VIDEO: Gospel of Intolerance: American Evangelicals Finance Uganda's Antigay Movement

Gospel of Intolerance:
American Evangelicals Finance
Uganda's Antigay Movement

Film exposes link between U.S. evangelicals and violent antigay Ugandan movement

By Eric W. Dolan

January 24, 2013 "

Raw Story" --  Money raised by evangelical Christians in the United States is fueling a violent antigay movement in Uganda, according to the “Gospel of Intolerance” by filmmaker Roger Ross Williams.

“American evangelicals are sending millions of dollars in donations to Africa to spread their message by funding Ugandan pastors and sponsoring missionaries, many of who do good work feeding the hungry and providing shelter to orphans,” Rev. Kapya Kaoma explained in the mini-documentary, which was published online Tuesday by the New York Times. “But some of that money just goes to feed a dangerous ideology that teaches that gays, lesbians, transgender, and bisexual people do not have a place in God’s kingdom and are a threat to society.”

Evangelicals from the United States have a strong influence in the deeply religious country, where antigay sentiments are mainstream. A number of Ugandans faced harassment and threats in 2010 after a newspaper published of list of alleged homosexuals.

Kaoma said he was forced to flee the country after supporting LGBT rights.

The country has also faced international criticism for a proposed law that would make various acts related to homosexuality, including failure to report a gay Ugandan to police, punishable with life in prison. The legislation previously would have allowed those accused of homosexuality to be put to death.

In response to the criticism, Uganda banned 38 nongovernmental organizations for “promoting homosexuality.”

“In a country like Uganda, what may simply seem like culture war rhetoric in the U.S. gets ramped up to untold heights and sexual minorities pay the price,” Kaoma said.

Watch video, uploaded to YouTube by The New York Times, below:

 

 

 

VIDEO: Ishmael Reed

ISHMAEL REED

Ishmael Reed: Writers Are No Longer Dangerous
The New School Writing Program and Cave Canem Foundation, sponsors an evening of conversation and poetry with Ishmael Reed and Al Young. After a brief reading, the poets engage in a lively dialogue about the historical and cultural influences on their work moderated by poet LaTasha Diggs.The program is the 15th in a Legacy Conversation series exploring the lives and work of distinguished Black poets and scholars. Previous conversations have showcased such influential figures as Rita Dove and Derek Walcott.It is supported, in part, by the New York Community Trust, Lila Wallace Theater Fund; and public funds from the New York City Department of Cultural Affairs - The New School

__________________________

<p>Institute for Signifying Scriptures’ Distinguished Speaker: Ishmael Reed from Claremont Graduate University on Vimeo.</p> <p>Poet, novelist, and cultural critic Ishmael Reed was in Claremont on Thursday, February 16 as the Institute for Signifying Scriptures&rsquo; Distinguished Speaker for 2012 The discussion explored diverse topics including race, gender, justice, the economy, class, religion, and hegemony.</p>

Institute for Signifying Scriptures’ Distinguished Speaker: Ishmael Reed

Poet, novelist, and cultural critic Ishmael Reed was in Claremont on Thursday, February 16 as the Institute for Signifying Scriptures’ Distinguished Speaker for 2012 The discussion explored diverse topics including race, gender, justice, the economy, class, religion, and hegemony.

HISTORY + VIDEO + AUDIO: Ralina Joseph and Critical Mixed-Race Studies > voxunion »

<p>Dr. Ralina Joseph and Transcending Blackness from Jared Ball on Vimeo.</p> <p>Dr. Ralina Joseph discusses her new book, Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial with Dr. Jared Ball and VOXUNION.COM.</p>

We featured our previous interview with Dr. Ralina Joseph this week.  Her new book, From the New Millennium Mulatta to the Exceptional Multiracial, offers a strong critique of the standard “tragic mulatto/a” approach to the discussion of “multiracial” people and the anti-Black core of much of the “multiracial [political/social/academic] movement.”

__________________________

 

 

SHORT STORY: ALL MY LIFE

photo by Alex Lear

 

 

 

 

ALL MY LIFE

 

“Joshua, you’re laying here wounded in a hospital bed and you’re worrying about what’s happening in Fallujah?”

