HISTORY: Who Were The Moors Who Ruled Spain

THE MOORS

Black History Month fact #15

711 to 1492 Spain, as it is now known, was ruled by Black African Moors.

The etymology of the word ‘Moor’ is black, or dark. Moors were a mix of Black African and Arabic Muslims who ruled Spain and the rest of the Iberian peninsula between 711 and 1492.

 The Moors were constantly defending against invading Christian Europeans from the north. This period as we are brainwashed to know from K-12 is calledthe Reconquista, or the reconquest, during the Christian/Muslim war of the Crusades.

Nevertheless, Al-Andalus, or Moorish Iberia, flourished in the arts, sciences, medicine, religion, culture, and architecture. Córdoba was one capitol of the several caliphates on the peninsula, and was one of the most advanced and populous cities in the world at the time, as well as a great cultural, political, financial and economic center.

Rule under these kingdoms saw the rise in cultural exchange and cooperation between Christians, Muslims, and Jews. Under the Caliphate of Córdoba, al-Andalus was a beacon of learning, and the city of Córdoba became one of the leading cultural and economic centres in both the Mediterranean Basin and the Islamic world.

Moorish contributions to Western Europe and especially to Spain were almost incalculable—in art and architecture, medicine and science, and learning (especially ancient Greek learning).

>via: http://smallrevolutionary.tumblr.com/post/17669163228/gettovocabinc-kemetical...

VIDEO + AUDIO: Dub Colossus > This Is Africa

Dub Colossus remixes

- The Ezana Stone Sessions

Dub Colossus - The Ezana Stone sessions - VIIII

Last chance to grab the Ezana Stone Session remixes of tracks from Dub Colossus's recent album Addis Through the Looking Glass. Real World has been releasing them at the rate of one a week, and this is the final week, so go grab 'em before they disappear.

The remixes are sort of a promo for the 15-track Dub Me Tender, Vol. 1 & 2 which dropped just this morning.

You'll need to "Like" the Facebook page to access the free set of remixes, but that's not too much to ask for what we consider to be some pretty groovy mixes. (Remember to use the arrow buttons to look back through the series and download all ten tracks.)

Dub Colossus


For anyone new to Dub Colossus, they're a group of Ethiopian and British musicians who happen to be one of most inventive fusion acts of recent years, transporting audiences to the sultry clubs and pounding dancehalls of Addis Ababa with their blend of contemporary and traditional Ethiopian styles, jazz and dub reggae. They've released two successful albums so far (the one mentioned above and A Town Called Addis), and Dub Me Tender is a collection of remixes of selected tracks from these two albums, plus four new tracks.

 

Tsedenia Gebremarkos


The Ethiopian group members consist of female vocalists Tsedenia Gebremarkos, a fine, soulful performer, and Sintayehu 'Mimi' Zenebe who runs a nightclub in Addis, the extraordinary young pianist Samuel Yirga, veteran saxophonist and jazz exponent Feleke Hailu and azmari Teremage Woretaw, exponent of the one-stringed mesenqo violin. UK members are Dubulah (aka Nick Page), plus musicians who joined Dub Colossus on their second album: reggae singer Mykaell Riley (Steel Pulse), drummer Nick Van Gelder (Jamiroquai), the Horns of Negus brass section, bass work from Dr Das (Asian Dub Foundation), and double bass from Bernard O'Neill (Syriana).

Listen, enjoy the vibes and go grab some free dub!

GO HERE TO HEAR THE TRACKS LISTED BELOW

 

Almamegretta's roots remix of Wehgene, featuring Tirudel Zenebe on vocals

 

Bimbamatic's dance remix of Tringo, featuring Sintayehu "Mimi" Zenebe

French/Senegalese Madame Diop and producer Monsieur le Fou's atmospheric left field remix of Yezema Meseret yields a slow brooding dark-lounge classic!

 

Janaka Selekta's skankin' remix of Wey Fikir, featuring the great vocals of Tsedenia G-Marqos.

 

Eccodek's Medina Veil of Dub mix (originally on the EP Rockers Meet Addis Uptown) is a dubbed out remix of a traditional song from Northen Ethiopia (Gondar) featuring the voice and messenqo of Teremage Woretaw.

 

Samuel Yirga

 

Nick Van Gelder's dubbed out remix of Selemi Pt.2; this track is also originally from the Addis Meets Rockers Uptown EP.

 

David Chazam (known for his Buddah Bar contributions and Ethiopiques nights DJ-ing) also reworks the track Wey Fikir.

 

Mills and Boom (who have worked for Femi Kuti and Owiny Sigoma among many others), rework the track Kuratu (featuring Tsedenia Gebremarkos and Samuel Yirga) into a funk rhythm fest. Bongo fury meets bass culture.

 

Feleke Hailu

 

Hideous Wheel Invention totally reworks the track Tringo, originally sung by Sintayehu "Mimi" Zenebe, to create this ecstatic club global-acid-techno frenzy.

 

Final remix in the series is by performance artist and remixer Ramjac, whose mix of of Addis Through the Looking Glass is a thing of analogue beauty.

