PUB: Emily Dickinson First Book Award : The Poetry Foundation

Emily Dickinson First Book Award

The POETRY FOUNDATION, publisher of Poetry magazine, is pleased to announce the 2012 EMILY DICKINSON FIRST BOOK AWARD, designed to recognize an American poet at least 40 years of age who has yet to publish a first collection of poetry.

 The Poetry Foundation seeks one book-length poetry manuscript to be published by Graywolf Press as the winner of the Emily Dickinson First Book Award. The competition is open to any American citizen forty years of age or over who has not previously published a book-length volume of poetry. In addition to publication and promotion of the manuscript, the winner will receive a prize of $10,000.

Submission Guidelines 

  • Contestants must be 40 years of age or older by February 17, 2012.

  • There is no charge to submit for this contest.

  • All poems must be original. Translations are not accepted.

  • The manuscript must be between 48 pages and 80 pages in a standard font and size (eg. Times New Roman, 12pt). All manuscripts must be paginated. Begin paginating the manuscript with the first poem; each new poem must start a new page.

  • Submissions may be made in hard copy via mail or online at the following address: dickinson.poetryfoundation.org.
  • The author’s name and complete contact information should appear on the title page only.
  • A brief biography citing any previous chapbook, anthology, or magazine publications should follow the cover page. Publishing credits should include title of poem, where published, and when. Writers who have had chapbooks of poetry printed in editions of 300 copies or more are ineligible.
  • Do not staple or bind hardcopy manuscripts.
  • A manuscript previously submitted to the Emily Dickinson contest may not be reentered, unless it has been selected as a finalist.
  • Submissions are limited to one manuscript per person.
  • All submissions will remain the property of the author.
  • Due to the volume of entries received, manuscripts can not be returned.
  • The winner must grant exclusive first publication rights to the Poetry Foundation and its publication partner, Graywolf Press.
  • Please include a self-addressed stamped postcard or an email address if you wish to be notified of manuscript receipt.
  • In order to submit for the 2012 contest, follow the above guidelines and send manuscripts to the address below, postmarked from January 16, 2012 and no later than February 17, 2012.
  • The winner will be required to verify age and citizenship, as well as provide tax identification information before the award can be made.

Poetry Foundation
Attn. Emily Dickinson Award
61 West Superior Street
Chicago, IL 60654-5457
Telephone: (312) 787-7070

The winner will be notified by April 30, 2012 and publicly announced at the Pegasus Awards ceremony in 2012.

This is an occasional contest that is not held annually.

 

PUB: Starr Center Fellowships | Full-Year Fellowships | Short-term Fellowships

Starr Center Fellowships

 

The Starr Center’s unique location makes it an ideal place to study and write about the American past. Chestertown, Md., a beautiful colonial town in the Chesapeake tidewater region, provides a quiet oasis for thinking and writing. In the Starr Center’s offices in the waterfront Custom House (c. 1746) and in the newly renovated Patrick Henry Fellows’ Residence (c. 1735), one is surrounded with the atmosphere of nearly three centuries of history.

Washington College also offers the intellectual energy and friendly intimacy of a small liberal-arts institution, one where students and faculty often share ideas over meals as well as in the classroom. And larger cities such as Washington, D.C., Philadelphia, Baltimore, and Annapolis are all within easy day-trip range, giving convenient access to major national libraries, museums, and archives.

Through its fellowship programs, the Starr Center supports innovative and interdisciplinary approaches to the American past – especially by fostering the art of written history. Visiting fellows find a place where they can retreat from daily responsibilities and focus on their writing projects – but also one where they are stimulated by interactions with students, faculty, and distinguished visitors.

The Center’s Patrick Henry Visiting Fellowship supports outstanding writing on American history and culture by both scholars and nonacademic authors; it offers a $45,000 stipend for the academic year, plus living arrangements and other benefits. Click here for more information. Deadline for the 2012-13 Fellowship is February 15, 2012.

The Hodson Trust-John Carter Brown Fellowship is open to applicants from a wide range of disciplines who are pursuing projects on the literature, history, culture, or art of the Americas before 1830. The award supports two months of research and two months of writing. The stipend is $5,000 per month for a total of $20,000, plus housing and university privileges. Click here for more information. The deadline for the 2012-13 Fellowship is March 15, 2012.

The Center also offers other short- and longer-term fellowships in Chestertown, as well as special student research fellowships for Washington College undergraduates.

