VIDEO: "Filly Brown" LA Street Poet/Hip Hop Prodigy Chases Her Dream (Sundance '12) > Shadow and Act

Trailer/Video:

"Filly Brown"

LA Street Poet/Hip Hop Prodigy

Chases Her Dream

(Sundance '12)

Video by Vanessa Martinez | January 25, 2012

The urban Hip Hop drama Filly Brown premiered this year at the still ongoing Sundace Film Festival and has been received with fairly warm reviews, especially for the star turn of its relatively unknown lead Gina Rodriguez (Our Family Wedding), a performance that THR calls "magnetic" and a "dynamic breakout". Filly Brown, about a Latina rapper struggling with family troubles and aspiring to make it in the music industry, is written by Youssef Delara and directed by Delara and Michael D. Olmos.
The film also stars Jenni Rivera, Lou Diamond Phillips and Edward James Olmos.

Here's a full synopsis:

Maria Jose 'Majo' Tonorio is a tough LA street poet who spits from the heart. After meeting a talented DJ she cuts her first demo under the guidance of a small time hustler more interested in promoting Majo's sexuality than her lyrics. Soon a major label and its strong-arm executive come calling. Convinced that a record deal will deliver much needed money for the family, Majo is suddenly faced with some stark choices. Does she accept the deal and turn her back on the friends who got her to the precipice of success or does she let a golden opportunity slip away.

Watch the teaser trailer below. I've also embedded a special video feature from Sundance underneath it, in which clips of the film are shown and the filmmakers and cast discuss the project.

 

ECONOMICS: Forget Stocks Or Bonds, Invest In A Lobbyist > Planet Money : NPR

Money goes in. More money comes out. / Brendan Smialowski/Getty Images

 

Corporations don't lobby Congress for fun. They lobby because it helps their bottom line. Getting a regulation gutted or a tax loophole created means extra cash for the corporation. But getting laws changed can be very expensive. How much money does a corporation get back from investing in a good lobbyist?

It's a messy, secretive system so it was always hard to study. But in 2004, economists found a bill so simple, so lucrative, that they could finally track the return on lobbying investment.

The American Jobs Creation Act benefited hundreds of multinational corporations with a huge, one-time tax break. Without the law, companies that brought profits earned abroad back to the U.S. had to pay a tax rate of 35 percent. With the law, that rate dropped to just over 5 percent. It saved those companies billions of dollars.

In a recent study, researchers Raquel Alexander and Susan Scholz calculated the total amount the corporations saved from the lower tax rate. They compared the taxes saved to the amount the firms spent lobbying for the law. Their research showed the return on lobbying for those multinational corporations was 22,000 percent. That means for every dollar spent on lobbying, the companies got $220 in tax benefits.

 

That high of a payoff surprised even Alexander:

RA: I was not expecting it to be that big at all. I thought I needed to go check my math.
AB: So after the fifth or sixth time checking you were like, oh, this is the number?
RA: After the twentieth time of checking.

The American Jobs Creation Act is just one example. Not every lobbying effort has a return of 22,000 percent. There are companies that probably lose money lobbying — they spend limited resources on lobbyists and see no benefit in return.

But the company-lobbyist-politician ecosystem, Scholz says, is a problem:

We have a situation where we, in essence, invite corporations to buy their own tax rate through lobbying... which ultimately corrupts both the companies and the politicians.

Read more about Alexander and Scholz's study. And listen to our previous podcast in our series about lobbying and U.S. politics.

via npr.org

 

INTERVIEW: Karima Khalil, Messages from Tahrir

New Texts Out Now:

Karima Khalil, Messages

from Tahrir

 

Jan 25 2012 by Karima Khalil

 

[Cover of "Messages from Tahrir"]

 

Karima Khalil, editor, Messages from Tahrir. Cairo and New York: American University in Cairo Press, 2011.

Jadaliyya: What made you put this book together?

Karima Khalil: One of the first things I saw when I went to Tahrir for the first time on 29 January 2011 was a man standing quietly, holding a sign in Arabic saying: “I used to be afraid but I became Egyptian.” I thought this was an incredibly powerful statement, coming as we did from thirty years of repression with very little public anti-regime protest. I looked around me and saw how many different peopleof all ages and backgroundswere holding signs made from all kinds of things: paper, cardboard, wood, fabric, balloons, and even shoes.

