VIDEO: Flash of the Spirit: Big Freedia’s Sissy Bounce & Sierra Leone Tribal

Flash of the Spirit:

Big Freedia’s Sissy Bounce

& Sierra Leone Tribal

Flash of the Spirit, a new Okayafrica series, highlights instances in which elements of traditional African culture have directly informed popular African-American art, music, and aesthetics. The series is named after the book by Robert Farris Thompson.

Check out that bounce! Dayum the folk in Big Freedia‘s “Na Who Mad” clip can shake it. It reminds us of the video for Bajah + the Dry Eye Crew‘s dance anthem “Jacky Jacky,” (below) which reminds us of the traditional Mende and Temne tribal dances that the kids in the video are referencing… which reminds us of the deep cultural ties that exist between West African and African-American culture. It kinda gives us the chills. Watch above and grab a free download of Big Freedia’s club banger “Na Who Mad”!

 

PUB: Call for proposals—Triple Canopy Calling > Provisions

Digital collage with hand-rendered elements from “Origin, Departure,” by Alyssa Pheobus & Murad Khan Mumtaz, commissioned through Triple Canopy's 2010 call for proposals.

Triple Canopy has announced its third annual call for proposals. Commissions will be considered under six project areas and published in the course of the next year. Artistic, editorial, and technical staff will work closely with contributors as they develop the best approach to realizing their projects on the Web, from the conceptual phase to the design and technological production.

Triple Canopy welcomes artist projects that treat the Internet as a medium and seek to develop ideas that engage with—but reach beyond—its specific qualities and attendant modes of readership and viewership; artful reporting, intelligible philosophizing, distinctive fictionalizing and the like. Because of Triple Canopy’s unique interface we encourage writers not to be bound by the standard styles of magazine, art, and academic writing.

Applications are due by midnight on Monday, February 13, 2012. Applicants will be notified by March 1 whether their proposals have reached the second round of review. Commission recipients will be announced on April 3. Projects will be developed in collaboration with Triple Canopy for publication in the online magazine (or live presentation in New York) between July 1, 2012 and June 30, 2013.

Submission guidelines.

 

PUB: Call for papers: Alejo Carpentier Foundation Hosts International Colloquium on “The New Latin American Novel” « Repeating Islands

Alejo Carpentier Foundation

Hosts International Colloquium

on

“The New Latin American Novel”

The Alejo Carpentier Foundation and its president, Graziella Pogolotti, extend an invitation to educators, researchers, graduate students, and other scholars focusing on Latin American and Caribbean culture to participate in the international colloquium “La nueva novela latinoamericana a medio siglo de El Siglo…” [The New Latin American Novel Half a Century after “El siglo”]. The colloquium will be held from March 14 to 16, 2012, at Foundation headquarters at 215 Empedrado Street, between Cuba and San Ignacio Avenues, in Old Havana, Cuba. The deadline for proposals is January 20, 2012.

Commemorating the fifty year anniversary since the publication of Carpentier’s El Siglo de las Luces [Explosion at the Cathedral], the symposium proposes to approach this work from different critical perspectives, as well as to assess its impact and significance in the context of the new Latin American novel.

Possible themes include (but are not restricted to):  the 60s and the new Latin American novel: texts and contexts; Alejo Carpentier and the new historical novel: from El reino de este mundo to El arpa y la sombra; history, myth and fiction in El siglo de las luces; Intertextuality and interdiscursivity in El siglo de las luces; El siglo de las luces and Baroque splendor; El siglo de las luces, novel of the Caribbean; and the offspring of El siglo de las luces.

Please send a 250-word abstract with the paper title, name and surname of the author, and the affiliated institution to facpresidencia@cubarte.cult.cu by January 20, 2012.

Completed papers should not exceed 9 typed pages (or 2,500 words) for delivery of a 20 minute presentation. Participants should bring a printed copy of the completed paper (with notes and bibliography) and a copy on CD-ROM.

[Many thanks to Ariel Camejo (University of Havana) for bringing this item to our attention.]