 

VIDEO: Melvin Van Peebles' 1998 Doc "Classified X"- A History of African American Stereotypes in Cinema > indieWIRE

Watch Now:

Melvin Van Peebles' 1998 Doc

"Classified X"

- A History of African American

Stereotypes in Cinema

 

Melvin Van Peebles' 1998 documentary, Classified X, explores racist stereotypes of African Americans in the history of cinema, beginning with the silent film era.

 

Video by Vanessa Martinez | January 4, 2012 

Van Peebles narrates throughout; you are highly recommended to see it if haven't done so by now. The documentary, directed by Mark Daniels, is quite compelling and provides a poignant and relatively thorough insight on the historical portrayal of African Americans on screen in both non-black and black films.

It's now streaming on Netflix; feel free to watch it there. However, I was able to find it in full on YouTube, although divided in six parts; which I've embedded below.

Watch!

 

INCARCERATION: Missing Teen Accidentally Deported to Colombia, Now Stuck > Clutch Magazine

Missing Teen

Accidentally Deported

to Colombia, Now Stuck

Wednesday Jan 4, 2012 – by

 

When Jakadrien Turner went missing in November 2010, her grandmother, Lorene Turner, stopped at nothing to find her.

Distraught about grandfather’s death and parent’s divorce the teen ran away from her Dallas home. Jakadrien ended up in Houston and when she was arrested for theft, she gave a fake name. Unfortunately, the name belonged to a 22-year-old ilegal immigrant, and immigration officials stepped in. Despite fingerprinting the teen, ICE officials failed to confirm her identity and deported her to Colombia despite Jakadrien having no ties to the country and not speaking spanish.

When she got to Colombia, the teen was given a work card and found a job as a domestic. Her grandmother, who never gave up hope, found her on Facebook and tracked her down to Colombia, where Jakadrien said she was forced to work long hours under harsh conditions.

“She talked about how they had her working in this big house cleaning all day, and how tired she was,” Mrs. Turner said.

 

Video | News | Weather | Sports 

Tue Jan 03 15:56:17 PST 2012

Dallas teen missing since 2010 was mistakenly deported

Lorene Turner said with the help of Dallas police, she found her granddaughter in an unexpected place: Colombia. There are still many unanswered questions about how an African-American girl who speaks no Spanish was mistaken for a foreign national. view full article

 

Now Jakadrien is apparently pregnant and stuck in a Colombian detention center unable to get home, despite pleas from her family and requests from the US Embassy asking Colombian police to turn her over.

American immigration officials claim they are investigating the incident and how Jakadrien ended up being deported in the first place. They also claim they are working on her return, but Jakadrien was supposed to be returned to her family a month ago. In spite of the delays, her grandmother hasn’t given up hope.

Mrs. Turner told WFAA in Dallas, ”I feel like she will come home. I just need help and prayer.”

Want to help? Contact the US Embassy in Colombia to pressure them to bring Jakadrien home. 

 

POV: 20 Years of Black Lesbian Cinema: Before Pariah > The ROOT

20 Years of Black Lesbian Cinema

A slew of unheralded but significant films helped pave the way for critically acclaimed Pariah.

 

 

Courtesy of Focus Features

 

Dee Rees' debut film, Pariah, has rightfully been celebrated for its tender coming-out and coming-of-age story of a shy yet sexually curious 17-year-old African-American girl, Alike (Adepero Oduye).

An unprecedented black LGBT (lesbian, gay, bisexual and transgender) success at the Sundance Festival in January, the film was immediately picked up by Focus Features for distribution and has since received two nominations for the Spirit Awards, which recognize independent film. In November, Rees was awarded breakthrough director of the year at the Gotham Awards.

Clearly, the movie's positive critical reception owes much to the brilliant dramatic performances of newcomers Oduye and Pernell Walker, veterans Charles Parnell and Kim Wayans, Bradford Young's beautiful cinematography and Rees' subtle yet sophisticated depiction of Alike and her middle-class African-American family's coming to terms with her lesbian identity.

But Pariah is also indebted to a cadre of often overlooked but no less important documentaries and coming-out films released during the height of black lesbian filmmaking from 1991 to 1996.

In 1993 filmmaker Michelle Parkerson wrote about the birth of a "new generation" of gay and lesbian filmmakers of color whose work challenged stereotypes and stigmas about black lesbian and gay lives on the big screen. Filmmaker Yvonne Welbon, founder and director of Sisters in Cinema and curator of the "Sisters in the Life" black lesbian transmedia project, calls 1991-1996 the "golden age" of a black queer cinema.

