PUB: Mary C. Mohr Editors' Award

2011 Mary C. Mohr Editors' Award Guidelines

Southern Indiana Review will award a prize of $1500 for a short story, novella, or stand-alone novel excerpt submitted under the following guidelines. Each submission must:

  • Be available for exclusive publication in Vol. 19, No. 1 of SIR. Simultaneous submissions are acceptable, but if the entry is published/accepted by another publication while under consideration, the author must promptly notify SIR in writing to withdraw the entry.
     
  • Include an entry fee of $20 ($5 for each additional entry). This non-refundable fee includes a year's subscription to SIR. Make check or money order payable to Southern Indiana Review.

  • List the author’s name, street address, email address (if applicable), phone number, and title of submission on a cover page.

  • List only the title of submission on each page thereafter.

  • Be fewer than 40 typed pages (12-point font) per each individual submission.

  • Be addressed to Mary C. Mohr Editors' Award, Southern Indiana Review, University of Southern Indiana, 8600 University Boulevard, Evansville, IN, 47712.

  • Be postmarked by October 1, 2011.

  • Include SAS postcard for receipt acknowledgement and/or SASE for contest results. All manuscripts will be recycled. Results will be posted on the SIR web site.

  • Current and former students and employees of the University of Southern Indiana are not eligible for the Award.
via usi.edu

 

PUB: New Voices Playwriting Competition (plays with focus on African-American culure and history) > Writers Afrika

New Voices Playwriting Competition

(plays with focus on

African-American culure and history)

Deadline: 5 October 2011

To meet the Images Theatre Company’s (ITC) goals of developing new works about the heritage/culture of African-Americans, and giving voice to new playwrights and works by African-American writers and other underserved writers of color, ITC is hosting our inaugural “NEW VOICES” PLAYWRITING COMPETITION & SHOWCASE. Up to 5 plays shall be chosen to receive a staged reading in December 2011 and the top scoring play shall receive a WORKSHOP production during Images’ 2012/2013 Season.

SUBMITTAL GUIDELINES: Please review submission requirements carefully. Applicants will not be contacted to clarify information or to provide missing information.

ITC is NOT accepting musicals or one-acts for this inaugural competition.

All applicants must be over the legal age of 18 years of age.

Submission is restricted to new original works/plays that have not been previously produced or published and are full-length plays.

All entries must be received by October 5, 2011 to be considered. Postmarks of October 5, 2011 shall not count. Winners shall be announced in November 2011 and staged readings are scheduled for December 2011.

All entries must be accompanied with a non-refundable submittal fee in the form of a check or money order for $20.00 made out to Images Theatre Company. Submittal fee for disqualified plays that do not adhere to the competition rules/policies will not be returned. ITC reserves the right to reject and return any entry that does not meet the rules and policies of submittal.

Applicants submitting entries must be the owner and controller of the copyright. Co-authored plays or plays based upon factual material or an adaptation are allowable. However, legal clearance of materials not in the public domain is the full responsibility of the playwright(s). A page stating and certifying this with the author/applicants signature shall accompany each submitted entry. (see certification sample statement below)

Competition is limited to the first 60 applicants/entries received prior to October 5, 2011. Should the limit be reached prior to October 5, 2011, applicants of the additional entries received shall be notified, and their entries and applicant entry fee shall be returned.

Competition is opened to all playwrights (18 years of age and older), however only one entry, per playwright is allowed. Playwright need not be of African-American ethnicity as long as the content of the play focuses on the African-American culture, history and/or experience.

The topic/subject matter of the play must reflect the experiences, culture, and/or history of African-Americans. The content may be related to family, relationships, politics, traditional values, historical characters or periods or any myriad of topics that address the African-American experience. Plays may also explore the African-American experience in relation to other ethnic groups in the world.

Each entry must be submitted in hard copy. By submitting, each applicant agrees that their work may up-loaded into a PDF document to be shared with readers/raters located out of the Sacramento area.

Entries/plays must be no longer than 125 pages.

Scripts must be formatted in standard playwriting format (for a sample of this format, see Samuel French site/link http://www.samuelfrench.com/store/SFFormattingGuide.pdf). The Samuel French link provides a guide for formatting. Please adhere to cover instructions listed below. Font used must be at a minimum 12 pitch.

Please include 2 cover pages. The top cover page should include all of your pertinent information (name, mailing address, city, state, zip code, phone number, and email address).

