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Colonialism
July 22, 2011A satirical film made by the Australian Broadcasting Corporation in 1986.
Worth seeing again.
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Colonialism
July 22, 2011A satirical film made by the Australian Broadcasting Corporation in 1986.
Worth seeing again.
Call for Participants:
Nisimazine Abu Dhabi
Film Journalism Workshop (Arabic countries)
Deadline: 15 August 2011We are currently seeking seven aspiring young film critics and one photographer, between the ages of 18 and 35. Four of the talented individuals selected will be European, and four will be from Arab countries. Participants will be invited to attend the Abu Dhabi Film Festival (United Arab Emirates) to form an international editorial team. This team will create daily issues of a gazette in English and Arabic covering the festival’s screenings, events, and encounters. It will be a unique opportunity to gain practical, hands-on experience in film journalism and, of course, meet like-minded people from around the world! Please read the information dossier for all the necessary information on applying for this edition of Nisimazine.
Nisimazine Workshops: General BackgroundThe free daily magazine Nisimazine is made in the frame of a film journalism workshop for young aspiring film journalists. Nisimazine film journalism workshops have taken place during many international film festivals since the first edition in Cannes in 2006, notably: Torino Film Festival (Italy), DocPoint Helsinki (Finland), Alba International Film Festival (Italy), Cannes Film Festival (France), Iran International Documentary Film Festival (Tehran), European Festival on
Wheels (Kars and Artvin, Turkey), IDFA – International Documentary Film Festival Amsterdam (Netherlands), Festival de Lima (Peru), Festival do Rio (Brazil), and Abu Dhabi Film Festival (United Arab Emirates). Since the program’s beginning, more than 100 young critics from all over the world have benefited from developing their skills in a stimulating international environment, supported by experienced tutors and staff.The Magazine
• Nisimazine Abu Dhabi will be printed in English and Arabic. The main working language of the editorial team will be English.
• The gazette will be in A4 format (magazine style) and contain film reviews, interviews, thematic articles, news, pictures from the festival, etc.
• Eight issues will be published daily during the festival
• Around 2,000 printed copies will be published for each issue and distributed to festival audiences and professional guests. An electronic version will also be available on the Nisimazine official website (www.nisimazine.eu)
• There will also be the opportunity to publish a video blog. We are therefore interested in candidates who have video-making experience, as well as skills in writing/photographyThe Editorial Team
A clear and precise division of tasks is needed for Nisimazine workshops to be successful. In Abu Dhabi, the team will be composed of:
Three members of staff from the NISI MASA European Secretariat
• Matthieu Darras, Director of the Publication
• Maartje Alders, Editor-in-Chief / Graphic Designer
• Jude Lister, Editor / CoordinatorTwo professional tutors
• One for the English version, one for Arabic version (names to be confirmed)
Eight participants
• Seven film journalists and one photographer.
The Schedule
Important: As of the announcement of selected participants, the essential preparation period will
begin. Participants will be required to begin researching, watching films from the festival programme (some will be available in advance), making interviews, taking part in online meetings to brainstorm the magazine’s content, and writing the first articles.July 20 – August 15 Application period
August 22 Announcement of selected participants
August 22 – October 13 Preparation period
October 13 – 22 WorkshopABU DHABI FILM FESTIVAL
5th edition: October 13 – 22 2011
About the Abu Dhabi Film FestivalThe Abu Dhabi Film Festival (formerly the Middle East International Film Festival) was established in 2007, with the aim of helping to create a vibrant film culture throughout the region. Presented each October by the Abu Dhabi Authority for Culture and Heritage (ADACH) under the patronage of H.E. Sheikh Sultan Bin Tahnoon Al Nahyan, Chairman of Abu Dhabi Authority for Culture and Heritage, the event is committed to curating exceptional programs to engage and educate the local community, inspire filmmakers and nurture the growth of the regional film industry.
With its commitment to presenting works by Arab filmmakers in competition alongside those by major talents of world cinema, the Festival offers Abu Dhabi’s diverse and enthusiastic audiences a means of engaging with their own and others’ cultures through the art of cinema. At the same time, a strong focus on the bold new voices of Arab cinema connects with Abu Dhabi’s role as a burgeoning cultural capital in the region and marks the Festival as a place for the world to discover and gauge the pulse of recent Arab filmmaking.
