VIDEO: “The Way of All Flesh” Documentary On “The Immortal Life of Henrietta Lacks” > Shadow and Act

Watch “The Way of All Flesh”

Documentary On

“The Immortal Life of

Henrietta Lacks”

I’m currently reading The Immortal Life of Henrietta Lacks; the non-fiction book by Rebecca Skloot, which Oprah Winfrey’s Harpo Films will adapt into a feature film for HBO, as announced about a year ago.

The Immortal Life of Henrietta Lacks tells the story of Lacks, a poor African America Baltimore mother of five who died of cervical cancer in 1951 at age 31, and whose cancerous cells from her body, removed and cultured for medical research by doctors at Johns Hopkins (without her family’s knowledge), led to “significant breakthroughs in medical research, ranging from aiding the development of the cure for polio to AIDS-related treatments.

But that doesn’t even begin to really uncover the story of this mostly unknown black woman, her family, and the contributions she unknowingly made to science. I’m about 1/4 through the book, so still a long way to go, but, thus far, I’m hooked! There’s a lot of meat here, a lot I didn’t know before I started reading it, and I can see why Oprah would be interested in making a film based on Lack’s story, and aftermath.

The book was published in February of 2010, so it’s still relatively fresh, and I encourage you to pick up a copy if you haven’t.

I would say more, but I want to finish reading it, which I hope to do in the next week, and then I’ll post one of my book-to-film review entries.

Oprah reportedly loved the book so much that she “couldn’t put it down,” and read all 384 pages in one sitting. The adaptation was said to be high on HBO’s priority list, thanks to her encouragement. But, as of today, no word on how far along in the production process the adaptation is; I’d assume it’s been given to a screenwriter to adapt, which could take some time:

In the meantime, I learned of this old documentary on Henrietta Lacks and her so-called “immortal cell line.” It’s titled The Way of All Flesh. I haven’t watched it all yet (I only found about it this morning), but I’m told that it’s not comprehensive, and shouldn’t be relied on as a sole source. Consider it a companion to the book.

It’s 55 minutes long, and embedded below.

 

PUB: High Desert Journal: Obsidian Prize

The Obsidian Prize for Poetry

Through a literary prize, High Desert Journal aims to explore the realm described by poet Jarold Ramsey: "I believe in an ecology of story, memory and imagination as much as an ecology of land." As an organization focused on a specific place, we at High Desert Journal have discovered that a deep hunger of readers, writers, and artists exists for place-based arts and literature. We believe every place has an ecology of story, memory, and imagination that inspires us, connects us to one another and to a place. We want to offer the best of this "ecology" through the Obsidian Prize.

 

  • 2011 Obsidian Prize for Poetry
  • Judged by Oregon Poet Laureate, Paulann Petersen
  • $1,000 prize and publication in the High Desert Journal
  • up to 3 poems. 100 line max.
  • $12 entry fee
  • Deadline: August 15, 2011
  • only unpublished poetry accepted
  • For writers working in or inspired by the West, Big Sky or big city. Send us your best work.
  • Submissions are only accepted via SubmishMash.
  • Click here to submit.

 

PUB: Rattle Poetry Prize

Deadline:

August 1st, 2011

 

 

RATTLE POETRY PRIZE:

The annual Rattle Poetry Prize offers $5,000 for a single poem. Fifteen finalists will receive $100 each and be published in the winter issue of RATTLE. The winner will then be chosen by entrant and subscriber vote after publication.

Additional poems from the entries are frequently offered publication as well. In 2010 we published 23 poems that had been submitted to the contest, from over 1,700 entries.

With the finalists judged in a blind review by the editors to ensure a fair and consistent selection, an entry fee that is simply a one-year subscription to the magazine -- and now a 1st prize winner chosen by the writers themselves -- we've designed the Rattle Poetry Prize to be one of the most writer-friendly contests around.


INFORMATION:

Hardcopy Guidelines
Email Guidelines
International Guidelines
Code of Ethics


PAST WINNERS:

-- select year -- 2010 2009 2008 2007 2006

 

PUB: Sean O'Faolain Prize

The 2011 Seán Ó Faoláin Competition Guidelines

 

 

 

First Prize: €1,500 (*approx USD $2000/ GBP £1300), publication in the literary journal Southword,
AND a week-long residency at Anam Cara Writer's and Artist's Retreat

Second Prize: €500 and publication in Southword.

Four other shortlisted entries will be selected for publication in Southword and receive a publication fee of €120.

 

*Currency exchange amounts via XE.com, calculated 11.04.11

 

 

The Seán Ó Faoláin Short Story Competition is an annual short story competition dedicated to one of Ireland’s most accomplished story writers and theorists, sponsored by the Munster Literature Centre. If the winner comes to Cork to collect their prize, we will lavish them with hotel accommodation, meals, drinks and VIP access to the literary stars at the Cork International Short Fiction Festival (14-18 September 2011).

