, promiscuous, and generally easygoing about sexual matters still circulates throughout the dominant American culture and has an impact on intra-racial and inter-racial gender and sexual politics.

Look, I am not dumb and I enjoy a good joke as much as anyone else. I understand that this was an attempt by the Onion to make fun of the way that actresses are talked about in the media. But I was deeply offended that they chose to pick on a 9-year old black girl in this way. I tried to take a couple of hours away from social media but still found it difficult to calm down. I am an insomniac but I was even more agitated than usual so I decided to write in greater depth about the sources of my anger and disappointment. My thoughts are inchoate and regular readers are used to this so here goes…

 

A study by MEE productions published in 2004 found that:

“Black females are dissed by almost everyone. Young African American females hold little status within their communities, reflected in the name-calling and devaluing of young girls. Not only do males not trust females, but overwhelmingly, girls reported that they do not even trust each other.”

This encapsulates the racialized misogyny that exists in our society and that is often internalized by black girls themselves. It’s not difficult to understand why the Onion would feel it OK to target a 9-year old black girl within this context.

Michelle Wallace (1990) put it best when speaking about African American women, we have “high visibility” combined with an “almost total lack of voice” (5). This seems like a contradiction and yet many black women can attest to the duality of being both black and female in a culture that devalues both of these identities. Jill Nelson (1997) writes powerfully about being both a visible and an invisible target of violence in a racist and sexist culture:

“Sometimes, there is the violence summoned by being visible to men as an objectified, sexualized thing. Lost in happy thought, a perfectly wonderful day is verbally assaulted because I did not hear a man speak to me, did not speak to him, or maybe I did hear him call, “Hey, mama with the big legs!” but chose not to respond. His violence toward me then is verbal, something along the lines of “Well, fuck you, bitch. Your legs aren’t shit, anyway.” What I’d like to say is, “No one asked you, dickhead,” but I don’t, feel in a desperate way as if I got over, escaped, because his violence was limited to words. I am torn between the desire to be seen, heard, and appreciated, and the tendency to cower within my black female invisibility, knowing that even though to be invisible is a constant source of pain and rage, to be noticed only as a representation of something men can use at will is far more dangerous (p.153-54).”

I found myself pleading for support from black men in particular last night. What I didn’t do was plead for empathy. Dr. Christina Sharpe writes that “in the US, domestic blackness rarely results in something like empathy.” She suggests that we are unable to structurally care about black bodies. I take this to heart. I expected that a number of people would dismiss the Onion’s tweet as “satire” or as a “joke.” They did. I expected that I would be accused of being overly sensitive. I was. I didn’t under any circumstance expect empathy for this black girl-child from the majority of people. I was right not to. In much the way that Beasts of the Southern Wild ends, in 21st century America, we leave far too many little black girls out in the world to fend for themselves, unprotected, undefended and unloved. We saw this play out in part last night on social media.

I’m doing research for a still-undefined project about lynching in America. I came across an editorial in the Meridian Clarion dated August 7, 1865 that stated:

“A hundred years is a long time to one man: but to a nation or a race, it is but a limited period. Well, in that time the negro will be dead. Slavery is abolished now, but in a hundred years the negro himself will be abolished. Nothing but the fiat of the Almighty can stay the hand of his fate…”

Reading this editorial felt like a punch in the gut. I paused a couple of times to catch my breath. I thought to myself (not for the first time): “We were never meant to survive.”

When slavery “ended,” black people were left to fend for ourselves. The South ceded the responsibility for the care of the former slaves to the North. You wanted them freed, they said. They are your problem now. In response, the North created the Freedmen’s Bureau which is mostly known today for the over 4,000 schools that it established across the South for black people. The Freedmen’s Bureau had very limited resources and delivered these in a capricious fashion.

Former black slaves were destitute after the war. They were left hungry, without employment, without an education, without housing, and without even shoes. As “free” men and women,they continued to be punished with new laws intended to re-enslave them and with brutality intended to control or kill them. Many white people believed that blacks could not and would not survive outside of slavery (as the Clarion editorial illustrates).

But the “freed” slaves persisted and they did what they had to do to ensure their survival. They were branded as lazy and as criminal. If the newly freed slaves did in fact steal, it was a derivative crime born out of the fact that they had been abandoned and were still being exploited for their labor. In Virginia, a group of black tobacco workers complained in 1868 [transcribed as written]:

“They say we will starve through laziness that is not so. But it is true we will starve at our present wages. They say we will steal we can say for ourselves we had rather work for our living. give us a chance. We are Compeled to work for them at low wages and pay high Rents and make $5 per week and sometimes les. And paying $18 or 20 per month Rent. It is impossible to feed ourselves and family – starvation is Cirten unles a change is brought about.”

Examples like the one I cite above provide more evidence that public policy in the U.S. was developed to create and then enshrine black failure. I don’t know how one can fairly look at history and not come to this conclusion.