The signs were incredibly expressive; scores were angry, others were extremely poignant. Many were heartrending, held by family members or friends of loved ones killed in the protests: “I finally found my friend Ameer, but in Kasr al Ainy morgue." Many were scathingly irreverent: “EVAEL…maybe he’ll understand if it’s backwards.” Some were purely political: “We demand a new constitution.” Other messages were very personal, like a determined one from a man with a bandaged eye and a lined page torn from a notebook taped to his forehead: “My eye won’t be lost in vain.” 


[The battle of Qasr el-Nil Bridge on 28 January 2011. Photo by Islam el-Azzazi.]

 

People had messages written on their foreheads and on their hands; others spelled out what they wanted to say on the ground with rocks, cups, candles, and even date pits. One protester wrote “Mubarak, you fly away!” on a kite, which soared high above Tahrir Square. These largely homemade, handwritten messages were really powerful and moving. They expressed longings that had been suppressed for so very long. They addressed Mubarak and his hated regime directly but were also aimed at the world: “Here we are, and this is what we want.”

I saw literally hundreds of incredible signs every day: messages that were too heartfelt to be lost, that articulated a unique moment in our history as Egyptians, that had to be documented and seen and heard and shared as widely as possible. Equally importantly, there was (and is) a lot of misinformation about who the protesters were and what they wanted. I felt it was vital to show the real story and I feel that is just as relevant today.


["I used to be afraid, I became Egyptian." Photo by Karima Khalil.]

 

J: What was particularly Egyptian about these signs?

KK: Many signs drew on very Egyptian cultural references: popular epigrams like ya bakht man zar wa khaffaf (lucky is he who does not outstay his welcome)—very to the point considering that Mubarak ruled for thirty years. Also, people were walking around Tahriri Square holding qollal (clay jugs). In popular Eygptian culture, breaking a qolla after an unwelcome guest ensures they will not  be back. One man took this a step further and was holding a zeer (a large clay vessel used for cooling water). Everyone who saw him just cracked up laughing and got his point right away.

Many signs referred to songs—I saw at least two signs quoting Um Kulthum, like this line from her classic Lessa Faker (Do you still think?): “Do you still think my heart can trust you or that a word can bring back what once was.”. Signs reverred to all sorts of puns, rhymes, and chants too, like Mish hanemshi, howwa yemshi (We won’t go, he goes). Countless signs were hilariously funny, reflecting Egyptians’ irrepressible sense of humor: “Hurry up, I’ve got exams!”; “Come on, my arm is aching!”; “Hurry up! I’ve only been married twenty days, and I miss my wife!” And after a week with no reaction whatsoever from the presidency, one of my personal favorites was: “Mr. President, a whole week and not even a phone call?”

    
[Left: "Finally I found my friend Ameer but...in Kasr al Ainy morgue. Photo by Mariam Soliman.

Right: A mother holds picture of her son, killed in protests. Photo by Shahira Tarek Zaki.]

 

Many signs reflected developments on the ground. La kalam qabl el ra7il (no talking before he leaves) was the response of four brothers to the regime’s offer to negotiate; they wrote this on tape covering their mouths after their two other brothers were killed in Tahrir. And on and on, I could give you hundreds of examples.


[Top: Breaking a qolla (clay water jug) behind an unwanted guest means they will not come back. This man brought a whole zeer.  Photo by Mohamed Gabr.

Bottom: This creative sign depicts an airport exit stamp with
a superimposed airplane. Photo by Rehab Khalid al-Dallil.]

 

J: How does this work connect to and/or depart from your previous work?

KK: It does not really relate to anything else I have done. I am a doctor; I work in public health. Photography is a hobby. I thought a photography-based project would be a good way to counter the regime’s powerful disinformation campaign about who the protesters were and what they wanted, without any filters between the reader and images. I thought it would help people see for themselves and make up their own minds.


["I beg you, leave." Photo by Omnia Ibrahim.]

 

J: How did you collect and choose the particular images that are featured in this book?