 

 Teremage Woretaw

 

 

 

__________________________

 

Dub Colossus update


a 1978 classic by


one-hit wonder Jamaican duo

by Phiona Okumu

 

Remember this? The 1978 hit Uptown Top Ranking by one-hit wonder Jamaican duo Althea & Donna.  This video is of their Top of the Pops performance from back then.

Fast forward to 2011 and all the signs say it has aged just the way a good classic should, and, though covered a few times since its first appearance, is ready for a new interpretation of and for a new generation.

Dub Colossus is the brainchild of British producer and multi-instrumentalist Nick Page aka Dubulah. He went to Addis Ababa in 2006 to collaborate with musicians and explore traditional Azmari styles, 60s Ethiopian pop, Ethio-jazz and 70s Jamaican Dub Reggae. His explorations led him to various talented musicians, so he decided to put together a band.

Watch lead singers Sintayehu 'Mimi' Zenebe and Tsedenia Gebremarkos give the tune a Habashe twist at their live performance in North London’s Dingwalls.

If you want to embed the track you can grab it from SoundCloud

Uptown Top Ranking (Radio Edit) by RealWorldRecords


DUB COLOSSUS ONLINE
Official site
Real World Records
MySpace

>via: http://www.thisisafrica.me/new-releases/detail/1319/Dub-Colossus-update-a-197...

 

 

VIDEO: Brother Ali x Nikki Jean – "Shine On" > SoulCulture

| Music Video

Brother Ali x Nikki Jean

– “Shine On”

 

February 11, 2012 by


Before Mourning In America And Dreaming In Color blesses our eardrums Brother Ali will release an all new EP entitled The Bite Marked Heart on February 13th. The seven track set will feature new material produced by Jake One and DJ/Producer Ant, one half of internationally critically acclaimed Hip Hop duo Atmosphere.

Below are the visuals for “Shine On” the first look from the extended player featuring singer/songwriter Nikki Jean, of Lupe Fiasco‘s “Hip Hop Saved My Life” fame. Check out the video below and stay locked to SC for the forthcoming The Bite Marked Heart EP.

Directed by Dave Wilson

Download… Brother Ali x Nikki Jean – “Shine On”

 

++++++++++++++++++++

About I Am Ayo
Ayo "I Am Ayo" Biyibi is a, humorous London born, passionate music lover of duel Sierra Leonean and Nigerian origin. With a background in Graphic Design and Digital Promotion, “I Am Ayo” can’t help but comment fervently about issues involving music, graphic art, and all things digital, especially if the lines between them are blurred. Expect to be entertained.@iam_Ayo

 

PUB: Call for Papers: Murderous inclusions: International Feminist Journal of Politics

Call for Papers:

Murderous inclusions:

International Feminist

Journal of Politics

by Sokari on February 10, 2012

Call for Papers: Murderous inclusions special issue

Guest editors:

Jin Haritaworn, Helsinki Collegium for Advanced Studies
Adi Kuntsman, The University of Manchester
 

Silvia Posocco, Birkbeck, University of London

Sexual citizenship is usually examined though the lens of inclusion – into rights, legal and political subjecthood – through sexuality. What has received less scholarly attention is the problem of inclusion itself, and its costs. Instead of focusing on the inclusion and incorporation of sexual minorities as a certain pathway to progressive politics, this special issue explores inclusions that are murderous: it aspires to decouple the link between inclusion, queer politics and justice. The special issue seeks to critically examine parameters of sexual citizenship that accompany – or work hand in hand with – violent regimes of coloniality, ‘wars on terror’, ‘development’ and structural adjustment, criminalisation, pathologisation, border enforcement and neoliberalism. What new techniques of governance can be mapped in a context of power which increasingly speaks the language of sexual and gender rights, protection and diversity? What challenges arise from these complicities and convergences of queer inclusions, and how are they best addressed? What are the spaces of difference between situated and ever shifting regimes of legal regulation, and the ethical domain of queer politics and justice?

In examining the deadly logic of inclusion into (some) modes of queer citizenship, this special issue turns to the notion of ‘queer necropolitics’ to critically interrogate the political formations of both sexuality and inclusion itself. Moving away from the narrow focus of sexual citizenship as coterminous with ‘rights’, and from the idea of inclusion as positive and desirable, it attempts to create space for new kinds of feminist and queer politics that are not premised on more death. Informed by Achille Mbembe’s concept of ‘necropolitics’ – a concept he develops when analysing the centrality of death in subalternity, race and war and terror (Mbembe 2003) – by Puar’s insightful elaboration of ‘queer necropolitics’ (Puar 2007), and by broader debates on deadly formations of sovereign power, we invite contributions to reflect on topics such as the following:

 

  • Rethinking sexual citizenship: who is envisioned as worthy of inclusion, and what are thecosts?

  • Theoretical and analytical challenges to account for the relations between sexuality, violence and the constitution of ‘community’, ‘neighbourhood’, or ‘nation’ through a specific focus on processes of inclusion.

  • Queer necropolitics and the ‘wars without end’ (Mbembe 2003:23): regimes of policing, border control, colonial conflict or the ‘war on terror’; militarised intimacies, the militarisation of urban spaces and queer and trans communities in the name of safety and security.