Application Guidelines
• The final application deadline for candidates is the August 15, 2011, before midnight. All application material must be sent via email to nisimazineabudhabi@nisimasa.com.
• Candidates must be between the ages of 18-35 at the time of the workshop and reside in either a member state of the Council of Europe (see http://www.coe.int/aboutCoe/index.asp?page=47pays1europe&l=en) or an Arab country (Algeria, Bahrain, Comoros Islands, Djibouti, Egypt, Iraq, Jordan, Kuwait, Lebanon, Libya, Mauritania, Morocco, Oman, Palestine, Qatar, Saudi Arabia, Somalia, Sudan, Syria, Tunisia, UAE, Yemen).
• Filling in the application form (in English) is a prerequisite. Applicants should choose either to apply as a film critic or a photographer.
• Providing evidence of previous works (articles originally written in or translated into English, video-blogs, photographs, etc.) is compulsory.
• One passport-style photo is also required with each application. This is needed for your accreditation.
• By filling in the application form, candidates confirm their availability to attend the entire duration of the workshop and their motivation to actively take part in necessary preparation meetings and activities in advance.
• There will be a maximum of eight participants in the workshop, so there will be a careful selection. Please send your carefully completed application forms before the deadline.Participation Rules
• Participants will arrive in Abu Dhabi on October 12; departure from the accommodation is planned for 23 October.
• If, for any reason, a participant is unable to attend the workshop, they must inform the organisers immediately.
• Accommodation and meals will be provided for the duration of the workshop.
• Travel costs from your home city to Abu Dhabi or Dubai will be covered. Transport from the airport to the accommodation will be provided by the festival.
• There is a participation fee of 200 euro, to be paid before the start of the workshop.
• Participants will be asked to bring their own necessary equipment (e.g. laptop, camera, video-camera). If this is not possible, please inform us in your application form so that we can make necessary arrangements.For further questions and comments please write to nisimazineabudhabi@nisimasa.com
The NISI MASA European Office
NISI MASA
99 Rue du Faubourg Saint Denis
75010 Paris. France
Tel. : +33 (0)9 60 39 63 38
Fax. : +33 (0)1 48 01 65 31
Email : europe@nisimasa.comContact Information:
For inquiries: nisimazineabudhabi@nisimasa.com
For submissions: nisimazineabudhabi@nisimasa.com
Website: http://www.nisimazine.eu
THE 2011
Gemini Magazine
FLASH FICTION
CONTEST
Grand Prize: $1,000
Second Place: $100
Four Honorable Mentions
Entry fee: $4
($3 for each additional entry)
Deadline: August 31, 2011
Maximum length: 1,000 wordsAll Six Finalists Will Be Published Online in the
October 2011 Issue of Gemini.Absolutely no restrictions on content, style or genre.
Simply send your best, most powerful work.Why such a low entry fee for a major contest? So EVERYONE
can have a chance. We publish both new and experienced
writers. Our 2010 Flash Fiction Contest marked the first
fiction publication for both the Grand Prize and Second Place
winners. (See results of our previous fiction contests below.)TO ENTER BY EMAIL:
1. Click "Donate" and pay the $4 entry fee
($3 for each additional entry).("Security code" is on back of credit card; if you didn't
receive confirmation number, transaction was not processed.)2. Paste confirmation number and previously unpublished
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Gemini Magazine, to:Contest, Gemini Magazine
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Onset, MA 02558 USA(include $3 for each additional entry)
postmark deadline: August 31, 2011
SUBMISSIONSCurrently, Wag’s Revue is only accepting submissions for its Summer Writers Contest in fiction, poetry, and essays. First prize is $1,000 and publication; second prize is $500; and third prize is $100. All submissions are considered for publication. Please read the guidelines below carefully before submitting.Submissions of poetry may include multiple poems but should not exceed 10 pages. Fiction and essay submissions should not exceed 10,000 words. All submissions must be previously unpublished. Wag’s Revue asks for first serial rights to all published work; all other rights revert to the author upon publication.
You may submit as many entries as you like, but each entry must be accompanied by a $20 submission fee. Any entry not including a fee will be discarded. Simultaneous submissions are welcomed, but please promptly withdraw your entry if it is accepted elsewhere.
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After you have successfully paid your entry fee, click below to enter our online submission manager and upload your piece.
