VIDEO: Tributo às vozes de Angola > Caipirinha Lounge

Sunday, February 24, 2013

Caipirinha Lounge Cinema:

Tributo às vozes de Angola


No sábado passado o Espaço Bahía, talvez o meu lugar preferido para se ver música ao vivo em Luanda, rendeu-se às vozes de músicos da minha geração: Aline Frazão, Toty Sa'med, Irina Vasconcelos e Gari Sinedima.  Na noite seguinte foi a vez do Chá de Caxinde, agora totalmente remodelado. Eram vozes jovens, cheias de intensidade, a interpretar temas de gerações passadas. Pelas imagens que se seguem, foi lindo. Esperamos poder vê-los mais vezes. Muitas mais.

Last Saturday, Espaço Bahía, perhaps my favorite place to listen to live music in Luanda, witnessed an intimate concert featuring some of the best voices of my generation: Aline Frazão, Toty Sa'med, Irina Vasconcelos and Gari Sinedima. The following night they played at Chá de Caxinde, another iconic venue in Luanda and now totally remodeled. Theirs were young but intense voices, covering songs from a generation past. See and listen to their beautiful music below. And here's to hoping that they do this again. And again. 

Em suas palavras:

Este é primeiro de muitos encontros entre 4 músicos angolanos que partilham o mesmo "feeling" musical. Um concerto intimista, com vozes e violão sendo este um tributo aos grandes clássicos da música Angolana. Uma nova geração nasceu... agora a história vai ser contada.
*Photos by Mário Bastos and Erivaldo Claver. Video by Geração 80


Palamé

Palamé - Aline Frazão, Gari Sinedima, Irina Vasconcelos e Toty Sa'Med from Geração 80 on Vimeo.



Vanda Kupala
Vanda Kupala - Gari Sinedima from Geração 80 on Vimeo.

 

 


Monami
Monami - Irina Vasconcelos from Geração 80 on Vimeo.

 

__________________________

 

 

 

 

 

VIDEO: Oddisee

ODDISEE
The son of Sudanese and American parents, Amir Mohamed was born and raised in the United States capital city of Washington DC, spending hot summers in Khartoum learning Arabic and swimming in the Nile. Growing up amidst the sounds of New York hip hop, his father playing Oud, Go-Go, and gospel, Amir took his first steps as an MC producer in the analog basement studio of his legendary neighbor, Garry Shider (Parliament Funkadelic).

Convincing his entrepreneurial father that he too had business acumen, Amir laid the check from his first commercial release on the kitchen table before his 21st birthday and never looked back. Though Oddisee has gone on to perform with The Roots, produce for Freeway, Jazzy Jeff, Little Brother, De La Soul & Nikki Jean, and has MC’d on production from Flying Lotus, Hudson Mohawke and Kev Brown, his proudest moment was the birth of his critically acclaimed group The Diamond District with fellow Washingtonians X.O. and yU.   

Known in the music industry for his independence, Oddisee consistently debunks the scatterbrained artist myth - doing everything from booking international tours to photography to marketing and promoting himself and even other artists. He now works as both artist and consultant with Mello Music Group, one of the foremost emerging independent labels to take advantage of the digital revolution to build a successful business.

Oddisee’s debut album "People Hear What They See" 12 June 2012) is a culmination of the duality of his life experiences, from DC internal politics to third world struggles, the line between love and selfishness, and the personal conflict between self-sabotage and progress, set to a backdrop of intricate drums, lush instrumentation, and soul-stirring harmonies. 

PUB: Call for Submissions: Languages, Literatures, and Cultures of the Caribbean > Repeating Islands

Call for Submissions:

Languages, Literatures, and

Cultures of the Caribbean

Curacao_bridge

The University of the Netherlands Antilles and the Fundashon pa Planifikashon di Idioma are interested in publishing papers on Languages, Literatures, and Cultures of the Caribbean presented at the 15th Annual Eastern Caribbean Island Cultures (Islands in Between) Conference, as well as other submissions from those who were not able to make it to the St. Thomas conference. The deadline for submissions is March 31, 2013.