 

Joshua looked at Vivian, a pained tenderness clouding her usually clear dark brown eyes.

 

“No, I’m worrying about humanity, about the species, and about my own personal humanity. If I can’t feel their pain, how human am I?”

 

Vivian bit her lower lip. Joshua momentarily paused when he saw the signature sign that she disagreed with something he said.

 

“Vi, they’re killing women and children, dropping 500 pound bombs. Those people, all they’ve got is rifles and grenade launchers, and a will to resist. They’re burying their dead in a soccer field cause the Marines won’t let them get to a cemetery. And why? What for? Cause four mercenaries got killed? Cause, to quote president Chavez, that ‘asshole’ Bush...”

 

It wasn’t good for his healing when Joshua got so agitated. Closing her eyes to dam the beginnings of tears welling up, Vivian softly kissed Joshua in an intimate attempt to halt his ranting. Joshua did not return her kiss.

 

Ignoring her unvoiced plea, Joshua raised the remote and clicked on the TV. Since the play-offs hadn’t started yet, all he watched was the news for as long as he could stand it, which was usually twenty-some minutes at the max. If his brain was a computer, TV was a virus. What was he to do: the radio was worthless, filled with twenty songs in constant rotation on the pop stations, right wing toro-poopoo on the talk stations, and liberal drivel from NPR?

 

Vivian took the remote from Joshua’s hand; he did not resist. She clicked the mute on. The surrealness of Joshua watching war reports from his hospital bed was too much. Thankfully, the efficient hum of medical equipment provided an unobtrusive aural wallpaper.

 

“They doing that mess in our name, baby. You know?”

 

“I know.”

 

“I don’t want my silence co-signing that.”

 

She was faring worse than he was. Even with bullet wounds in his lower right leg, in his right side and in his left foot, Joshua was still feisty; his inability to sleep peacefully did not seem to too adversely affect him.

 

When you have shared a bed with a person for over thirty years, you know their breathing, how they toss when troubled, which way they turn when upset, moreover, inevitably you know that person’s slumbering self better than the person knows that part of their own self. Almost two whole weeks of keeping watch over Joshua’s fitful, sometimes nightmarish sleep had exacted a heavy toll, and now here he was all wrapped up in this Iraq thing...

 

In the pastel gloaming of the sun setting in the distance on the other side of the city, panoramic as a postcard when viewed from this seventh floor room, Vivian searched for something safe to say.

 

“Jamal’ll be here tomorrow.”

 

“I told that boy he didn’t have to spend that money to come out here. I’m alright. He’s just stubborn.”

 

“I wonder where he gets it from?” Vivian chided Joshua.

 

“Probably from his mama.”

 

Joshua returned his attention to the cool, color images flickering on the screen mounted on the wall facing his bed. What was Rev. Sharpton protesting now Joshua wondered without much interest. Then Kobe Bryant appeared. Josh reached for the remote. Vivian handed him the controller. The clipped but breathy tones of a female anchor gushed forth, “...charge that police did not read Bryant his Miranda rights.”

 

“Ain’t that something?”

 

“Joshua, please.”

 

“Ok. Ok.” Joshua clicked the TV off. “I’m just saying...”

 

“Joshua, we had this discussion already. Just because the police were wrong doesn’t make what Kobe did right.”

 

“You don’t even know what he did, Vi.”

 

“He admitted he committed adultery.”

 

“Yeah, ok.”

 

“Ok, nothing. He shouldn’t have never had that girl up in his room.”

 

“You’re right.”

 

Joshua looked up at the ugly ceiling. After twelve days of laying in bed, it seemed like he knew every inch of the room. In the corners, the wall, which once had been a sort of dark teal, now looked more like a putrid dish of lentil soup crusted over, molded and gone to some shade of brownish-green between tequila-laced, guacamole vomit, and the dirty brown of two week old road kill. Although he didn’t know what the name for that color was, he was sure there was a name and equally sure it was clearly delineated on Vi’s mental color wheel.

 

Joshua smiled grimly and then looked at Vi standing beside his bed, her left arm held across her paunch-less stomach and her slender right hand curled over her mouth--as usual, she was not wearing lipstick.