Submissions are open through August 31, 2011.
Many thanks for your interest. We look forward to reading you work.
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Hello Divinity. I can safely say to you that your idea of ‘western’ or ‘white’ privileges is not a myth.
I have a French friend, a no body really, who was able to secure an appointment with our president, Jacob Zuma, within one month!
Africans, I know I’m generalizing, have a very low self esteem. I always say that artists are the bankers of our self esteem. American artists are not afraid to assume that, if something is big in their country, it is the biggest in the world. And guess what? Art is the most consumed information in the world (through music, film etc). Therefore Africans consume the idea that westerners live life as it should be lived.
you know… the twang in their dialogue. The KFC. The Cars. the ‘stuff’. Idols. America’s got Talent… you name it.
What is the solution? For me, the solution is two fold; 1. invest in our artists to paint and communicate a new level of greatness for Africa. For example, Nigeria broke grounds with their film industry, but its not fun watching poor video and sound quality either… So let us invest in them too. Just look at how the Japanese pride their workmanship with the Samurai sword for instance… Why can’t we pride ourselves with our Animal skin garments – if you knew the process and tenacity required to make them, you’d be amazed!
2. When I saw, on CNN, a young Egyptian man turning garbage into electricity I was proud to be an Africa! Let us use our media, such as this website, to spread that good news. It is only by heightening our aspirations through a healthy influx of good news and possibilities that we can yank ourselves out of this deep valley of self esteem.
In summary. I’m saying that Africans have a low self esteem. Let us use art to tell a new story about Africa. Secondly, let us spread some good news around. People just need to know that they are worth it!
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”Mzungu” in East Africa or “Toubab” in West Africa should be translated as “Westerners” when we who are born of African parents in the West go back we are also referred to with these terms so they might have meant “white people” in the past but now they really mean “Westerner” or someone with western manners.
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First of all, many thanks @divinitymatovu for such a thought provoking article. A quick search for “Western privilege” on google suggests this is unchatered territory.
I recall spending a few months in New York as a student once and being treated like “royalty” by people who by their own reaction to me, my mannerisms and accent etc would not necessarly have accorded me that status had i been an African American or an American born black.
For me what excited me about this article was not so much about “Western Privilege” in Africa but some sort or form of poetic justice. Isn’t it an ironic twist that the very people who share the same ascriptive charateristics as i do are now accorded the respect and dignity that eludes so many of them in their own country?
Perhaps the best example of this is an article by Mukoma wa Ngugi. He tells this anecdote about Kofi Annan: while he was a student in the United States, the former UN Secretary General visited the South at the height of the civil rights movement. He went to get a haircut, but because it was still the Jim Crow era a white barber told him “I do not cut nigger hair.” Kofi Annan cunningly replied “I am not a nigger, I am an African.” The anecdote ends with him getting his hair cut.
There are lots of people of Jamaican descent now in Ghana (where i was born), perhaps due to the country’s association with WEB Duboise and other Pan Africanists. “Jamaicaness” is celebrated not so much becouse they are “rich” and people want something from them but becouse they are collectively seen as a symbol for all the good that comes out of Jamaica – the music, athletics and of course Bob Marley. That perception cannot be more different to how Jamiacans are seen in London (UK) or at least during the infamous Brixton riots a couple of decades ago!
I have no doubt that “Western Privilege” exists, but a big part of me also thinks PERCEPTION and HISTORY has every thing to do with how people generally react to others. As the saying goes: “One man’s poison is another man’s medicine”.
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@nii I think your assessment is true. What is the solution though?
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Solution? Maybe there is none. Perceptions are hard to shift. It may take millenia for Africans to become less “enamoured” with all things foriegn just as it may take millenia for American born blacks to feel like Africans generally feel or are treated when they are in the States.
A part of me thinks that time is coming for America, after all they do have Obama, but would Obama have been President if he had Jesse Jackson’s “slave” history or a surname like mine – Thompson? I doubt it
His “Kenyan” roots may have inured him.
I agree with your “confidence” solution though. We used to run after “whites” (they were the only Westerners then) as kids wanting to touch, speak to them etc becouse there weren’t many around then and we all had it in us that they were very very “special” people. They used to run our country/countries, didn’t they? and lived in the big castles whilst our leaders and chiefs made do with the mud huts.
