HISTORY: Mystery of the Black Mummy

Mystery of the Black Mummy

- Ancient Civilizations.

In 1958, an Italian archaeologist discovered the mummified remains of a two-and-a-half-year-old boy in a cave in southwestern Libya. But this was a mummy with a difference: it was far older than any comparable examples found in Egypt.


The mummy of a young boy, Uan Muhuggiag was destined for controversy. He was older than any comparable Egyptian mummy and his mere existence challenged the very idea that Egyptians were the first in the region to mummify their dead.  Uan Muhuggiag was no one off. The sophistication of his mummification suggested he was the result of a long tradition of mummification.

 
The discovery raised some profound questions. Who were the ancient inhabitants of the Sahara Desert who put the mummy there? And what influence might those people have had on the glittering civilization that later emerged in the land of the pharaohs?

This fascinating film follows Italian professor Savino di Lernia and his colleagues on a trek through the Sahara in the search for answers — a journey that leads to some astounding conclusions.

(Source: thehistoryexplorer.com)

 

VIDEO: Friday Music Bonus Edition > Africa is a Country

Michael Kiwanuka

Friday Music Bonus Edition

So drawn into the video (a plethora of faces, personalities and historic moments) Atlanta trio Algiers made for ‘Blood’, I forgot to pay attention to the lyrics the first time seeing it:

Yanigga recorded the video for ‘Dans un ghetto près de chez toi’ (“In a ghetto near you”) in Logbaba (Douala, Cameroon):

Fatoumata Diawara’s been busy touring since releasing her first album last year. Translation of her lyrics on ‘Sowa’ can be found here. Unplugged in Holland:

Michael Kiwanuka’s song ‘I’m Getting Ready’ comes with a new video:

And, old AIAC favorite, Damian Marley’s latest ‘Affairs of the heart’:

 

PUB: Call for Papers: Caribbean Philosophical Association’s Shifting the Geography of Reason IX « Repeating Islands

Call for Papers:

Caribbean Philosophical Association’s

Shifting the Geography of Reason IX

The Caribbean Philosophical Association (CPA) announces its forthcoming conference, “Shifting the Geography of Reason IX: Racial Capitalism and the Creole Discourses of Native-, Indo-, Afro-, and Euro-Caribbeans.” The 2012 annual meeting will be held on July 19-21, 2012, at the University of the West Indies-St. Augustine in Trinidad. The deadline for participation is March 31, 2012.

Description: Under this broad heading, the Caribbean Philosophical Association will take as its organizing theme the impact of the global capitalist crisis on old and new thinking in the creole discourses of the region. For the Caribbean, global capitalism has always been a racial capitalism as Africans and Asians were incorporated into it as “negro workers” and “coolie laborers” in contrast to white workers, Middle Eastern retailers, and white capitalists. As the Great Recession of 2008 continues to change the inner workings of this racialized capitalist system, how have these changes affected its racial codes and hierarchies, and are the latter forcing changes in the creole discourses of the region, including our political economy? Caribbean creole discourses have emphasized the mixed and fluid nature of our cultural heritage, the importance of external economic dependence, emigration, and the influences of this growing diaspora. In one of his classic essays, Stuart Hall suggested that in our increasingly globalized world the mutual influences between cultures of home and diaspora have been displacing the mutual ties between cultures of home and Caribbean nation-states. Are these features and claims of Caribbean creole discourses, whether Native-, Indo-, Euro- or Afro-Caribbean, still true? Or are they being changed by shifts in the balance of power between geographical regions of this economic world system?

For its ninth annual meeting, the CPA now invites the submission of papers and panels that will engage various aspects of this question of regional race/ethnic change or stability as a result of major tremors and aftershocks in the capitalist world economy. Are race/ethnic identities changing in our region at this time? Is it getting any easier for Native-, Euro-, Afro-, and Indo-Caribbeans to enter each other’s identity spaces? Are we getting better at understanding each other’s religious and philosophical traditions? Is it getting easier for us to enter each other’s discursive spaces? Are the patterns and paces of race/ethnic changes the same or different in the Spanish-, English-, French-, and Dutch-speaking parts of the region? What of the mixed identities of these different linguistic groups: the Mestizo, the Dougla, and the Mulatto? Has the rise of China, Brazil and India in this global economy affected the race/ethnic codes by which Indo-Caribbeans and Chinese Caribbeans and Brazilians have been defined? Have these shifts in global positions had any impact on their relations with Afro-Caribbeans and Euro-Caribbeans? Has the crisis reinforced old patterns between these groups or has had no impact at all? It is issues of this type, which link race/ethnic identities and shifts in the global political economy, that we would like to make our broad organizing theme for 2012.