This year, Anam Cara Writer's and Artist's Retreat www.anamcararetreat.com is awarding a week-long residency to the first prize winner of the Sean O'Faolain Short Story Competition. Located just outside the colourful village of Eyeries on the Beara Peninsula in West Cork, Anam Cara is a tranquil spot structured to provide support and sanctuary for people working in the creative arts. It offers private and common working rooms as well as five acres of walking paths, thirty-four nooks and crannies, a river cascades and a river island, gardens, and a labyrinth meadow. Editoral consultation is also available. The prize is valued at €700. (The dates of the residency will be arranged between the writer themselves and Anam Cara, and can be scheduled before or after the week of the Cork International Short Fiction Festival. Otherwise, the week can be scheduled for another time of the year, at Anam Cara's discretion.

 

Judge: For 2011 is author and Fish International Short Story Prize winner Ian Wild.

 

PhotoIan Wild is a writer, composer and theatre worker from Enniskean, Co. Cork, Ireland and is the fiction editor for the forthcoming Southword Journal Online, Issue 20. In 2009 he won the Fish International Short Story Prize and received a literature bursary from the Irish Arts Council. His publications and broadcast work include Way Out Westa comedy series about the English community in West Cork for RTE Radio One; The Great Moodini and other stories20 children’s stories also broadcast on RTE’s Radio One. He has a collection of short stories published by Fish: The Woman Who Swallowed The Book Of Kells and also a volume of poetry entitled Intercourse With Cacti (Bradshaw Books). His literary awards include the North West Playwrights Award, a short story prize with the Cork Literary Review and in 2005 he won a runner-up award in the Bridport Short Story Prize. Four of his highly successful musical comedies appeared in Cork Midsummer Festivals between 1998 and 2003:  The Pirates in Short Pants, Marco Polo’s Toilet Brush, Reds Under the Beds and Spaghetti Western.

 

 


SUBMISSION GUIDELINES

1. The competition is open to original, unpublished and unbroadcast short stories in the English language of 3,000 words or fewer. The story can be on any subject, in any style, by a writer of any nationality, living anywhere in the world. Unfortunately, translated work is not in the scope of this competition.
2. Judging for this competition is ANONYMOUS. The entrant's name and contact details (address, phone number) must be on a separate piece of paper. Manuscripts cannot be returned. Entries should be typed.
3. Each entry must be accompanied by an entry fee of €15, US $20 or £15. You may submit as many entries as you wish. Cheques and money orders must be made payable to THE MUNSTER LITERATURE CENTRE. Paypal link available below for Euro payments. VERY IMPORTANT: We DO NOT accept US Postal Orders as they cannot be redeemed outside of the United States. Pleae do not send cash. No entry form is necessary.
4. Closing date is 31st July 2011. All non-email entries must be postmarked before or on that date (i.e. entries posted before or on the date will be accepted after 31st July provided they are sent via airmail). Entries must be sent to The Seán Ó Faoláin Short Story Competition, The Munster Literature Centre, Frank O'Connor House, 84 Douglas Street, Cork, Ireland (no postal/zipcode).
5. The winners will be announced at the Cork International Short Fiction Festival in Cork in September 2011. The winner of the first prize will be invited to read their prize-winning story at the festival.
6. If you require acknowledgement of your entry, you must submit a self-addressed stamped postcard. SASEs for international entries should include money for IRISH stamps. Please do not include SASEs with foreign stamps.
7. The Judge's decision is final. Due to the volume of entries we receive each year, the judge will not be able to reply individually to unsuccessful submissions. However, we will notify all entrants of the shortlist via our e-mail newsletter (click here to to subscribe). A shortlist will be posted on our website in September and the winner will be announced at the festival. Winners and shortlistees will be notified individually.
8. It would greatly assist us if you let us know how you heard of the competition (whether through mailshot, word of mouth, advertisements, newspaper, website, etc.) with your entry.


ADDITIONAL SUBMISSION GUIDELINES FOR EMAIL ENTRIES

Email entries should be submitted as follows:

1. Send your entry as a word document (files ending with ".doc"). Please ensure that you do NOT send PDF files or Word files marked '.docx'.
2. Include the story and cover letter as separate documents in the same email.
3. Pay your entry fee through Paypal (see link below). Paypal accepts Mastercard and Visa and guarantees secure transactions. All Paypal payments are in Euro.
4. In the body of the email, list your name, address, short story title and Paypal receipt number. If you have paid using a credit card under a different name, or from a different email address please include this in the body of the email as well.
5. Use the subject header "SOF 2011 Entry".
6. Email submissions to competitions(AT)munsterlit(DOT)ie or by clicking here.

 

 

For further information contact The Munster Literature Centre, Frank O'Connor House, 84 Douglas Street, Cork or email the administrator at administrator(AT)munsterlit(DOT)ie.

OFaolain book cover

Click here to view winners from previous years.