That was barely 20 years ago, now Accra is full of Chinese and whites from as far afield as Russia. That novelty has worn off. They walk around unnoticed. Familiarity is a good thing. In the villages though i’m sure those perceptions of the “special” “Westerner” still holds strong. Once they start living in the sort of houses and driving the sort of cars etc that they see in Hollywood films, that “special” status will be eroded further
The Real Mahatma Gandhi
Questioning the moral heroism of India’s most revered figure
ByGluekit
Joseph Lelyveld subtly tips his hand in his title. The word Mahatma (often employed in ordinary journalistic usage without any definite article, as if it were Mohandas Gandhi’s first name) is actually the Sanskrit word for “Great Soul.” It is a religio-spiritual honorific, to be assumed or awarded only by acclaim, and it achieved most of its currency in the West by association with Madame Blavatsky’s somewhat risible “Theosophy” movement, forerunner of many American and European tendencies to be found in writers, as discrepant as Annie Besant and T. S. Eliot, who nurture themselves on the supposedly holy character of the subcontinent. The repetition, unlikely to be accidental in the case of a writer as scrupulous as Lelyveld, seems to amount to an endorsement. In a different way, the subtitle reinforces the same idea. Not Gandhi’s struggle for India, but with it: as if this vast and antique land was somehow too refractory and ungrateful (recalcitrant is a word to which Lelyveld recurs) to be fully deserving of Gandhi’s sacrificial endeavors on its behalf.
Great Soul: Mahatma Gandhi and His Struggle With India
By Joseph Lelyveld
KnopfBut with perhaps equivalent subtlety—because he generally refrains from imposing any one interpretation upon the reader—Lelyveld furnishes us with the very material out of which one might constitute a refutation of this common opinion. The belief that India fell short of, and continues to disappoint, the ideals of one of its founding fathers is an extremely persistent one. The standard view of Gandhi is that he cut his ethical teeth by opposing racial discrimination in South Africa, failed to dent the intransigent system there but had greater success with nonviolent civil disobedience in British India, broke his heart and ruined his health by opposing the Hindu caste system, strove to reconcile Hindus and Muslims, failed to prevent a sanguinary partition, and was murdered just after attaining a partial and mutilated independence that nonetheless endures: a monument not to his own shortcomings but to those of others.
Lelyveld examines all these pious beliefs and finds, or permits us to conclude, that they belong in the realm of the not-quite-true. Thus, Gandhi and his followers were not much exercised by the treatment of black Africans in South Africa, alluding to them in print as “kaffirs” and even organizing medical orderlies and other noncombatant contributors for a punitive war against the Zulus. Then, Gandhi did fight quite tenaciously against the horrors of “untouchability” but for much of his life was less decided about the need to challenge the caste system tout court. He was not above making sectarian deals with (and against) India’s Muslims. And he considered India’s chief enemy to be modernity, arguing until well into the 1940s that the new nation should abhor industry and technology and relocate its core identity and practice in the ancient rhythms of village life and the spinning wheel. “India’s salvation,” he wrote in 1909, “consists in unlearning what she has learnt during the past fifty years. The railways, telegraphs, hospitals, lawyers, doctors, and such like have all to go.” The rather sinister concept of “unlearning,” explicitly tied to the more ethereal notion of “salvation,” has more in common with Wahhabism than with the figures of Mandela, King, or the other moral heroes with whom Gandhi’s name is linked.
A related argument has to do with the moral texture and relevance of Gandhi’s concept of ahimsa, or nonviolence, with its counterpart of satyagraha, best translated as “civil disobedience.” It is most usually conceded that, without the declining and increasingly desperate British as his antagonist, Gandhi and his tactics would have fared no better than they had in the face of the remorseless pioneers of apartheid. This concession usually preserves intact the belief that Gandhi’s methods were pure in heart. But it may be observed that the threat to starve himself to death involved him in the deliberate and believable threat of violence, he himself once referring to this tactic as “the worst form of coercion.” It could certainly be argued that launching a full-blown “Quit India” campaign against the British in 1942 amounted to letting Hirohito do his fighting for him.