 

He really liked that she was not self-conscious about the faint, but unmistakable, sexy, facial hair above her full lips--at least he thought the ecru-colored, wisp of a moustache highlighting the plum dark fullness of Vi’s luscious lips was sexy as hell.

 

Funny, he had been able to resist the enticement of Vi’s kiss a minute ago, but now here he was, entranced by the tantalizing sight of her negroidal profile silhouetted by the twilight glowing through the two, large windows directly behind her. He was especially mesmerized by the way she pursed her mouth into a fleshy pout, and though it was concealed in the darkness covering her profile, he vividly imagined the deep dimple two thirds the way up her jaw. Even in her fifth decade there were no hanging folds of flesh marring the elegant line that curved from chin to jaw to throat. Vi could have been the perfect model for a Dogon mask.

 

Vivian saw Joshua lick his lips and slowly work his jaw muscles, producing saliva which he casually swallowed.

 

“Here.” Vivian held a straw to Joshua’s mouth so he could suck a small sip of cool water. As the liquid trickled down his esophagus, Joshua closed his eyes, wondering how it was that this wonderful woman always anticipated his desires. There was a slight click when she sat the plastic cup on the Formica tabletop; then the unmistakable sound of a visitor in the hall--it had to be a visitor because of the click of hard-soled high heels on the linoleum (all of the nurses were stealthy in their rubber-soled sneakers); and finally there was the distinctive, hushed, musical jangle of Vi’s bangles quietly clanging.

 

“Hmmmm,” Joshua half-audibly hummed as Vivian rubbed his chest. Vivian was leaning against the bed, the head of which was elevated at a gentle twenty-degree angle. She had slipped her right hand between the top and the third button of Joshua’s pajama top after deftly unsecuring the second button to give a wider range of motion.

 

“That feels good.”

 

Vivian playfully pinched his left nipple.

 

“Yeahhhh.”

 

A nurse walked in.

 

Vivian did not move her hand.

 

The nurse said nothing, peered at the equipment connected to the patient, picked up the chart and made a few quick notations. “Do you need anything, Mr. Gibson?”

 

“He’s Ok.”

 

Joshua glanced from Vivian to the young, white nurse--well, at least she had reason to be in his room. Vivian continued lightly scratching her fingertips through his chest hairs, maybe scratching was not the word for it, perhaps tingle-touching was a better way to put it; whatever, it felt good. When the nurse left, Vivian withdrew her hand. Oh, so Vi’s touches had been a marking of territory, a sign to other females: hands off.

 

“What’re you smiling about?”

 

“Why yall always got to want to know what a man is thinking?”

 

“Why are you men so reluctant to share your thoughts?”

 

“Just like yall got secrets...”

 

“Ok. Whatever.”

 

The lamp’s florescent glare masking its departure, daylight was near completely gone from the room.

 

“Mr. Tucker called.”

 

Josh knew where this was headed. Thirty-three years and counting. “I told that fool I don’t work cause I got to, I teach cause I want to. The kids need me.”

 

“I need you.”

 

“Just wait til they let me out of here, I’ll give you all you can handle.”

 

“Joshua, I’m serious. You know you could volunteer in a community program. You don’t need the pressure of teaching every day.”

 

“Vi, haven’t we crossed and re-crossed this bridge?” Hadn’t they talked about why he wouldn’t retire until he did thirty-five years? Thirty-five--just like his mother. It hadn’t mattered that it was safer when his mother taught, much less stressful, the schools better. Actually there was nothing sacred about thirty-five years. It was just something Joshua wanted to do.

 

He had started when he was twenty-three. In two more years he wouldn’t even be sixty yet--he had plenty enough years left to enjoy retirement.

 

Vi kicked off her comfortable red-suede mules and half sat on the side of the bed, cozying beside her husband. She drew her knees up, careful not to touch his side, and lightly rested her head on his collarbone while smoothly slipping her right hand down his arm, that sensual motion culminating with her fingers intertwining his as she clasped his hand.

 

Joshua had felt a twinge of discomfort when Vi climbed aboard but that was quickly replaced by the pleasure of her softness: soft touch caressing, soft voice humming, soft spirit nurturing.