 

CULTURE: 70 Percent of Anti-LGBT Murder Victims Are People of Color > COLORLINES

70 Percent of

Anti-LGBT Murder Victims

Are People of Color

Hundreds turned out for a November 2009 vigil in New York for two brutally murdered gay teens, one of them Jorge Steven López Mercado. Photo: Michael Lavers

Monday, July 18 2011 

 

It’s an all too common, if shocking story: A transgender Latina woman with HIV is attacked on a street close to her home in a low-income neighborhood in the Bay Area. Making a bad situation worse, police officers literally drag her from her bed at 6 a.m. because they think she committed the crime herself.

“They kept telling her she wasn’t who she was, and that she was a man,” explained María Carolina Morales of the San Francisco-based Communities United Against Violence as she recounted the incident to Colorlines. “She was arrested. She was taken to the station. She wasn’t listened to. She spent the weekend in jail.”

The woman went to court a month after her arrest, but disappeared shortly after her court date.

“She was somebody who was unemployed, who didn’t have a safety net,” noted Morales. “We don’t know if she ran away, if she ended up in jail or [was] transferred to another place, another city. Her phone was disconnected the day after court. We just don’t know—don’t know what happened.”

The National Coalition of Anti-Violence Programs released its annual report on hate violence motivated by sexual orientation, gender identity and expression and HIV status last week. The report documents 27 anti-LGBT murders in 2010, which is the second highest annual total recorded since 1996. A whopping 70 percent of these 27 victims were people of color; 44 percent of them were transgender women.

The study also found that transgender people and people of color are each twice as likely to experience violence or discrimination as non-transgender white people. Transgender people of color are also almost 2.5 times as likely to experience discrimination as their white peers.

“It wasn’t a shock,” said Morales, whose organization is among the 17 anti-violence programs from across the country that contributed data to the NCAVP report. “For the last four years we’ve seen that trend—of transgender women and people of color in our communities experiencing higher levels of violence. Sadly that continues.”

Recent headlines certainly bear witness to this disturbing trend.

A Milwaukee judge sentenced Andrew Olaciregui to an 11-year prison sentence in December after he pleaded guilty to shooting Chanel Larkin three times in the head on a street corner in May 2010. Prosecutors maintain Olaciregui shot Larkin after he offered to pay her $20 to perform a sex act and found out she was transgender. Larkin was 26 at the time of her death.

In another high-profile case, Hakim Scott and Keith Phoenix both received decades-long prison sentences last summer for their role in the death of Ecuadorian immigrant José Sucuzhañay on a Brooklyn street in December 2008. Prosecutors contend Scott and Phoenix shouted anti-gay and anti-Latino slurs at Sucuzhañay as they attacked him with a baseball bat and bottles.

Juan José Matos Martínez received a 99-year prison sentence in May 2010 after he pleaded guilty to stabbing gay Puerto Rican teenager Jorge Steven López Mercado to death before decapitating, dismembering and partially burning his body and dumping it along a remote roadside in November 2009.

So what causes disproportionate rates of violence against transgender people and queer people of color?

“What the 2010 report allows us to do is document something we’ve seen and experienced for a long time,” said Ejeris Dixon of the New York City Anti-Violence Project, which wrote the bulk of the NCAVP report. “It’s really about an intersection of oppression.”

Dixon, who was a long-time staffer at Brooklyn-based Audre Lorde Project until she joined AVP earlier this year, said a lack of employment, housing and health care for transgender people all contribute to disproportionate rates of violence. Morales said that ongoing police harassment against these communities is an additional factor, making those most at-risk for hate violence also least likely to seek help.

“All of those things sanction violence,” said Dixon.

The NCAVP report found that half of those who experienced hate violence did not contact the police after their attack. The report further found that 25.4 percent of transgender women did not file a report. So what can be done to reduce these rates of violence against LGBT people and communities of color?

The Audre Lorde Project is among the groups that organize LGBT people in communities of color that are increasingly looking beyond law enforcement and the criminal justice system for a solution. The Safe OUTside the System Collective works with bodegas, businesses and organizations within Brooklyn’s Bedford-Stuyvesant neighborhood and surrounding areas to create safe spaces for LGBT people of color to curb violence.

“What’s true and important is our communities have been and continue to organize around issues of harassment—whether it’s neighborhood or community harassment or [harassment] by the police,” said Kris Hayashi, executive director of the Audre Lorde Project.

Morales stressed that empowering transgender people and people of color to participate in decision making processes around employment, health care, improved access to food and affordable housing is another key component to addressing the problem. “For that, our organizations and institutions need to prioritize opening spaces for people to develop their leadership, to be able to engage, to learn and make decisions and so that they can see themselves not only reflected, but see themselves in the process.”

Another potential solution is for anti-violence programs to tackle some of the underlying disparities that contribute to increased violence against LGBT people and people of color.

“That can mean a lot of things: We can talk about low-cost programs, intersections with immigration rights groups,” said Dixon. “It’s about crafting programming that focuses on these populations and also developing leadership of LGBT people of color and trans people.”