And it is not disputable that Gandhi himself regarded his own versions of ahimsa and satyagraha as universally applicable. By 1939, he was announcing that, if adopted by “a single Jew standing up and refusing to bow to Hitler’s decrees,” such methods might suffice to “melt Hitler’s heart.” This may read like mere foolishness, but a personal letter to the Führer in the same year began with the words My friend and went on, ingratiatingly, to ask: “Will you listen to the appeal of one who has deliberately shunned the method of war not without considerable success?” Apart from its conceit, this would appear to be suggesting that Hitler, too, might hope to get more of what he wanted by adopting a more herbivorous approach. Gandhi also instructed a Chinese visitor to “shame some Japanese” by passivity in the face of invasion, and found time to lecture a member of the South African National Congress about the vices of Western apparel. “You must not … feel ashamed of carrying an assagai, or of going around with only a tiny clout round your loins.” (One tries to picture Nelson Mandela taking this homespun counsel, which draws upon the most clichéd impression of African dress and tradition.)
Gandhi was forever nominating himself as a mediator: in 1937 in Palestine, for example, where he concluded that Jews could demand a state of their own only if all Arab opinion were to become reconciled to it; and later unsolicitedly advising the peoples of Czechoslovakia to try what Lelyveld calls “satyagraha to combat storm troopers.” The nullity of this needs no emphasis: what is more striking—in one venerated so widely for modest self-effacement—is its arrogance. Recording these successive efforts at quasi-diplomacy and “peacemaking,” Lelyveld lapses into near-euphemism. At one point he calls Gandhi’s initiatives “a mixed bag, full of trenchant moral insights, desperate appeals, and self-deluding simplicities.” The crawling letter to Hitler, he summarizes as “a desperate, naive mix of humility and ego” and as one of a series of “futile, well-intentioned missives.” We can certainly detect the influence of Saul Bellow’s “Good Intentions Paving Company,” but the trenchant moral insights and the humility are distinctly less conspicuous.
Flash Mob
July 21, 2011
No it’s not a protest. It’s PR for the Nelson Mandela Metropolitan University in Port Elizabeth in South Africa’s Eastern Cape. To get you to come and study there. The singers are from the University Choir and it’s in that classic new South African public space, a shopping mall. Someone’s already conjuring up metaphors about rainbows and how this what Mandela was all about. Calm down people: it’s only PR.
H/T: Nerina Penzhorn.
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Dear Mandela
sleepinggiantfilms on Feb 15, 2008
To learn more about the feature-length version of the film due to be completed in April 2011 go to: www.dearmandela.com
Dear Mandela is a documentary short film about South Africa's "new apartheid", where forced evictions and dire poverty are too clearly a reminder of days past. Abahlali baseMjondolo, a new social movement of shack dwellers is challenging the conditions as well as the state of democracy itself in the country.UPDATED: The blogs have rightly been outraged at a white couple, “Dave and Chantal,” who decided on a “colonial” (and Apartheid) theme at their wedding in South Africa complete with an all-black waiter staff in red fezes. Like it was a scene out of the film “Out of Africa.” (Turns out the happy couple asked for a recreation of the film. Serious.) The wedding was held in Mpumalanga province on the border with Mozambique. The wedding organizers got the props–which included “antique travel chests, clocks, globes and binoculars and an awesome Zebra skin”–from a “prop house” in the capital Pretoria. This kind of thing which is apparently the in-thing (i.e. sold as “tradition” and “nostalgia” by events companies and venues), would have passed unnoticed, but for the internets. The couple or their photographer felt pleased enough to post the pictures on a photography site. Then it was spotted by the American blog Jezebel (part of the Gawker empire). Once it became viral (and the couple their photographer and wedding planner were ridiculed) some of the photos (i.e. those with blacks in subservient positions or white people hamming it up in pith helmets) have been taken down. Here’s a link to the “cleaned-up” cache-page since the page has been deleted. Luckily for us screen shots of the pictures exist. And the venue still has pictures of guests in pith helmets play acting shoot outs on its website. (see some of the pictures below).
Of course, not surprisingly, some white South Africans are defending the couple. Although one commenter to the Jezebel post did write the truth: “Most white folks’ weddings in [South Africa] are colonial not by design, but by default.”
Which is why we’re surprised so few are asking–as RK points out in a comment on this post below–what makes venues like the Cow Shed (where the wedding was held and events company Pollination, think it is okay to throw colonial/Apartheid throwback weddings for white South African and European couples. The Cow Shed has since issued a lame press statement to still defend its decision to host the party.