Guidelines: Papers may be written in English, Spanish, French, Dutch, or Papiamentu/o. Papers must be in Word format and all footnotes and references must follow the guidelines. Papers should follow this format: 1) Word file of a total length of 5-15 pages; 2) 13 point New Times Roman font; 3) A4 paper size (rather than US ‘Letter’ size); 4) Use 1.15 interlinear spacing or single spacing; 5) 1 inch margins on all sides; bottom center page numbering. Along with your paper, please send a very short bio (maximum 80 words) including email address at the end of the bio, and a digital face photo. Please send papers to nickfaraclas@yahoo.com.

Guidelines for References

In general: Family name of author; first name in full, for the rest initials only; year of publication in brackets. Title italics. Place of publication: Publisher. Example:

Kleinman, Arthur M. (1980). Patients and healers in the context of culture: an exploration of the borderland between anthropology, medicine and psychiatry. Berkeley: University of California Press.

For articles in journals:

Muysken, Pieter & Paul Law (2001). Creole studies: a theoretical linguist’s field guide. Glot International, 5, 2, 47-57.

Indicate which edition is used, and the year of the original publication:

Ani, Marimba (2007, [1994]). Yurugu: an Afrikan-centered critique of European cultural thought and behavior. Washington: Nkonimfo.

If the edition used is a translation, add the translator and the year of the first original publication:

Césaire, Aimé (1972, [1955]). Discourse on colonialism. (Trans. Joan Pinkham). New York: Monthly Review Press.

If the edition used is a revised edition, give details:

Chaudenson, Robert (2001, [1992]). Creolization of language and culture. (Rev. ed. in English in coll. with Salikoko S. Mufwene). London: Routledge.

If it is an article in a book, please indicate editors etc.:

Aikhenvald, Alexandra Y. (1999). The Arawak language family. In Robert M.W. Dixon & Alexandra Y. Aikhenvald (Eds.), The Amazonian languages (pp. 65-106). Cambridge: Cambridge University Press.

If web article, please give details:

Schmidt, Ronald (2002). Racialization and language policy: The case of the U.S.A. Multilingua, 21, 141-161. Retrieved Jan 10, 2010 from http://www.csulb.edu~rschmidt/RSchmidt-Racialization-Multilingua.pdf

Footnotes: No references in footnotes, please. Footnotes should be avoided and used only to give explanations that don’t fit in the main text. 

If the text needs to refer to a publication, please do it as in the following example (please include page numbers):

For brevity’s sake, I will refer the reader to works on these literary histories by Wim Rutgers (1996: 99-152) and myself (Van Kempen, 2003: 45). (Then make sure to include these authors in the references.)

 

PUB: 8th Flash Prose Contest > Writer Advice


WRITER ADVICE ANNOUNCES ITS
8TH FLASH PROSE CONTEST
WriterAdvice seeks flash fiction, memoir, and creative non-fiction running 750 words or less. Enlighten, dazzle, and delight us. Finalists receive responses from all judges.

DEADLINE: Submit to the 8th WriterAdvice Flash Prose Contest by April 18, 2013.


JUDGES: Former prizewinners, Marcelle SovieroJLSchneider, and Madeline Stevens are this year’s judges. Read their pieces and biographies by clicking on the Archived Contest Entries button at www.writeradvice.com.

PRIZES: First Place earns $200; Second Place earns $100; Third Place earns $50; Honorable Mentions will also be published.

FOR BEST RESULTS:

1. Include your name, contact information, and title in the cover    letter, but only include your title in the submission so it remains anonymous.
2. Tell us if the submission is fiction or memoir in the cover letter.
3. Since we judge these anonymously, please don’t tell us your background or where you’ve been published. If you are a finalist, we’ll ask for a bio.
4. Please double-space your submission.

SUBMISSIONS: All entries should be submitted through Submittable, Submit to Writer Advice

  You may enter UP TO THREE stories, but each is a separate submission with a separate fee of $13.

Names of all winners will be announced in the summer issue of WriterAdvice, www.writeradvice.com.

E-mail questions, but not submissions to editor B. Lynn Goodwin at  Lgood67334@comcast.net.

 

 

PUB: Call for Papers: The Black Jacobins Revisited—Rewriting History > Repeating Islands

Call for Papers:

The Black Jacobins Revisited

—Rewriting History

Dr. Rachel Douglas (University of Glasgow) announces a call for papers for the international conference titled The Black Jacobins Revisited: Rewriting History, to be held from October 27-28, 2013, at the International Slavery Museum and the Bluecoat Arts Centre in Liverpool, UK. The deadline for submissions is April 15, 2013.