The 2nd cover page must only have the title of the play on it. Also, remove all identifying information from the remainder of your script (including headers and footers with your name on it) to ensure that readers/raters cannot identify the applicant that wrote the entry. Scripts will be assigned an identifying number only, to allow a fair process of reading and rating. Plays with identifying information past the initial cover page may be disqualified.

Each applicant must provide up to a 1 page synopsis of the play to be placed after the 2nd cover page.

All plays must have a cast of 8 actors or less. It is allowable for plays to use more than 8 characters if script is written for actor(s) to play multiple parts. Plays requiring more than 8 actors will be disqualified. Please clearly identify on your character page, if actors are assigned more than one role in the play.

No revisions will be accepted once a script has been submitted and no written or oral critique of plays submitted will be given upon completion of the competion.

Paper scripts must be securely bound within a notefook, cover or folder and celarly identified as detailed above. Scripts bound with staples or fasteners are not allowable. All entries must be either typewritten or word processed by computer. Entries not meeting the criteria will be disqualified.

Each paper script shall be accompanied with a stamped, self-addressed envelope, with sufficient postage that states on the outside of the envelope Name, Mailing Address, City, State, Zip and the Title of the Play should be written under your name and address at the top left hand corner. Plays that do not have a self-addressed envelope will be disposed of and not returned to the applicant.

All entries will be handled with extreme care, but ITC cannot assume responsibility for lost or damaged scripts. It is suggested that playwrights retain the original and copies of their scripts.

ITC cannot afford to pay for the transportation or lodging of the winners of the playwriting competition. It will be up to each writer to provide their own transportation/lodging fees to attend the readings, showcase and/or workshop production. However, it is not necessary for the writer to be present for the reading or production to take place.

Two copies of all scripts must be submitted in hard copy and mailed tothe following address:

Images Theatre Company
5960 South Land Park Drive Box # 138
Sacramento, CA 95822

PLAY SUBMITTAL CHECKLIST

COVER PAGE WITH PLAYWRIGHT’S INFORMATION

  • Title of Play
  • Name of Playwright
  • Mailing address, city, state and zip code of Playwright
  • Email address of Playwright
  • Phone number of Playwright

2ND COVER PAGE WITH ONLY TITLE OF THE PLAY ON IT.

BRIEF (1 PAGE OR LESS) SYNOPSIS OF SCRIPT

2 COPIES OF THE TYPED SCRIPT - IN STANDARD FORMATTIING STYLE- ENCLOSED IN A BOUND COVER, FOLDER OR COVERED, NOT TO EXCEED 125 PAGES.

$20.00 CHECK OR MONEY ORDER MADE OUT TO IMAGES THEATRE COMPANY

SELF-ADDRESSED, POSTAGE PAID (WITH SUFFICIENT POSTAGE), MAILING ENVELOPE FOR RETURN OF SCRIPT. INCLUDE SCRIPT TITLE UNDER ADDRESS IN LEFT HAND CORNER OF THE MAILING ENVELOPE.

SIGNED STATEMENT CERTIFYING THE FOLLOWING AS WRITTEN BELOW. You may cut and past the certification below to a blank page and sign, date, and submit with your entry. All contributing writers must sign the certification

I, ____(NAME)_____________________ on ___(DATE)__________ certify that I am the rightful owner and controller of the copyright of all materials submitted to the Images Theatre Company Playwriting Competition. As the playwright and author, I accept full responsibility and certify that I have made all legal clearances of any written submitted materials that are not in the public domain.
__________________________________
(Writer's Signature)

Contact Information:

For inquiries:

For submissions: Images Theatre Company, 5960 South Land Park Drive Box # 138, Sacramento, CA 95822

Website: http://imagestheater.org

 

 

VIDEO: THE REVIVAL (Roxanne Shante & Bahamadia) on Vimeo

THE REVIVAL

 
The Revival (Europe, 2009, 17 min). 
Directed by Invincible.
Produced by EMERGENCE Media and Iqaa the Olivetone.

The Revival gives a candid glimpse into the first meeting of legendary Hip-Hop pioneer Roxanne Shante and veteran Philly emcee Bahamadia, as they trade stories of their struggles and triumphs in the industry over their long careers. It shows the exchange of lessons between them and up-and-coming artists DJ Shortee, Eternia, Stacy Epps, and Invincible. This short documentary, a collage of performances and behind the scenes footage, was filmed by Invincible while on the road in Europe as part of We-B Girlz all women independent Hip-Hop tour. The largest all female Hip-Hop tour of its kind, it spanned over three weeks, six countries, and featured dozens of female artists who performed for tens of thousands of supporters.