While Morales conceded these most recent statistics are grim, she said she remains hopeful that they will allow her organization and others around the country to develop more effective strategies to tackle hate violence. She stressed, however, this hasn’t happened as much as she would like to see.

“It hasn’t been significantly stepped up enough,” said Morales, referring to strategies to further engage community members in the solution. “However, I have seen a lot more conversations and dialogue opening up around the community—the prison population continues to significantly increase every year, and violence continues to increase. I don’t believe its working. COAV doesn’t believe its working. I am hopeful [the report] will open up more opportunities to question the strategy to violence response.”

Michael K. Lavers is a Brooklyn-based writer whose work has appeared in the Village Voice, WNYC, BBC, the Advocate and other LGBT and mainstream publications.

 

EVENT: London—Lyric Lounge Meets The Writers’ Rave > UK Black Writers Board

Lyric Lounge Meets

The Writers’ Rave

 

Date: Friday 29th July

 

Time: 8.00pm – 10.30pm

 

Venue: Lyric Hammersmith, Lyric Square, King Street, London, W6, 0QL

 

 

Hosted by Justin ‘JCX’ Chinyere and Grace Savage, this is a showcase event for young, emerging writers and performers who write their own material. Headlined by comedian Jamie Howard and music supplied by DJ Vibes, this will be a night to remember.

 

Acts include:

Lashana Lynch
…FLOWen
Seray Morka
Nadia Gasper
Tristan Fynn-Aiduenu
Jacob James Beswick

Plays include:

Life Raft written by Roberto Martins, directed by Ellen Havard
Cast:
Alex Rand
Gabriella Margulies

Blood of a Nation written by Diane Ifode, directed by Stella Odunlami
Cast:
Zack Momoh
Alain Massa

Meeting Mark written byTosin Badmus, directed by Simone Watson
Cast:
Ava Charles
Tobi Makinde
Shaleka Black Heaven

Muddy Waters written by Nathan Bryon, directed by Justin Chinyere
Cast:
Kyla Frye
Faruk Dogan
Kyle Turlunch
Jaycub Boston
Sarah Pitard

Tickets:£10

To Book tickets go to Lyric Hammersmith’s website: http://www.lyric.co.uk/wha​ts-on/production/lyric-lou​nge-meets-the-writers-rave​/

and for further information on The Writers’ Rave go to http://www.thewritersrave.com/

__________________________

About The Writers’ Rave

This is how we do it

“I had such a brilliant time at The Writer’s Rave. I felt the night was really good; everyone I spoke to had a good time, myself included. The mix of acts was something that worked really, really well and the order worked too.”

-Bridget Minamore

“The Writer’s Rave was definitely something different for me compared to many other events that I go to and play at. It’s the second time I’ve DJ’ed at the event, and I really enjoy the short plays and monologues amongst the other singers, poets and rappers.”
-Dean Carby:

What is The Writers’ Rave?

The Writers’ Rave is an event which will showcase play-readings of three 10 min plays. The plays can be an extract of a longer piece or one that is complete within the given time frame.

The first half of the event will showcase five acts: e.g. a Comedian, a Spoken Word Artist/Poet, a Singer, a Musician and an Actor performing a self written monologue.

The rule and point of the whole showcase is that all acts would have written their work themselves, with the exception of the actors acting in the playreadings. There will be a quality control audition process of all acts. Writers have to be emerging/ new artists. Playwrights are free to write about any subject they wish to (but must submit before being performed).

There will be a voting element at the end, where the audience vote their favourite play and the successful
playwright receives a “The Writers’ Rave”, winner certificate and a DVD of their play.

The whole show will be hosted by a professional presenter and there will be an emerging music/dance act
performing at the end of the show (within the voting period). There will be a DJ throughout the event thus
implementing the rave element to the show.

Where did it start?

The Writers’ Rave is created from an original idea by Shereen Jasmin Phillips, when she was a 3rd yr BA (Hons) Drama, Applied Theatre and Education student at Central, supported by her mentor and special guest Kwame Kwei-Armah. Providing a platform for her new play ‘True Stories’, which explores relationships from the view point of young people based in inner city London and poses the question: Are young people growing up too fast? Whilst showcasing many supporting acts and playwrights. The Writers’ Rave went onto Oval House Theatre in December 2010 with a whole new batch of writers and performers.

Who’s Who?

  • Shereen Jasmin Phillips – Founder and Producer
  • Halima Chitalya – Fund raising Manager
  • Maia Clarke – Assistant Producer
  • Luke Newbold – Technical Director
  • Sylvia Darkwa-Ohemeng – Stage manager
  • Justin Chinyere – Resident Host
  • Grace Savage – Guest Host

 

Resident Directors:

  • Stella Odunlami
  • Ellen Havard
  • Simone Watson

 

GRAPHICS: So Yoon Lym > Exiledsoul.