Keynote speakers will include Professor Robert A. Hill (UCLA and C.L.R. James’s Literary Executor), Professor Nick Nesbitt (Princeton) and Dr. Matthew J. Smith (University of the West Indies). Further keynote speakers to be announced.

Description: To mark seventy-five years of pioneering anticolonial and historiography-shifting work, C.L.R. James’s The Black Jacobins, we are organising a major international two-day conference at the International Slavery Museum and Bluecoat Arts Centre, Liverpool. Ever since The Black Jacobins transformed the way colonial history was written, this single work has for seventy-five years dominated all studies of the Haitian Revolution and decolonization. Yet, uncharted areas of this standard reference work still remain. Key aims of the conference are to break new ground and explore new approaches where this classic history is concerned.

Papers will be considered on any aspect relating to The Black Jacobins and its legacies, but possible topics could include: 1) Discussion of The Black Jacobins in relation to James’s own evolving political practice and activism, including his collaborations as political organizer; 2) the making and remaking of The Black Jacobins as the famous work morphs through major generic transformations, both beginning and ending life as a play; 3) contributions made by The Black Jacobins to problems of writing Caribbean history: gaps and perspectives in official historical records housed in metropolitan archives; 4) processes of rewriting history throughout the work’s evolution: revolutionizing previous historical interpretations of the Haitian Revolution, provincializing the French Revolution, engaging with processes of silencing and un-silencing stories of the Haitian Revolution, and of slavery-generated wealth in French and British cities; 5) James’s rethinking of key relationship between leaders and masses, the progressive refiguration of Haitian Revolutionary Toussaint Louverture, and foregrounding of alternative protagonists; 6) Caribbean identity as evolving theme of The Black Jacobins, and the related question of representation, e.g. James’s contributions to representations of slaves as principal actors of revolution in their own right; 7) progressive reframing and historicizing of the work through a range of prefaces, appendices, epilogues; 8) James’s evolving use of source materials and alternative historical models; 9) assessments of the work’s afterlives as founding text and key point of reference for all interpretations of the Haitian Revolution; issues of key editions, translation and mistranslation; and the work’s centrality to a range of political situations across Africa, the Caribbean and North America; and 9) links between The Black Jacobins and other key Marxist, Caribbean, African works, including those of James’s own wider corpus.

Abstracts of 250 words should be sent to Dr. Rachel Douglas, Rachel.Douglas@glasgow.ac.uk by 15 April, 2013.

Dr Rachel Douglas (Lecturer in French)
University of Glasgow, School of Modern Languages and Cultures
Room 313, Hetherington Building
Bute Gardens
Glasgow, G12 8RS
Tel: 0141 330 3660

 

VIDEO: OVERVIEW > Vimeo

<p>OVERVIEW from Planetary Collective on Vimeo.</p>

OVERVIEW

The trailer for our feature film CONTINUUM is now online: vimeo.com/60234866
PLUS... We've just launched our Kickstarter campaign! Come and support us, get involved, share the project: kickstarter.com/projects/planetary/planetary-collective-presents-continuum

On the 40th anniversary of the famous ‘Blue Marble’ photograph taken of Earth from space, Planetary Collective presents a short film documenting astronauts’ life-changing stories of seeing the Earth from the outside – a perspective-altering experience often described as the Overview Effect.

The Overview Effect, first described by author Frank White in 1987, is an experience that transforms astronauts’ perspective of the planet and mankind’s place upon it. Common features of the experience are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.

‘Overview’ is a short film that explores this phenomenon through interviews with five astronauts who have experienced the Overview Effect. The film also features insights from commentators and thinkers on the wider implications and importance of this understanding for society, and our relationship to the environment.