  • LGBT identitarian claims to sovereignty, rights and protection, acquisitive forms of sociality and assimilationist logics, and their intersection with ongoing histories of settler colonialism, genocide and slavery.

  • Analyses of the articulation of ‘community’ and ‘belonging’ through ‘immunitarian dialectics’ (Esposito 2008) that strengthen sovereign power to immunise the community against the prospect of conflict; discussions of the implications of these processes and the instantiation of collectivities through ‘immunitarian apparatuses’ which allow a range of gendered, racialised and sexualised Others to exist in segregated proximity, as ‘the outside of the inside’ (Esposito 2008:8), through processes of introjections of negativity geared towards the preservation of life.

  • Queer necropolitics and international relations: the inclusion of homosexuals in state militaries, the heteronormativity of the international relations of weapon production, the deployment and tying of ‘queer’ development aid, and other forms gay imperialism.

  • Queer necropolitics, migration and citizenship: the problematic of conditioning asylum and citizenship testing on exceptionalist regimes of gender and sexuality.

  • Queer necropolitics and the turn to race/religion, intersectionality and the Global South in Northern LGBT theorizing and organizing.

  • Queer necropolitics and the prison, medical and non-profit industrial sectors: prison abolitionist critiques of the hate crime model, anti-psychiatry critiques of the biomedicalization of homo/transphobia, bio/necropolitical accounts of subaltern queer and (especially) trans death as a form of value extraction; the biopolitics, necropolitics and geopolitics of global gay, LGBT and trans movements.

  • Queer necropolitics and violence, including war, Occupation, policing, borders, gentrification and the prison and medical industrial complexes; the relationship between queer liberalism, violence and backlash; queer, feminist and transgender anti-violence organizing by indigenous people, people of colour, migrants and people in the Global South.
  • We invite contributions looking at the relations between contemporary queer politics, indigeneity, antiblackness, Islamophobia, increasingly militarised and nationalist forms of sexual citizenship, immunised and segregating forms of sociality and intimacy, and deadly forms of inclusion into legal, political and sexual subjecthood. We are particularly interested in contributions with a wide geopolitical representation, dealing with global regions such as Latin America, the Caribbean, Africa, Asia, the Middle East and Eastern Europe within a transnational framework, and welcome submissions from junior scholars. We also especially welcome submissions from writers who are queer/trans of colour, indigenous, migrant or from the Global South.

    Prospective authors should submit their articles to ifjp @ ufl.edu by 1 August 2012. Articles should be between 5000 and 8000 words. Please follow the journal house-style and supply a biographical note, an abstract and contact information with your submission . Submissions will be anonymously refereed by at least two reviewers. Papers will then be reviewed and a final selection chosen for publication in International Feminist Journal of Politics, Volume 15, Issue 4, due out in late 2013. Articles will be published on IFjP’s FirstView online publishing service approximately two months after the receipt of the final version.

     

    PUB: Essay Contest

    Essay Contest Deadline Extended!

    by Josalyn Knapic

     

    Why hello there! South Loop Review: Creative Nonfiction + Art would like to inform you nonfiction writers out there (and our readers!) that our Essay Contest deadline has been extended to May 1st. Great news for constant revisers (I'm guilty too). The prize is still $1,000 and publication in Volume 14. The Essay Contest is judged by the one and only Ander Monson. SLR is looking for submissions in memoir, essay, non-linear narratives, and blended genre. Please see details here on how to submit!

    Faulkner.jpg
    "William Faulkner works on a screenplay on a balcony, Hollywood in the early 1940s." Source: theguardian Photograph: Alfred Eriss/Time & Life Pictures/Getty Image (Don't worry, we won't judge you based on clothing attire, or non-clothing attire. Just a little bit of summer and Faulkner to cheer up those Chicago winter blues.)

     

     

     

    PUB: Call for submissions: Superstition Review issue 9 (worldwide) > Writers Afrika

    Call for submissions:

    Superstition Review issue 9 (wordlwide)

    Deadline: 1 April 2012

    Superstition Review is now accepting submissions of art, fiction, poetry, and nonfiction for Issue 9 to be launched April 1, 2012.

    Guidelines

    Superstition Review is published twice yearly in April and December. We only accept submissions during our two reading periods in fall (September and October) and spring (January and February). During our submissions period we welcome submissions of poetry, fiction, nonfiction, and art. No previously published works are accepted.

    Simultaneous submissions are permitted, but please alert Superstition Review to a piece's potential publication elsewhere. Superstition Review acquires one-time rights. All rights subsequently revert to author.

    Fiction

    One story of up to 5000 words, double-spaced may be submitted by an individual author per publishing period. Do not send previously published work (either online or print). Please include a 100-word bio highlighting literary, academic, and artistic achievements on the first page of the document. If your work is accepted, we will also request a high quality head shot photo of at least 300 pixels.

    Nonfiction

    One essay of up to 5000 words, double-spaced may be submitted by an individual author per publishing period. Do not send previously published work (either online or print). Please include a 100-word bio highlighting literary, academic, and artistic achievements in the first page of the document. If your work is accepted, we will also request a high quality head shot photo of at least 200 pixels.