"That was the period of time when we had the most women producing the widest variety of work," Welbon said in an email interview. "Approximately 50 percent of all work produced was made during that five-year time period. Very little work is being produced today by out black lesbian media makers. So maybe Dee Rees is part of the trend of the mainstreaming of niche content that we see happening across all media platforms."

In her essay " 'Joining the Lesbians': Cinematic Regimes of Black Lesbian Visibility," film critic Kara Keeling attributes the rise of these self-identified "black lesbian films" to their roots in the larger social movements of the late 1960s and 1970s. These filmmakers not only were children of the civil rights, black power, women's and lesbian and gay movements, but also grew up as beneficiaries of a more nuanced identity politics with which they infused their work.

Moreover, this golden age of black lesbian filmmaking should be considered part of the new wave of black cinema that included Spike Lee's She's Gotta Have It and Jungle Fever, Julie Dash's Daughters of the Dustand, of course, Marlon Riggs' Tongues Untied and Black Is ... Black Ain't, two groundbreaking documentaries that explored racial and sexual identities.

While Parkerson has been making films since 1973, her most notable films -- Storme: The Lady of the Jewel Box, the story of Storme DeLarverie, emcee and male impersonator at the Jewel Box Revue, the first integrated gender-impersonation show; and A Litany for Survival: The Life and Work of Audre Lorde, co-directed with Ada Gay Griffin -- were released during this heyday of black lesbian filmmaking.

The most critically acclaimed movie of this period was Cheryl Dunye's The Watermelon Woman, a clever mocumentary about a black lesbian filmmaker researching the life of a relatively unknown black actress who played "mammy roles" in the '30s. The main character, Cheryl (played by Dunye), discovers that Fae Richards, the actress dubbed "the Watermelon Woman," was actually in a sexual relationship with the white female director, Martha Page, and was part of a vibrant underground black lesbian community in Philadelphia throughout her life.

The vast majority of black lesbian films made during the golden age were documentaries, such as Aishah Shahidah Simmons' coming-out short films In My Father's House and Silence ... Broken; Jocelyn Taylor's Like a Prayer, Looking for LaBelle and Bodily Functions; and Welbon's Living With Pride: Ruth C. Ellis @ 100. However, Dunye's film stood out because it was a fictional film that featured a black lesbian protagonist and landed a distribution deal with First Run Features.      

Since Watermelon Woman's release in 1996, there have been more than 20 feature films directed by black lesbians. However, like most women in Hollywood, black lesbian directors do not have access to the necessary networks, capital or resources to have their films made and distributed for mass circulation.

A recent article, "Why the Odds Are Still Stacked Against Women in Hollywood," paints a pretty dismal picture. Despite being 50.8 percent of the U.S. population, female directors make up only 13.4 percent of the Directors Guild of America, and women hold only 16 percent of powerful behind-the-scenes jobs, such as producer, director, writer and editor. 

Add the layers of being both African American and lesbian, and the dearth of opportunities in Hollywood becomes even more dire. In this context, Rees' Pariah is already a marketing success.

This is partly because of the savvy of its producer, Nekisa Cooper, who had an illustrious career working in brand management for such companies as Colgate-Palmolive, L'Oréal and General Electric. It was Cooper who helped brand Pariah as a universal coming-of-age story. It is also because of Rees' access to Spike Lee, her former New York University film-school professor, who was script adviser and executive director for Pariah.

But mostly Pariah is the beneficiary of Rees' talent and a slowly increasing visibility of complex LGBT characters in both independent and mainstream Hollywood films. More important, the buzz surrounding Pariah (and other films, such as Ava DuVernay's recent I Will Follow) indicates a small though significant shift in the exploration of the inner lives of black women -- their sexual desires, contradictory emotions, lost loves and found selves -- on the big screen. 

This alone gives a new generation of black lesbian filmmakers, such as Tiona McClodden, director of the 2008 documentary Black/Womyn: Conversations With Lesbians of African Descent, reason to be excited. "After Pariah," McClodden said in an interview, "it might be a little easier for more of these types of film to be made. I hope it gets even more recognition and award nominations. So far there hasn't been a show of something that has been commercially successful in this genre, so this is why Pariah is so important."

Salamishah Tillet is an assistant professor of English and Africana studies at the University of Pennsylvania and the co-founder of the nonprofit organization A Long Walk Home Inc., which uses art therapy and the visual and performing arts to end violence against girls and women. Follow her on Twitter.