 

Joshua half-turned his face towards the crown of her head. The peach-flavored fragrance of the shampoo in Vi’s salt-and-pepper un-cut, longer-than-shoulder-length, natural hair delightfully tickled Josh’s nose. Once out of high school, Vi had never again permed her hair and after she retired from the Post Office in ‘98, she said she’d let her finger-snap-short afro grow until 2000. By the time 2000 arrived, Joshua had gotten so used to burying his face in the luxurious pillow of her black and silver mane that he begged her to keep letting it grow, like, what was her name, Sonia Braga, yes, Sonia, that gorgeous Brazilian mama with the flowing, au-natural hair. Vivian preferred to believe that her auburn hair and skin shade resembled Alice Coltrane like on the cover of Alice’s Transformation album, but she knew Brazilian beauties was Joshua’s thing and had long ago come to understand that Joshua’s fantasies and movie-fueled infatuations were no threat to their marriage.

 

***

 

“Aaahhhh.”

 

Even though Joshua’s cry had not been very loud, Vivian woke instantly. The nightmare was back; this time after only two nights absence.

 

For the first week it had been very rough and then it got rougher--some inexplicable signal would rouse Vivian and she’d know immediately, Joshua was... was... well, was... what was it Robert Johnson sang? Hellhounds on his trail. Yes, that was it, Joshua would have that terrified look, the look of a runaway flailing through the swamps, vicious dogs about to leap on his back.

 

The first time Vivian saw Joshua cry she shrank back involuntarily for a moment before gathering her self and going to him. “Ssssshhhhh, ssssshhhh. It’s all right. I’m here.”

 

Joshua had shook.

 

“Ssssshhhh.” Badly as she wanted to, she had been afraid to hold him less she harm his wounds. She could only think to dab his forehead with a cool towel and to coo to him until he eventually quit shaking.

 

And, my God, that first time he hollered out, she was sure it was physical, probably his side or something like that. He wouldn’t talk. She rang for the nurse. They ended up sedating him. But it happened again a few nights later.

 

“Tell me. Joshua, tell me. What is it? Joshua?”

 

When he had turned to face her, his eye sockets were twin grottos, each filled with a glistening pool of tears. Vivian’s heart had raced at that point. She had never before seen him cry.

 

He didn’t have to say anything. She knew, from that first night when the police called, when they told her as near as they could figure it, some young thugs tried to car jack Joshua and a battle ensued over a gun and two people were shot, one was dead and “your husband is in the hospital. He’s wounded but the doctors say, it looks like he’ll pull through ok.”

 

Vivian had known the healing would be difficult but she was anxiously confident he would overcome. She remembered decades ago his struggle to master martial arts, how long it took him to get to black belt, how many times he damaged his hand trying to break wooden planks, but he kept at it...

 

“Vi, you know I been loving you since I met you...”

 

Vivian snapped out of her momentary hypnosis. It had only been three and a half seconds before she gathered herself and bent to minister to Joshua, but during that long interval, Vivian had remembered encountering this anguish for the first time.

 

“Sssshhhh, sssshhhh. Joshua’s it’s ok...”

 

She had also remembered Joshua apologizing for loosing the new, forest green, Toyota Prius that was found two days afterwards, burned out. The irony of getting jacked for an environmentally safe car and that car subsequently getting trashed; were it not so serious, it would have been laughable.

 

“...don’t try to talk. It’s ok.”

 

When Vivian bowed to rub Joshua’s brow, he turned his head away. She began humming Naima, Joshua loved her singing.

 

Vivian knew, neither the car nor his wounds was the issue, it was...

 

“Vi, you know, it’s like, I don’t see how we’re going to survive.” He spoke while looking at the wall. “What can we do? The shit has gotten so bad. All my life... well, you know.” Joshua paused, turned to face Vivian and then continued in a firm voice, “The sit-ins, the going to jail, the African liberation support stuff  in Tanzania and hanging in the bush with the Frelimo guerillas in Mozambique, right down to supporting the Sandanistas in Nicaragua in the eighties, and, all that. You know?”

 

Joshua stared helplessly at Vivian, she closed her eyes, bent low and whispered in his ear: “this too shall pass.” But even as she said it, she knew that neither she nor Joshua would ever reconcile themselves to the horrible guilt that Joshua felt for killing that boy.