Produced by EMERGENCE Media: EMERGENCEmusic.net

Co-presented by TheFembassy.com which features follow-up interviews with the artists from the film.

Shout Outs to: Manuu the Transporter, Shania D, Chela Simone, Mauikai, EJ, Stef the Chef, That Fucking Sarah, Karin and Submerge, Yarah Bravo, everyone who rocked the UNITY stage, the organizers of We B Girlz, and everyone who performed or presented at the We B Girlz festival. 

A special thanks to all the promoters who brought us out, and all the supporters who attended the shows, bought merch, and showed love!!!

 

HEALTH: The US falls short on reducing infant deaths

The US falls short

on reducing infant deaths

(File Photo/Lev Olkha-Fotolia.com)

 

The number of American babies who die in the first month of life ranks worse than 40 other countries, according to new data released from the World Health Organization.

In fact, over the last 20 years, the U.S. dropped from the 28th place to 41st, falling behind countries such as Cuba and South Korea.

Most of the newborn deaths resulted from prematurity, breathing difficulties during or shortly after delivery, and infections such as pneumonia.

The number of American infants who die before their first birthday -- six out of every 1,000 - also pales in comparison. Forty-six other countries have a lower infant death rate.

Black American babies fare worse than other groups -- over two times more likely than white babies to die.

Birth defects, low birth weight, and maternal complications are mostly to blame, as well as SIDS -- sudden infant death syndrome.

SIDS -- when an infant dies suddenly without a clear explanation - kills about 2,500 babies die each year. Black infants are two times more likely to die of SIDS.

While experts are unclear as to why certain babies die from SIDS, they agree that putting babies to sleep on firm surfaces, without soft, fluffy bedding, carries the least risk. Babies should also not sleep on their stomachs or in the same bed as mom and dad due to the increased risk.

The American Academy of Pediatrics has stood by these recommendations since 1992.

Yet, a survey of African-American parents in the most recent issue of Pediatrics still showed a preference for soft bedding. Parents expressed concerns for the babies' comfort, and also felt that pillows and padding from bumper guards protected the babies from injury. These opinions were consistent, regardless of education or socioeconomic status.

In the effort to decrease infant mortality, there is also a recent push to avoid elective deliveries before 39 weeks.

Previously, once a woman reached 37 weeks of pregnancy, it was felt the baby was mature enough to be delivered. However, a study earlier this year showed that allowing the pregnancy to continue for two additional weeks cut the risk of infant death in half.

Of the newborns born at 37 weeks who did not die, a significant number still required stays in the neonatal intensive care unit or a prolonged hospitalization.

However, much is unknown. The March of Dimes advocates the need for more research into the relatively high rates of newborn and infant death. As a result, the organization funds research in this area as well as for the prevention of premature deliveries and birth defects.

 

OP-ED: Della Britton: HBCU Blues-America's Historically Black Colleges and Universities in the 21st Century

 

HBCU Blues:

America's Historically

Black Colleges

and Universities

in the 21st Century

Posted: 8/29/11 02:17 PM ET

In the mid 1980s, Bill Cosby's highly popular television program, A Different World and Spike Lee's influential film School Daze promoted a complimentary image of black colleges and universities as rigorous institutions of higher learning where black students could be free to pursue the fruits of a college education in a welcoming and nurturing environment among people with the same cultural background and values.

In more recent years, the image of the HBCUs has faded, as budget cuts, aging buildings and failing infrastructures, not to mention the preference of many students to attend other colleges and universities, have undercut the once vital role many of these schools played in educating and uplifting the black community.

Many have begun to speculate what the future of these institutions will be in light of the worst economic downturn since the Great Depression. In an age where numbers matter and funding is largely driven by statistics and other tangible measures of performance, appeals made on behalf of legacy, which was once one of the bedrock defenses for maintaining HBCUs, are far less compelling.

Recent observations by John Silvanus Wilson Jr., the head of the White House initiative on HBCUs seem to support the naysayers. In 2010 for instance, Wilson struggled to articulate White House support for and the necessity of HBCUs in achieving President Obama's goal to improve education by 2020, while trying to explain away a far from respectable 37 percent six-year graduation rate, among 83 of the nation's 105 four-year HBCUs. While Wilson was quick to acknowledge funding as one of the principle problems fueling the low completion rate, as black students continue to be forced to leave college for lack of tuition and/or in order to work to help support their families, (something with which many of our Jackie Robinson Foundation students have had to struggle), a strategy for the future will have to include more than tapping funding sources that are growing smaller by the decade.