Image from http://www.diarioimagen.net/?p=5670

For more information, you may contact the organizers by telephone at (537) 832-7186 or by e-mail at
facpresidencia@cubarte.cult.cu

For more information, see http://www.fundacioncarpentier.cult.cu/carpentier/coloquio-internacional-la-nueva-novela-latinoamericana-medio-siglo-de-el-siglo%E2%80%A6

 

PUB: Tampa Review Prize for Poetry

The Tampa Review Prize for Poetry

Hardback Book Publication • $2,000 Award • Selected Poems in Tampa Review 

Postmark Deadline: Dec.  31, 2011

Winning manuscripts are issued in both hardback and paperback editions & authors receive royalties on sales in addition to the cash award. Starting in 2010, each  entrant will receive a complimentary one-year subscription to Tampa Review (mailed to any U.S. address; mailing outside U.S. can be arranged with a supplementary postage fee). Past winners include Jordan Smith, Julia B. Levine, Sarah Maclay, Lance Larsen, Jane Ellen Glasser, Steve Kowit, Kent Shaw, Benjamin S. Grossberg, and Christopher Buckley, with manuscripts representing a range from first books to new titles by well-published poets.

Guidelines for Submission to The Tampa Review Prize for Poetry

  1. Manuscripts must be previously unpublished. Some or all of the poems in the collection may have appeared in periodicals, chapbooks, or anthologies, but these must be identified.

  2. Manuscripts should be typed, with pages consecutively numbered. Clear photocopies are acceptable. Manuscripts must be at least 48 typed pages; we prefer a length of 60-100 pages but will also consider submissions falling outside this range.

  3. When sending by mail, please submit the manuscript as loose pages held only by a removable clip or rubber band and enclosed in a standard file folder. Do not staple or bind your manuscript. Online submissions should follow guidelines provided there.

  4. Printed entries should include a separate title page with author’s name, address, phone number, and e-mail address (if available). Online submissions guidelines are posted.

  5. Entries must include a table of contents and a separate acknowledgments page (or pages) identifying prior publication credits.

  6. Submissions must be postmarked (or electronically dated online) by the postmark deadline of Dec. 31, 2011. Simultaneous submissions are permitted, but the University of Tampa Press must be notified immediately if the manuscript is accepted elsewhere.

  7. Include a nonrefundable handling fee of $25 for each manuscript submitted. Make check or money order payable to “University of Tampa Press” when sent with mailed submissions. Online submissions are not complete until this fee has been sent using any major credit card via our secure online service, CCNow. (A small processing fee is added to online submissions.)

  8. The winning entry will be announced in the subsequent spring, usually by May 15. Enclose a stamped, self-addressed postcard for notification of receipt of manuscript, and a stamped, self-addressed envelope for notification of contest results by mail. No manuscripts will be returned; the paper will be recycled. Online submissions will be acknowledged by email. All contestants enclosing SASE or email address will be notified following the final selection of the winning manuscript.

  9. Judging is conducted in accord with the Council of Literary Magazines and Presses Contest Code of Ethics by the editors of Tampa Review. Submissions are not accepted from current faculty or students at the University of Tampa. Editors will recuse themselves from judging entries from close friends and associates to avoid conflicts of interest.
Manuscripts should be mailed to:
The Tampa Review Prize for Poetry
University of Tampa Press
401 West Kennedy Blvd.
Tampa, FL 33606-1490

Online submissions should use this link: Tampa Review Prize Online Submissions


 We subscribe to the Council of Literary Magazines and Presses (CLMP) Contest Code of Ethics:
"CLMP's community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to (1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; (2) to provide clear and specific contest guidelines defining conflict of interest for all parties involved; and (3) to make the mechanics of our selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage."
 
via ut.edu

 

PHOTO ESSAY: Show your love > A window to Ghana and Africa - Nana Kofi Acquah Photography

Show your love

 

_MG_9444
Today, a twelve year old boy heard from his neighbour’s shivering lips that his father will not be coming back home. He has died in a car accident. His father is all the family he’s ever had and he’s totally lost… but somehow, against all the odds, he will make it.