 

“He told me to run. I said, take the car, man. He said, ‘run, nigga.’ Vi, I ain’t never run from nobody in my life, and I wasn’t about to start that night. I was already mad cause I had bought this car for your birthday and...”

 

“It’s ok, it’s ok.”

 

“Naw it ain’t. When he shot me in the foot, I knew I had to do something or at least die trying, even though it was two of them. I would’ve been alright, but the other one started shooting...”

 

Joshua stopped.

 

It was early, early, ‘fore day in the morning. The silence was awful. The sinister mechanical chirp of the medical equipment, awful. Joshua squeezed the morphine pump. Vivian blinked to keep her own tears from spilling as she bent low and slow-kissed away Joshua’s tears.

 

-end-

 

—kalamu ya salaam

VIDEO: “Real Scenes: Johannesburg” ... > Dynamic Africa

DOCUMENTARY:
“Real Scenes: Johannesburg”

Incredible must-watch film that documents the thriving house music industry in South Africa, that also highlights the identity behind the South African house music genre, kwaito and how Apartheid greatly impacted the musical culture of these scenes, featuring the likes of Oskido, Black Coffee and Black Motion.

Thanks to Couch Zambane from SATVAds for the recommendation.

 

VIDEO + AUDIO: Jazz Samba Singer and Pianist Tania Maria > PRI's The World

 

April Peavey

By April Peavey 

April Peavey produces the Global Hit. She is based in the Boston newsroom of The World.

January 25, 2013


Jazz Samba Singer and Pianist

Tania Maria

Tania Maria (Photo: taniamaria.org)

 

Brazilian singer, pianist and bandleader Tania Maria fronted her first band when she was only 13.

Now at 64, Tania Maria is still going strong, releasing her 25th album recently. It’s called “Canto.”



Intimidade – 03/11 – Tania Maria en Live sur RTL by rtl-fr

 

PUB: Submission Guidelines: The Marie Alexander Poetry Series

Submissions

In summer we host an open submission period during the month of July. An award of $1,000 and publication may be given for a chosen collection of prose poems or flash fiction by an American writer.

Should you want to submit your manuscript for consideration, follow these guidelines:

  • Submit a hard-copy manuscript, which can include some lineated pieces, of at least 48 pages, with one poem per page.
  • The manuscript must be postmarked between July 1 and 31. Manuscripts received before or after this open period may not be read.
  • Please include a cover letter with all of your contact information, especially your email address.
  • We do not return manuscripts sent to us without a self-addressed, stamped envelope.
  • During the open submission period, we do not accept initial electronic submissions or query samples.
  • We only accept submissions by American writers.
  • As this is not a contest but an open submission period, manuscripts are not read anonymously. There is no submission fee.
  • If applicable, include an acknowledgments page letting us know where your poems have been published. We are happy to accept manuscripts that include poems that have been published by established literary magazines and journals, but we are not interested in reprinting books that have been previously self-published, either online or in print.
  • We accept manuscripts which mix prose poems with free verse, with the hope that the contrasting poetic forms might help cast light on the subtle (and not-so-subtle) differences between prose and verse, but we look for manuscripts that are primarily non-lineated, meaning at least half of the poems do not employ line breaks.
  • Please mail your entire manuscript to:
    Marie Alexander Poetry Series
    Prose Poetry/Flash Fiction Reading
    Attention: Professor Nickole Brown, Editor
    English Department
    University of Arkansas at Little Rock
    2801 South University Avenue
    Little Rock, AR 72204
  • Upon receipt of your manuscript, we will send you an email to let you know it has arrived safely.
  • Be patient with our final decision. You can expect to hear back by the following January.
-->

The Marie Alexander Series will not have an open reading during the summer of 2013. We had tremendous luck with the manuscripts in 2012 and now have our publication schedule booked for the next few years. You can expect us to re-open the reading period in the summer of 2014.

That said, there are still opportunities to submit your work—we are putting together an anthology, as yet untitled, composed of what we call Flash Sequences. We hope you’ll consider sending something along.