The organizers accept proposals in Spanish, French and English. They also encourage the submission of papers to the CLR James Journal, the official journal of the CPA. Send submissions for panels, roundtables, discussions, and abstracts of individual presentations by March 31, 2012, by email to caribphil@gmail.com.

Abstracts should include: 1) name, position, institutional and department affiliation (if any), and highest university degree obtained, 2) title of proposed paper, panel, roundtable, or discussion, 3) up to one page description of the problem(s) addressed and identification of the sources used per participant. Panel presentations must include a description of the panel as well as title and abstracts of individual presentations and the basic biographical information (as listed above) of each presenter. The maximum of presenters per panel is four, in addition to a moderator. The fourth panelist could be a presenter or a commentator. All presenters will be asked to pay conference fees and membership to the association. Membership and registration forms will be posted on the website soon.

For more information, see http://www.caribbeanphilosophicalassociation.org/

 

PUB: "Gender and Media in Africa" Africa Media Review: Call for papers for a Special Issue > AFRICAN WOMEN IN CINEMA BLOG

"Gender and Media in Africa"

Africa Media Review:

Call for papers for a Special Issue

 

Deadline: 1st March 2012

 

In November last year CODESERIA held its annual Gender Symposium in Cairo, Egypt on the theme “Gender and the Media in Africa,” opening up a much needed platform on which gender and media scholars could renew reflection on the multi-faceted connection between media and gender in Africa. This special issue of Africa Media Review seeks to continue the dialogue by examining how political and social transformations on the continent resulting from re-democratisation, neo-liberalism and globalisation are implicating the nature of the relationship between media and gender.

 

We welcome contributions on theoretical and practical perspectives on the subject including, but not limited to:

 

  • Gendered audiences 

  • Gender and media entrepreneurship 

  • Gendered implications of changes in media landscape resulting from democracy, globalisation and economic liberalisation 

  • Gender and film industry/culture in Africa 

  • Gendered access and appropriation of new media and communication technologies: gender and online journalism; social networking and gender, the female bloggers, SMS /text messaging in gender-related campaigns, etc. 

  • The gendered dimensions of covering critical issues such as HIV/AIDS, peace and conflict, sexual and gender-based violence, elections and politics, etc. 

  • Gendered representations in African popular culture 

  • Representations of femininity and masculinity in the media 

  • Media as gendered activist space 

  • The relevance of gendered media spaces 

  • Gender and media education/pedagogy

Final articles should be between 6,000 and 8,000 words in length. All contributions will go through a rigorous anonymous peer-review process.

 

Deadline for short proposals: March 1, 2012
Deadline for acceptance note: April 1, 2012
Deadline for full papers: May 1, 2012

 

 

 

PUB: KENYA: AOSK-JPC Launches Essay Competition to mark Women’s Day » Cisa News Africa

KENYA: AOSK-JPC Launches

Essay Competition to mark Women’s Day

NAIROBI, February 10, 2012 (CISA) –The Association of Sisterhoods of Kenya Justice and Peace Commission (AOSK-JPC) has launched an essay competition to celebrate the International Women’s Day to be marked on March 8, 2012.

The essay competition is based on the AOSK-JPC theme: Women and men unite, heal… rebuild Kenya!

It is open to primary, secondary and religious formation students. According to AOSK-JPC, the winners will be issued with an International Women’s Day certificate.

Other prizes are Ksh 6,000, 4,000 and 2,000 for first, second and third winners respectively. Deadline for submission of the essays is Friday April 6, 2012.

For more information contact: AOSK-JPC P.O. Box 66138 00800, Nairobi, Kenya.

 

VIDEO: ‘Diary of a Decade,’ the Story of Atlanta’s FunkJazz Kafé > Clutch Magazine

Must See:

‘Diary of a Decade,’

the Story of

Atlanta’s FunkJazz Kafé

Thursday Feb 9, 2012 – by

Music is powerful, and for many black artists, music goes hand-in-hand with our culture. A new documentary explores this connection by showcasing the work of one of Atlanta’s cultural institutions, the FunkJazz Kafé.