_MG_9488
In a palace somewhere, a crown prince has forced himself on the king’s precious daughter and she’s shattered. Her shame cannot be let out of the bag. The family’s desire for respect supersedes her call for justice and she cowers under the pressure and wants to take her life. She won't. Against all the odds, she will survive. She will meet Prince Charming someday and will feel like a well-loved princess again.

A young man looks out his office window one last time as he clears his desk of all his belongings and dreams. He has a wife and children waiting at home for everything but this news. He’s tempted to jump out into the canal and end it all but he won't. He’ll survive this too, against all the odds.

 _MG_9512
A pregnant young woman stands at the train station, waiting for her lover to show up. Hoping. Praying everything he told her was true but deep down she knows he won’t turn up. She doesn’t know what to do with herself and the child in her belly. If she overcomes the temptation to jump in front of the on coming train, she will survive against all the odds.

_MG_9478
On the eve of her 30th Wedding anniversary, she sits in a doctor’s office awaiting the results. Her good and faithful husband sits by her and holds her tired hand. Her worst fear is confirmed. She’s HIV positive and the only man she’s ever known is this dark angel weeping by her side. She will forgive. She will survive.

_MG_9514
I love the Christmas story because it is one of a loving father going to extreme ends to assure and show his children how much he really loves them. If we can believe we are loved that much, there's no problem we won't have strength enough to overcome. Love is always a good reason to live.

_MG_9482
Show Your Love  this Christmas.  Love is a reason to give.

_MG_9516
Help someone through their storm. Love.

_MG_9485
Have a great week. I love you  and God loves you more.

 

 

 

VIDEO: "Gauguin's Lover" > indieWIRE

Preview 2010 B3 FeatureLabs Project

"Gauguin's Lover"

News   by Tambay | December 8, 2011

Hmm... curious about this one.

A feature film currently seeking financing that was one of 7 projects that were accepted into the 2010 B3 FeatureLabs in the UK (similar to the IFP and Sundance Labs here in the USA) - a script development program that works with filmmakers to assist in seeing that they realize their full-length feature films for eventual commercial release. FeatureLabs is in partnership with Film4, and other collaborators. 

Titled Gauguin's Lover (as in Eugène Henri Paul Gauguin, the French Post-Impressionist artist), the film is said to be inspired by Gauguin's 1892 oil painting Spirit of the Dead Watching, which depicts a nude Tahitian girl (Gauguin's 14-year old Tahitian wife Tehura) lying on her stomach, with an old woman seated behind her, and the little known fact that Gauguin gave his lover syphilis.

In anticipation of the question... my understanding is that Tahiti, the popular tourist destination I'm sure we've all heard of, is a French Polynesian island off the Pacific Ocean, with a population that comprises of indigenous Polynesians as well as people of African, European and Mesoamerican descent.

But I'm working to get more info from the filmmaker (Devika Ponnambalam) on her intent with the work here, and where the project currently stands... 

In the meantime, watch the promo below:

 

VIDEO: ‘Negro: A Docu-Series about Latino Identity’ > Clutch Magazine

Must See:

‘Negro: A Docu-Series

about Latino Identity’

Monday Nov 21, 2011 – by

The African diaspora is vast. Because of the slave trade and natural migration, African-descended people can be found living in and influencing cultures all over the world. A new series, ‘Negro,’ takes a look at another part of the diaspora and explores issues of culture, ethnicity, colorism and the media’s portrayal of Latinos.

If we used the media as a guide, we’d think that all Latinos were the same: Fair-skinned, stereotypically “hot blooded,” catholic, and tending to come from a particular region. But the truth is far deeper. Latinos are incredibly diverse, live all over the globe, and have a range of experiences that have yet to be shown in the mainstream media. Because of this, journalist and filmmaker Dash Harris has set out to tell her story, and those of other Latinos.

Born to Panamanian parents, Harris says she wanted to make this documentary to show the world that Latinos are not a monolith. “We have a complex history that shows we come in all colors and hues and the denial of that history really upset me growing up,” Dash explained.

In ‘Negro,’ Harris travels around the world chronicling the Latino experience and its historical roots.