KK: I went through about seven thousand photographs, focusing on signs people were holding in Tahrir Square between 25 January and 11 February 2011, the day Mubarak stepped down. Starting with my own photographs, I looked carefully at what the signs said and how powerful the message was. I wanted the images collectively to represent the range of emotions I saw in Tahrir: mourning, rage, determination, pride, sarcasm, steadfastness, good humor, satire, and ultimately celebration, as well as caution. The book shows them in that order. It tells a story.

I picked images for their technical quality and their visual power. I wanted to ensure that the diversity of the protesters came through, so I also looked at who was holding the sign. I considered what the sign was made of as well, since people made signs out of so many different things. When I found an image that I wanted to include in the book, I started the detective work to track down the photographer and ask for permission to use it. Ultimately, thirty-five talented photographers, largely protesters themselves and from all kinds of backgrounds, kindly shared their photographs with me. Short biographies of these generous contributors are included in the book. My only regret is that I could not include more images, as choosing one over another was wrenching. The photographs in Messages from Tahrir represent a very, very small fraction of what is out there.


["I haven't had any teargas for a week—I'm in withdrawal." Photo by Maged Helal.]

 

J: Messages from Tahrir is now in its third edition after a mere six months. Who buys the book, and what feedback do you get?

KK: A lot of people who were in Tahrir Square at the time buy the book to remember what it was like, what we were there for, and why we are still protesting; many come up to me and tell me that. Others buy it for those who were not there, that is Egyptians who were not able to be in Tahirir Square or who live abroad and who would have liked to have been part of that heady period. Foreigners curious about our revolution buy it as well. An English friend of mine gave a copy to two Egyptian doctors working in Scotland who broke down and cried as they turned the pages. They sent me a message saying it made them feel as if they had been there. I hear that a lot. I am incredibly privileged. I experienced Tahrir, and I was able to bring a small part of it to others.


["Half a revolution is a nation lost." Photo by Mohamed Ezz Aldin.]

 

[Note: All royalties from Messages from Tahrir go to the Cairo-based Nadeem Center for the Rehabilitation of Victims of Torture.]


["Do not let your revolution be stolen." Photo by Omnia Ibrahim.]

 

[All images from Karima Khalil, editor, Messages from Tahrir. © 2011 by the American University of Cairo Press. For more information, click here; to order the book, click here.]

 

 

CULTURE: In ‘Love, InshAllah,’ American Muslim Women Reveal Lives > NYTimes.com

Lifting Veil on Love and Islam

Nura Maznavi, co-editor and contributor to "Love, InshAllah." / Ann Summa for The New York Times

 

Zahra Noorbakhsh was 14 when her Iranian immigrant mother discovered that Zahra was defying the family ban on mingling with boys: one was among her four friends heading to the movies together.

So the sex education talk that in a different life, back in the holy city of Qom, would have waited for her bridal night was instead delivered in the parking lot of a mall in Danville, Calif.

“Zahra, you have a hole,” her mother started. “For the rest of your life, men will want to put their penis in your hole. It doesn’t matter who you are, what you look like, who is your ‘friend.’ ”

Young Zahra staggered from the car thinking: “I have a what?! A hole? Where? Was that what I had missed in sex ed the one day I had the flu?”

That exchange is recounted in a new anthology of essays about flirting, dating and sex published on Tuesday under the title “Love, InshAllah: The Secret Love Lives of American Muslim Women.”

The two editors, Ayesha Mattu and Nura Maznavi, sought to create a book that dispelled the stereotype of Muslim women as mute and oppressed. They gathered 24 portraits of private lives that expose a group in some cases kept literally veiled, yet that also illustrate that American Muslim women grapple with universal issues.

“Inshallah,” the Arabic word for “God willing,” was included in the title because “it captures the idea that everybody is searching for love,” Ms. Maznavi said.

The anthology joins half a dozen books in the last two years that have been written by American Muslim women about their lives.

“We are thought of as being submissive and given in marriage to big, bearded men,” said Ms. Mattu, 39, an international development consultant, “while the reality is that a majority of American Muslim women are creative, funny, intelligent and opinionated.”

Since the Sept. 11 attacks, American Muslims have agonized about lying low versus stepping forward to convince other Americans that they are not a fifth column. Controversy erupts around even innocuous television shows like “All-American Muslim,” which presented five families in Dearborn, Mich., as inherently normal.