  • So Yoon Lym

    nanablog:

    tobia:

    LOOKING AT SO YOON LYM’S WORK, I REALIZE HOW MUCH I NEED TO STEP MY DRAWING SKILLS UP A NOTCH TO EVEN BEGIN TO CAPTURE THE BRILLIANT SPLENDOR OF DETAIL HE WIELDS WITH EVER SINGLE MARK. TO SAY THESE ARE MESMERIZING CAPTURES OF “DREAMTIME” IS AN UNDERSTATEMENT. THEY ARE POSITIVELY LUSCIOUS!

    Found via myloveforyou.

    i’m searching for inspiration and so glad i came across this work!

  • Orginally from Reblogged from nanablog
  • __________________________

    SO YOON LYM

    Biography
    Signature Mask

    Although I was born in Seoul, Korea, I lived in Kenya and Uganda for the first seven years of my life.  Since then, I have lived in various parts of northern NJ. When I was 15, I made a life changing decision by studying with Korean exiled painter, Ung No Lee in Normandy, France.  I discovered that summer how art was inextricably tied to nature and my life. 

    I pursued my interest in art school in Rhode Island and graduate school in New York City.  Following my formal education, I worked as a textile colorist in NYC, an adjunct professor at Bergen Community College in Paramus, NJ and as an art educator in Paterson, NJ. I am currently building a new body of work as part of my recent Lower East Side Printshop Keyholder Residency and my Vermont Studio Center Artist Residency.

    Wilson
    Tasha

    I started this series of hair and braid paintings in the summer of 2008 for a group show that I was in called: Inspiration: Paterson at the Passaic County Community College Art Galleries in November-December 2008.  These acrylic on paper hair and braid patterns are based on photos I have taken of students and strangers I have come across in Paterson, New Jersey where I have worked for the past 9 years.


    I have a strong interest in hair as a transformative vehicle of physicality.  I am also interested in the associations of hair and hairstyles as indicators of social, cultural, ethnic and gender affiliations.  The interest in urban hairstyles is of particular interest since these hairstyles are unique to a particular social, cultural and ethnic experience that is not my own.  As a woman, I have always been aware of the power of hair.  And perhaps because of the experience of my strict and traditional upbringing, I have never explored the full potentials of my own possible hairstyles in public. Perhaps it is through my paintings that I am able to explore different representations of identity.

     

     

     

     

    Santa Cruz

    The Dreamtime is a reference to the pre-colonial Aboriginal Australian understanding of life and the particular viewpoints as understood by the dreamtime.  This could be regarded as a form of spirituality.  The dreamtime was an understanding of time and the creation of all things as told by myths about the continuum of past, present and future.  The aborigines believed in what the European coined, the dreamtime, which to the aborigines was an interconnected way of living on an earth that they believed was inhabited by the spirits of shared ancestors.

    I am titling my painting series for my upcoming Paterson Museum exhibition,The Dreamtime for a few reasons that have to do with this original reference.  These hair and braid pattern designs are for the most part viewed from an aerial perspective.  In most cultures around the world, perspective in art is aerial. It is not the egocentric perspective of European Renaissance art.  The aerial perspective that the aborigines used in their art was a way of showing that nature, the land, life, the earth, all living things, and all creative forces are greater than us, but we are tied to and interconnected to all things around us as spirits floating in a time continuum. 

     

     

     

     

    >via: http://www.soyoonlym.com/

    HEALTH: Ancient and Modern Ways of Healing Team Up in Mali Through Women Healers > theblackbottom

    Source: IRIN News

     

    No one can tell 64-year-old Fatoumata Kané anything new about the plants and tree bark around her town of Banamba in western Mali, but the traditional healer recently learned how to measure a child’s upper arm to detect malnutrition.

    Scores of families bring ailing children to Kané each week. She is renowned in the region for her healing powers, but now refers suspected malnutrition cases to the public health centre. The collaboration, initiated by local health agent Oumou Sangaré of Helen Keller International (HKI), is an example of how NGOs are tapping into the influence of traditional healers and local elders to fight under-nutrition.

    Across sub-Saharan Africa health experts commonly train traditional healers to detect conditions needing something other than indigenous medicine; the fact is that when illness strikes many people’s first move is to go to the local healer.

    “It is always people’s first choice here,” said a doctor in Sierra Leone who requested anonymity. “It’s a custom people are addicted to.”

    It is custom, but often it is also the only health care people can afford or physically access. In some countries in Africa and Asia 80 percent of people depend on traditional medicine for their primary health care, according to the World Health Organization.

    Often traditional medicine is the answer. Africa has tens of thousands of plant species, many therapeutic, and the basis for effective remedies. Kouamé Koffi Samuel, a chauffeur in Côte d’Ivoire, said he has first-hand experience of women who are expert at healing closed fractures with massage, herbs and incantations. “I’ve seen it – it’s far more rapid and effective than a cast.”