 

 

CAST

 
• EDGAR MITCHELL – Apollo 14 astronaut and founder of the Institute of Noetic Sciences

 
• RON GARAN – ISS astronaut and founder of humanitarian organization Fragile Oasis

 
• NICOLE STOTT – Shuttle and ISS astronaut and member of Fragile Oasis

 
• JEFF HOFFMAN – Shuttle astronaut and senior lecturer at MIT

 
• SHANE KIMBROUGH – Shuttle/ISS astronaut and Lieutenant Colonel in the US Army

 
• FRANK WHITE – space theorist and author of the book ‘The Overview Effect’

 
• DAVID LOY- philosopher and author


• DAVID BEAVER – philosopher and co-founder of The Overview Institute


———-
CREW

Produced by: GUY REID, STEVE KENNEDY, CHRISTOPHER FERSTAD

Director: GUY REID

Editor: STEVE KENNEDY

Director of Photography: CHRISTOPHER FERSTAD

Original Score: HUMAN SUITS

Dubbing Mixer: PATCH MORRISON

 

———-
TECHNICAL INFORMATION

Filmed with Canon 5D Mk ii.
Additional footage from NASA / ESA archives
Duration: 19 minutes

 

———-

Planetary Collective: planetarycollective.com/

Overview Microsite: overviewthemovie.com/

Human Suits (original score): humansuits.com/

 

For more information:

The Overview Institute: overviewinstitute.org/

Fragile Oasis: fragileoasis.org/


via vimeo.com

 

VIDEO: Melba Liston’s Jamaican Epilogue… > Active Voice

Melba Liston’s

Jamaican Epilogue…

listonfront238

One of the highlights of my trip to New York City last week to attend the CAA2013 conference was a visit to the Whitney Museum to see a show called Blues for Smoke. I was with art historian friends Krista Thompson and Amy Mooney. Amy asked if i had heard of Melba Liston. No, who was she i asked. A trombonist, music composer and arranger who had performed or written music for all the now legendary figures of American jazz as it turns out.

Here’s what one biographer  had to say about her:

Melba Liston certainly saw every side of show business. On one occasion she was stranded with Billie Holiday, both of them broke, in a hostile South Carolina, and on another she walked about playing a harp in the film “The Ten Commandments” (1956).

It was her talents as a composer and arranger that distinguished her, rather than her work as an instrumentalist. She wrote scores for innumerable big bands including those of Quincy Jones, Count Basic, Duke Ellington and Dizzy Gillespie. Her long association with her mentor the pianist and composer Randy Weston took her to the forefronts of modern jazz and Tony Bennett, Billie Holiday, Abbey Lincoln and Diana Ross were amongst the vocalists that commissioned work from her.

In the late 60s Melba seemed to fade away, hardly making an appearance on stage or behind it anymore. What is less known about Melba Liston is that in 1973, invited by the Government of Jamaica (“which was anxious to provide facilities where young Jamaican musicians could learn about a wide range of modern music forms”), she took up a 6-year contract at the Jamaica School of Music where she headed the Department of Afro-American Pop and Jazz.

 

110_1_MelbaListon

According to an article in Ebony:

In recent years an increasing number of seasoned professional Jamaican musicians have enrolled in the department’s advanced courses in theory, harmony, improvisation, jazz choir and jazz history. The students have also benefited from private seminars with artists such as saxophonist Frank Foster, drummer Elvin Jones and trumpeter Lester Bowie.

Who were all these professionals i wonder, and how come we hear so little about pioneering figures like Liston, especially when they play pivotal roles in our cultural development?

Wikipedia provides more information about Liston’s work in Jamaica:

During her time in Jamaica, she composed and arranged the music for the classic 1975 comedy film Smile Orange (starring Carl Bradshaw, who three years earlier starred in the very first Jamaican film, The Harder They Come). The Smile Orange experience was probably her only known venture into composing reggae music (on which, in this case, she collaborated with playwright Trevor Rhone for the lyrics). Sadly, a soundtrack album for Smile Orange was never released or made available.

Here’s an excellent NPR documentary on Liston full of the most entrancing samples of her music. The set called Melba! was produced by Chicago musician Geof Bradfield, who incidentally is married to Amy Mooney (go back to top), which is how i came by her story.

http://www.npr.org/event/music/168976328/geof-bradfields-melba-on-jazzset

 

VIDEO: What's It Like to be Black AND Latino > African American - Latino World

What's It Like to be Black

AND Latino

 


Dubbed as the “Father of Salsa Music” by many experts

One evening at a concert in New York City, the late Afro-Cuban singer and guitarist Aresenio Rodriguez shouted to the audience his pride in his African heritage. Today, I'm meeting more and more Afro-Latinos, in person and on Facebook, who are speaking out on their ethnic pride. Then there are other Afro-Latinos who are in denial about their ethnicity, and don't even consider themselves Black. Still there are others who are a bit confused as to which part of their identity they should embrace.

