PUB: Binghamton University: Milt Kessler Poetry Book Award: Entry Guidelines

BINGHAMTON UNIVERSITY MILT KESSLER POETRY BOOK AWARD GUIDELINES

Sponsored by the Binghamton Center for Writers-State University of New York
with support from the Office of the Dean of Binghamton University's Harpur College of the Arts & Sciences

$1,000 Award for a book of poems, 48 pages or more in length, selected by our judges as the strongest collection of poems published in 2012.

Contest Rules:

  1. Minimum press run: 500 copies.

  2. Each book submitted must be accompanied by an application form.

  3. Publisher may submit more than one book for prize consideration.

  4. Three copies of each book should be sent to:
    • Maria Mazziotti Gillan, Director
      Creative Writing Program
      Binghamton University
      Department of English, General Literature, and Rhetoric
      Library North Room 1149
      Vestal Parkway East
      P.O.Box 6000
      Binghamton, NY13902-6000

  5. Books entered in the competition will be donated to the contemporary literature collection at the Binghamton University Library and to the Broome County Library.

  6. Books must be received in the English Department by March 1, 2013 to be considered for the prize.

  7. Books cannot be returned.

  8. For a list of winners, include a stamped, self-addressed envelope labeled:
    • “Binghamton University Poetry Book Award.”

  9. Winners will be announced in Poets & Writers.
Click here for an application.

 

 

PUB: Madeline P. Plonsker Prize at Lake Forest

 

Madeleine P. Plonsker

Emerging Writer’s Residency Prize

 

Submissions open: Jan. 1 - March 1, 2013

Each spring, Lake Forest College, in conjunction with the &NOW Books, sponsors emerging writers under forty years old—with no major book publication—to spend two months in residence at our campus in Chicago’s northern suburbs on the shore of Lake Michigan.

There are no formal teaching duties attached to the residency. Time is to be spent completing a manuscript, participating in the annual Lake Forest Literary Festival, and offering a series of public presentations.

The completed manuscript will be published (upon approval) by &NOW Books imprint, with distribution by Northwestern University Press.

The stipend is $10,000 with a housing suite and campus meals provided by the college.

Photo Gallery

  • Gallery Photo Thumbnail
    Recipients of the Madeleine P. Plonsker Emerging Writer’s Residency Prize stay in a suite in Glen Rowan House. Lake Michigan is one mile away.


The 2013 winners and finalists:

Winner: Cecilia K. Corrigan, New York, NY: Titanic

 

Runner-up: Adam Peterson, Houston, TX: Sire Lines of America

 

Finalists (in alphabetical order):

Geoffrey Babbitt, Findlay, OH: Appendices Pulled from a Study of Light

William Camponovo, Los Angeles, CA: Miami at Night as Seen from Buenos Aires

Michael Dauro, Bloomington, IN: The First Books of Amnezia

Adam Fagin, Oakland, CA: Thayer’s Law

Philip Matthews, St. Louis, MO: Always Happy on Television

Hong-Thao Nguyen, Pittsburgh, PA: The Wanderer

Russel Swensen, Houston, TX: Santa Ana

Sara Talpos, Ann Arbor, MI: Black Sea

Christina Vega-Westhoff, Tucson, AZ: Five Panels of Rolling Ocean

Elisabeth Whitehead, Afton, VA: In Apparition

 

Winners

image2012 Winner (Prose): 

Elizabeth Gentry, whose novel, Housebound, will be released in September 2013. 

image2011 Winner (Poetry):

José Perez Beduya, whose book, Throng, will be released in September 2012 pending completion during his residency. (Guest Judge: Jennifer Moxley.)

  

image2010 Winner (Prose):

 Gretchen Henderson, whose book Galerie de Difformité, will be released in October 2011.

image2009 Winner (Poetry):

Jessica Savitz, whose book Hunting is Painting, was released in October 2010.

Apply for the Madeleine P. Plonsker Prize

Guidelines / annual submission period: January 1-March 1:

We invite applications for a writer under forty years old, with no major book publication, to spend two months (February-March or March-April) in residence at Lake Forest College.

Cross-genre works are always welcome. Beyond this, even residency years (with odd year deadlines) look for prose writers. Odd residency years (with even year deadlines) look for poets.

  • 2014 residency, deadline March 1, 2013: prose

  • 2015 residency, deadline March 1, 2014: poetry

  • 2016 residency, deadline March 1, 2015: prose

We are now taking applications exclusively through Submishmash. We will only consider the first 200 submissions.