    Poetry

    Up to 4 poems, single spaced, may be submitted by an individual author per publishing period. Please submit all poems in one file. Do not send previously published (either online or print) work. Please include a 100-word bio highlighting literary, academic, and artistic achievements on the first page of the document. If your work is accepted, we will also request a high quality head shot photo of at least 300 pixels.

    Contact Information:

    For submissions: http://superstitionreview.submishmash.com/submit

    Website: http://superstitionreview.asu.edu/n8/

     

     

    REVIEW: Books—"Gathering of Waters," "By Love Possessed," and "Violated"

     

    Washing the Wounds

    ‘Gathering of Waters,’ by Bernice L. McFadden

     

     


    Novelists writing about traumatic historical moments face a particular challenge: how to bring the event to immediate, visceral life without overpowering the characters or their experiences. In “Gathering of Waters,” her eighth novel, Bernice L. McFadden recreates not just the Mississippi flood of 1927 (one of the most destructive ever in the United States) but also the brutal murder of 14-year-old Emmett Till in 1955. It would be easy for her characters to recede in the glare of these events, but McFadden works a kind of miracle — not only do they retain their appealing humanity; their story eclipses the bonds of history to offer continuous surprises.

    GATHERING OF WATERS

    By Bernice L. McFadden

    252 pp. Akashic Books. $24.95.

     

    “Gathering of Waters” opens in the early 20th century in Oklahoma, with a girl named Doll possessed by the spirit of a dead woman. But after an unsuccessful exorcism and a decision by Doll’s mother to put her up for adoption, the story shifts to Money, Miss., where Doll grows up under the influence of the bitter, vengeful spirit that inhabits her. She steals, she has sex with near strangers and she eventually gives birth to a daughter who comes to despise her. After the flood of 1927, the novel’s attentions jump to that daughter, Hemmingway, just until her own daughter, Tass, falls in love with Emmett Till during the summer he will die. Then the story follows Tass, who marries and moves to Detroit with Emmett’s spirit at her heels.

    Bernice L. McFadden / photo by Eric Payne

    McFadden makes some unconventional choices, but she pulls them off. The town of Money itself narrates the novel, providing a roving, close perspective and complementing the book’s magic realism, its premise that matter is finite and spirit eternal. “For a time I lived as a beating heart, another life found me swimming upstream toward a home nestled in my memory,” Money says. “Once I was a language that died.” In this world, spirit lives in an object until its host dies or grows useless, then it moves on. The diction Money uses to describe spirit is beautiful and evocative, in contrast to the spare, urgent voice elsewhere, as in this description of the flood: “At the church, someone looked down and saw that water was rising up through the seams of the floorboards. Another member spied it seeping in from beneath the door. The choir continued to sing.”

    “Gathering of Waters” isn’t long, but it brings three generations urgently to life. Doll is irascible and voracious, untrustworthy and sometimes surprisingly vulnerable, while Hemmingway is her polar opposite: respectable, upstanding and aloof, even with her own daughter. Tass is the novel’s most tender character. Although she marries and has many children, she remains naïve and compassionate, traits that draw Emmett’s spirit to her in death as in life. Indeed, McFadden’s conception of Emmett is very human — here, the boy sheds the pall of his death, the history of slavery and segregation and cultures and continents colliding that coalesced at the moment of his murder and burned and blazed and could not be contained afterward, and instead, assumes the identity of the adolescent he might have been: funny, sensitive, rakish and, in the end, devoted.

    This is where the real power of the narrative lies: not in the Mississippi River flooding 23,000 square miles, killing some 250 people in April 1927, and not in the awful, brutal death of a boy who later became a symbol of the civil rights movement, but in the richness and complexity of the characters, of the women of the Hilson family and the men, Emmett among them, who love them. While they inhabit these pages they live, and they do so gloriously and messily and magically, so that we are at last sorry to see them go, and we sit with those small moments we had with them and worry over them, enchanted, until they become something like our own memories, dimmed by time, but alive with the ghosts of the past, and burning with spirits.

    Jesmyn Ward’s most recent novel, “Salvage the Bones,” won the 2011 National Book Award for fiction.

     

    __________________________

     

    Caribbean Women Writers

    (series): Telling Stories

    Lorna Goodison's

    By Love Possessed

     

    The Caribbean Short Story_Critical Perspectives

    My favorite short stories work like cinematic vignettes, which is to say that they are essentially portraits or scenes I am pulled into by a purposeful narrator or speaker, who gives me a quick tour or perusal of the scene or portrait, and simultaneously causes me to experience a quick wringing-out impression of the substance of that scene or portrait and leaves me a bit breathless--both from pace and matter. Connecting in some major way with narrative voice, whether it is first, third, or some other perspective, is for me the key component to enjoying short fiction. The Caribbean short story has a fascinating history of writers’ experimentation with narrative voice, which is one of the subjects discussed in The Caribbean Short Story: Critical Perspectives, a recently published collection of essays, edited by Caribbean scholars, Lucy Evans, Mark McWatt, and Emma Smith. In one intriguing study, Suzanne Scafe focuses on a fat chunk of the history of the short story in Jamaica (1938-1950) and makes the following observation:

    Some of the most effective . . . in the dominant expression of Jamaican culture were those that privileged the use of Jamaican creole, not as dialogue, a form to which many readers had already become accustomed, but as either the narrative voice or as a means of articulating a complex interiority.