Ayesha Mattu with her husband, Randy Nasson, and son Rumi. / Annie Tritt for The New York Times

 

Even as the editors, both American-born daughters of immigrants, sought to fight society’s tendency to consider all Muslims extremists, they also struggled with the cultural proscription against describing private lives in public. “Within the American Muslim community, there has not been a space for women to speak openly about their love lives,” said Ms. Maznavi, a 33-year-old civil rights lawyer.

The book followed a tortured path into print. The two editors first dreamed up the idea five years ago over coffee in San Francisco, laughing about what a Muslim dating movie might be like. Their agent dropped them because publishers felt the book failed to fit into one category like religion, academia or chick lit.

So they waited until Pitchapalooza 2010, an annual cattle call at the literary festival Litquake in the Bay Area, where writers get a few minutes to pitch a book idea to a panel of industry experts.

On their night, more than 50 showed up, too many for everyone to pitch, so names were drawn from a hat. The two women sat through some 15 other pitches before Ms. Maznavi’s name was drawn, second to last.

In the tension, Ms. Maznavi said, she forgot her memorized pitch, so she winged it. The audience went wild, with men approaching them afterward to say things like, “I didn’t know we were allowed to touch you.”

They secured new agents that night, then a publishing contract with Soft Skull Press, a small house in Berkeley, Calif., the next month.

They solicited submissions from across the United States, mainly through Facebook and Twitter, winnowing down a couple of hundred to a collection that represents women with origins in East Africa and across the Middle East to Pakistan, as well as a mixture of ages, professions and sexual orientations.

Some experiences speak to issues broader than those concerning Muslim Americans: The woman who discovers that her dream date already has a young daughter, or the woman who comes out to her parents only to learn that they had been reading her blog for years.

But many issues are particular to their religion, like what to do when your date surprises you with a bottle of Champagne, and you have to explain that Muslims cannot drink alcohol. Even in families that are not highly observant, numerous women grapple with the question of premarital sex.

A Jewish convert to Islam detailed the pain of alienating her father, while another contributor spoke with rapture about joining a polygamous family.

Angela Collins Telles, 36, another convert to Islam, described the almost unbelievable twists of fate that she overcame in finding her Brazilian husband, including all manner of un-Islamic behavior, starting with their first chance encounter in a bar and proceeding through a platonic night together in a hotel room.

“I know my story will be looked on with a frown by people who know me, but that is O.K.,” said Ms. Collins Telles, a former elementary school principal, particularly since her husband also converted, and they now have two small sons.

The collection includes just one truly sad tale, that of a woman describing the loss of her Italian fiancé because he condemned her faith, lumping together all Muslims as terrorists. She had already quit her job in New York and was on the verge of flying to Europe when the cataclysmic fight erupted.

“I did have a scarring experience,” said the woman, who wrote under the name Leila N. Khan. “There is this fear of being told, ‘I told you so, you shouldn’t have gone outside the faith.’ ”

The difficult experiences were all the harder to write about, contributors said, knowing they could provide ammunition to those who paint all Muslims as somehow un-American.

“It is doubly hard for Muslim women, because we want to complain about our men without everyone turning around to say, ‘See, I knew they were all crazy terrorists,’ ” said Ms. Noorbakhsh, a 31-year-old comedian, who after describing her sex education talk goes on to detail losing her virginity in college. “You leave yourself vulnerable to people using your voice to attack your community, so we kind of censor our own voices.”

 

HISTORY + PHOTO ESSAY: Photo book: Black people in Turky - "Afro Turks" > AFRO-EUROPE

Photo book:

Black people in Turky

- "Afro Turks"

 


In 2010 Dutch-Turkish Photographer Ahmet Polat published his photo book AFRO TURKS. It was the end of a project documenting Turks of African descend, who live in the region of Izmir. He had been working on this project since 2006.

In May this year Ahmet Polat presented his newest publication on the Afro Turkish community at gallery Liefhertje in The Hague.

On his blog he writes: "Together with Erik Vroons, a Dutch visual anthropologist who joined me in 2009, we started a research using archival, private collected images and interviews.

With this work we’ve created an exhibition and an online publication with the aim to create more attention and a better understanding of this ‘forgotten history’. At the same time we hope to give a better insight into the diverse and complex history that resides within the Turkish Republic."