In the brief clip below, Tore, one of the interviewees says, and I've heard it a few times from other Afro-Latinos that the fair-skinned and White Latinos don't always accept Afro-Latinos as fellow Latinos. Tore states that he feels like a low man on the totem pole from his fellow Puerto Ricans. This comment was an eye-opener for me because I grew up with Puerto Ricans in New York City, and noticed a lot of social and political interaction between African American and Puerto Rican communities. Juan, an Afro-Venezuelan friend also surprised me when he told me that most Latinos in the US will not respond to him in Spanish because they equate him with being a Black American even though Spanish is his first language.

I liked what Guzman said about identifying not as just Black, but more specifically Afro-Colombian. However, I was somewhat taken aback when he talked about an African-American women he was dating who told him that this is the first time that she went out with a non-Black guy. This reminded me of what a Black Cuban friend, Jesus, told me long ago when an African-American bank teller noticed his name had a Spanish ring to it, and said to Jesus, Oh, I thought you were Black! A lot of African-American people, not all, but many, seem to think that African-Americans are the only legitimate Blacks on the planet, and the rest are just imitators. The Afro-Colomnian Guzman added that one of his African-African classmates told him that he looks Black but he really isn't.

The female interviewee in this clip, Raquel, addressed the internalized racism that is prevalent among many members of the African diaspora when her father, who is a Black Dominican, told her to never bring home anyone Black, not even as a friend. Tore commented on how he has seen many Afro-Latinos struggling trying to decided if they should embrace being Black or Latino. Guzman, the Afro-Colombian, stated so eloquently that they should see both being Black and Latino as equal.

 

 

 

 

HISTORY: Britain's colonial shame: Slave-owners given huge payouts after abolition > The Independent

Britain's colonial shame:

Slave-owners given

huge payouts after abolition

 

David Cameron's ancestors were among the wealthy families who received generous reparation payments that would be worth millions of pounds in today's money

 

The true scale of Britain's involvement in the slave trade has been laid bare in documents revealing how the country's wealthiest families received the modern equivalent of billions of pounds in compensation after slavery was abolished.

The previously unseen records show exactly who received what in payouts from the Government when slave ownership was abolished by Britain – much to the potential embarrassment of their descendants. Dr Nick Draper from University College London, who has studied the compensation papers, says as many as one-fifth of wealthy Victorian Britons derived all or part of their fortunes from the slave economy.

As a result, there are now wealthy families all around the UK still indirectly enjoying the proceeds of slavery where it has been passed on to them. Dr Draper said: "There was a feeding frenzy around the compensation." A John Austin, for instance, owned 415 slaves, and got compensation of £20,511, a sum worth nearly £17m today. And there were many who received far more.

Academics from UCL, led by Dr Draper, spent three years drawing together 46,000 records of compensation given to British slave-owners into an internet database to be launched for public use on Wednesday. But he emphasised that the claims set to be unveiled were not just from rich families but included many "very ordinary men and women" and covered the entire spectrum of society.

Dr Draper added that the database's findings may have implications for the "reparations debate". Barbados is currently leading the way in calling for reparations from former colonial powers for the injustices suffered by slaves and their families.

Among those revealed to have benefited from slavery are ancestors of the Prime Minister, David Cameron, former minister Douglas Hogg, authors Graham Greene and George Orwell, poet Elizabeth Barrett Browning, and the new chairman of the Arts Council, Peter Bazalgette. Other prominent names which feature in the records include scions of one of the nation's oldest banking families, the Barings, and the second Earl of Harewood, Henry Lascelles, an ancestor of the Queen's cousin. Some families used the money to invest in the railways and other aspects of the industrial revolution; others bought or maintained their country houses, and some used the money for philanthropy. George Orwell's great-grandfather, Charles Blair, received £4,442, equal to £3m today, for the 218 slaves he owned.

The British government paid out £20m to compensate some 3,000 families that owned slaves for the loss of their "property" when slave-ownership was abolished in Britain's colonies in 1833. This figure represented a staggering 40 per cent of the Treasury's annual spending budget and, in today's terms, calculated as wage values, equates to around £16.5bn.