 

LITERATURE: Morocco: Arabic Booker, 2011 > bombasticelement.org

Saturday, March 19, 2011

Morocco: Arabic Booker, 2011

The International prize for Arabic fiction (the Arabic Booker) was announced on March 14th. It went to Arch and the Butterfly by Moroccan Mohammed Achaari and The Doves’ Necklace by the Saudi Raja Alem, the first woman to win the prize.
Breakdown of the shortlisted books - here. BBC's Strand spoke to the winners the morning after the win about their novels against the backdrop of ongoing revolutions - here.

 

__________________________

 

'Arabic Booker' 2011 shortlisted authors talk about their work

Saeed Saeed

This year is no different as the six shortlisted authors set their unique gazes on topics ranging from the timely to the universal.

Among the shortlisted novels there are ones that include characters inspired by the written word, in search of identity and rebuilding lives shattered by tragedy.

This year's finalists include two physicians, a poet and a government minister. The eclectic nature of the literary work mirrors some of the authors' professions.

Dubbed the "Arabic Booker," the IPAF is supported by the Booker Prize and funded by the Emirates Foundation. The winning author receives US$50,000 (Dh183,650) as well as guaranteed translation of the novel.

Shortlisted authors walk away with $10,000. However, the award's prestigious reputation often results in many of their works also being translated.

The award's administrator Joumana Haddad says the IPAF acts as a gateway to the most important fiction in the Arab world. "The notable success of the prize is in firmly establishing the presence of the Arabic novel internationally," she says.

 

Mohammed Achaari

 

 
Mohammed Achaari. The Arch and the Butterfly begins with a father receiving a letter from al Qa'eda informing him that his son, whom he believes to be studying abroad, has been killed in Afghanistan.The book follows the father as he struggles to rebuild his shattered life and keep his family intact.
Mohammed Achaari. The Arch and the Butterfly begins with a father receiving a letter from al Qa'eda informing him that his son, whom he believes to be studying abroad, has been killed in Afghanistan.The book follows the father as he struggles to rebuild his shattered life and keep his family intact.
 

 

Since September 11, 2001, global best-seller lists have frequently included works of fiction tackling terrorism and religious extremism.

The Moroccan writer Achaari says he wants to bring new insights into the sensitive topic by exploring a different angle in his IPAF shortlisted work The Arch and the Butterfly.

The novel begins with a father receiving a letter from al Qa'eda informing him that his son, whom he believes to be studying abroad, has been killed in Afghanistan.

The book follows the father as he struggles to rebuild his shattered life and keep his family intact.

Achaari says the novel touches upon real fears facing Moroccan families. "In the past, parents were worried their children would fall into taking drugs or joining gangs,'' he says.

"Now that is replaced with their children joining radical movements and fringe groups."

Achaari is a prolific poet with 10 poetry anthologies and a short story compilation published. The Arch and the Butterfly is his second novel.

While pleased at being shortlisted for the award, Achaari says it was finishing the novel that makes him most proud: "That was itself a prize for me.

"If the award raises the novel's stature and it is translated so others can read it that would also be an important thing to me."

 

 

Raja Alem

Raja Alem. The Doves' Necklace speaks of an old Mecca swept away by modern skyscrapers, crime and religious fundamentalism.

Raja Alem. The Doves' Necklace speaks of an old Mecca swept away by modern skyscrapers, crime and religious fundamentalism.

 

The Saudi novelist Raja Alem describes her work, The Doves' Necklace, as more than a novel about her home city of Mecca. Instead, she says it is a rare journey into a life far removed from the city's historical role as the centre of Muslim worship.

The Doves' Necklace speaks of an old Mecca swept away by modern skyscrapers, crime and religious fundamentalism.

"The Mecca of my grandmother is disappearing," she says. "It is becoming a modern city of glass and iron while its original buildings were built from the stones of its mountains."

While the novel speaks of mafia building contractors intent on destroying the city's historical roots, Alem believes the city itself has its own life and "will choose its future".

The author says the IPAF nomination is even more thrilling, as The Doves' Necklacewas originally planned as her last Meccan novel.

"I wrote it as a kind of eulogy for the city," she says. "But a month after I finished it I was hooked with a new story about the generation of my aunts and that book is also nearly finished."

 

 

Khalid Al-Bari

 

Khalid Al-Bari. An Oriental Dance centres on the life of a young Egyptian who, after marrying an older British woman, uproots to England for a new life.