Below are those guidelines:

  • A flash sequence is an accumulation of two or more prose pieces, with each segment not to exceed 500 words.
  • Writers may submit more than one flash sequence; however, each writer's total submission may not exceed 10 pages (double-spaced, 12-point type, one-inch margins).
  • We encourage submissions of every sort; rather than try to define the form, we hope each writer will use whatever organizing principle seems best in any particular case: fiction, nonfiction, prose-poetry, whatever.
  • Email pdf files of submission and cover letter to Wesley Fairman at anthology@mariealexanderseries.com.
  • Please use "Anthology Submission" as the subject line.
  • Make sure author's name and email is on all attached documents.
  • Previously published material is okay as long as author holds the copyright.
  • We will accept submissions from January 1 until June 1, 2013.

Some Thoughts on the Prose Sequence

On the surface, it makes sense to ask of a sequence that each part should be able to stand alone, as an integral object. Otherwise, the question arises, how does such a sequence differ from a short story simply broken up into parts?

For the sequence to be successful, it must itself function as a poem—that is, as a piece of art surrounded by the frame of silence. And who can ask of a poem that each section stand alone? Who can say of a sonnet: the octet must stand on its own, the sestet as well? We ask only that the entire poem be a piece on its own, entire, pristine and self-reliant.

Some sequences are indeed composed of integral sections, but in some others the sections can't be isolated without each piece losing its integrity, the whole in this case being more than simply the sum of its parts. In a way, this second sort of sequence is even more complex than what at first seems the ideal, a whole composed of standalone pieces.

However the pieces are organized, they create a rudimentary montage: narrative, syllogistic, or following some other scheme. We aim to include as many examples of this as possible.


For questions, email: editor@mariealexanderseries.com

Before submitting, it's always a good idea to become familiar with the work we've published. Please enjoy a sample of work from books we've published. (pdf file)

 

 

PUB: Call for Papers: African Languages in the Disciplines Conference at Harvard University > Writers Afrika

Call for Papers:

African Languages in the Disciplines

Conference at Harvard University

Deadline: 28 February 2013

The Harvard African Language Program is seeking abstracts for the fourth annual African Languages in the Disciplines (ALD) conference to be held at Harvard University on April 25, 2013. This conference will build on the important conversations of the previous three years as well as celebrate the ten-year anniversary of the African Language Program at Harvard.

This conference brings together scholars from a variety of disciplines as well as African heritage communities to discuss the vital role that African languages play in the study of Africa and the diaspora. Possible themes include, but are not limited to, the contribution of African languages to the study of literature, music, film, performance, visual arts, media studies, history, philosophy, religion, anthropology, sociology, gender studies, political science, psychology, economics, education, geography, environmental science, legal studies, and public health. Past conferences have also engaged in larger conversations about issues of translation, regional languages, new orthographies, and indigenous literary and historical genres, among others.

Please apply via e-mail by February 28, 2013. We ask for a 250-word abstract outlining a 15-minute presentation as well as a brief biography. Please contact the conference organizers at the same e-mail address with any questions.

This conference is part of a two-day event sponsored by the Department of African and African American Studies and the Committee on African Studies. An exciting partner conference entitled Extractive Economies and the State in Contemporary Africa will be held on April 26, 2013 and ALD participants are encouraged to attend.

ALD Conference Organizers
Department of African and African American Studies
Harvard University
Barker Center, 2nd floor
12 Quincy Street
Cambridge, MA

 


CONTACT INFORMATION:

For queries/ submissions: harvardald@gmail.com

Website: http://www.alp.fas.harvard.edu/ald

 

 

PUB: Call for Submissions: Women of Color and Gender Equity (special Issue of Frontiers Journal) > Writers Afrika

Call for Submissions:

Women of Color and Gender Equity

(special Issue of Frontiers Journal)

Deadline: 15 May 2013

Frontiers: A Journal of Women’s Studies invites submissions for a special issue on women of color and gender equity. Due date for receipt of papers is 5/15/2013.

With this special issue, we commemorate the 40th anniversary of the 1974 Women’s Educational Equity Act, which provided funds for Title IX and codified women’s equality under the law in the U.S. setting forth a foundation for anti-discrimination policies and remedies as well as cultivating a language for gender equity. For this issue, we will explore the nexus between the enactment of gender equity policies, rhetorical /discursive and political strategies for empowerment, and the lives of women of color.