Although the documentary takes a look at the ways in which African-descended people have influenced Latino culture (and how some Latinos self-identify), Harris finds the term “Afro-Latino” redundant. “I do not identify as ‘Afro-Latino’ because to me, it’s redundant,” Dash explained to me. “The definition of ‘Latino’ is African, indigenous and European. So to me it’s just repeating what we already are. I am Latina and I am a Black woman.”

So far, Harris has traveled to the Dominican Republic and Colombia to interview people on the Latino experience, and she’s hoping to raise $5000 to visit Salvador, Brazil, Puerto Rico and Cuba to continue to tell the story.

Whether you can or cannot relate to Harris’ background and experience, encouraging (and supporting) her to tell her life story helps other women do the same.

Watch the first part of Harris’ docu-series, ‘Negro’ and check out her GoFundMe page to learn how you can donate for future episodes.  

 

 

VIDEO: Not All Like Nando's South Africa Ad Poking Fun at Dictators > Advertising Age

Not Everyone Likes Nando's

South Africa Ad

Poking Fun at Dictators

Chicken Chain's Humorous Spot Spurs Call for Boycott From Fans of Zimbabwe's President Mugabe

A TV spot for Nando's South Africa, which shows six of the world's most feared and despised dictators at play, has led to calls for a boycott of the chicken chain.

As he lays out the name cards at a formal state banquet, Mr. Mugabe dreams of all the fun he could have with his dictator friends. We see him having a water-gun fight with Muammar Gaddafi, making sand angels with Saddam Hussein, singing karaoke with Chairman Mao, and playing on the swings with South Africa's notorious P.W. Botha. With Idi Amin, he plays at being Leonardo di Caprio and Kate Winslett, using a tank instead of the Titanic as they recreate a famous scene from the movie.

Chipangano, a Zimbabwean militant youth group loyal to President Mugabe, has urged people to boycott the restaurant chain, according to Zimbabwean state radio. Ahmed Tilly, CEO and executive creative director of WPP-backed Black River FC, said, "All I know is that Nando's South African and Zimbabwean teams are in talks. I would imagine it's a fragile situation. We were expecting some form of resistance from sections of the Zimbabwean community."

The ad, called "Last dictator standing," is set to Mary Hopkin's nostalgic 1960s tune, "Those were the days." It promotes a special offer on meals for six, and finishes with the voiceover saying, "This time of year, no one should have to eat alone. So get a Nando's six-pack meal for six."

An accompanying competition by the South Africa-based restaurant chain offered three prizes of a festive meal for the winner and five friends, cooked by a chef at their homes. To win, contestants have to tweet the name of five people -- dead or alive -- whom they would love to have dinner with.

In the U.K., however, the ad was viewed with humor. Harry Cole, a journalist with influential political website Guido Fawkes, tweeted, "Loving this spectacularly inappropriate yet hilarious Nando's ad."

Mr. Tilly said, "The Nando's brand bases its communications on social commentary. Last year we did a topical parody on local cellphone providers, which got a lot of press and a lot of sales. This year Nando's asked us to do something similar, so we looked at what 2011 was most famous for, which gave us the theme of toppled dictators."

 

 

EGYPT: Revolution Revived: Egyptian Diary, Part Two > Granta Magazine

Revolution Revived:

Egyptian Diary, Part Two

The second and last installment of Wiam El-Tamami’s diary of the ongoing turmoil in Egypt.

Monday 21 November

On the metro home, a man (one of State Security’s many informants?) was swearing that he’d just been at the midan and that there was nothing going on, that it was all lies. The people sitting around shouted him down, saying they’d seen the videos with their own eyes, police beating and shooting, setting the square on fire, dragging a dead man into a rubbish heap. Suddenly the whole carriage was ablaze with conversation, everyone talking about Tahrir, and the consensus was that the police are the same as they have always been – brutal and merciless – and that it had to stop (though there was no mention of the hallowed army’s role in the bloodshed). The man got off the metro, silent and sheepish. The revolution was once again at a rolling boil, and we were reaching that point when people were once again behind us. I felt somehow in alignment with things, at rest in a way I hadn’t felt in a long while. Today I had been exactly where I was meant to be.

Abdalla got shot in the night. A live bullet hammered through his right leg, shattering his shin bone. While he was down, they shot him twice more with birdshot pellets, one in his shoulder, one in his thigh.