Khalid Al-Bari. An Oriental Dance centres on the life of a young Egyptian who, after marrying an older British woman, uproots to England for a new life.

 

Egyptian author Al-Bari always knew his life would eventually involve the written word. This is despite a first career in medicine, and he describes the pull of the pen as much stronger than that of the stethoscope.

"I always loved writing and reading,'' he says from London, where he has lived and worked since 1999. "I first enjoyed nonfiction, autobiographies and reportage. It was only later that I started getting interested in novels."

It's a case of better late than never for Al-Bari, as his second novel, An Oriental Dance, is among the IPAF shortlist.

The novel centres on the life of a young Egyptian who, after marrying an older British woman, uproots to England for a new life.

This is Al-Bari's second consecutive novel following his writing debut, the autobiographical The World Is More Beautiful Than Heaven.

While An Oriental Dance details the trials of the Arab expatriate community in the UK, he stresses the story is not just about the migrant experience. He says the personal struggles described in the book are universal.

"Yes, they are about people from different places living in different parts of the world," he says, "but it's also about their search for identity, culture and faith... things we can all relate to."

 

 

Bensalem Himmich

Bensalem Himmich: My Tormentor is a dark psychological drama about the plight of Hamouda, an innocent man kidnapped near the Algerian border and transported to a secret American-run prison.

 

Bensalem Himmich: My Tormentor is a dark psychological drama about the plight of Hamouda, an innocent man kidnapped near the Algerian border and transported to a secret American-run prison.


Moroccan author Himmich's novel focuses on the controversial practice of extraordinary rendition.

My Tormentor is a dark psychological drama about the plight of Hamouda, an innocent man kidnapped near the Algerian border and transported to a secret American-run prison.

Repeatedly subjected to torture and interrogation by Arab and foreign security services, Hamouda strives to make the best of his dire situation.

Himmich, who is the Moroccan minister of culture, says while the story was triggered by the news headlines, the hard work lay in building a believable plot.

"The writer can be aware of the situations happening around the world like in Guantanamo Bay, Abu Ghraib and lots of other Arab prisons," he says. "But we are not eyewitnesses to these events, so we have to create our own worlds and characters. Some readers may find some truth in this novel in relation to where they come from."

No stranger to literary awards, Himmich's achievements include the Naguib Mahfouz Medal in 2002 and the Unesco Sharjah Prize in 2003. The IPAF eluded him in 2009, however, when his previous work The Man from Andalucia made the longlist.

"It does feel great to progress to the shortlist this time," he laughs. "Of course, I do hope I win the prize, but if this doesn't happen then I will accept the decision of the respected panel with due sportsmanship."

 

 

Amir Taj Al-Sir

Amir Taj Al-Sir: The Hunter of the Chrysalises is based in an unnamed Sudanese city, where readers are introduced to a former security officer who is forced to retire following an accident. After visiting cafés frequented by writers and intellectuals, he is inspired to pen his own novel loosely based on his former career.

Amir Taj Al-Sir: The Hunter of the Chrysalises is based in an unnamed Sudanese city, where readers are introduced to a former security officer who is forced to retire following an accident. After visiting cafés frequented by writers and intellectuals, he is inspired to pen his own novel loosely based on his former career.


The love of the written word is a strong theme for any novelist, and one which Sudanese author Taj Al-Sir explores in-depth in The Hunter of the Chrysalises, also known as The Head Hunter.

It is based in an unnamed Sudanese city, where readers are introduced to a former security officer who is forced to retire following an accident.

After visiting cafés frequented by writers and intellectuals, he is inspired to pen his own novel loosely based on his former career.

Al-Sir, whose 14 books include novels, biographies and poetry, says he is drawn to characters exploring new frontiers.

"I wanted to speak about people who have no relation to writing but who write novels," he says. "It's the story of the security apparatus and the life of a novelist."

After graduating from a British university, Al-Sir spent his early career in Sudan before moving to Qatar where he is presently a physician.

He says his profession never got in the way of his self-imposed regime of writing a novel every two years.

"Medicine taught me the discipline and patience needed to write and read," he says. "I also met so many different characters who come for treatment and that also helps with the writing."

 

 

Miral Al-Tahawy

Miral Al-Tahawy: Narrated through the eyes of Hind, a newly arrived Egyptian migrant, Brooklyn Heights gives voice to the silent struggle of those living on society's margins.

Miral Al-Tahawy: Narrated through the eyes of Hind, a newly arrived Egyptian migrant, Brooklyn Heights gives voice to the silent struggle of those living on society's margins.