    By Love Possessed_Lorna Goodison
    In her latest book, a collection of short stories titled By Love Possessed, Jamaican writer Lorna Goodison continues in the tradition of presenting narrative voice as a key element to understanding mindset, character, and even country in some regards. The 22 stories in the collection are cinematic vignettes, short shorts threaded through and held together by several elements, including a lively orality--compact with humor and mixed tones of derision and empathy--on recurring situations where characters confront or avoid issues concerning toxic love, hypocrisy of many forms, poverty, and old personal or psychological haunts.

    The clear-visioned heroine

    The first story in the collection, “The Helpweight,” gives us a female character whose no-nonsense attitude about love and relationships is a dominant one in the collection. In the story, a pair of former high-school sweethearts contend with the left-over emotions from their past relationship. She is now a successful marketing manager, and he is a lawyer. Their relationship ended years ago when he got married to an Irish woman he met while studying in England, but he has returned to Jamaica (wife in tow) and seems bent on resuming their relationship. She’s clearly not interested (she is about to become seriously involved with a doctor), but she lets him get close enough to publicly humiliate him a few times--including making him wait outside her office for over an hour before she sees him--then she finally cuts him off completely for having the “unmitigated gall to suggest that she settle for being his concubine.” In the story’s parable-like construction, she is presented as a heroine with the clear vision to see through his empty promise--“...You are number one, you will always be the queen”-- and recognize that he is no better than men like the deadbeat father of her house helper’s children, a man the helper says “is not a helpmate, ma’am, him is a helpweight. All him do is help weigh me down.” As a woman who has done well for herself, she can effectively challenge and reject the weight of a number system (so to speak) of power and ownership designed to benefit men. Her rejection strikes a decisive tone for the female-focused collection.

    This clear-visioned Jamaican heroine is present in many of the stories, including those with women who are not as financially successful as the female protagonist in “Helpweight.” One such woman, a struggling artist, receives an offer to become the girlfriend of a wealthy man who asks her out, but tells her he doesn’t have much time in his life for “something like this” (time to invest in a serious relationship, perhaps?) but he can get her anything she wants. Her rejection of his offer is made particularly significant when she recalls seeing a woman of “house colour” (explained as the name Jamaicans give to the complexion one gets from spending most of one’s time indoors) taking inventory of her possessions in a jewellery store. She imagines that the woman’s collection of  jewelry is the result of a  life spent with someone who didn’t have time to invest in a serious relationship with her, and doesn’t want that for herself.

    Sometimes though, as another story illustrates, a woman in a relationship with a “busy” man can negotiate her way into a compromise that pleases her. But she’ll require some help from divine sources. In “Jamaica Hope,” (name for a “champion” breed of cattle, which the narrator tells us were “bigger than most men”) Lilla, who “pledged her head, hands, heart, and hopes into building a life with Alphanso,” (her own version of a champion breed, perhaps) spends ten years living with him and bearing children for him without being married. Her contentment changes when she discovers he is seeing someone else. She then decides she wants the security of marriage and asks him to marry her. The ensuing dialogue about marriage--he talks to his brother; she talks to her mother--tells a story (though notthe story) of Jamaican cultural beliefs regarding marriage:
    “Bob, hear my crosses now, Lilla want get married.”
    “All woman want to get married.”
    “You know how much people live good good then them go and get married and everything crash?”

    “Mama, Alphanso don’t want get married.”
    “No man in Jamaica ever want get married.”
    Lilla prepares to leave him and Alphanso seems uncaring of that until his brother (who lives alone) falls ill and Lilla takes care of him. He finally gives in and agrees to the marriage. 

    Though Lilla may have been successful in getting the kind of relationship she desires, the collection, which shows a wide range of relationship situations, is full of other women whose efforts to build their lives solely around men are predictably unsuccessful. And where the women remain stubbornly persistent in trying to make those relationships work, the narrator pokes merciless fun at them. One woman, for instance, who pays a man’s way into a movie theatre when he claims his pocket had been picked, and who then becomes involved with him, is criticized by the narrator:
     
    If she had been seeing straight, she would have noticed that some people were laughing when he raised the alarm. But she didn’t see anything except the handsome brown-skin man with “good hair,” straight nose, and a mouth like a woman’s.
    The complex male

    Though the major focus of the collection’s vignettes is on the agency or lack thereof of women in mostly dysfunctional relationships with men, and though (to that end) we get rather superficial and dismissive portrayals of the men with whom they are involved, two of the stories with male protagonists give a deeper look at a certain male condition. “Henry,” is the story of a young boy who is sent by his mother to “fight life” for himself when she determines his presence in the home is a hindrance to her relationship with her boyfriend. Henry tries to make a living selling roses on the street and he dreams of being rescued one day...
    The sliver cloud will stand still, the rear window will be eased down, and the wife of the Governor General will call out . . . ‘Hello you, you little one in those red corduroy trousers that must be so hot on you, come dear, and let me find a place for you to live. You really should not be out on the street like this.'
    His context for being rescued--by a wealthy mother-figure who singles him out for special attention, and who appears out of a “silver cloud”-- is as childlike as one would expect for someone his age (he’s 12), but it creates an undeniable pathos, especially too that the roses he sells are not only his reality--a way of life--in the story, they also become part of his idealist longing for something sweeter, prettier than his grimy street reality. 