Tuesday 22 November

I’ve never seen the square so charged as I did on Tuesday. It was a little after midday and there was none of the milling around that characterized even the headiest days of the ‘first’ revolution. In January and February there was the humour, the signs, the rings of song and dance, the explosion of creativity, the smiles and sense of camaraderie. Today people were marching, chanting, stony-faced and resolute. By late afternoon it was packed, one of the most crowded days the square had ever seen.

We’d marched to the midan from Mustafa Mahmoud mosque, along the same route marches had taken on the 25th and 28th of January. We chanted Yasqut Yasqut Hokm Al-‘Askar – Down Down With Military Rule. We chanted Fil Tahrir Fi Nas Betmoot – People are Dying in Tahrir. We chanted Horreyya! – Freedom! – four rhythmic claps and arms stretched wide into the air.

We called on onlookers to join us, asking why they were silent: had they got their rights, did their brothers not die? The reaction was reassuring. A lot of people had come out to watch, some cheering us on from their balconies. When we chanted The revolution was once again at a rolling boil, and we were reaching that point when people were once again behind us. Inzil! Inzil! (Come out! Come out!) a young man at a window pointed to the baby he was cradling with a smile and a shrug, but pumped his fist to let us know he was with us in spirit. Many stood on the pavement, filming the march with their cameras and mobile phones. Some faces were inscrutable, but I sensed none of the hostility or disdain that constituted the usual reaction to demonstrations in previous months. By the end of the march, our numbers had swelled.

We went to the hospital to see Abdalla. He had been brought in the night before, but had to wait eight hours to go into surgery. Ambulances screeched in front of the Accident & Emergency entrance nonstop, hauling in scores of critically injured protestors from the square, but the ones who would die if they were not operated on immediately – the ones who had been shot with live bullets in the head or chest – had to be seen to first. He waited in a line in front of the operating theatre – one out, the next one in.

It was a relief to see that he was still able to smile and joke, despite being dizzy and nauseous from the anaesthetic, despite the two metal plates that were now in his leg and the long weeks of recovery to come. I was amused at how, even under these humbling circumstances, this gawky man-boy maintained his strangely princely manner. ‘Excuse me, I’m about to vomit,’ he would announce before leaning over the side of his bed and doing so carefully into the bin; and, ‘I bid you goodnight’ in an ironic classical Arabic, before his eyelids drooped down.

As we left the hospital a small crowd had gathered around the television in the lobby. Tantawi was giving a speech. No admission of responsibility for the bloodshed; he’d ‘accepted’ the puppet government’s resignation; the elections would go on as planned, despite calls for a postponement, despite the fact that many parties and candidates (but not, of course, the Muslim Brotherhood, who were conspicuously absent from the demonstrations) had suspended their campaigns in protest. His eyes were sunken, his voice higher-pitched than I had imagined. I realized I’d never heard him speak before. There were lines lifted word-for-word from Mubarak’s first speech ten months earlier, the familiar weak protestations that he had never sought power. We’d played this tired game before – best of three? I was happy to see that everyone watching was waving him away in disgust. A middle-aged woman called out at the screen, ‘You’ll go too, just like the one before you, you’ll go.’

Two young men outside the hospital’s front door were giving out cloth masks. Even a couple of miles from the midan, the effects of the tear gas were felt, and as we got closer our skin began to sting, our eyes to stream. We walked in, trying to get away from Mohammad Mahmoud, to a place where we could catch a breath, but the gas seemed all-pervasive, even deep into the square. The cloth surgeon’s masks were no good now: we fumbled with our black plastic masks, strapping them on and trying to inhale as we picked our way through the landscape strewn with people stumbling around, faces red, eyes streaming, some coughing and gasping for breath. I felt nauseous. The strange thing was no bombs had been fired directly into the square, and there was none of the white smoke that accompanies them. Some said it was just the wind blowing the gas our way, but it felt too persistent to be a gust of wind. A girl, tears coursing down her face, was saying, ‘This gas is different, I swear, it’s different even from yesterday’s.’ A woman told a man that she was five months pregnant, that she had been helping out in Mohammad Mahmoud, and her doctor had just told her that the gas she’d inhaled could cause serious harm to her baby. Hala suddenly felt weak: she seemed barely able to stand and complained of stomach pains. We walked her out of the midan, along Kasr el-Nil bridge, to put her into a taxi home. Along the way we saw a teenage boy passed out, his friends crowding around him. At first they were trying to revive him with water and pats to his cheeks, but as his face began to turn blue, they scooped him up, clumsily, all limbs, and rushed off in the direction of the field hospital.