 

Egyptian author Al-Tahawy's novel speaks of the flip-side of the American dream.

Narrated through the eyes of Hind, a newly arrived Egyptian migrant, Brooklyn Heights gives voice to the silent struggle of those living on society's margins.

Caught between making a fresh start in Brooklyn and the longing for her homeland, Hind finds solace through a group of fellow migrant women who share similar experiences.

Al-Tahawy says the inspiration for the characters came from her time spent working in a Brooklyn refugee centre a decade ago.

"It was a great professional and personal experience for me to read their case files and help them with their problems," she says.

The author currently lives in the US where she is an assistant professor of Arabic literature at the University of North Carolina.

She describes being nominated for the IPAF as an affirmation that she is truly a successful writer.

"You know, I have been to Abu Dhabi lots of time on visits,'' she says. "But to return there this time for the award as a writer with all these strong nominees... that is special for me."

 >via: http://posterous.com/posts/edit/92018475

 

 

 

HISTORY: Arsnick: The Student Nonviolent Coordinating Committee in Arkansas

Jennifer Jensen Wallach,

John A. Kirk, eds.c.

Arsnick: The Student Nonviolent Coordinating Committee in Arkansas.

Fayetteville: University of Arkansas Press, 2011. 225 pp. $65.00 (cloth), ISBN 978-1-55728-968-1; $24.95 (paper), ISBN 978-1-55728-966-7.

Reviewed by Amanda D. Higgins (University of Kentucky)
Published on H-1960s (January, 2012)
Commissioned by Ian Rocksborough-Smith

Jennifer Jensen Wallach and John A. Kirk’s Arsnick is a concise collection of scholarly essays, participant recollections, and documents from the Arkansas project of the Student Nonviolent Coordinating Committee (SNCC). The anthology attempts to recover the specific importance of the Arkansas SNCC chapter to the larger civil rights movement. Arsnick fulfills its stated purpose, while leaving a number of departure points for further investigation by future historians. Like John Dittmer’s Local People: The Struggle for Civil Rights in Mississippi (1995) and William Chafe’s Civilities and Civil Rights: Greensboro, North Carolina and the Black Struggle for Freedom (1981), Wallach and Kirk’s anthology asserts the importance of local chapters and state projects in understanding the full history of the modern civil rights movement.

Divided into three sections, Arsnick begins with five scholarly essays about the movement. The essays draw on a number of the primary sources provided in the volume, showcasing the interconnected nature of the anthology. The essays are “all the secondary literature written today on SNCC in Arkansas,” suggesting that much more work is needed on the project’s history and contributions (p. xii). Each individual essay, taken separately, is a strong contribution to the history of local and national organizations. Kirk’s piece discusses the connections between the desegregation campaigns in 1960 Little Rock and the larger, later movement throughout the state. Kirk astutely connects the inaction of local, state, and federal courts on civil rights arrests and prosecutions and the development of SNCC as a national organization. Brent Riffel uses project director Bill Hansen as a lens to understand SNCC in Arkansas, arguing that Hansen “played an important, if overlooked, role in the history of the American civil rights movement and the history of Arkansas” (p. 34). Holly McGee moves out of Little Rock and discusses SNCC’s second office in Pine Bluff, Arkansas. Pine Bluff students at Arkansas AM&N successfully desegregated the city lunch counters, at great personal risk. Many students were expelled from the college, as the AM&N’s president felt he had to protect the school’s reputation in the state legislature in the midst of a funding crisis. McGee’s essay highlights the ideological split between middle-class, older African Americans in Pine Bluff (and Arkansas in general) and the younger, student movement. In the same vein, Randy Finley’s work highlights the racial tensions present in small Arkansas towns (Helena, Forrest City, and Gould), particularly between white and black SNCC workers and the locals they were trying to organize. Finally, Wallach’s essay examines the response of white SNCC workers in Arkansas to the emergence of Black Power within SNCC. Wallach constructs an alternative narrative to the SNCC Mississippi project, arguing that whites remained active within Arkansas SNCC well after the 1966 turn toward Black Power, and some white workers even organized around the principles of Black Power.