Is it fair to single out the nation's HBCUs when other colleges and universities are struggling as well? Perhaps not, but predominately white institutions are not nearly as dependent on charitable contributions and government funding and, as long as graduation rates remain low, the relative impact of such money on the achievement gap will be minimal, at best putting HBCUs in the crosshairs.

Perhaps even more damning than the dismal graduation rate was the fact that the national college graduation rate for black students generally was four points higher than for students at HBCUs, challenging the deeply held notion that HBCUs are better suited to help black students finish school. Add to this complaints shared by recent graduates of HBCUS and HBCU faculty and staff about everything from excessive teaching loads, to antiquated classrooms and limited technology, and one can't help but ask the question should the black community be addressing this problem more aggressively?

The best of the HBCUs can compete on every objective level. In 2011, Howard University, which was once referred to as "The Black Harvard" and which consistently ranked in the nation's top 100 universities, still managed a respectable rank of #104 . Atlanta-based Spelman College, meanwhile, topped all HBCU's coming in at #59 among National Liberal Arts Colleges according to U.S. News and World Report. Morehouse, Tuskegee and Hampton also mustered respectable rankings, but then the drop off from these elite schools to the vast majority is startling. After the top 12 most remained unranked or were listed as "rank unpublished."

There are several issues to be explored: Should black leaders and educators hold a summit on the state of the HBCUs and begin to tackle these issues before they come back to bite in the form of mass closures? Could all the resources so widely dispersed now among 105 schools actually be used to greater effect in improving the best HBCUS and raising their competitiveness and graduation rates? I would welcome others' views.

Follow Della Britton on Twitter: www.twitter.com/@JRFoundation

 

 

 

PHOTO ESSAY: Andy Kristian Photography Photos of Uganda

The title of this post is so deliberate! I would like that when you search these terms in your search engine, that I would show up top, or at least real close to the top . Nuff said :) However, this post goes far beyond nifty words; in fact, this post is about some of my favorite photographs of Uganda, taken over the last few years. I need to also quickly mention that all the photographs, except for about two, were taken on a Nikon D80, a digital SLR camera which is a crossover between the prosumer and the professional cameras, which I actually have available for sale.

These photos of Uganda were also taken in various places, at different times of year. I could have made different posts for each specific area but I did not have the patience. You will find photos of Lake Bunyonyi, a very picturesque neighborhood of several islands famously known for the insanely deep lake waters, dugout canoes that the locals use for transportation across the lake, and hundreds of bird species which are a massive attraction for those interested in birdwatching/birding in Uganda. You will also find photos of Lake Victoria, the world’s second largest fresh water body by surface area which also doubles as the source of the Nile river – never mind that the source of the nile is a subject of contest or controversy. Also, in this collection, you will find photos of Kampala, photos of Karamoja, and photos from other parts of Uganda. Enjoy the photos, and if you would like to purchase some, please contact me here. If you can’t afford the photo but would like to have it, also contact me and let me hear it. The best thing you can do for me as an artist is to tell others about my work. So, share this page with family, friends, colleagues at work, etc. 

 
 
 
 

 

HISTORY: 100 Things You Didn't Know About Africa (Nos. 51 - 75)

fyeahblackhistory:

 100 Things

 

That You Did Not Know

 

About Africa - Nos.26 - 50

51. The mediaeval Nigerian city of Benin was built to “a scale comparable with the Great Wall of China”. There was a vast system of defensive walling totalling 10,000 miles in all. Even before the full extent of the city walling had become apparent the Guinness Book of Records carried an entry in the 1974 edition that described the city as: “The largest earthworks in the world carried out prior to the mechanical era.”

52. Benin art of the Middle Ages was of the highest quality. An official of the Berlin Museum für Völkerkunde once stated that: “These works from Benin are equal to the very finest examples of European casting technique. Benvenuto Cellini could not have cast them better, nor could anyone else before or after him . . . Technically, these bronzes represent the very highest possible achievement.”