    But child under-nutrition is one of the conditions untreatable by such means, health workers say. If a parent does not understand the signs, symptoms and causes, various conditions could be suspected. The Sierra Leonean doctor said some families think immediately of a spell.

    “When a child is malnourished people think it’s a witch. When a child is very anaemic they say a witch has drawn all the blood from the child.”

    He added: “We need to do more education on this.”

    Health experts say one strong conduit for that education are the traditional healers and elderly women who already have people’s confidence.

    “If [Banamba healer Kané] were to tell a woman not to take a child to the health centre, the woman wouldn’t do it, no matter what,” HKI’s Sangaré told IRIN. “Such is the women’s trust in her.”

    Sangaré said she first approached Kané when she noticed that too many malnourished children in Banamba were not getting the medical attention they needed.

    Collaborating with Local Healers

    She said initially Kané, who makes her living as a healer, was hesitant but then agreed to talk. They met several times to talk about children’s health; Sangaré explained to Kané the role she could have in detecting malnutrition and helping children get the care they need. “Now she’s had training and she’s helping us detect cases of malnutrition.”

    Kané, from her home in the Hamdallaye neighbourhood of Banamba, told IRIN traditional and modern medicine can function well together. “I have practiced for more than 20 years now; the gift I have for healing is not going anywhere. But modern medicine can complement it, and vice-versa.”

    Vanessa Dickey, senior nutritionist with HKI Mali, said collaborating with local healers means more children who need medical care will get it.

    “Targeting just mothers can get us only so far,” Dickey told IRIN. “People are going to listen to a traditional healer or a grandmother.” HKI also has a project in Burkina Faso to boost maternal and child health through the influence of older women, to whom young women invariably turn for advice on pregnancy, motherhood and feeding their families.

    “Our object is to screen as many children as we can to see who needs attention,” Dickey said. “And traditional healers and grandmothers are the first-line healers in a community.”

    Traditional plus Modern

    Nurses and doctors told IRIN it is common to see families consult both a traditional practitioner and a doctor.

    Soro Awa, holding her nephew whose mother had recently died in childbirth, talked to IRIN at a Côte d’Ivoire nutritional centre in Korhogo: “Without this centre my sister’s son would not be alive,” she said. Still, she plans to see the local healer once she returns to the village “to protect the child from sorcery”.

    “Often, people assume someone has cast a spell on a child, not knowing that a child is malnourished or has an illness that can be easily treated at hospital,” said Soro Pènè, from Korhogo’s Waraniené village. “Anyway, I am all for traditional healers because they do have their place in our customs and they are very effective in some cases.”

    Salimata Koné, who runs the Korhogo centre, says some parents bring their children in directly without going to a local healer. But as the Sierra Leonean doctor explains, family pressure often weighs in later. “A parent could have a child treated at hospital, then a friend or family member will come round advising that it’s best to also consult the traditional healer.”

    “It can be OK if people go to both,” he said. “But only if the traditional healer is competent and knows the limits of his or her capabilities.”

    It is not a question of ruling out traditional practitioners, said Dickey. “They can continue to do follow-up. We do urge them not to give malnourished children herbs or teas to consume. The body of a malnourished child is really in chaos; these kinds of plants, which might not harm another person, could be dangerous for a child in this state.”

    As in so many circumstances, the hard evidence of a healthier child is the most powerful message, Koné in Korhogo told IRIN. “It’s important not to condemn the practice of going to a traditional healer; we don’t want to frustrate people. But the fact is once a malnourished child regains health after proper diagnosis and treatment, that recovery is concrete proof and has a huge influence on others.”

    Recovery is the common objective. “My role is to lighten mothers’ hearts, by helping heal sick children,” said Kané. “When a child is healthy, the mother is relieved and things go better in the household.”

     

    EDUCATION + VIDEO: Chile: Students Take Over Schools Demanding Education Reform > Global Voices

    Chile:

    Students Take Over Schools

    Demanding Education Reform

    For over a month, students in Chile have been in control of hundreds of schools throughout the country, turning their classrooms into temporary homes while they demand free and higher quality education. As Paul Kerney explains in the blog Back in a Bit:

    The students are protesting against the free market system of education created by Pinochet, which has been responsible for rising costs, inequity, and poor quality of government education. Specifically, students are protesting against the introduction of a law which will increase the costs of university education, but they are also calling for a complete change in the system: they demand a change in the country’s constitution, which will change the government’s duty to provide a good free education. Some students go further, and take control of the school (called a ‘toma'), occupying it until their demands are met.

    A high school ("liceo") taken over by students in Santiago, Chile. Image by Flickr user Erwin Horment (CC BY-ND 2.0).

    A high school ("liceo") taken over by students in Santiago, Chile. Image by Flickr user Erwin Horment (CC BY-ND 2.0).