Please note: The submission link will not accept submissions until January 1 of each new year.

Send, in one file, WITHOUT your name, contact information, or other identifying marks:

A) A one-page statement of plans for completion  

B) No more than 30 pages of manuscript in progress

Your cover letter, pasted into the text box, should include the basic details of your cv: education, employment, significant publications, etc. These may be in narrative form.  

Submissions must be postmarked by March 1 (formerly April 1), each year for consideration by judges Robert Archambeau, Davis Schneiderman, and Joshua Corey and that year’s guest judge.

Direct inquiries to andnow@lakeforest.edu with the subject line: Plonsker Prize.

 

 

 

VIDEO: 10 Sundance Festival Films You Should Know About > COLORLINES

10 Sundance Festival Films

You Should Know About


The Sundance Film Festival opens today in Park City, Utah. The 11-day festival will showcase 119 feature films and documentaries that range from a drama based on Oscar Grant’s last 24-hours to a short film that follows real life high-rise window washers in Chicago.

In conjunction with the start of the festival today, the Screening Room YouTube channel will showcase 12 short films from the 2013 Sundance Short Film program.

There are also a number of Q&A sessions and other panel discussions with directors that will be live-streamed on the Sundance website. Visit Sundance.org/live to see the week’s schedule along with an archive of past discussion.

In the meantime take a look at the 10-films below that you’ll undoubtedly hear about throughout the year.

(Film descriptions provided by Sundance.org)

 

“Linsanity” / (Director: Evan Leong) 

Jeremy Lin came from a humble background to make an unbelievable run in the NBA. State high school champion, all-Ivy League at Harvard, undrafted by the NBA and unwanted there: his story started long before he landed on Broadway.

 

 

 

 


“FRUITVALE” / (Director: Ryan Coogler) 

Oscar Grant was a 22-year-old Bay Area resident who loved his friends, was generous to strangers, and had a hard time telling the truth to the mother of his beautiful daughter. He was scared and courageous and charming and raw, and as human as the community he was part of. That community paid attention to him, shouted on his behalf, and filmed him with their cell phones when BART officers, who were strong, intimidated, and acting in the way they thought they were supposed to behave around people like Oscar, shot him in cold blood at the Fruitvale subway stop on New Year’s Day in 2009.

Director Ryan Coogler makes an extraordinary directorial debut with this soulful account of the real-life event that horrified the nation. Featuring radiant performances by Melonie Diaz and Michael B. Jordan as Grant, a young man whose eyes were an open window into his soul, Fruitvale offers a barometer reading on the state of humanity in American society today.

 

 

 

“PARAISO” / (Director: Nadav Kurtz) 

Three immigrant window cleaners risk their lives every day rappelling down some of Chicago’s tallest sky-scrapers. Paraíso reveals the danger of their job and what they see on the way down.

 

 

 

 

“AFTER TILLER” / (Directors: Martha Shane, Lana Wilson) 

Offering audiences an unprecedented perspective, After Tiller is an intimate look into each of the four physicians’ private and professional struggles. Wrenching moments in the clinics, when they gently counsel distraught patients facing grievous losses, force us to step into the shoes of both practitioner and patient and confront the full complexity of each decision. Decades after Roe v. Wade legalized abortion, the issue remains one of the most volatile in our public sphere. After Tiller sensitively and artfully extricates the controversy from the ideological realm and humanizes those who have been demonized.

 

 

 

“ANITA” / (Director: Freida Mock) 

Anita Hill, an African-American woman, charges Supreme Court nominee Clarence Thomas with sexual harassment in explosive Senate hearings in 1991 - bringing sexual politics into the national consciousness and fueling 20 years of international debate on the issues.

anita-documentary.jpg

 

 

 

“AMERICAN PROMISE” / (Directors: Joe Brewster and Michèle Stephenson) 

American Promise is an epic and groundbreaking documentary charged with the hope that every child can reach his or her full potential and contribute to a better future for our country. It calls into question commonly held assumptions about educational access and what factors really influence academic performance. Stephenson and Brewster deliver a rare, intimate, and emotional portrait of black middle-class family life, humanizing the unique journey of African-American boys as they face the real-life hurdles society poses for young men of color, inside and outside the classroom.

 

 

 

“99% - THE OCCUPY WALLSTREET COLLABORATIVE FILM” (Directors: Audrey Ewell and Aaron Aites) 

Designed in part as an experiment modeled on Occupy’s process, the film employs multiple cameras around the country to capture the kinetic, immediate experience on the ground, peppered with a comprehensive range of viewpoints from activists, experts, and detractors. In an era of hopelessness and resignation, this film is a reminder that another world order is still possible.