At least they can’t blame Julius Malema for this.
Above and below are some of the offensive photos. Then following the photos, at the bottom end of this post, see commentary from Neelika.
More from the big blogs, here and here.
Neelika Jayarwadane adds:
First, the pith helmets, the rolling amber whiskey, the monogrammed blue sweaters: it’s like a Tommy Hilfiger/ Ralph Lauren advert for Fall-wear, in the conservative chic for which these brands are known. But allow me a little snark here: who wears a blue sweater, no matter how finely monogrammed, to a proper wedding? I see it’s all very shack-chic-themed, with corrugated walls and chandeliers, but still, lovey.
Second, Hilfiger and Lauren get their imagery from the fantasia of Africa created by Hemingway and Hollywood: Baronness von Blixen, channelled by Meryl Streep in Out of Africa, to be more precise. There, one can marry that lovely hodgepodge of elements evoking a magical time when we just didn’t know to be embarrassed by our colonial selves: hunting, whiskey, fine food served on Limoges china, and most importantly, the silent, disappeared bodies of the ‘service’ – seen here in the full glory of their outlandish and out-of-place carmine fezes (a nod to East African Muslim traditions?). When modern South Africans want to revert to the safety of the good ole days, when whites were whites and servants were marked by uniforms and ridiculous headgear, apparently they turn to ’80s Hollywood for their references.
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The National Gallery in Cape Town, South Africa is currently exhibiting photographs published in DRUM magazine, circa 1950. Above, Director Riason Naidoo speaks to me about growing up in Chatsworth, an area delegated for those classified as “Indian”, what got him interested in early photography of colonial subjects, and why he decided to embark on a project looking up and collecting the stories and images of Indians in South Africa.
The exhibit highlights the rich history of the Indian experience as featured in the pages of Drum Magazine:
Indian gangsters (Sheriff Khan, who was known as ‘South Africa’s Al Capone’), golfer Papwa Sewgolum, activists like Yusuf Dadoo and Monty Naicker, Indian footballers, glamour models in pretty bikinis, daredevil motorcycle riders (fantastic shots of the woman stunt rider Amaranee Naidoo on her Harley Davidson, circling the heights or a circular ramp), and ballroom dance champions. There are images of “Jazz King” Pumpy Naidoo, a series documenting the feud between the ‘Salots’ and the ‘Crimson League’ gangs, and one priceless photograph of Sonny Pillay, who was dating Miriam Makeba at the time, surrounded by adoring family members: they crowd around a sofa, looking through what appears to be a photo album, while Miriam sips tea.
Others are of images of child labour on the sugar farms in Natal, and dire depictions of the living conditions in the ghettoes.
Naidoo first collected these photographs the book, The Indian in Drum Magazine in the 1950′s(Bell-Roberts Publishing, 2009). They were selected from a few hundred thousand uncatalogued negatives, and challenge conventional and ‘official’ portrayals of the South African Indian community, revealing aspects of ‘Indian’ history that have rarely been seen by those outside of it.
Many of the photographs featured in the book are on now at the National Gallery, together with another exhibition profiling the work of Ranjith Kally (b. 1925, Isipingo) who began his career as a photographer while working at a shoe factory in Durban:
…[h]e came upon a Kodak Postcard camera at a jumble sale in 1946, which he bought for six pence. ‘I was consumed by my newly found interest in photography and spent almost all my free time pursuing the art form’, he remembers.
Here’s an example of Kally’s work; Miss Durban 1960 Rita Lazarus.
The exhibition has been on show since 11 May this year and will go until 11 September.
(big photo gallery, news updates)
(Photos: scenes from a powerful explosion that rocked central Oslo July 22, 2011. A huge explosion damaged government buildings in central Oslo on Friday including Prime Minister Jens Stoltenberg's office. The blast blew out most windows on the 17-story building, as well as nearby ministries including the oil ministry, which was on fire. REUTERS/Berit Roald/Scanpix)
Above and following, photos from the bombing that took place in Oslo earlier today. Two apparent terrorist attacks struck the Norwegian capital: a car bombing at government offices in the city's center, and a shooting at an island youth camp of Norway's labor party. At least 16 are confirmed dead at the time of this blog post.