The book’s strongest contributions to the scholarly record are recollections of SNCC members and their historical documents. The inclusion of this material sets it apart from other anthologies of local movements. The incorporation of participants’ understanding of their work in Arkansas SNCC sheds light on the implantation, development, and ultimate ending of the project and its significance to individual participants. The oral histories and written recollections of the members highlight the varying reasons individuals joined and remained active in the movement. Collected over forty years, the recollections also provide a lesson in the transient nature of historical memory, as some participants’ recollections and oral histories provide a contradictory picture of the organization’s development. Each entry has been edited for space, with some repetition removed; however, the scope and language of individual contributions remains intact.

Similarly, the documents of the Arkansas SNCC illuminate the changing nature of the organization, from a small project in 1962, to a major component of SNCC’s southern campaign by 1966. The documents capture the uncertainty and the dedication of the organizers. They also express the disjointed nature of a grassroots organization, when communication is slow and decisions have to be made quickly. The voices of local organizers and participants in SNCC’s projects throughout the state are showcased in the document section. One particularly powerful example of this is a poem by eleven-year-old Geraldine Smith, a student in the SNCC Freedom School in Forrest City, which explained what “We Shall Overcome” meant to her.

The strength of the primary sources included in the volume complement the scholarly essays. Still, while the essays are informative, are clearly argued, and build on each other chronologically and thematically, they often repeat information and do not fully acknowledge each other.  Each essay spends a great deal of time discussing the contributions of Hansen, the Arkansas project’s white director. Thus, the voices of local activists and rank-and-file workers are less prominent. There is also a heavy emphasis of understanding Arkansas SNCC in the wake of Stokely Carmichael’s 1966 exhortation of “Black Power” during the Meredith March against Fear. The anthology could have been improved with the addition of a general overview of the project in the introduction and the removal of repetitive information throughout.  A map would also have allowed the reader to see the proximity of the towns to each other and the movement of SNCC resources throughout the state. 

Wallach and Kirk’s volume is an excellent starting point for understanding SNCC’s statewide campaigns, and would complement Clayborne Carson’s seminal In Struggle: SNCC and the Black Awakening of the 1960s (1995), by providing depth and context to the larger movement. Moreover, the volume’s exploratory nature also highlights the many remaining areas for scholars to investigate. More work is needed on local projects and people involved with SNCC and the larger movement, as well as interactions between SNCC’s Atlanta headquarters and its state projects. Further, the anthology provides some of the preliminary work for scholars, pointing researchers toward important archival collections and highlighting some of the key documents that exist. Overall, while Arsnick has a few structural issues to do with its essays, the volume is an excellent departure point for exploring the varying nature of SNCC’s grassroots projects in Arkansas.


Citation: Amanda D. Higgins. Review of Wallach, Jennifer Jensen; Kirk, John A., eds.c, Arsnick: The Student Nonviolent Coordinating Committee in Arkansas. H-1960s, H-Net Reviews. January, 2012.
URL: http://www.h-net.org/reviews/showrev.php?id=34350

 

VIDEO + AUDIO: The Top 50 Naija songs of 2011. What? No Nneka! > This Is Africa

Music

- Tuesday, January 3

The Top 50 Naija songs

of 2011.

What? No Nneka!


2011 was as good a year as any for Naija music, and if you're a fan then this compilation will be right up your street.

If you're not already into Naija music it's worth knowing that Nigeria is the country all other African countries look up to when it comes to contemporary urban music (pop, hip-hop, R&B, Soul, etc.). About a decade ago Naija artists created an instantly recognisable "sound" that basically hit the sweetspot of music lovers across the continent, and they haven't looked back since, producing hit after hit and in the process becoming some of the most well known artists in Africa and in the diaspora. If you remember how Motown at its peak dominated the American music charts, that's what Naija is now to the rest of Africa.

Which is why the Top 50 Nigerian tracks from the year is worth checking out.

Representatives from 6 key Nigerian music blogs (www.djmightymike.net, www.gidilounge.com, www.jaguda.com, www.nigerianhiphop.net, www.tooxclusive.com and www.360nobs.com) were invited to choose and agree upon the best tracks from the year, and this list of 49 singles and one freestyle is the result.

All the tracks are available for downloading (links at the bottom of this page), so what's not to like? Well, two quibbles or observations:

There's one glaring omission from the list and she goes by the name of Nneka. Her latest album Soul Is Heavy album (Spotify; iTunes) was, without doubt, a very strong contender for album of the year. So it's very odd that not a single track from that album appears on the list.

We could only come up with two explanations, one that Nneka doesn't make typical "Naija music" (but then not all the Top 50 fit that mould, so that can't be the reason) and two, that the compilers decided it wasn't worth incurring the wrath of Sony Music by giving away an Nneka track without her or Sony's permission, so they left her out altogether.