53. Winwood Reade described his visit to the Ashanti Royal Palace of Kumasi in 1874: “We went to the king’s palace, which consists of many courtyards, each surrounded with alcoves and verandahs, and having two gates or doors, so that each yard was a thoroughfare . . . But the part of the palace fronting the street was a stone house, Moorish in its style . . . with a flat roof and a parapet, and suites of apartments on the first floor. It was built by Fanti masons many years ago. The rooms upstairs remind me of Wardour Street. Each was a perfect Old Curiosity Shop. Books in many languages, Bohemian glass, clocks, silver plate, old furniture, Persian rugs, Kidderminster carpets, pictures and engravings, numberless chests and coffers. A sword bearing the inscription From Queen Victoria to the King of Ashantee. A copy of the Times, 17 October 1843. With these were many specimens of Moorish and Ashanti handicraft.”

54. In the mid-nineteenth century, William Clarke, an English visitor to Nigeria, remarked that: “As good an article of cloth can be woven by the Yoruba weavers as by any people . . . in durability, their cloths far excel the prints and home-spuns of Manchester.”

55. The recently discovered 9th century Nigerian city of Eredo was found to be surrounded by a wall that was 100 miles long and seventy feet high in places. The internal area was a staggering 400 square miles.

56. On the subject of cloth, Kongolese textiles were also distinguished. Various European writers of the sixteenth and seventeenth centuries wrote of the delicate crafts of the peoples living in eastern Kongo and adjacent regions who manufactured damasks, sarcenets, satins, taffeta, cloth of tissue and velvet. Professor DeGraft-Johnson made the curious observation that: “Their brocades, both high and low, were far more valuable than the Italian.”

57. On Kongolese metallurgy of the Middle Ages, one modern scholar wrote that: “There is no doubting . . . the existence of an expert metallurgical art in the ancient Kongo . . . The Bakongo were aware of the toxicity of lead vapours. They devised preventative and curative methods, both pharmacological (massive doses of pawpaw and palm oil) and mechanical (exerting of pressure to free the digestive tract), for combating lead poisoning.”

58. In Nigeria, the royal palace in the city of Kano dates back to the fifteenth century. Begun by Muhammad Rumfa (ruled 1463-99) it has gradually evolved over generations into a very imposing complex. A colonial report of the city from 1902, described it as “a network of buildings covering an area of 33 acres and surrounded by a wall 20 to 30 feet high outside and 15 feet inside . . . in itself no mean citadel”.

59. A sixteenth century traveller visited the central African civilisation of Kanem-Borno and commented that the emperor’s cavalry had golden “stirrups, spurs, bits and buckles.” Even the ruler’s dogs had “chains of the finest gold”.

60. One of the government positions in mediaeval Kanem-Borno was Astronomer Royal.

61. Ngazargamu, the capital city of Kanem-Borno, became one of the largest cities in the seventeenth century world. By 1658 AD, the metropolis, according to an architectural scholar housed “about quarter of a million people”. It had 660 streets. Many were wide and unbending, reflective of town planning.

62. The Nigerian city of Surame flourished in the sixteenth century. Even in ruin it was an impressive sight, built on a horizontal vertical grid. A modern scholar describes it thus: “The walls of Surame are about 10 miles in circumference and include many large bastions or walled suburbs running out at right angles to the main wall. The large compound at Kanta is still visible in the centre, with ruins of many buildings, one of which is said to have been two-storied. The striking feature of the walls and whole ruins is the extensive use of stone and tsokuwa (laterite gravel) or very hard red building mud, evidently brought from a distance. There is a big mound of this near the north gate about 8 feet in height. The walls show regular courses of masonry to a height of 20 feet and more in several places. The best preserved portion is that known as sirati (the bridge) a little north of the eastern gate . . . The main city walls here appear to have provided a very strongly guarded entrance about 30 feet wide.”

63. The Nigerian city of Kano in 1851 produced an estimated 10 million pairs of sandals and 5 million hides each year for export.

64. In 1246 AD Dunama II of Kanem-Borno exchanged embassies with Al-Mustansir, the king of Tunis. He sent the North African court a costly present, which apparently included a giraffe. An old chronicle noted that the rare animal “created a sensation in Tunis”.

65. By the third century BC the city of Carthage on the coast of Tunisia was opulent and impressive. It had a population of 700,000 and may even have approached a million. Lining both sides of three streets were rows of tall houses six storeys high.

66. The Ethiopian city of Axum has a series of 7 giant obelisks that date from perhaps 300 BC to 300 AD. They have details carved into them that represent windows and doorways of several storeys. The largest obelisk, now fallen, is in fact “the largest monolith ever made anywhere in the world”. It is 108 feet long, weighs a staggering 500 tons, and represents a thirteen-storey building.