Immediate theories of who was responsible varied, and ranged from domestic right-wing extremists to possible external groups retaliating for Dagbladet's publication in 2010 of a comic that portrayed the Muslim Prophet Muhammad as a pig writing the Qur'an. But the BBC reports:
Police said the suspected gunman had been arrested, and later that he was also linked with the bomb attack. Reports described him as tall and blond.The man arrested for the shootings is Norwegian, and Norwegian authorities have since stated that they do not currently consider this an act of foreign terrorism.More: Washington Post, ABC News, New York Times, and a Telegraph report on a related Wikileaks cable: a US State Department memo portrays the country as "over its head," and "unable to keep up" with terror risks.
Here's an excellent Twitter list of journalists covering the attacks, assembled by the Washington Post.
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(all images in this post: REUTERS/Scanpix)
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23 July 2011 Last updated at 00:53 ET
Click to play
Anders Frydenberg of Oslo police describes the rescue operation on Utoeya island
At least 80 people died when a gunman opened fire at an island youth camp in Norway, hours after a bomb attack on the capital, Oslo, police say.
Oslo police are questioning a 32-year-old Norwegian man in connection with Friday's attacks.
The man was arrested on tiny Utoeya island outside Oslo, where police say he opened fire on teenagers.
Earlier, the number of dead from the island shooting spree, which is among the world's most deadly, was put at 10.
The Oslo bomb attack killed at least seven people. Prime Minister Jens Stoltenberg, whose offices were among those badly hit by the blast, described the attacks as "bloody and cowardly".
Ole TorpNRK journalistHe asked people to gather round and then he started shooting, so these young people fled into the bushes and woods ”
No group has claimed responsibility for the attack but the suspect is reported by local media to have had links with right-wing extremists.
The BBC's Richard Galpin, north of Oslo, says that Norway has had problems with neo-Nazi groups in the past but the assumption was that such groups had been largely eliminated and did not pose a significant threat.
'Posed as policeman'Hundreds of young people were attending the summer camp organised by the ruling Labour Party on Utoeya island.
Eyewitnesses described how a tall, blonde man dressed as a policeman opened fire indiscriminately, prompting camp attendees to jump into the water to try and escape the hail of bullets. Some of the teenagers were shot at as they tried to swim to safety.
Armed police were deployed to the island but details of the operation to capture the suspect remain unclear.
Police say they discovered many more victims after searching the area around the island.
"It goes without saying that this gives dimensions to this incident that are exceptional," police director Oystein Maeland is quoted as saying by the Associated Press news agency.
Police warned the death toll may rise further as rescue teams continued to scour the waters around the island.
The gunman is reported to have been armed with a handgun, an automatic weapon and a shotgun.
"He travelled on the ferry boat from the mainland over to that little inland island posing as a police officer, saying he was there to do research in connection with the bomb blasts," NRK journalist Ole Torp told the BBC.
"He asked people to gather round and then he started shooting, so these young people fled into the bushes and woods and some even swam off the island to get to safety."
One 15-year-old eyewitness described how she saw what she thought was a police officer open fire.
"He first shot people on the island. Afterward he started shooting people in the water," youth camp delegate Elise told the Associated Press news agency.
Mr Stoltenberg had been due to visit the camp on Saturday. Foreign Minister Jonas Gahr Store, who visited the camp on Thursday, praised those who were attending.
"The country has no finer youth than young people who go for a summer camp doing politics, doing discussions, doing training, doing football, and then they experience this absolutely horrendous act of violence," he said.
'Despicable violence'In Oslo, government officials urged people to stay at home and avoid central areas of the city.
Shards of twisted metal, rubble and glass littered the streets of central Oslo left devastated by Friday's enormous explosion.
Windows in the buildings of the government quarter were shattered and witnesses described how smoke filled the atmosphere around the blast site.
There are also concerns that more victims may still be inside buildings hit by the initial massive explosion.
Emergency services have had difficulty accessing these buildings amid concerns about further possible explosions as well as fears the blast may have left buildings unstable.
The US has condemned the "despicable acts of violence" in Oslo, while the President of the European Council, Herman Van Rompuy, said the "acts of cowardice" had no justification.
>via: http://www.bbc.co.uk/news/world-europe-14259356
The Internets Celebrities head to Corona, Queens to eat Mofongo, investigate Mofongo's origins and say the word Mofongo many, many times.