    Paul explains how students took over a school in Los Lagos, in the south of Chile:

    On Friday, the Mayor of Los Lagos, the headmaster, teachers, parents and friends arrived to find out that 30-60 students had taken control of the school. At 1.30 in the morning, in what must have been sub-freezing temperatures, they had jumped the fence, opened the locked doors, disabled the alarm, put up signs and chained the gates against the public.

    He went inside the school and goes on to describe what he saw, concluding:

    Some students are there for the adventure, some because they wanted to do something about the state of education. In my school, I didn’t see students walking around with a copy of the constitution under their arms, but neither were they drinking and breaking windows, as happened in other locations. There was a real sense of excitement and purpose in the air — as one student said, “It’s good to feel everyone so united”. Amidst calls such as “I’m scared! The Inspector is outside”, “How do you work the heating here?” and “Come quickly! The noodles are burning!”, students were making a stand for their right to a quality education.

    In an article for El Ciudadano [es] Cristóbal Cornejo also provides an inside look at a ‘toma'. Reporting from a high school in downtown Santiago, Liceo Amunátegui, Cristóbal describes the night of June 29, the day before over 400,000 people throughout Chile marched for educational reform:

    Students hang chairs and desks from the schools' gates to show they are in a "toma". Image by Flickr user Erwin Horment (CC BY-ND 2.0).

    Una tarde lluviosa en Santiago. Cientos de colegios y universidades paralizadas o en toma a lo largo de Chile. Adentro de ellos, se combate el frío, el hambre y la humedad con los métodos que estén al alcance de la imaginación. Más allá de la comida y el abrigo está el calor de los compañeros que se unen en la lucha por un presente y un futuro que asegure que nadie que no tenga dinero se vea excluido de educarse, por ende, de crecer y liberarse, al menos relativamente.

    A rainy afternoon in Santiago. Hundreds of schools and universities paralyzed or taken over by students throughout Chile. Inside, students fight the cold, hunger and humidity with whatever means they can imagine. Beyond the food and shelter there is the warmth of the classmates that have come together to fight for a present and a future that ensures that no one who does not have money is excluded from gaining an education, and therefore from growing and breaking free, at least relatively.

    But outsiders are not the only ones reporting what transpires inside the student-controlled schools; students inside the ‘tomas' around the country are sharing their experiences online through videos and blogs.

    Like youth from the Liceo Zapallar in Curicó –in Chile's central valley, south of Santiago– who are blogging, sharing pictures and even live streaming their ‘toma'. In the blog [es], Diego Ortega explains that around 150 students took over the school peacefully on June 16. Currently, 25 to 35 students are inside the school representing their classmates, he explains.

    The following video was filmed in a Technical-Professional (vocational) school in Población Los Nogales, a marginalized community in Santiago. A student leader gives us a tour of the precarious conditions of his school:

     

    The theme of this "toma" was decided through a survey

    CanalFech, the YouTube channel of the University of Chile's Student Federation, has posted videos of ‘tomas' from several schools in Santiago, like Liceo 7 de Ñuñoa, Liceo A-13 Confederación Suiza, and this video of the moment when University students took over the ‘casa central' (headquarters) of the University of Chile.

    On a lighter note, Colectivo FAUNA (College of Architecture and Urbanism from the University of Chile) produced the following “Grease” parody to “invite everyone who is not moving to come and mobilize for education”:

     

    Students are not going anywhere for now. The Santiago Times reports on Sunday July 17, 2011, that, “After more than nine hours of discussion, student representatives from the Confederación de Estudiantes de Chile (Confech) agreed to continue school ‘tomas', or student takeovers. They also vowed to bring a greater political dimension into their strike efforts and urged the government to stop trying to ‘criminalize' the movement.”

    Meanwhile, on Monday, July 18, President Sebastián Piñera announced changes in his Cabinet, replacing Minister of Education Joaquin Lavín with former Justice Minister Felipe Bulnes. Whether a fresh face in the Ministry will persuade students to end their ‘tomas' is yet to be seen, but for now, students seem immovable in their cause for high quality, free education.

    __________________________

    Back in a Bit

    Chilean students take

    control of school

    to get a better education

    Paul Kearney writes from Chile:

     Underneath the ashes of the exploding volcano, Chilean students are on strike. At both high schools and universities throughout the country, students have refused to go classes, and are marching through the streets. The education minister even brought the holidays forward two weeks yet the students continue to demonstrate during their holiday time.

    But why? The students are protesting against the free market system of education created by Pinochet, which has been responsible for rising costs, inequity, and poor quality of government education. Specifically, students are protesting against the introduction of a law which will increase the costs of university education, but they are also calling for a complete change in the system: they demand a change in the country’s constitution, which will change the government’s duty to provide a good free education. Some students go further, and take control of the school (called a “toma”), occupying it until their demands are met.

    When visiting my friends in the south, where I volunteered in a school last year, the students had just instigated a toma. They invited me in, and what followed was a fascinating experience of democracy, power, and legitimacy.