Photo of Ahmet Polat: Melik's father is wrapping the virginity belt on his daughters waist.

Check out some his great photos of Afro-Turkish people.
Afro Turks no 1, Afro Turks no 2, Afro Turks no 3, Afro Turks no 4

A video about Afro-Turks

A video of Afro-Turkish Jazz singer Melis Sökmen

 

__________________________

Afro Turks No.1

June 2, 2009

Ceza 06-2009

Ali Can is a big fan of the Turkish rapper Ceza .
The last time I met him and his mother Hatice (on the couch)
their (grand) father was still alive. He died a few months ago of a stroke.
He had just decided to stop driving his truck
and stay home more often to be with his daughters.
Hatice and her sister Lale don’t talk about their father that much.

I’m in Izmir (Turkey) for another 2 weeks documenting Turkish families who have African roots.

Ceza in Uskuder/Istanbul

Funny how life can be. Two weeks after I started my story in Izmir I got a phone call
with a request to photograph Ceza for the Paris Match magazine.
While photographing Ceza I asked him to sign a copy of his CD for Ali Can, which he gladly did.

Ceza signed his CD cover

I will go back in September this year to work on the second part of the Afro Turk documentary.
I hope to give this to Ali Can when we meet up again

Afro Turks No.2: “Traces” exhibition and book publication in Izmir, Turkey.

May 3, 2010

Traces

Since 2006 I’ve been documenting Turks of African descend, who live in the region of Izmir. Together with Erik Vroons, a Dutch visual anthropologist who joined me in 2009, we started a research using archival, private collected images and interviews.

With this work we’ve created an exhibition and an online publication with the aim to create more attention and a better understanding of this ‘forgotten history’. At the same time we hope to give a better insight into the diverse and complex history that resides within the Turkish Republic.

It has been estimated that there are about 20,000-80,000 of Turks that have an African heritage. Although descendants of Africans live in Turkey since the time of the Ottoman slave trade, most people in Turkey lack knowledge about this heritage.

With the support of the Dutch Foundation for the Arts, 355°, Art Beyond Borders, The Dutch Consulate and UNESCO , we have self-published a booklet using the online publisher BLURB. This booklet includes both documentary photography and samples from private archives with a foreword by Ali Moussa Iye, representative of UNESCO and an accompanying essay written by Erik Vroons. The book will be available after the 10th of May. (www.blurb.com)

The results of our findings are to be seen at the K2 Gallery in Izmir.
The opening will be the 7th of May at 18:30.

http://k2org.com/

Afro Turks No.3

May 14, 2010

Afro Turks No.4, Seminar at IRCICA Istanbul

July 4, 2010

Our exhibition in Izmir has a follow-up.
 

During a seminar organised by UNESCO and IRCICA we are invited
to present our archival and photographic research on the 10th of July
at IRCICA ,Yildiz Sarayi, Seyir Kosku, Barbaros Bulvari in Istanbul.

“THE AFRICAN-TURKISH RELATIONS: PAST ROUTES,
RECIPROCAL EMIGRATION AND PRESENT HERITAGE”
9-10 July 2010, IRCICA,

http://www.ircica.org/

__________________________

Afro-Turks

 

By Ekrem Eddy Güzeldere, November 12, 2010

 

Mustafa Olpak  Image © Afro-Turk Association

Mustafa Olpak Image © Afro-Turk Association

 

In the late 19th century the slave trade from Africa towards the Ottoman Empire “boomed”. Most slaves came from Kenya and Sudan and arrived in Western Anatolia. Previously Ottoman slaves had been white from the Balkans and the Caucasus. After abolition, slaves slowly integrated into Turkish society but Afro-Turkish communities exist to this day.

“Galloping from Far Asia and jutting out into the Mediterranean like a mare’s head: this country is ours.”