For nearly two decades the FunkJazz Kafé was a cultural mecca for artists and musicians from around the world.

The documentary, Diary of a Decade, ”is the story of a cultural legend as told by the innovators of an important, and in some cases overlooked, era in Black culture….The film covers the decade when Atlanta’s underground music scene became established on the world stage and a new generation of soul singers and musicians emerged.”

Written, directed, and produced by Jason Orr, Diary of a Decade, features appearances by such cultural icons and musicians as Dick Gregory, Erykah Badu, Dallis Austin, Roy Ayres, Talib Kweli, George Clinton, Common, Andre 3000, Jill Scott, Eric Roberson, and many more.

The film will screen at the Pan African Film Festival in Los Angeles on February 17. Check the film’s website for future screening dates.

 

 

VIDEO: DEAN ATTA - I AM NOBODY’S NIGGER

 

DEAN ATTA .

I AM NOBODY’S NIGGER

 

Dean Atta’s controversial poem, ‘I Am Nobody’s Nigger’, gets a visual from SBTV’s production arm, Sudden|Black. Featuring prominent figures within the uk music scene, Scorcher, Clement Marfo, Random Impulse, Mic Righteous, Roxxane and Jamal Edwards.

 

 

I Am Nobody’s Nigger

Rappers when you use the word “nigger” remember that’s one of the last words Stephen Lawrence heard, so don’t tell me it’s a reclaimed word.

I am nobody’s nigger
So please, let my ancestors rest in peace
Not turn in their graves in Jamaica plantations
Or the watery graves of the slave trade
Thrown overboard into middle passage
Just for insurance claims
They were chained up on a boat
As many as they could manage and stay afloat
Stripped of dignity and all hope
Awaiting their masters and European names
But the sick and the injured were dead weight to toss
And Lloyds of London would cover that cost.

I am nobody’s nigger
So you can tell Weezy and Drake
That they made a mistake
I am nobody’s nigger now
So you can tell Kanye and Jigga
I am not a nigger… in Paris
I’m not a nigger in London
I’m not a nigger in New York
I’m not a nigger in Kingston
I’m not a nigger in Accra
Or a nigger with attitude in Compton
Cos “I don’t wanna be called yo nigga”

How were you raised on Public Enemy
And still became your own worst enemy?
You killed Hip Hop and resurrected headless zombies
That can’t think for themselves or see where they’re going
Or quench the blood lust because there’s no blood flowing
In their hearts, just in the streets
They don’t give a damn as long as they eating
Their hearts ain’t beating, they’re cold as ice (bling)
Because they would put money over everything
Money over self respect or self esteem
Or empowering the youth to follow their dreams
Stacking paper cos it’s greater than love it seems
Call me “nigger” cos you’re scared of what “brother” means

To know that we share something unspeakable
To know that as high as we rise we are not seen as equal
To know that racism is institutional thinking
And that “nigger” is the last word you heard before a lynching.

 

 

__________________________

 

 

 

'I Am Nobody's Nigger'

- Poet Dean Atta

Responds To

Stephen Lawrence

And Racism In Britain

(VIDEO)

First Posted: 11/01/2012 15:25 Updated: 15/02/2012

26-year-old Dean Atta is one of the leading lights in London's poetry scene. His powerful reflections on race, identity and sexuality have won him recognition from BBC Radio, Channel 4 and the Tate Britain - not to mention a formidable reputation on the spoken word circuit.

But it's with his latest piece that Atta is beginning to attract a audience beyond the capital's poetry slams.

I Am Nobody's Nigger, performed here in an exclusive video interview with Huffington Post Culture, is primarily a response to the Stephen Lawrence murder case. But it also comes at a time when the issue of racism is bubbling up in several areas of British life, from politics to music to football.

In it he castigates those who use the term 'nigger' as though its a piece of toothless slang rather than a word with a potent and powerful role in the history of oppression. The poem - with its devastating final verse - is clocking up soundcloud and YouTube views at a rapid pace, and has been lauded by commentators from poetry, hip hop and even politics when it was praised by MP David Lammy on Twitter. Best of all, Dean says, it has prompted some rappers to get in touch with him to say they've given up using the word for good.

Watch the video above to hear Dean explain why he wrote the poem in his own words before performing it in full. You can read more about him and his work at his official website andfollow him on Twitter. Warning: the poem contains strong language.