We encourage submissions that explore feminist commitments to the socio-political understandings of equality under the law but also conceptualize equity issues in broad terms. For example, we are interested in analyses of gender equity that both expand and challenge notions of women’s equality in formal and informal politics across educational, political and legal institutions.

We especially encourage submissions that further the journal's commitment to scholarship on women of color, third world, transnational, LGBT, and queer movements in local, national, or transnational contexts. Foremost, we are interested in those papers that situate women as racialized, classed and/or sexualized subjects, and explore the collateral effects of their experiences with equality, inequality and the varied socio-political roads necessary to attempt to realize and/or preserve that equity.

The guest editors for this issue are Anita Tijerina Revilla (Women’s Studies, University of Nevada, Las Vegas) and Wendy G. Smooth (Women’s, Gender and Sexuality Studies, The Ohio State University).

An inter- and multidisciplinary journal, Frontiers publishes scholarly, creative, and practitioner works that draw on the legacies of women of color and queer women’s political engagement and activism to interrogate women’s equity across issues including education, employment and labor, healthcare and wellness, and immigration/migration. Works must be original, and not published or under consideration for publication elsewhere.

All special issue submissions and questions should be directed to frontiers@osu.edu. For submission guidelines, please consult the Ohio State University Frontiers websites: http://frontiers.osu.edu/submissions

FRONTIERS SUBMISSION INFORMATION:

All submissions must conform to the following guidelines:

  • Works must be original, not previously published in whole or in part (whether online or in print), and not in any version under consideration for publication elsewhere.

  • Contact information, including the author's name, address, e-mail address, and telephone number, should be listed on a separate sheet. When emailing your submission, include this cover sheet as a separate file.

  • We request that you both email your submission and send a hard copy.

  • All permissions to use lengthy quotations or images that are not original with the author are the responsibility of the author.
Submissions are judged by appropriate members of the Editorial Staff and outside readers, a process that may take up to six months. Authors wishing their works returned to them should include a self-addressed, stamped envelope with their submission. If a work is accepted for publication, we reserve the right to edit it, in consultation with the author, in accordance with our space limitations and editorial guidelines. Contributors will receive two copies of the issue in which their work appears. Copyright for published material belongs to Frontiers, Inc. Permission to republish material printed in Frontiers must be obtained from the press. Please visit the permission to reprint page on the University of Nebraska Press website for more information.

ARTICLES AND LITERARY WORKS:

  • Articles and literary works must be word-processed, double-spaced (including endnotes), unstapled, and accompanied by a title page. The author's name should appear only on the title page of the work.

  • Citations should follow the Chicago Manual of Style, 15th edition, with "humanities style" endnotes. Source information is provided only through numbered endnotes. This information is not given in parentheses or in a bibliography.

  • Manuscripts, including endnotes, should not exceed 14,000 words.

  • Authors must submit one hard copy of their work, as well as an electronic version in Word, WordPerfect, or rich text format, which may be submitted either as an e-mail attachment or on a disk. Include a cover sheet as a separate file.

  • One set of visual materials is sufficient for submissions of illustrations. Illustrations should not be submitted as embedded digital images.
CONTACT INFORMATION:

For queries/ submissions: frontiers@osu.edu

Website: http://frontiers.osu.edu/

 

 

VIDEO: 4 Powerful Documentaries about African Women Everyone Should Watch > Spectra Speaks

By On November 30, 2012

 

The London Feminist Film Festival opened with a bang last night — a sold out viewing of the UK premiere of Lesbiana, about the lesbians, philosophers, and activists that were key players in creating a revolutionary sisterhood. This weekend, audiences interested in more (Black feminist) lesbian history can look forward to the documentary, Audre Lorde — The Berlin Years 1984 – 1992. Note: This show is sold out — seems it’ll be a packed house!

But lesbians (and everyone else who loves them) aren’t the only group that’ll get to enjoy the London Feminist Film Festival. The organizers have made sure that the interests of African Feminists have been woven into the program as well. Four powerful documentaries highlighting the lives of African women in Kenya, Ghana, and Senegal will be making their debut with feminists this weekend.