67. Ethiopia minted its own coins over 1,500 years ago. One scholar wrote that: “Almost no other contemporary state anywhere in the world could issue in gold, a statement of sovereignty achieved only by Rome, Persia, and the Kushan kingdom in northern India at the time.”

68. The Ethiopian script of the 4th century AD influenced the writing script of Armenia. A Russian historian noted that: “Soon after its creation, the Ethiopic vocalised script began to influence the scripts of Armenia and Georgia. D. A. Olderogge suggested that Mesrop Mashtotz used the vocalised Ethiopic script when he invented the Armenian alphabet.”

69. “In the first half of the first millennium CE,” says a modern scholar, Ethiopia “was ranked as one of the world’s greatest empires”. A Persian cleric of the third century AD identified it as the third most important state in the world after Persia and Rome.

70. Ethiopia has 11 underground mediaeval churches built by being carved out of the ground. In the twelfth and thirteenth centuries AD, Roha became the new capital of the Ethiopians. Conceived as a New Jerusalem by its founder, Emperor Lalibela (c.1150-1230), it contains 11 churches, all carved out of the rock of the mountains by hammer and chisel. All of the temples were carved to a depth of 11 metres or so below ground level. The largest is the House of the Redeemer, a staggering 33.7 metres long, 23.7 metres wide and 11.5 metres deep.

71. Lalibela is not the only place in Ethiopia to have such wonders. A cotemporary archaeologist reports research that was conducted in the region in the early 1970’s when: “startling numbers of churches built in caves or partially or completely cut from the living rock were revealed not only in Tigre and Lalibela but as far south as Addis Ababa. Soon at least 1,500 were known. At least as many more probably await revelation.”

72. In 1209 AD Emperor Lalibela of Ethiopia sent an embassy to Cairo bringing the sultan unusual gifts including an elephant, a hyena, a zebra, and a giraffe.

73. In Southern Africa, there are at least 600 stone built ruins in the regions of Zimbabwe, Mozambique and South Africa. These ruins are called Mazimbabwe in Shona, the Bantu language of the builders, and means great revered house and “signifies court”.

74. The Great Zimbabwe was the largest of these ruins. It consists of 12 clusters of buildings, spread over 3 square miles. Its outer walls were made from 100,000 tons of granite bricks. In the fourteenth century, the city housed 18,000 people, comparable in size to that of London of the same period.

75. Bling culture existed in this region. At the time of our last visit, the Horniman Museum in London had exhibits of headrests with the caption: “Headrests have been used in Africa since the time of the Egyptian pharaohs. Remains of some headrests, once covered in gold foil, have been found in the ruins of Great Zimbabwe and burial sites like Mapungubwe dating to the twelfth century after Christ.”

By Robin Walker © 2006

 

VIDEO: Ghana's urban music evolves in the age of Bluetooth Music > This Is Africa

Music

- Tuesday, August 30

Ghana's urban music evolves

in the age of Bluetooth

Written by Boima Tucker. Originally published by, and republished here with permission of, Cluster Mag.

This is the first of a 3-part series by Chief Boima about music-in-context in urban West Africa.

I was sitting in the back of a parked car outside of a production studio in the Dansoman neighbourhood of Accra, Ghana, with my travel partner Benjamin Lebrave, owner and manager of record label Akwaaba Music. The car belonged to Ghanaian Hiplife super-producer Appietus; he was sharing a collection of new and not-yet-released tracks, and I couldn’t help but point out the unmistakable international influence in the mix. UK Funky, South African House, and post-Diwali Jamaican Dancehall all came together in a thick Ghanaian stew (served with Banku.) I asked Appietus, “What kind of music do you listen to?” He turned around with a smile and said, “Everything.”

Hiplife, a hybridized, digital offspring of the more traditional Highlife sound, came into being in the early 90’s when Reggie Rockstone, a Ghanaian MC living abroad, returned home and started making records locally. Initially, Ghanaians were slow to warm to the imported sounds of American Hip-hop. In order to connect with his countrymen, Rockstone had the vision to fuse his Ghanaian and American cultural influences, just as his Highlife predecessors had done eighty years before. He started rapping in local languages, sampling local sounds, and coined the term Hiplife.