You can also hear some remixes of I Am Nobody's Nigger set to music on soundcloud.

 

__________________________

 

 

 

 

Dean Atta:

meet the iPhone poet

 

 

Dean Atta's angry, rapidly written poem about Stephen Lawrence went viral last week. He talks to Stephen Isaac-Wilson

dean atta poet
'The power of poetry is limitless' ... Dean Atta. Photograph: Sean Smith for the Guardian

 

Until last week, Dean Atta was relatively unknown; unless you were deeply immersed in the world of spoken word you probably wouldn't have heard of him. Then, in the wake of the conviction of Gary Dobson and David Norris for the murder of Stephen Lawrence, he wrote his poem I Am Nobody's Nigger, and took the internet by storm. In five days, his poem had received in excess of 15,000 hits and gained him an extra 1,000 followers on Twitter. The poem was, he says, a reaction to "the injustice of the death of Stephen Lawrence", and to the loose usage of the N-word. "Watching Panorama, where they reconstructed his murder, and hearing that the N-word was the last thing they said when they stabbed him really struck a chord with me."

The poem began as an update on Facebook and post on Twitter, saying: "Rappers, when you use the word 'nigger' remember that's one of the last words Stephen Lawrence heard, so don't tell me it's a reclaimed word." It received 80 likes and 50 retweets, and became the first line of a poem he wrote in 30 minutes.

We meet at a poetry event on Brick Lane in east London. The evening is the brainchild of Clarissa Pabi, a former president of the Oxford University Poetry Society, and features poetry, music, film installation and open mics – a chance for aspiring poets and musicians to perform. Atta arrives, smiling in a grey hat and pink jumper, and is recognised by many guests.

The 27-year-old Londoner has been writing and performing for more than 10 years. Initially, he says, poetry was an opportunity to vent. "I started writing about stuff I was seeing in the news, my own sexual identity and being mixed race." (His mother is Greek, his father Jamaican.) At Sussex University, where he studied English and philosophy, he was president of the African Caribbean Society and was the black students' rep on the student union council; he believes these roles helped instil a political and social conscience. Since then, he has been commissioned to write poems for galleries including Tate Modern, the National Portrait Gallery and Keats House, as well as organisations such as the Damilola Taylor Trust.

In his Lawrence poem Atta writes, "How were you raised on Public Enemy/ and still became your own worst enemy." This isn't the first time he has criticised the exclusivity of hip-hop: last summer he made a BBC 1Xtra documentary with SBTV presenter Georgia Lewis Anderson called No Homo: Hip Hop's Last Taboo. The programme highlighted what Atta feels is the rejection of gay people by rap culture, something that led him towards spoken-word performance instead; he describes his poemYoung, Black and Gay as a signature piece.

Dealing with his sexuality has been the premise of much of Atta's work; growing up, this was more of an issue for him than race. "You know you're black, but you have to kind of figure out that you're gay," he explains. He might have written a poem about Lawrence, but doesn't feel qualified to comment on the sentences received by Dobson and Norris. Nor was he aware of Carol Ann Duffy's response last week, her poem Stephen Lawrence. All he will say is that the media representation of black people is "very marginal", with "negative stories receiving a lot of airtime".

Atta admits he doesn't normally publish so quickly, though he is happy he did. "I recorded it on to my iPhone, and it was straight online. I tweeted it and it just went viral." Tonight, to an audience of around 40, he takes to the mic and performs it again, appearing much more apprehensive than he was in conversation. There are claps and cheers, and one standing ovation.

Atta's plans include more writing; he has written a play, Queen Pokou, based on the mythological west African princess, currently being performed on the London fringe. And there will be more poetry. "The power of poetry is limitless. Whether it's Obama's or David Cameron's speeches, or Maya Angelou talking, it's all spoken word," he tells me. "It's not just a niche scene happening in Hoxton. It's prevalent in our everyday life."