I’ve gotten a chance to watch a number of these films, and I can assure you, they are not to be missed. So, if you’re based in London, and are on the fence about attending the inaugural festival, I encourage you to check out the synopses (and mini reviews) below.

4 Power Films about African Women at the London Feminist Film Festival

 

Taxi Sister (UK Premiere)

Mini ReviewTake a drive with Boury, a taxi driver in Dakar, Senegal, as she forges her way through a male-dominated profession. “There are no such things as Taxi Sisters!” a man growls. He towers over Boury, his voice loud and thunderous as he attempts to get her to submit to the idea that she is an impostor in the popular Dakar taxi stand. Boury vacillates between shaking her head and pacing back and forth in frustration while also keeping her eyes open for customers; she’s not driving a Taxi to make a point, she’s trying to make a living to support her family. When she’s on break, she and another Taxi Sister talk about being single working women, dating and relationships, and American tourists: “Watch out for people with big backpacks. They just walk.” Charting its own course, Taxi Sister takes viewers on a tour through Dakar’s streets, segregated by gender, class, and tourist visas, offering poignant, insightful, and humorous insights along the way.

Theresa Traore Dahlberg / Senegal / 2011 / 30 mins / Wolof and French with English subtitles

 

 

 The Witches of Gambaga

Synopsis: This award-winning documentary is about a community of women condemned to live in a camp for ‘witches’ in Northern Ghana. More than 1000 women accused of witchcraft in northern Ghana live in refuges, where they pay for protection from the chief who runs them. The Witches of Gambaga follows the extraordinary story of one of these communities of women. Made over the course of five years, this exposé is the product of a collaboration between members of the 100-strong ‘witches’ community, local women’s rights activists, and feminist researchers, united by their interest in ending abusive practices and improving women’s lives in Africa. Told largely by the women themselves, this is a uniquely intimate record of the lives of women ostracized from their communities.

Yaba Badoe / UK & Ghana / 2010 / 55 mins / English and local languages with English subtitles

 

 

KungFu Grandma

Synopsis: Elderly women in Kenya undertake a self-defense course to help protect themselves from rape by young men in their community. The rape of elderly women by young men is a big problem in the slums of Korogocho, Kenya. This documentary follows a group of elderly women who are taking a self-defense course to enable them to better protect themselves. The daily realities of the slums and the myths that may contribute to these violent attacks are explored. A powerful portrayal of women who have come together in solidarity to teach each other self-defense skills and to fight back. The film was shortlisted for an award at the One World Media Awards 2012.

Jeong-One Park / UK / 2012 / 27 mins / Swahili and Kikuyu with English subtitles

 

 

Ladies Turn

Synopsis: In Senegal, as in most of the world, football is largely considered a sport for men not women. Ladies’ Turn is a non-profit organisation working to give Senegalese women and girls their turn to play football and to develop important leadership and teamwork skills. Ladies’ Turn recognizes women’s football as a powerful tool for promoting gender equality, both by empowering the women who play and presenting new role models to other women and girls. This film shows the determination of the players and of the Ladies’ Turn organisation, despite the challenges and prejudices they face. With the help of Ladies’ Turn, Senegalese women fight to follow their passion for playing football all the way from small neighborhood fields to the tournament finals in Dakar’s newest stadium. An inspiring story of women pushing boundaries.

Hélène Harder / France & Senegal / 2012 / 65 mins / French and Wolof with English subtitles

 

 

About The London Feminist Film Festival

LFFF was set up as a response to the under-representation of women in the film industry, as well as to the lack of films addressing feminist issues and the fact that the representation of women on screen is often narrow and stereotypical. The festival will be a celebration of feminist films past and present, and aims are to inspire discussion about feminism and film, to support women directors, and to get feminist films seen by a wider audience.

Catch the London Feminist Film Festival this weekend at the Hackney Picturehouse. Check out the full program at the festival’s website: www.londonfeministfilmfestival.com

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Meet Spectra: Queer Nigerian Afrofeminist Writer and Media Activist. Social Entrepreneur Nurturing Principled Diaspora and Women's Philanthropy in Media and Tech. Self-Care and Self-Love Evangelist. Idealist Warrior Woman. Big Dreamer. Big Thinker. Big Doer, Too.