This is the first sentence of the famous poem “The Invitation” by Nazim Hikmet summarizing how the Turks arrived in Anatolia. However, this is only true for a limited number in modern Turkey because many people were already there (Arabs, Kurds, Greeks, Armenians and Assyrians) and others came from other regions (the Balkans, Greece and the Caucasus). Many were brought from the opposite direction against their will. Especially in the late 19th century, the slave trade from Africa towards the Ottoman Empire “boomed”. Most slaves came from Eastern Africa (Kenya and Sudan) and arrived in Western Anatolia. So when you come across fluent Turkish-speaking “Africans” in Ayvalik in the Northern Aegean, in a village around Torbali near Izmir or in a village near the popular tourist destination of Bodrum, they are neither tourists nor refugees, but the descendants of Ottoman slaves.

Slavery existed in different forms in the Ottoman Empire from the 14th until the 19th century. Probably the best known slaves were the Janissaries, the Sultan’s special troops recruited from Christian boys who were taken from their families in the Balkans and the Caucasus and educated at the Sultan’s palace. The most intelligent ones often became high-ranking bureaucrats. Other slaves were the many women of the palace harem – one of whom became the only wife of Suleyman the Magnificent. Known as Roxelana in Europe, she originally came as a slave to the palace from a region in today’s Ukraine . But there were of course also many slaves outside the palace working in households and in agriculture.

Afro-Turkish women from Yeniciftlik  Image © Piotr Zalewski

Afro-Turkish women from Yeniciftlik Image © Piotr Zalewski

Black slave trade replaced the white slave trade in the late 19th century
 

Most of the Ottoman Empire slaves were white from the Balkans and the Caucasus. Black slaves until the 19th century were only “traded” in small numbers. This changed in the second half of the 19th century when the Ottomans banned slavery from the Balkans and the Caucasus following pressure from European powers. Between 1860 and 1890 roughly 10,000 African slaves came into the Ottoman Empire each year – in total about 250,000 people. And there was a constant demand for new slaves, because “once a slave always a slave” was not the rule in the Ottoman Empire: many slaves, or at least their children, were set free at some point.

The final end to slavery came at the turn of the 20th century when slaves were replaced by paid servants. The fate of the freed slaves differed from region to region. In the province of Aydin, near Izmir, the Ottoman bureaucracy had a plan for them. According to official documents 1,500 families were supplied with 1,500 houses, furniture, two cows each and some money. That is the reason why over several decades there were relatively homogenous “African” villages in that region. Around Bayindir, about 75 km southeast of Izmir, 11 “Afro-Turkish” villages were known as the “kitchen of the sultan”, providing agricultural products for the palace in Istanbul. However, since the 1960s when Turkey saw a substantial migration to the cities and from Eastern to Western Turkey, the population in these villages has fundamentally changed. The black inhabitants in the villages around Bayindir are now a small minority, but they have not completely disappeared.

Image © Afro-Turk Association

Image © Afro-Turk Association

The majority of Afro-Turks live along the Aegean coast
 

“Along the Aegean coast, I have met at least 2,000 persons with black skin colour in recent years“, explains Mustafa Olpak during a visit to an Afro-Turkish family in the village of Yeniciftlik (New Farm). At the end of 2006, Olpak founded the first association of “Afro-Turks” in the North Aegean city of Ayvalik. Olpak was born in Ayvalik, but the way his ancestors arrived there, was rather untypical compared with other Afro-Turks. As he writes in his autobiography “Slave Coast”, his great-grandparents were deported from Kenya and sent as slaves to the then still Ottoman island of Crete in the 1890s. In Crete the family became Muslim and worked in the household of a rich Ottoman family. After the Turkish War of Independence, in 1924, Turkey and Greece negotiated a population exchange of Orthodox Christians and Muslims, and Olpak’s family had to leave Crete and was deported to Ayvalik. Olpak grew up there, finished school and married a white Turkish woman, with whom he was together for 25 years until her family said “There should not be any inheritance left to the Arab.” Blacks are often called Arab in Turkish. After this, Olpak filed for divorce. However it was not the only racist comment or discrimination he experienced in his life. Many Afro-Turks have much lighter skin, becauseblack women especially look for white partners to reduce the discrimination for their children that they experienced themselves.

Afro-Turk association: traditional Calf-Festival and oral history projects
 

However, the Afro-Turks also insist that they belong to Anatolia as much as other peoples. They speak the local dialect, wear traditional Turkish clothes and are usually well-integrated into the local Turkish cultural life: “We have been living in this region for at least 150 years and we don’t have any other homeland,” says Olpak.