     

    On Friday, the mayor of Los Lagos, the headmaster, teachers, parents and friends arrived to find out that 30-60 students had taken control of the school. At 1.30 in the morning, in what must have been sub-freezing temperatures, they had jumped the fence, opened the locked doors, disabled the alarm, put up signs and chained the gates against the public.

    Next, occurred a series of confrontations as various authorities tried to scare the students into leaving the school. They were angry for various reasons — the school was being used, not by students, who were on strike anyway, but by teachers to apply for grants, by the parents and friends for meetings, and for storing the school buses. The headmaster threw around threats, including claims he would take away the much-loved students’ week in November, that he would stop the volleyball match from happening and that he would bring in the elite police to throw them out by force.

    In the school, the students were busy. They opened the canteen, and worked out how to make food there last as long as possible. They divided themselves up into groups, including cooking duty, guard duty, treasurer and heating. Even, after some debate, a discipline committee. They organised places to sleep, meal times and a Nintendo wii.

    Central to the toma was the way the students were perceived. There was a lot of talk about “lazy students”, just “fooling around”, or even “taking alcohol into the school”. Others were nervous about the school being damaged in some way, and mentioned that the kids involved were the “bad kids”, not the “good students”. Of course, this is, in some ways, natural, as we normally think of adolescent students as lazy, trying to avoid learning in any ways possible, and so when we hear they are “on strike”, or “taken the school” for better education, it can be hard to take them seriously.

    The school inspector would call out, half-jokingly, “You want a better education? Come to class more regularly”. Moreover, the students had no specific demands, and the toma was more in support of the country-wide strike for better education than for local improvements, like cleaner classrooms, or a better library (which tomas at other schools had demanded).

    But, little by little, the students won the adults over. They refused to cave in to the threats, and stated their position coherently and clearly. Adults who were allowed to enter the school were impressed by the level of organisation they found, and when the students said that they would spend time cleaning graffiti and improving their school, this was further proof of their seriousness. The rumors of alcohol inside the toma were firmly denied, both on the internet and the local radio. Eventually, the headmaster announced that he was in favour of the toma, and wouldn’t call in the special police after all.

    I loved watching the students run a meeting. It was relaxed, with plenty of joking around, but even still, had energy and direction. While not everyone spoke, everyone was paying attention. Sometimes they would use words like “democracy”, an “education”, and other times they would say things like, “we just want to last longer than the previous toma”. These were students I had taught last year, and had spent the class sullenly at their desks, avoiding learning as much English as possible.

    The way they negotiated with the authorities was telling. Motivated to be strong inside the school, inside their own meetings, they would sally forth to negotiate with the authorities — the headmaster, the mayor, the parents and friends committee — people they were used to obeying, or at least avoiding. At one point, the student leader came back to the school, ashen-faced, saying, “I just spoke to the parents, and they are angry! Are you sure you want to continue with this?” However, he was greeted with a yell of supportive voices, and, reinvigorated, he marched outside to negotiate once more.

    For me, the image of the toma was seeing the students guard the front gate. Normally, for me the front gate is a place guarded by the inspector — the school disciplinarian. At 8.10 every morning he stands at post, making sure tardy schoolchildren get to school on time. He friendlily bosses the students as they drag themselves to class. But, on Friday, it was the students in control of the gate, while the teachers had to wait outside. They were informed that four could come inside to negotiate and pick up their books, but no more. The teachers decided which four would go, and were finally allowed in.

    This is the second student strike Chile has had in the last decade, and it is clearly a continuation, both ideologically and organisationally. The leaders in Santiago state that the purpose of these protests is to continue the struggle and aims, and avoid the mistakes, of the earlier group. During the toma in Los Lagos, they were continually in contact with students from the previous “Penguin revolution”. One ex-student let them know, “The first day is the easiest. Everyone’s excited and motivated. It’s when you get to the 18th that things get tricky.”

    When I left Los Lagos on Monday, four days later, the toma seemed in good shape. They’d spent three nights there, and knew how to last through the cold nights, and feed themselves. One night, kids from the local neighbourhood came to throw rocks at the school, but they saw them off.

    So, it seems, this is how a nationwide students strike happens. Some students are there for the adventure, some because they wanted to do something about the state of education. In my school, I didn’t see students walking around with a copy of the constitution under their arms, but neither were they drinking and breaking windows, as happened in other locations. There was a real sense of excitement and purpose in the air — as one student said, “It’s good to feel everyone so united”. Amidst calls such as “I’m scared! The Inspector is outside”, “how do you work the heating here?” and “Come quickly! The noodles are burning!”, students were making a stand for their right to a quality education.

     

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    Written about quite a bit on the old S&A site… Tamra Davis’ 2010 Sundance selection, Jean-Michel Basquiat: The Radiant Child, which, in short, centers on a rare interview that Davis shot with him 20+ years ago, chronicling the meteoric rise and fall of the young artist, with interviews (Julian Schnabel, Fab 5 Freddy, and countless others).

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