>via: http://www.guardian.co.uk/books/2012/jan/11/dean-atta-stephen-lawrence-poem

 

__________________________

 

Dean Atta

- "Fatherless Nation"

>via: http://vimeo.com/channels/brixtonsessions/page:2

 

 

 

INTERVIEW: Maggie Anderson - A Year of Shopping Only at Black Businesses > Mother Jones

A Year of Shopping

Only at Black Businesses

Impractical? Damn right. But Maggie Anderson and her family gave it a whirl.

| Tue Feb. 14, 2012

maggie anderson photo by 

In 2008, Maggie Anderson was doing pretty well. She had a successful career in business consulting, a loving husband and two lovely daughters, a nice house in a trendy Chicago suburb, and attended the same church as the Obamas*. But looking around at her mostly white neighbors, she couldn't shake the guilty feeling that she'd left the black community behind. A simple solution, she decided, would be to spend more money in the impoverished neighborhoods on Chicago's West Side. "The whole point," she said, "was, 'You know what, we care about the West Side. We need to help those people, those are our people, and we need to do what we can to make a difference there.' So we thought, instead of buying groceries here in Oak Park we could go buy groceries on the West Side. And it was not that simple at all."

The problem, Anderson realized, was that most businesses in predominantly black neighborhoods weren't owned by African Americans; most of the money spent in those concerns would leave the community come closing time. So she persuaded her family to embark on a far more challenging mission: For a full year, they would attempt to spend their cash exclusively at black-owned businesses.

The ensuing adventure, dubbed The Empowerment Experiment and chronicled in Anderson's book Our Black Year (coauthored by Chicago Tribune reporter Ted Gregory), took them from gritty corner stores at the epicenter of urban decay to Texas megachurches to the boardrooms of the nation's most powerful trade organizations. By the end, the Andersons emerged from the maw of racial-economic inequality with powerful insights into how black Americans might better wield their collective $913 billion buying power to improve their communities. I spoke with Anderson, whose book comes out this week, about the backlash she encountered, economic segregation in the black community, and the near-impossibility of finding black-made products at Walmart.   

Mother Jones: So how have you been shopping since you finished the book?

Maggie Anderson: I like to tell people it's not like a diet. It's not like you lose your 20 pounds and then you go out and get a sloppy pizza. So we are totally engrossed in our new lifestyle. For example, just a couple months ago we needed pest control. We were throwing a party here and maybe about three days before I was in the kitchen and saw 10 unidentified flying objects in my kitchen. I spent a good 20 minutes to find a local, black-owned pest control company. And I called and it was a fantastic experience and haven't seen a bug in the house since. If we ever need something new like that, we do an exhaustive search to at least investigate the possibility of giving that business to an African American entrepreneur. So that's number one, the little things like that. But it's not as painstaking as it was during the experiment, [when] every little bit of money we spent, even for last-minute items, had to be black-owned.

MJ: If you had to ballpark it, what would you estimate is the percent of your income spent at black businesses?

MA: I would say a conservative number would be 55 percent.

Courtesy PublicAffairs

 

MJ: What surprised you about the experiment?

MA: Oh, the worst thing was what we learned about economies in black neighborhoods. We assumed, just like other little ethnic enclaves like Little Italy or Greek Town or Chinatown, that for predominantly black neighborhoods all the black businesses there would be owned by the local people. But easily over 90 percent of the businesses on the West Side—and it's the same way all over the country—are owned by people who are not black and do not live in that community. So it's not a "buy local" thing, because these folks set up shop in the black community, sell their wares, make their money, hardly ever employ the local people there—and they put the steel bar over the door, pack up at 6:30, get in their car, drive to their suburb, and take that money with them. And that was the whole reason that these communities suffer the way they do: The everyday exit of the wealth in those neighborhoods directly leads to social crises there.

So I'm literally walking around and talking to people, "Is there a black-owned restaurant, or a black-owned dry cleaner?" and folks are looking at me like I'm insane. And if I didn't know this, I'm sure that folks outside the black community don't have this as part of their reality or part of their picture for black America. When we talk about black people, the black situation, problems in the black community, you know, we start with, "Black kids are least likely to graduate from school; black unemployment is four times higher than the national average," all these numbers. But why can't we include that over 90 percent of businesses in the black community are not owned by black people or local residents? If we were to add that to the conversation, maybe folks would say, "Oh, well no wonder things are so bad there," and start thinking about things in a different way instead of allowing those awful numbers to be a reflection of our propensities. Why is it that my people are just supposed to be the perpetual consumer class, and everyone else is supposed to benefit from our money?

MJ: So you had trouble finding black businesses to patronize in black neighborhoods. Is this a problem for all blacks? Only low-income black people? All Americans?