After his divorce, Olpak moved to Izmir where the main office of his association is located, an association which strives to preserve the heritage of this neglected minority and to heighten general awareness of their situation. As of 2007, the organization has revived the traditional “Calf-Festival”, which had been celebrated by Afro-Turks from the 1880s until the 1920s. Deniz Yükseker of the private Koc University explains the background of the festival: “Leaders of the Afro-Turk community, known as ‘godya,’ used to collect money in order to buy a cow. On the first Saturday of May, they sacrificed this cow. Failing to make this sacrifice would cause droughts, according to popular folklore.” At that time the festivities lasted three weeks, in Republican times this tradition was gradually abandoned until it was revived in 2007. The modern version of the Calf-Festival only lasts for one week-end and so far no animal has been sacrificed, but it is a rare opportunity for the Afro-Turks from different provinces to come together and share ideas. To that end, buses are organized to bring the Afro-Turks to the festival. Mustafa Olpak remembers the bus trip in 2007 from Izmir to Ayvalik: “We had two buses full of black people. Outside of Izmir we were stopped by the police who thought we were illegal refugees. When the police realised that all the travellers were Turkish citizens, we were allowed to continue.”

During its four years of existence, the members of the association have been quick to learn how to deal with the press. When US President Barack Obama visited Turkey in April 2009, the association asked for an official meeting. As Olpak explained: “It was clear to us that we would be very lucky to be given an appointment, but we were able to use his visit to bring attention to our cause.” Olpak has succeded in raising awareness of the Afro-Turkish community through other initiatives too. His book was turned into a documentary by the state-run TRT television channel and well-known publisher Osman Köker organized an exhibition about the Afro-Turks. Through this a wider audience could be reached in the big cities of Turkey.

Besides the organization of the Calf-Festival, which will be celebrated again in May 2011 in Izmir and Bayindir, another focus of the association are oral history projects. And these have even caught the attention of the Turkish Ministry of Culture after the project “Voices of a speechless past” was completed with EU support, for which 100 Afro-Turks were interviewed. Such projects are urgently needed, because so far there is very little material relating to the fate of Ottoman slaves and their descendants.

Image © Afro-Turk Association

Image © Afro-Turk Association

… and the third generation researches
 

The association does also provide practical help, such as support with coal and wood in the winter or school uniforms and shoes for the children. Many Afro-Turks live in poverty, be it in the villages or in the cities they have moved to. There are very few Afro-Turks who have been to university or who hold prestigious positions in politics, sports, culture or private industry. That is why there are few role models for the young generation of Afro-Turks apart from a few notable exceptions like the former Mayor of Dalaman, the singer Esmeray and the football functionary Hadi Türkmen.

Mustafa Olpak begins his book with “The first generation experiences, the second denies and the third researches.“ The Afro-Turks of the third generation have started to research their exceptional history. Through this, the Anatolian mosaic is gaining another colourful tile.

 

PUB: Contests » Columbia: A Journal of Literature and Art

2012 COLUMBIA:

A JOURNAL OF LITERATURE AND ART

WRITING CONTEST NOW OPEN

$500 prizes in each genre: fiction, nonfiction, and poetry.

Plus publication in our landmark 50th issue.

[JUDGES]
Fiction:
Dinaw Mengestu
How to Read the Air
The New Yorker “20 Under 40” 2010

Nonfiction:
Anne Fadiman
The Spirit Catches You and You Fall Down
National Book Critics Circle Award 1997

Poetry:
Eileen Myles
Inferno: a poet’s novel
Lambda Literary Award 2010

Runners-up will be considered for publication on our website.

Guidelines:
Poetry: up to five poems
Fiction and Nonfiction: up to 15 double-spaced pages
Simultaneous submissions are fine; please write us if your piece is accepted elsewhere.

Deadline: February 1, 2012.
Entry fee is $14 and includes a copy of Journal 50.
Submit your work via our submission manager.

IMPORTANT NOTE ABOUT PAYMENT:
After your file is uploaded, you will be automatically directed to our payment portal, which will allow you to buy a virtual “ticket” to the contest ($13 plus 75¢ processing fee). This will look like a ticket to a literary event, but never fear, it is merely our way of processing contest fees.