That seems reasonably prudent, but the omission does undermine the credibility of, what is, a pretty good list, so let's rectify the situation by embedding the videos of three tracks that should be on the list.
 
Soul Is Heavy

Stay

My Home

The other observation is that listening to all 50 tracks one after the other, we couldn't help but notice a certain same-ness creeping into Naija music. Is the Naija sound starting to become a straitjacket? We offered our opinion in August last year as to why it was significant that eLDee was starting to fuse the Naija sound with things like House and Grime, and listening to this Top 50 only strengthens our belief that a lot more of our artists need to get involved in the evolution of the Naija sound. Apart from anything, after listening to these 50 tracks we're all Auto-Tuned out.

For the above reason we're embedding only our pick of the 50 tracks, the 20 you should check out if you're pushed for time or if you have a low Auto-Tune threshold. But, again, if you're going to get just one album by a Nigerian artist from 2011, I'd consider Soul Is Heavy.

THE TOP 50 (in alphabetical order)

1. 5 & 6 by Naeto C

2. 5 Blessings by 5Mics ft BrymO

3. Apako by Terry G 

4. Ara by Brymo

5. Back When by Davido feat. Naeto-C

6. C4 by X.O Senavoe (Freestyle)

7. Chop My Money by P-Square feat. MayD

8. Control by W4

9. Dami duro by Davido 

10.Demo by Jesse Jagz

11. Endowed (Remix) by D'Banj ft Snoop Dogg

12. Farabale by DJ Klem Feat. EFA & Yemi Alade

13. Follow Follow by LKT ft P-Square

14. Follow Me by Yung6ix feat. Wizkid

15. For Me by WizKid ft. Wande Coal

16. Girl by Bracket feat wizkid

17. Good Tyme by J. Martins ft Cabo Snoop & Waje

18. Health Is Wealth by 9ice

19. Higher by eLDee feat. K9 & Sojay 

20. I Done Did It by Eva

21. I love my baby by Wizkid 

22. I Love you by Praiz

23. If You Ask Me by Omawumi 

24. In the name of love by CAPITAL F.E.M.I

25. Kako Bii Chicken by Reminsce

26. Kuchi Kuchi (Oh Baby) by J'odie

27. Let the music play (Remix) by Dj Klem feat. Wizkid, Myst & Zara 

28. Let's Get down by A1 feat Shank 

29. Love me 3x by Tiwa Savage

30. Love Story by Ebisan

31. Magic by LOS ft. Shank

32. Man Unkind by 2face

33. My Money Remix by Sheyman feat. Skales & eLDee

34. Okay by Ruby

35. Oliver by D'Banj

36. Orobo (remix) by Sound Sultan ft Flavour N'Abania

37. Pakurumo by Wizkid

38. Rainbow by Blackmagic

39. Roll by Rayce

40. Salute by Shank

41. See Me by Mo'Cheddah

42. Shake Body by Dj Caise ft eLDee, Jesse Jagz & Grip Boyz

43. So Inspired by Waje ft Muna 

44. Super Sun (remix) by Bez ft eLDee, Ice Prince & Eva

45. Superstar by Ice Prince

46. Thank the Lord by D'Tunes Feat. Sean & Yemi Alade

47. The Future by TY Bello

48. This Gbedu Reloaded by DJ Neptune

49. Wash Wash by eLDee 

50. Young Erikina by Olamide

DOWNLOAD LINKS
Folder with all tracks (account required)
Individual tracks (no account required)

via thisisafrica.me

 

PUB: Call for Poems: Queer Teaching Anthology > Lambda Literary

Sibling Rivalry Press is seeking submissions for an anthology scheduled for publication in August 2013.  This assignment is so gay: LGBTIQ Poets on the Art of Teaching, edited by Megan Volpert, will be the first-ever anthology to feature an international roster of LGBTIQ poets writing about and from the teacher’s perspective.

Whether elementary or collegiate, public or private, the school is an institutional battleground for representations of queer culture. This book will examine the joyous burden that is the experience of LGBTIQ teachers, an inherently valuable and until now relatively invisible piece of the educational puzzle.

Submit up to five previously unpublished poems.

Poems must engage some aspect of teaching, but need not be explicitly queer-themed.
Author must identify as LGBTIQ.

Submission period is open January 1 through June 1, 2012.

Authors can expect reply by July 1, 2012.

http://www.thisassignmentissogay.com/