    Because Henry’s story is so similar to the childhood of Albert’s, the protagonist in “Big Shot,” it’s possible to consider their stories as part and whole--a continuum... Like Henry, Albert once lived in poverty and aspired to be rescued from it. Like Henry, he was abandoned by his mother, though he had a grandmother who raised him and saw him through to college abroad. He returns to Jamaica and attempts to distance his present life as a successful lawyer as far as he possibly can from his past. But like many of the female protagonists in other stories, he is made aware that he can’t simply immerse himself in a new life and pretend the past doesn’t matter. When he left Jamaica to study elsewhere, he had abandoned a pregnant girlfriend, and he gets his comeuppance for that abandonment when the mother of his child confronts him in his office. That’s where the story ends, but along the way we are allowed to pinpoint societal and other destructive cyclical familial factors, patterns of behavior that may have contributed to the condition of a man who desires to hide from his past.

    Voices of the community:

    While “Henry” and “Big Shot” present possibilities for a wider range of reading the collection’s depiction of a certain male condition in Jamaica, “Bella Makes Life” presents possibilities for a wider geographical reading of how immigration can affect the value system upon which a relationship is based. Bella leaves her husband and children for New York and he assesses (through the letters she writes him, then later on through the clothes she wears) the ways in which she becomes a different person. In her first letters she seems focused on their relationship, telling him “You know I’m only here to work some dollars to help you and me to make life when I come home. Please don’t have any other woman while I’m gone. I know that a man is different from a woman, but please do try and keep yourself to yourself till we meet and I’m saving all my love for you.” But in later letters, she appears focused on herself and on telling him about her jobs and social life, declaring, “I figure I might as well enjoy myself while I not so old yet.” The narrator presents reactions to the changes in Bella which seem in part her husband’s, and in part that of a larger communal-sounding ridicule:
    Enjoy herself? This time Joseph was working so hard to send the two children to school clean and neat, Joseph become mother and father for them, the man even learn to plait the little girl hair. Enjoy himself?
    When Bella returns to Jamaica, Joesph is embarrassed at the clothes she wears and her over done accessories, and he longs for a simpler, less fussy woman. But the woman he turns to (Blossom) becomes just as unrecognizable when she leaves Jamaica for the United States and returns. Once again, because the narrator does the telling, we can sense a larger circle of ridicule pointed at Blossom, "a big woman, dressed in black socks with lace frothing over the top of her black leather ankle boots." One can certainly argue that these women have the right to wear whatever they want, but one is also quite tempted (seduced by the amusing narrative voice/s) to join in with the mostly valid indictment of those who seem to equate “making it” in America with becoming owners of a wardrobe of clothing--of ever-changing trends--from which they can choose and assume any outfit / identity, whether or not it suits them.

    But sometimes, as another story shows, the “voice” of the community is clearly unfair. In “Fool-fool Rose Is Leaving Labour-in-Vain Savannah,” the narrator tells us of a woman who confides in a friend about her relationship and is betrayed by that woman who joins with other women in the community and ridicule her in secret. The narrator, who is an older woman, tells the young woman being betrayed a story she hopes will help her be less trusting. The layering of stories demonstrates good and evil effects of “telling” stories: those that damage, and those that teach and heal.

    The final story in the collection, “I Come Through,” is both in title and themes, the collection’s culminating piece. In it, a famed Jamaican singer gives an interview and tells her life story, during which she revisits some of the collection’s dominant themes: abandonment; tricksters posing as friends and/or lovers; reading the ‘signs’; the surrogate mother or grandmother; and, healing and renewal in telling stories, including telling one’s own life story. From first story to the last, the collection has an engaging purposeful feel, with each slice of life producing a cohesive whole... 

    The collection’s best accomplishment:

    In the tradition of Caribbean short fiction, which Scafe and others before her speak of, and which seeks to capture an articulate narrative voice that is true to place and time, Goodison’s narrators and speakers in By Love Possessed (who are sometimes single-voiced, and other times plural-sounding) secure an important place in the genre by effectively giving us a language and a sensibility that is true of many Jamaicans / Caribbean people living in the Caribbean as well as outside the Caribbean...true to a condition of living that requires adaptability and flux. The language is standard English inflected with accents, rather than a specific creole, persay. The reader who is not Jamaican or Caribbean can possibly detect the accent in the language, but is not excluded from it (no glossary needed here). Considering its language and its contemporary and universal themes, the best of what we get in By Love Possessed  is a carefully constructed dualism of sorts: it is nationalistic and global, time-and-place-specific, and transcendent.