When I got home I stripped off everything I was wearing, including socks and underwear, and rolled it all into a ball. I pushed it into the washing machine and took a shower. Then I went online. On Facebook and Twitter people were talking about the gas. I read an article that claimed that the metro ventilation openings scattered throughout the square had been used to disseminate it. A friend of mine had set Even a couple of miles from the midan, the effects of the tear gas were felt, and as we got closer our skin began to sting, our eyes to stream. up a task force to investigate this new gas. He suspected it might be CR – a carcinogen, banned in the US for riot control, lethal in large doses. ‘The U.S. military classification for this chemical agent,’ I read on Wikipedia, ‘is combat class chemical weapon causing serious side effects for humans.’ My smiling profile picture seemed incongruous with the increasingly grim news. The following day two friends would report coughing up blood, and a doctor at the field hospital in Tahrir – a young woman named Rania – would go into a coma and die when the hospital was directly hit with round after round of the gas.

All night long I thrash around. Into my dreams seep thoughts of toxic gas, and I wonder, in a paranoia that half-sleep magnifies, about my hair, long and tangled and snaking around me, my hair that I have not washed because it was late and cold and I was tired, about my hair contaminating the pillow and sheets and the covers I pull over my head.

Wednesday 23 November

It has become normal for a friend like Hala to turn ferocious, suddenly, on the phone, saying God curse them all, God take revenge, before I used to have a bit of sympathy for the lower-down officers but just look at the facts – one side is fighting for a cause, the other beating and shooting and brutalizing and for what? Just to follow orders? They’re monsters just like their bosses, their hearts are just as blind.

For some reason I don’t feel anger.

The hospital again, then back to the midan. Word on Twitter is that they’re arresting people around the entrance closest to us. We buy medical supplies but distribute them among our backpacks instead of carrying them in boxes and plastic bags. I remember now the image of medical supplies confiscated and thrown into the river in early February, I remember how people were detained for carrying even large quantities of food in the vicinity of the square. We have to plan our entrance carefully. We take a taxi, then veer off left just before the entrance, and get out to walk through the back alleyways. We jam on our gas masks, mine is too tight and choking me, but there was no time to mess around with it. We walk to the first field hospital on the way. We’re about to offload all our bags when a doctor appears. That’s enough, he says, taking just a few bottles. He says it’s better to give a few bottles to each of the field hospitals if they need it, and asks us pointedly keep the rest with us until tomorrow. ‘Otherwise they will be abused,’ he says in English. I’m not sure what he means. The square feels strange, threatening. It’s only 10 p.m. but it feels far too late to be outside. We stumble through it, breath short, eyes blind with gas-tears, and it feels like a warzone, huge piles of rubbish, the haze of gas and bonfire smoke, young men with bandaged heads and arms in casts lying on the edges under thick rough blankets, sirens, sirens, the incessant scream of ambulance sirens, and as we go down into the underground, hordes of young men are coming towards us, heading the opposite way up to the square, young guys in goggles and cloth masks and gas masks, some with scarves covering their faces, looking like an advancing army.

Thursday 24 November

The fighting stopped on Thursday. Five days too late, the army decided to build a concrete wall on Mohammad Mahmoud to separate the two sides, as though they, too, were not a party to this. The Minister of the Interior denied that a single bullet had been shot, rubber or live. A press conference with two members of the military junta took place during which they made similarly ludicrous statements. The Confederacy of Dunces. Tantawi appointed as new puppet prime minister a man called Ganzoury who had been prime minister in the nineties, during the Mubarak era, presiding over an honourable roster of corrupt ministers, many of whom were now in jail. Twitter was awash with jokes at the seventy-eight-year-old’s expense: the hashtag immediately assigned to him was #GanzouryTimes. A group of activists relocated their sit-in to the cabinet building to protest the appointment of a puppet minister to a puppet government. On Thursday morning one of them was run over by a Central Security armoured vehicle.