MA: Good question. I would say it's the black community's problem that we don't have as many businesses as we have. The main message that I want to get out with Our Black Year is that we have to be more accountable. This economic problem is something that should be of concern for all Americans, but the problem is our problem. And it happened, I daresay, mostly because we abandoned our businesses. But I think all Americans should feel ashamed to know that there used to be 6,400 black-owned grocery stores, representing that melting pot or patchwork that is America, and now there are only three. Until equality is reflected in the economy, America hasn't reached its ideal.

MJ: Within the black community, your experiment got a mixed reaction. In fact, one of the biggest threats to the project came from Ebony, a black-owned magazine that went after you for trying to call it The Ebony Experiment. Were you surprised by how hard it was to sell your project to certain elements of the black community?

MA: We're very surprised. It breaks my heart every time we go to an established, influential black business owner or black organization and we still get that: "Oh, that's nice, buy black, good for you," pat on the back kind of thing. That hurts. The second reaction we get that hurts is this fear, for lack of a better word, from black folks at the NAACP, or National Urban League, who make the assumption that if they say anything that has specifically to do with our community—if they say "black" and not "minority"—that it will look like we're trying to be exclusive, be racist, take down a corporation, or something militant like that.

"I tell folks, 'I want you to try it for two weeks…I want you to feel the sacrifice.'"

MJ: Actually, lots of people accused you of racism. How did you cope with that?

MA: It was awful. And especially when I think about in terms of how I grew up, who I am, it's the farthest thing from the truth. I speak to diverse groups all the time, but when you're giving a speech you get to go through your whole thing. If you're just meeting someone, how do you go up to them and say, "I'm a patriotic American just like you, but for a year I decided I'm only gonna support black businesses and no one else," and not expect them to say what everyone else says: "Well, what if I did that?" So I say the black community is suffering economically, and I thought it would be great for my family to do our best to spend money with those businesses owners that employ from our community. There's a different pitch.

MJ: You spent a lot of time driving to faraway black-owned gas stations or fast-food franchises to buy gift cards to spend at non-black-owned franchises closer to home. Is it practical to ask people who are less well off than yourself to do that?

MA: I'm not going around saying, "You need to go out and do the same thing!" I do tell folks, "I want you to at least try it for two weeks." And it's not just because I want them to get into supporting our businesses. I tell people, "Go out there and drive really far, and then I want you to feel the sacrifice and feel the sense of empowerment that you get from making that sacrifice." No, it is not practical to live the way we did. But I encourage everyone to immediately get 10 subscriptions to black-owned media, immediately get an account at a community-owned bank, immediately look for the basic services—like an alarm company, just check to see if there's a black-owned alarm company in your community. There are. Plenty of them. For your spas, for your getaways, there are tons of black-owned hotels people don't know about. If you practice 10 of my top 20 tips, you can get up to 30 or 40 percent of your spending.

Correction: The original version of this article stated that the Andersons lived in the same neighborhood as the Obamas. However, the Andersons live in Oak Park, while the Obamas lived in Hyde Park.

 

OP-ED: Why the ‘He Can Beat Me’ Tweets About Chris Brown Aren’t Funny > COLORLINES

Why the

‘He Can Beat Me’ Tweets

About Chris Brown

Aren’t Funny


Friday, February 17 2012

This year’s Grammys was filled with all sorts of drama for 22-year-old singer Chris Brown. It marked the singer’s comeback, three years after being arrested for assaulting ex-girlfriend Rihanna the day of the 2009 Grammys, and it wasn’t met completely with open arms. But on the flip side, many women on Twitter celebrated Brown’s return by tweeting that he could beat them up and be violent with them. Also, Chris Brown allegedly approached a woman at the Grammys with the pick-up line: “I promise I won’t beat you!” But in a world where one in three adolescents is a victim of physical, sexual, emotional or verbal abuse from a dating partner, dating violence is nothing to joke about.  

Every year, almost 1.5 million high school students experience dating abuse, and it takes on many different forms. It can be physical, emotional, sexual, verbal or stalking and can happen face-to-face, online or by texting. Some victims don’t realize that these unhealthy relationships are abusive and normalize the abusive behavior which tends to lead to abusive relationships as adults. Teen victims are more likely to become depressed, do poorly in school and take on unhealthy behaviors such as relying on drugs, alcohol and developing eating disorders. 

Intimate partner violence affects everyone regardless of gender, race or class, but many are still afraid to speak out when they are being abused. Below are some facts on how this problem affects all of us:

teen_dating_021512.png