Your submission will not be read by our judges if you do not pay the contest fee, so if you have any trouble, please contact us right away at Publisher.Columbia@gmail.com.

 

PUB: Call for Submissions: Forum on Mental Health and Illness > The Feminist Wire

Call for Submissions:

Forum on Mental Health and Illness

January 24, 2012
By

The Feminist Wire is proud to announce that it will host a forum on mental health and illness. Because the topic of mental health can take many shapes and define many different aspects of society, we strive to showcase a diverse collection of writing from multiple perspectives. Submissions are invited from academics and professionals, as well as from individuals and families who have lived with and experienced mental health personally. We also seek solid representation of a variety of mental health diagnoses.

Mental health is an especially politically charged issue for many reasons, and as such serves as a provocative topic for feminist thought, critique, narrative, and rhetoric. Reasoning, analysis, and lived experiences of individuals are all critical to our understanding of this deeply complex issue. TFW invites submissions on any of the following:

  • Theories surrounding mental health as a social construct vs. biological/genetic destiny.

  • Mental health and women through the lens of national health care coverage (the so-called “Obamacare”).

  • Mental illness and artistic expression, specifically the role of female writers in American literature.

  • The impact of policy on mental health (anti-immigrant policy and psychological health of migrants, for example).

  • Mental health explained through different religions, and the roles these religious entities play in advocating for/against the rights of the diagnosed.

  • The potentially counter-productive effects of psychology on the culturally identified “psychiatric patient” and emerging debates surrounding neurodiversity.

  • Experiences of mental health and illness from international audiences.

Those interested in contributing to the forum should note that this list is not exhaustive. TFW prides itself on hosting a variety of opinions from across the spectrum of feminism. Please feel free to submit a piece that addresses mental health and illness that may not necessarily fall into one of the categories noted above.

Submissions are to be sent electronically to Catherine Morrissey at cmorrise@asu.edu. Please include an author description and picture in case your submission is selected, as well as any contact information you would like readers to have (website, Twitter, email, etc.). You will be notified by email if your submission has been selected.

Submissions should be between 800-1500 words.

The deadline for submissions is February 17, 2012, for a planned publication date of March 12, 2012.

If you have questions, you may contact Catherine Morrissey at cmorrise@asu.edu.

 

PUB: 2012 Mixed Roots Film & Literary Festival Now Accepting Submissions > Racialicious

Announcement:

2012 Mixed Roots

Film & Literary Festival

Now Accepting Submissions

 

by  on JANUARY 24, 2012

 

By Arturo R. García

The Mixed Roots Film & Literary Festival contacted us with the heads-up: the submission period has opened for this year’s event, scheduled to run June 16-17 at the Japanese American National Museum in Los Angeles.

There is no submission fee for entries sent before Feb. 15, but entries submitted between Feb. 16 and March 15 must be accompanied by a $50 fee. We’ve got information on each category, and links to the required submissions forms, under the cut.

Film Submissions

  • Subject matter may include but is not limited to: interracial/cultural relationships, transracial/cultural adoption and the exploration of multiracial/cultural identity.
  • Please note that there may be a Q&A session at each screening of the Festival on June 16 or 17, though participation is not mandatory.
  • Participants are responsible for their own transportation and lodging. The festival is unable to provide an honorarium. (This applies to all categories.)

Performance Submissions

  • Open to comics, actors, musicians, and spoken word artists with self-contained, portable acts suitable to a black box theatre.
  • Submissions must be complete and run under five minutes. (Performers must be off-book.)
  • Performers must be available for both a mandatory rehearsal on June 15 and a performance during the festival.
  • No props or furniture will be provided.

Literary Submissions

  • Besides filling out the submissions form above, applicants must send a 10-15 page writing sample and a high res jpeg photo of themselves as attachments to mxrootsfest@gmail.com with “Literary” and the applicant’s name in the subject line.
  • Participants must be available to read from their works during the festival.

Workshop Submissions

These submissions may address only one of the following:

  1. Creation of literary content
  2. Creation of film content
  3. Providing a historical context for inclusion in film/literary content.
  • All presenters’ attendance must be confirmed by applicants at the time of submission.
  • Presenters are expected to arrive at the Festival site no later than 45 minutes prior to the scheduled workshop time.