A recent comment made on Twitter by the brilliant Dr. Sharpe (who I cited earlier) led to a question that has been rattling around in my brain: “What if most people (including some who are black) in the U.S. actually don’t care about the decimation of black people?” For many, this may in fact be a rhetorical question. But for me, it isn’t. The response that one offers must necessarily shape our interventions, strategies, and ideas about social change and justice.

And so the question that we are left to answer is: “What if no one cares about black survival because we were actually never meant to survive?” Where does this leave those of us who want to see an end to racialized mass incarceration or to the subjugation of black women & girls? Who should we be “convincing” to join in that struggle? How are we supposed to build power within this context?

It’s been a “slow motion genocide” for Black people since our arrival on American soil but we’ve refused to go “gently into that good night.” It’s clear that the cavalry isn’t on its way to save us and so we must do what we’ve always done; we must save ourselves. The question that remains for those of us who do care about black survival and who want to confront black women’s subjugation is “how?”

What I re-learned last night is that some of those who I might of enlisted as allies in the struggle to reverse this “slow motion genocide” are in fact untrustworthy and unreliable. In particular, I want to underscore some comments from those people (mostly men) who took the occasion of real anger and hurt at what the Onion wrote to make obnoxious and unhelpful comments about drones and the security state. Here are a couple of examples but there were many more:

“How do we describe the imbalanced ethical plane where response to a verbal slur is more vehement than response to a series of drone strikes?”

Imagine if we got as much criticism every time we killed a nine year old girl as those comedians are getting for tastelessly insulting one.

The presumption and condescension dripping from these tweets could drown a small child. The underlying assumption is that folks who are outraged about the Onion’s tweet are not also vocally opposed to state-sponsored violence. It’s a snarky way to belittle the justified anger that people were feeling about the Onion’s actions. It also assumes an inability to hold at least two thoughts in one’s mind at once. It is insulting. Speaking for myself, I am a feminist who has worked to end gender-based violence AND I am a prison abolitionist. I am someone who has organized and spoken out against the carceral state and also state-sponsored violence. I am committed to eradicating oppression wherever it exists. All of these things are part of me. All are connected for me. But it was clear last night from some of the tweets that I saw that others are unable to make these connections. I would bet that these same people throw around words like “intersectionality” quite freely. Yet when it comes time to put the words into practice, they fail spectacularly. That’s their problem and not mine. I do know, however, that I want no part of their revolution…

 

__________________________

 

How could the Onion’s

Quvenzhané Wallis tweet

go so wrong?


Update: After a vile tweet outrages the Web, fake news organization issues an abject apology to Quvenzhané Wallis

 

 

 

How could the Onion's Quvenzhané Wallis tweet go so wrong?Actress Quvenzhane Wallis arrives at the 85th Academy Awards on Sunday Feb. 24, 2013, in Los Angeles. (Credit: AP/John Shearer)

Update: Steve Hannah, CEO of the Onion, has issued a heartfelt apology to Quvenzhané Wallis and the Academy of Motion Picture Arts for the offensive tweet and has announced plans to discipline the person(s) responsible:

 

Dear Readers,

On behalf of The Onion, I offer my personal apology to Quvenzhané Wallis and the Academy of Motion Picture Arts and Sciences for the tweet that was circulated last night during the Oscars. It was crude and offensive—not to mention inconsistent with The Onion’s commitment to parody and satire, however biting.

No person should be subjected to such a senseless, humorless comment masquerading as satire.

The tweet was taken down within an hour of publication. We have instituted new and tighter Twitter procedures to ensure that this kind of mistake does not occur again.

In addition, we are taking immediate steps to discipline those individuals responsible.

Miss Wallis, you are young and talented and deserve better. All of us at The Onion are deeply sorry.

Sincerely,

Steve Hannah
CEO
The Onion

Original story:

Satire, as any comedian will tell you, is hard to get right: A great satirist has to both ground a joke in reality, while  simultaneously teasing out enough absurdity to turn it into commentary. Condensing this into a pithy headline for laughs is harder, still: A casual observation has to bend itself into something that can surprise readers in just a few words.

And yet, that is something the Onion does, and has done, very well for years, even with sensitive subject matter: Its headline “F*ck Everything, Nation Reports” was able to make people smile again after Sandy Hook; they turned the bizarre logic of racism on its head with an Op-Ed by George Washington in 2012  saying, “I Thought We’d Have Flying Slaves By Now” and they managed to swing a headline mentioning rape, thanks to Todd Akin: “Pregnant Woman Relieved to Learn Her Rape Was Illegitimate.”

The Onion has been pushing the boundary on its humor, and it’s largely been rewarded for the risks: It’s got the admiration of Joe Biden and all of North Korea (OK, maybe not North Korea), its traffic has grown 51 percent in just a year-and-a-half and advertisers seem to be happy.