     __________

    By Love Possessedby Lorna Goodison (McClelland & Stewart 2011, 272 pp).

    The Caribbean Short Story: Critical Perspectiveseds. Lucy Evans, Mark McWatt & Emma Smith (Peepal Tree Press 2011, 356 pp).

     >via: http://signifyinguyana.typepad.com/charmainevalere/2011/09/caribbean-women-wr...

     __________________________

    Review of Violated

    by Guitele Jeudy-Rahill

    I recently read the short novelViolated by Guitèle Jeudy Rahill (First Books Library, 2001).  In the spirit of my post over the summer about making sure we cover the range of Haitians writing, I am including a review of the book here.  Because my current research focuses on the representation of sexual violence in cultural production, I was particularly keen to pick up a copy of Violated and have had it on my reading list for a while. Violated tells the story of the first protagonist Henri Berceuse, a man suffering from complexes as a result of his dark complexion and a trauma that haunts him from the past.  Early into the story we learn that his complexes are also related to his understanding of the sexual manifestations of power relations in Haiti during the occupation.   “Henri had determined long ago, with the American occupation of Haiti between 1915 and 1934, that he would do all he could to escape his blackness and the poverty it obliged” (10). Later on Henri explains the exact incident that led to this decision:  he witnessed the sexual violation of young Haitian boys by soldiers from the United States.  “Henri imagined that what the boys were experiencing was humiliating and painful…The soldiers were white and sporting uniforms.  Both factors were indicators of unquestioned authority on the small island” (12).   Shortly after Henri describes his past we are introduced to Peggy Pouchot, a woman who is also the victim of a sexual violence having been kidnapped and held as a sex slave.  “Two years before, in Port-au-Prince, she’d been approached by a man who had identified himself as a lieutenant and had commanded her to follow him.  She had done just that.  There was no disputing a man who looked so powerful.  It had been six months until her family would hear from her again” (19).   
    In the context of my own research this book is compelling for what it tells us about sexual violence—that it occurs in a number of different ways by a number of different actors ranging from soldiers violating young Haitian boys (a scene that is eerily reminiscent of the rape of the young Haitian man in Port Salut perpetrated by members of Uruguyan MINUSTAH forces) to young women caught in unequal relationships in which they are forced to give sex in return to security and those caught in the drama of family incest and sexual abuse.  The wide range and nature of violations in the book serve as a reminder for how complex issues of sexual violence are even if the gendered power dynamics that underlie them are similar.  Rahill has taken on a difficult topic with Violated, and her writing style is simple, threadbare and straightforward.   Another main character who is the daughter of Peggy Pouchot and Henri Berceuse, Kasha, who is chronically mistreated by her stepfather Antoine and who eventually migrates to the United States where she continues to be abused (which again disabuses the myth of security offered by the US).   Her character is quite well developed, with a convincingly written and intimately rendered inner monologue.  Overall the book offers a prolonged and often jarring encounter with different narratives of trauma, their troubling manifestations and aftermath.  Thus Rahill's novel could be well read alongside other texts such as Chauvet'sColère, Danticat's Breath, Eyes, Memory or Mars' Saisons sauvages to name but a few.  
     

    People often ask me, as someone who works on representations of violence in Africa and the Caribbean, if I ever fear that my work will reinforce stereotypes about these populations as being more violent than others.  I imagine that this is the same question that someone would ask this author.  I found it fascinating that though Violated is a work of fiction, Rahill is a social worker and a professor at a university as well.   As such she may have a completely different answer to this question, but  I find that my answer more often relates to how the story is written, and the necessity for the survivors of sexual violence to be able to have their stories told with complexity, texture and nuance, no matter how difficult it may be to hear, see or read them.   Especially since sexual violence is an issue that is surrounded by so much silence no matter where you are from, it is important that these stories be told.  Guitèle Jeudy-Rahill has achieved a story about violation that attempts to explore it in a number of different ways and show the trauma that results in its aftermath.

    RMJC

     

     

    PHOTO ESSAY: Flamboya and Viviane Sassen « Alexis Okeowo

    Flamboya and Viviane Sassen

    Vivian Sassen says she that she is all about eliminating the idea of “otherness.”

    The Dutch photographer grew up in East Africa, and returned to there and southern Africa to take fashion photos of some of its stunning residents. Many are in her photo book Flamboya.

    The result is often pure, effortless elegance. I get a kick out of these photos that show the mix of the inherent glamour and style of both people and places from all over Africa. This is Africa, indeed. See more of her work here.

     

     

    SCIENCE: African American youth invents surgical technique at age 14 > Milwaukee Courier Weekly Newspaper

    African American youth

    invents surgical technique

    at age 14

    11 February 2012  

    Young, Gifted and Black Series

    By Taki S. Raton

    He is young, he is gifted and he is Black. At the age of 14, Tony Hansberry II certainly holds grounded status in the league of exceptional youth.

    “Tony Hansberry II isn’t waiting to finish medical school to contribute to improved medical care. He has already developed a stitching technique that can be used to reduce surgical complications, as well as the chance of error among less experienced surgeons,” writes Jackie Jones in BlackAmericaWeb.com on June 16, 2009.