[note from the editor: this tune had its official release through a 2004 compilation called "A Rough Guide to African Rap"]

Ghana has always had one of West Africa’s most vibrant recording industries and its musicians are known for their ability to draw liberally from outside influences without losing touch with their local roots. If Hiplife comfortably resides in the realm of World Music 2.0, the country’s national popular music, Highlife, was its World Music Beta mother. Starting in the 1920s, Highlife musicians mixed traditional rhythms and melodies from ethnic groups in Ghana and other West Africa countries with genres like Calypso, Rumba, and Big Band Jazz, after recorded music from the Americas started to make its way to West Africa.

The original Highlife sound took Anglophone West Africa by storm, and eventually laid the foundation for countless Afro-pop permutations from Sierra Leone to Cameroon, most famously providing the base for Fela Kuti’s Afro-beat and Prince Nico Mbarga’s Anglo-Franco blend. I’ve even heard some boast that Gyedu-Blay Ambolley’s records, featuring a proto-rap vocal style, may have been circulating around the South Bronx (the neighbourhood with the highest concentration of Ghanaian immigrants in the U.S.) in the 1970s, influencing the burgeoning rap scene there (Cameroonian Manu Dibango’s Soul Makossa was certainly a staple of that era).

The spirit of international borrowing and exchange that birthed Highlife continues in Afro-pop today.

As the 90s drew to a close, and more artists and producers got involved, the sound of Hiplife began to change. A producer named Hammer emerged, and while he primarily made beats that sounded like underground New York tracks from artists like Mobb Deep or the Wu Tang Clan, he started to experiment using the same samples and drum-machine kits to create African and Caribbean rhythms that leaned towards the older Highlife sound. Hammer tapped into something with this innovation and touched something deep in the soul of the Ghanaian public.

You May Kiss Your Bride - Bollie (Hammer Production) from Sounds of Our Time

Around the same time that the U.S. was leaving behind its New York Hip Hop leanings for a more digital sound born in the American South, Appietus arrived on the scene in Accra. He started using synthesizers to craft compositions that sounded like the sweet older Highlife updated for the computer age. With the help of production software pre-sets his sound took on a crisper and more mainstream edge, bringing it into dialogue with other slick, high-production pop phenomena like American R&B or Reggaeton. He pitted electronic beats and steel drums against classic Highlife rhythms. The bass-lines interweaved with sweet melodic guitar lines, while synthetic horns vamped alongside. A grooving syncopated percussion filled out the rest as the vocalists rapped or sang in local languages. Appietus’ signature sound eventually became the prototype of the genre.

Until recently, my exposure to Hiplife was mostly through compilations put out by European labels, blogs created by foreigners traveling in Ghana or Ghanaians living abroad, CDRs I bought traveling in other parts of West Africa, or through my friend and travel companion Benjamin. I had been hearing plenty of new music from Ghanaian artists who helped bring attention to Ghana’s wealth of musical talent - Wanlov the Kubolor, M.anifest, M3nsa, Blitz the Ambassador and Sway - but as artists focused on courting international audiences in particular, they aren’t considered as much a part of the local Hiplife scene. What’s more, with the dominance of a few producers and a radio network supported by payola, the sonic diversity of the scene started to dwindle. As a DJ, I would occasionally dip into some of the widely available hits like V.I.P.’s "Ahomka Wo Mu", but generally didn’t look for too much Hiplife to fill my digital crates.

But now all of that is changing.

Developments in Ghanaian music are reflective of the country’s growing role in the contemporary global economy. A change in sound and aim for distribution is happening alongside changes in Ghana’s communications and technology infrastructure. As studios become easier and cheaper to set up, a host of new producers have arrived on the scene. Computer technology is ubiquitous in Accra. In a city where cash-flow runs radio, tastemakers have come from unexpected places. Taxi drivers play songs directly from USB sticks that plug into their car stereos, people trade songs over bluetooth exchange on their mobile phones, and a host of bloggers have gone online to promote local artists. Internet speeds are increasing, cellphone companies offer a 3G network, and mp3s are the dominant form in which music is consumed in an industry that was dependent on a few tape distributors less than 10 years ago.

Taking a cue from the exploding Nigerian industry, as well as current sonic trends in the U.S. and Jamaica, the sound of today’s Ghanaian music is all synthesizers, heavy drums, and poppy hooks in English. It’s the kind of stuff that travels easily across the continent, and would blend into a DJ set in Dubai or Los Angeles. Benjamin and company tell me that in Ghana, the name Hiplife is in fact fading and artists and up-and-coming producers are calling their sound just Pop with an ascribed prefix, such as Afro-Pop or Tema-Pop. (Tema is the name of a popular American-inspired suburb of Accra where many of the newest artists and producers are based.)