Friday 25 November

Over the weekend the square became carnivalesque again. Fireworks were set off, their sharp cracks making me jump, my heart hammering in my chest, until I realized what they were. Too raw, still, too close. The march that morning was led by Ahmad Harrara, a young dentist who’d lost his right eye on 28 January, and his left eye on Saturday, 19 November. I saw several young men in the march with a bandage secured to one side of their face, covering one of their eyes. Again, the eyes, again and again, they shoot for the eyes. I had an image of a whole generation of young men wearing eye patches; our children will see them in the street and know why. The Kasr el-Nil Bridge that leads to the square is flanked by a pair of large stone lions on either end. On Friday someone had covered the right eye of one of the lions with a big white bandage.

Talks about a civilian council or national salvation government to replace the military junta were underway and had been for days, but the politicians dithered and dallied in their back rooms. Tahrir was once again howling, and Tahrir was once again leaderless, but this time it did not work to its advantage.

Monday 28 November

On Monday I woke up in a rage about the elections. This past week, new life had been breathed into our revolution, but for that to happen, for public anger to have reached that second tipping point, there was a great pool of blood – ninety dead, at the last count, and eight thousand injured. And now it has passed, and nothing has happened. Now it’s all last week, and people have forgotten. The regime still stands, monstrous and unapologetic. They have fed us this sham of an election, knowing that the span of our collective memory is – for those who are trying to roll the tape backwards, to trap us in an eternal loop of déjà vu – mercifully short.

On Monday I read about the big turnout for the first day of the elections, thousands of people standing patiently in hours-long lines. I read the words ‘hope’ and ‘optimism’, I read about a sixty-year-old woman holding her pinkie aloft, proudly purple-inked, saying this is the first time she has ever voted in her life. I don’t know where the tears came from, but out they poured. I felt like a top that had been twisted tight for one long week, and had suddenly been sent spinning.

Tuesday 29 November

On Monday I raged, and on Tuesday I went to vote. My instinct had been to boycott, and I still feel that was the strictly moral choice. My decision was a response to the call from some activists for the need to fight this battle from within the political arena as well as on the streets. There was also the argument that the only people who were considering a boycott were the liberal revolutionaries, whose chances at a political stake were slim and would not bear further erosion. In any case, I went to vote. It was uneventful. My electoral committee was virtually empty. I looked at the huge ballot paper with its incongruously childish candidate symbols (mango or dustbin or pistol?) and chose The Revolution Continues. I made my mark, going over it several times with my pen, the ink pooling thicker and darker.

I know it’s far from over. I know it will take years. I know, I hope, that things will not go back to the way they were, that we will not succumb to the magic sleep-dust. But I just wonder. I did not know any of the people who died in January and February. It’s getting closer, you see. Every wave will be more violent, will radicalize people who were once far from the front linesDuring the Maspero massacre in October, a young man died whom I later found out to be a friend of a friend. Last week two of my friends were wounded, as well as many more people I know. It’s getting closer, you see. Every wave will be more violent, will radicalize people who were once far from the front lines, as the bullets become no longer an abstraction but real steel in the limbs, the eyes, the heartflesh of their loved ones. I remember on Sunday wanting to ask Hani if he was not afraid to die. At some point in the week I began to understand, and the question became moot.

Two days ago a shipment arrived at Suez port from the United States, consisting of 7 tonnes of tear gas, with 14 more on the way. Today it made its way safely to the storage facilities of the Interior Ministry in Cairo. ■

===================
 

Wiam El-Tamami

Wiam El-Tamami has lived in Egypt, Kuwait, England and Vietnam. After completing a BA in English & Comparative Literature at the American University in Cairo in 2004, she obtained an MA in Writing for Children at the University of Winchester. Wiam is currently a freelance editor of literary translation at the AUC Press. She lives in Cairo.

GO HERE TO READ PART ONE