A total of £10m went to slave-owning families in the Caribbean and Africa, while the other half went to absentee owners living in Britain. The biggest single payout went to James Blair (no relation to Orwell), an MP who had homes in Marylebone, central London, and Scotland. He was awarded £83,530, the equivalent of £65m today, for 1,598 slaves he owned on the plantation he had inherited in British Guyana.

But this amount was dwarfed by the amount paid to John Gladstone, the father of 19th-century prime minister William Gladstone. He received £106,769 (modern equivalent £83m) for the 2,508 slaves he owned across nine plantations. His son, who served as prime minister four times during his 60-year career, was heavily involved in his father's claim.

Mr Cameron, too, is revealed to have slave owners in his family background on his father's side. The compensation records show that General Sir James Duff, an army officer and MP for Banffshire in Scotland during the late 1700s, was Mr Cameron's first cousin six times removed. Sir James, who was the son of one of Mr Cameron's great-grand-uncle's, the second Earl of Fife, was awarded £4,101, equal to more than £3m today, to compensate him for the 202 slaves he forfeited on the Grange Sugar Estate in Jamaica.

Another illustrious political family that it appears still carries the name of a major slave owner is the Hogg dynasty, which includes the former cabinet minister Douglas Hogg. They are the descendants of Charles McGarel, a merchant who made a fortune from slave ownership. Between 1835 and 1837 he received £129,464, about £101m in today's terms, for the 2,489 slaves he owned. McGarel later went on to bring his younger brother-in-law Quintin Hogg into his hugely successful sugar firm, which still used indentured labour on plantations in British Guyana established under slavery. And it was Quintin's descendants that continued to keep the family name in the limelight, with both his son, Douglas McGarel Hogg, and his grandson, Quintin McGarel Hogg, becoming Lord Chancellor.

Dr Draper said: "Seeing the names of the slave-owners repeated in 20th‑century family naming practices is a very stark reminder about where those families saw their origins being from. In this case I'm thinking about the Hogg family. To have two Lord Chancellors in Britain in the 20th century bearing the name of a slave-owner from British Guyana, who went penniless to British Guyana, came back a very wealthy man and contributed to the formation of this political dynasty, which incorporated his name into their children in recognition – it seems to me to be an illuminating story and a potent example."

Mr Hogg refused to comment yesterday, saying he "didn't know anything about it". Mr Cameron declined to comment after a request was made to the No 10 press office.

Another demonstration of the extent to which slavery links stretch into modern Britain is Evelyn Bazalgette, the uncle of one of the giants of Victorian engineering, Sir Joseph Bazalgette and ancestor of Arts Council boss Sir Peter Bazalgette. He was paid £7,352 (£5.7m in today's money) for 420 slaves from two estates in Jamaica. Sir Peter said yesterday: "It had always been rumoured that his father had some interests in the Caribbean and I suspect Evelyn inherited that. So I heard rumours but this confirms it, and guess it's the sort of thing wealthy people on the make did in the 1800s. He could have put his money elsewhere but regrettably he put it in the Caribbean."

The TV chef Ainsley Harriott, who had slave-owners in his family on his grandfather's side, said yesterday he was shocked by the amount paid out by the government to the slave-owners. "You would think the government would have given at least some money to the freed slaves who need to find homes and start new lives," he said. "It seems a bit barbaric. It's like the rich protecting the rich."

The database is available from Wednesday at: ucl.ac.uk/lbs.

Cruel trade

Slavery on an industrial scale was a major source of the wealth of the British empire, being the exploitation upon which the West Indies sugar trade and cotton crop in North America was based. Those who made money from it were not only the slave-owners, but also the investors in those who transported Africans to enslavement. In the century to 1810, British ships carried about three million to a life of forced labour.

Campaigning against slavery began in the late 18th century as revulsion against the trade spread. This led, first, to the abolition of the trade in slaves, which came into law in 1808, and then, some 26 years later, to the Act of Parliament that would emancipate slaves. This legislation made provision for the staggering levels of compensation for slave-owners, but gave the former slaves not a penny in reparation.

More than that, it said that only children under six would be immediately free; the rest being regarded as "apprentices" who would, in exchange for free board and lodging, have to work for their "owners" 40 and a half hours for nothing until 1840. Several large disturbances meant that the deadline was brought forward and so, in 1838, 700,000 slaves in the West Indies, 40,000 in South Africa and 20,000 in Mauritius were finally liberated.