With large diaspora populations in London and the Bronx, Ghanaians living abroad are shaping both the sound and the distribution of the music as well; Donaeo’s club anthem Party Hard is popular all over West Africa. But, what’s really fascinating about the song’s reception in Ghana is that the UK born Donaeo has Ghanaian ancestry, which probably had an influence on his sound in the first place. This makes for an interesting closure to the diaspora’s international circle of influence. Now you can hear UK based rappers like Sway proudly flying their Ghanaian flag and rapping alongside Hiplife superstars like Sarkodie over a Funky House track born in London. It is the same kind of feedback-loop between diaspora and homeland that exists between New York and places like Jamaica, Puerto Rico, and the Dominican Republic.

Inside of Appietus’ studio, Benjamin picked up a CD labeled “Miss Doctor Artfx! Remix”. In order to promote African club sounds in European and American clubs, Benjamin invites producers to remix the tracks, using one of their local popular styles. Last year he organized a remix campaign for Appietus’ collaborative work with Hiplife group 4X4. According to the producer himself, the sounds and styles brought out by these European and American remixers inspired him to expand his own sonic pallette, cultivating a new dynamic and exciting sound.

<a href="http://akwaabamusic.bandcamp.com/track/miss-doctor-artfx-remix" _mce_href="http://akwaabamusic.bandcamp.com/track/miss-doctor-artfx-remix">Miss Doctor (artfx! Remix) by 4X4</a>

Appietus is a confident, gregarious man. He carries the stature of a king, lecturing on everything from religion to music production techniques inside his studio, as his clients line up and patiently wait to record on the next Appietus (in the mix) hit production. Back in his car, we discussed his position within the changing Ghanaian music industry. He seemed convinced that more electronic sounds and influences from abroad in his productions were the way to compete with the upstarts from Tema, and gain some more international recognition. In an interesting twist to the story, and something I was unaware of at the time, he had recently been accused of stealing directly from South African House DJ, Cndo. I suggested he create a Soundcloud account and start releasing his instrumentals on there, and perhaps he would join the ranks of other African producers such as DJeff, Black Coffee and Killamú. He gave me an instrumental to share. Check it out below, and for more info on the original song check out Benjamin’s recent post at The Fader.

CLUSTER EXCLUSIVE: Appietus - Ayooo (Instrumental) by Cluster Mag

Be sure to check out Appietus’ releases on Akwaaba Music, and be on the look out for more Ghanaian music at a club in your local area.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PUB: The Inaugural Dambudzo Marechera Writing Competition (Zimbabwe) > Writers Afrika

The Inaugural Dambudzo Marechera

Writing Competition (Zimbabwe)

Deadline: 15 October 2011

Writers International Network Zimbabwe proudly unveils the inaugural Dambudzo Marechera Writing Competition, which aims to motivate and award unpublished writers. The legacy of the late great Zimbabwean writer Dambudzo Marechera (1952-1987) is undoubtedly conspicuous in the literary circles locally and internationally. Many general and scholarly books have been written on the life and works of Marechera. International conferences to discuss his enigmatic life and works are being held across the globe at universities and Book Fairs. Marechera was a storyteller and poet of great talent who was but at one time called a ‘mad man’ by his own. We have seen it fit to honor his outstanding inspiration to the local writing industry by having this competition named after him.

Themes should be social.

CATEGORIES

Short Story

Length: 2500 words
Language: English
Maximum Number of Entries: Two stories

Poetry

Length: One page
Language: Shona
Maximum Number of Entries: Two poems

REGULATIONS

· Stories and poems should be original and unpublished
· Deadline for submissions is October 15, 2011
· Competition is open to residents and citizens of Zimbabwe
· Winners will be announced and awarded in December at the Writers’ End of Year Get-Together

PRIZES

UNDISCLOSED AT THE MOMENT

Entries, clearly labeled ‘Dambudzo Marechera Writing Competition’ must be posted or hand-delivered to 168 Chinhoyi Street, Harare before October 15 2011.

Contact Information:

For inquiries: winzimbabwe@gmail.com

For submissions: 168 Chinhoyi Street, Harare

Website: http://win-zimbabwe.blogspot.com