    “The project I did was basically the comparison of novel laparoscopic instruments in doing a hysterectomy repair,” reveals Hansberry.

    At the time, Hansberry was a high school freshman at the Darnell-Cookman Middle/High School of the Medical Arts in Jacksonville, Florida, a special medical magnet school that allows its students to take advanced classes in medicine. Informational documents cite that students at the school are able to master suturing in eighth grade. Suturing is the surgical stitching of a wound.

    The son of a registered nurse and an African Methodist Episcopal church pastor, the Darnell-Cookman student said that “I just want to help people and be respected, knowing that I can save lives.” His goal is to become a neurosurgeon.

    Jones reports that the idea for his unique procedure was conceived during the summer of 2008 while enrolled as an intern at the University of Florida ’s Center for Simulation Education and Safety Research at Shands Hospital in Jacksonville.

    It was noted that Hansberry responded to a challenge to improve a procedure called the “endo stitch” used in hysterectomies that could not be clamped down properly to close the tube where the patient’s uterus had been. Using a medical dummy, the 14-year-old devised a vertical way to apply the endo stitch, completing the stitching in a third of the time of traditional surgery.

    “It took me a day or two to come up with the concept,” Hansberry said in the Jones interview.

    He was supervised by urogynecologist Dr. Brent Siebel and Bruce Nappi, administrative director of the Center for Simulation Education and Safety Research. Hansberry’s accomplishment, it is reported, won second place in the medical category regional science fair in February 2009.

    Education experts say that youngsters as young as 10 can experience great achievement at an early age if their thirst for knowledge is encouraged and they are given opportunities to shadow professionals and get internships,” as quoted by Jones.

    In April of 2009, Hansberry presented his findings at a medical conference at the University of Florida before an audience of doctors and board-certified surgeons. Medical lead teacher Angela Tenbroeck is quoted noting that in many ways, Hansberry is a typical student, but that he is way ahead of his classmates when it comes to surgical skills.

    “I would put him up against a first-year med student. He’s an outstanding young man and I am proud to have him representing us,” she says. As an 11th- grader at the age of 16, the January 25, 2011 Jacksonville.com blog reports that Hansberry was one of nine youth who were selected to travel to Washington that February to present the Boy Scouts of America Report to the Nation to President Barack Obama.

    District director for the Boy Scouts of America Lawrence Norman in the Jacksonville report said that when district leaders were asked to recommend an exemplary Scout, “Tony’s name kept coming up.”

    Hansberry was also introduced at the annual meeting of the North Florida Council of The Boy Scouts at the University of North Florida on January 25, 2011.

    According to Jacksonville writer Justin Sacharoff, the Boy Scouts of America Report to the Nation features the year’s achievements including national service, conservation, healthy living and community involvement.

    The Darnell-Cookman Middle/ High School of the Medical Arts is a school within the Duval County Public Schools system in Jacksonville. It is a National Blue Ribbon School and also an “A” school in the State of Florida school grading system.

    The school had its beginnings nearly 200 years ago when Methodist minister Reverend S.B. Darnell moved to Jacksonville to serve as pastor of Ebenezer Methodist- Episcopal Church. In the late 1800s, he founded the Cookman Institute. It was the first school of higher education for African Americans in the state of Florida specializing in the religious and academic preparation of teachers.

    Under the leadership of Darnell, the school served thousands of young Black men and women until it was destroyed in the Great Jacksonville Fire of 1901. The Reverend Alfred Cookman, a close friend of Reverend Darnell, helped raise the money to rebuild the school. Today, Darnell-Cookman School of the Medical Arts has an enrollment upwards of 1,100 students in grades 6-12. The first graduating class will receive their diplomas in the spring of 2012.

    This “Young, Gifted and Black” series is proud to present its first writing during this 2012 February Black History Month by sharing the exemplary modeled accomplishment of Tony Hansberry II. But in reality, Hansberry’s achievement historically in our communities is really not unusual or extraordinary for our African American students when they are taught, groomed and culturally inspired in an academically supportive instructional environment unique to how we learn, grow, and develop mentally, socially, emotionally, and even psychologically as Black youth in today’s challenging diverse society.

    And added to this point in his words, our young neurosurgeon to be says that, “It’s not really hard if you have a passion for it.”

     

    VIDEO: Slavery by Another Name (full documentary) > PBS

    Slavery by Another Name

    Official Selection of the 2012 Sundance Film Festival

    GO HERE TO VIEW FULL DOCUMENTARY

    Slavery by Another Name is a 90-minute documentary that challenges one of Americans’ most cherished assumptions: the belief that slavery in this country ended with the Emancipation Proclamation. The film tells how even as chattel slavery came to an end in the South in 1865, thousands of African Americans were pulled back into forced labor with shocking force and brutality. It was a system in which men, often guilty of no crime at all, were arrested, compelled to work without pay, repeatedly bought and sold, and coerced to do the bidding of masters. Tolerated by both the North and South, forced labor lasted well into the 20th century.

    For most Americans this is entirely new history. Slavery by Another Name gives voice to the largely forgotten victims and perpetrators of forced labor and features their descendants living today.

    via pbs.org