But during an already very awkward and offensive Oscars ceremony last night, the Onion perhaps took one too many cues from host Seth MacFarlane and crossed the boundary of bold, landing well into offensive territory.  They sent out this tweet, aimed at the precocious 9-year-old star of breakout movie “Beasts of the Southern Wild,” Quvenzhané Wallis:

Most likely — the Onion has not yet responded to Salon for comment — whoever tweeted that was trying to bring America’s fawning obsession with the child star down a notch with a dose of schadenfreude. But that’s not how most of the Internet interpreted it. At best, the tweet reads like a degrading attack on a child; at worst, it’s a racially tinged degrading attack on a child, by virtue of the fact it dredges up memories of those offensive tweets directed at Rue from “The Hunger Games,” another young, black, female child actress in her breakout role. Also, it turns out that no one really thinks calling a child a c-word is funny.

The Onion must have realized its misstep, as it deleted the tweet within an hour. But not before igniting a serious firestorm:

Some are so outraged that they want to boycott the comedy organization altogether:

Then again … probably not. The Onion might want to follow this advice:

Prachi Gupta is an Assistant News Editor for Salon, focusing on pop culture. Follow her on Twitter at @prachigu or email her at pgupta@salon.com.

__________________________

A Love Letter to

Quvenzhané Wallis

24FEB
Gif of Quvenzhané Wallis flexing in her seat at the Oscars.

The Amazing Quvenzhané Wallis!

give your daughters difficult names. give your daughters names that command the full use of tongue. my name makes you want to tell me the truth. my name doesn’t allow me to trust anyone that cannot pronounce it right. - Warsan Shire

Dear Quvenzhané,

Hi! My name is Moya. I am a big BIG fan of yours! I thought you were such a great actress in Beast of the Southern Wild. I planned to watch the Oscars and even started watching but I really hated the jokes host Seth MacFarlane was making at your expense. You had the Oscar before the show even started in my mind.

He wasn’t nice. Some of the people who have interviewed you and are talking about you have been really disrespectful. You’ve done such a great job telling people how to say your name. It makes me mad that people still can’t get it. People think it’s funny to make fun of Black girls with names like ours. When I was little people would say my name wrong on purpose. Even now, people hear me say my name and think I’m saying something that’s more familiar to them. How folks hear “Gwen” from Moya, I will never understand.

Dog purse

You are great! I love your name! And your puppy purses! How do you find them?! I am so excited that you will be in more movies!

Anyway I just wanted to send you some love! You have so much greatness in store for you!

So much love to you!

Your friend,

Moya Zakia B.

P.S. I thought I’d include some books you might like below and some really cool folks on Tumblr looked up some puppy purses you might want to check out too! I hope you had fun last night!


Thank you to So-Treu, Guyanapeace, Alexcess, Writeswrongs, Fyeahquavenzhanewallis, Afrikkana, and Quixxotica for your Tumblr commentary last night and reminding us that Black girls are in fact girls and should be honored and loved as such. 

To Oscar Host Seth MacFarlane and to the person at The Onion who tweeted that horrible thing and deleted it,

small girl. big city. cliches abound. 

>via: http://www.crunkfeministcollective.com/2013/02/24/a-love-letter-to-quvenzhane...

 

 

 

 

HISTORY + VIDEO: Shirley Chisholm

Shirley Anita St. Hill Chisholm was an American politician, educator and author. She was a Congresswoman, representing New York's 12th District for seven terms from 1969 to 1983. In 1968, she became the first African-American woman elected to Congress. On January 23, 1972, she became the first major party African-American candidate for President of the United States. She received 152 first-ballot votes at the 1972 Democratic National Convention

Edited by: Mateo

 

HISTORY + AUDIO: The Lost History of Buried Slaves > WFUV Radio

The Lost History of Buried Slaves

2.23.13 at 10:07am by Robin Shannon, Alen Kanlic
A A
Sandra Arnold and Dr. Michael Blakey Alen Kanlic

This week we learn how the graves of African American slaves paint a picture of American cultural history.

Fordham University recently launched a burial database project for enslaved African American. It allows anyone to submit locations they suspect may be the site of an unmarked grave of slaves.

On this week’s Fordham Conversations we hear from Sandra Arnold, the Founding Director of The Burial Database Project of Enslaved African Americans and Staff Member with Fordham’s Department of African and African American Studies. We also hear from Dr. Michael Blakey, Professor of Anthropology at William & Mary College and Former Director of the African Burial Ground Project in New York City, and a current adviser to the Burial Database Project of Enslaved African Americans.

You can hear Fordham Conversation’s every Saturday at 7am on 90.7 WFUV or at www.wfuv.org.

You listen to Fordham Conversations through our weekly podcast.

You can also friend-us on FaceBook.

Listen

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The Lost History of Buried Slaves