Directed by Casimir NozkowskiThis won't go over well with a lot of people but, but this dish is a direct descendant of west african 'fufu'-in cuba i believe they call it fufu de plátano. They make similar dishes in the English-speaking caribbean as well where it is known by other names- fungi, coucou, etc.
@fm2577 +1, that's 100% correct. we had worked the african origin in during the shoot but it didn't play smoothly or fit with the more modern focus so it didn't make the cut.
Keeper of the Story:
Youssou N’Dour
Put aside every preconceived notion you have of the griot. Release any visions held in your mind of singers, poets, truth-tellers dressed in brightly colored garb singing and dancing to drum rhythms in an African village somewhere—some non-descript mythic reduction of a vast continent. Instead, imagine the strength and power of a griot and their ability to share stories that help us collectively understand who we are, where we have come from, and where we are going. Griots defy and dismantle binaries as they work as keepers of stories, deliverers of daily news that spans art, culture, faith and politics. The griot embodies elements of the sacred and simultaneously balances the complexities and nuances of daily life.
Here, at the intersection of the sacred and the secular lives Youssou N’Dour—a Sufi Muslim, Senegalese musical phenom, activist, actor and subject of the acclaimed film “I Bring What I Love.”
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Considered one of the most influential people making music today, N’Dour personifies the modern-day griot. Youssou descends from a matrilineal line of griots, women who always believed he should sing and carry the tradition forward. While N’Dour lived with the support of the women in his family, the tensions that come with growing up in a devout Muslim household in a country where ninety-four percent of the population practices Islam informed and impacted his youth. While exploring his burgeoning creativity, N’Dour had to contend with resisting his father’s dreams that he would complete school and enter a respectable profession.
As a teenager, N’Dour became obsessed with music and frequently ran away to Gambia to explore his artistry and party. The film, “I Bring What I Love,” documents N’Dour’s early experiences in Gambia playing at night clubs like the Open Air and even selling his shoes to get back to Gambia when his father sent the police to bring him home to Senegal. Perhaps, this young artist had to taste the flavors of worlds beyond the safety of his community to begin to carve out his spot in it.
Trailer for “I Bring What I Love”
N’Dour went on to become one of the most beloved musicians in the world. His collaborations with internationally known artists such as Peter Gabriel and later Neneh Cherry catapulted N’Dour to superstardom throughout Africa and Europe. Before 2004, N’Dour was known mostly as a pop singer. He eventually began to use his international platform to illuminate issues impacting Senegal and other African countries. His work on Malaria prevention has brought him to the United Nations to discuss innovative approaches to combating the disease that kills one million people yearly.
The rocky and tenuous road of the griot became more complicated as N’Dour embarked on his most controversial album to date- Egypt. During Ramadan, N’Dour received the message to make an album that honors Sufism and the rise of Islam in Senegal. He could not resist the opportunity to answer the calling. The album, an homage to Senegal’s holy cities and religious leaders, is a collaboration with Fathy Salama and the Cairo Orchestra and features sacred Sufi chants, liturgical poetry and the blending of west African, Egyptian and Arabic instrumentation and rhythms.
The events of 9/11 along with increased Islamophobia forced N’Dour to deter the release of the album for close to five years. Upon its release, N’Dour was criticized for releasing a religious album because of the large success he garnered previously as a secular musician. In one concert filmed for “I Bring What I Love,” N’Dour sings, “If you love me, I love you. If you hate me, I still love you.” His ability to walk the path of the griot even as the bitter taste of hate swirled around him, reveals his deep understanding and responsibility of the truth-teller. The griot must deliver the news regardless of who finds it palatable. The truth-teller must deliver the news even when his core beliefs and identity are questioned.
N’Dour’s ability to blend the sacred and the secular exemplifies the potential of music as a means of transformation, increased tolerance and liberation. The album allowed him to sing about his religious beliefs while educating and uniting communities through music. To bring liturgical music to the masses, convincing them to their liquor for the duration of a concert reveals music’s power. Although Egypt is not his best selling album, it did however earn N’Dour a Grammy and tested his ability to speak across difference and unite communities of diverse faith and cultures.
Learn more about Youssou N’Dour here: http://www.youssou.com/
Words by Ebony Noelle Golden