 

 

 

“NIGHT SHIFT” / (Director: Zia Mandviwalla) 

Salote, an airport cleaner, starts another long night shift. She keeps her head down, does her job, and gleans the means for her survival from what others leave behind. About the director: A Zoroastrian Indian by birth, Zia Mandviwalla immigrated to New Zealand in 1996.

 

 

 

“GOD LOVES UGANDA” / (Director: Roger Ross Williams)

Filmmaker Roger Ross Williams exposes the missionary movement in Uganda as an outgrowth of Africa’s colonialist past and a twenty-first century crusade to recreate a continent of people in the image and likeness of America’s most extreme fundamentalists. Williams captures vérité footage so shocking that viewers may be squirming in their seats. Masterfully crafted and astonishingly provocative, God Loves Uganda may be the most terrifying film of the year.

 

 

 

“MOTHER OF GEORGE” / (Director: Andrew Dosunmu) 

Director Andrew Dosunmu returns to the Sundance Film Festival (his film, Restless City, screened in 2011) with this astonishingly radiant portrait of Nigerian immigrant family life. Featuring soulful performances by Isaach De Bankolé and Danai Gurira, and opulent cinematography by the award-winning Bradford Young, Mother of George is a singular cinematic accomplishment that elevates this illustration of the complicated challenges of African immigrant life to a place of beauty and reverence.

 

 

 

ECONOMICS: Global Inequality Skyrockets: Report Says Top 1% Have Increased Wealth By 60% Over Last Two Decades > Alternet

Global Inequality Skyrockets:

Report Says Top 1%

Have Increased Wealth

By 60% Over

Last Two Decades


A new report released by the anti-poverty group Oxfam is filled with staggering statistics that make clear the depth of the inequality problem.

Photo Credit: Shutterstock.com

The world should work to end extreme wealth by 2025 and reduce the massive inequality has has skyrocketed over the past twenty years, the anti-poverty group Oxfam states in a new report [pdf].

While discourse on inequality has grown more prominent in recent years thanks to Occupy Wall Street and major institutions highlighting the problem of extreme inequality, the focus has largely been on only one-half of the problem: ending extreme poverty. Though Oxfam praises the efforts to eradicate extreme poverty, the group urges people to “demonstrate that we are also tackling inequality- and that means looking at not just the poorest but the richest.”

The report is filled with staggering statistics that make clear the depth of the inequality problem. For instance, the US has seen “the share of national income going to the top 1%... doubled since 1980 from 10 to 20%. For the top 0.01% it has quadrupled  to levels never seen before.” And globally, the situation is not any better: “Globally the incomes of the top 1% have increased 60% in twenty years. The growth in income for the 0.01% has been even greater.” And the financial crisis has only accelerated the process of the 1% gaining even greater wealth.

Why is this a problem? Oxfam lays out a number of reasons. Extreme inequality is economically inefficient, as “they limit the overall amount of growth, and...that growth fails to benefit the majority.” Inequality is also politically corrosive, as massive amounts of wealth means massive amount of political power, which in turn skews the playing field against people with less means. And that process of skewing the political playing field towards the rich increases resentment and could lead to unrest.

Oxfam also notes that massive inequality leads to environmental destruction. “Those in the 1% have been estimated to use as much as 10,000 times more carbon than the average US citizen,” the report states. “Increasing scarcity of resources like land and water mean that assets being monopolized by the few cannot continue if we are to have a sustainable future.” And lastly, Oxfam argues that inequality is unethical.

To solve the problem, the report suggests a number of things: decent work for decent wages; free public services; access to quality education; and regulation and taxation.

“We cannot afford to have a world where inequality continues to grow in the majority of countries. In a world of increasingly scarce resources, reducing inequality is more important than ever. It needs to be reduced and quickly,” says Oxfam.


++++++++++++++++++++

Alex Kane is AlterNet's New York-based World editor, and an assistant editor for Mondoweiss. Follow him on Twitter @alexbkane.

 

REVIEW: Book—Our Caribbean - Struggle for Gay Rights in the Caribbean Heats Up > The St. Kitts-Nevis Observer

Book Review:

Struggle for Gay Rights

in the Caribbean Heats Up


By Dr Glenville Ashby

Our Caribbean: A Gathering of Lesbian and Gay Writing from the Antilles, Edited with an Introduction by Thomas Glave

Jan. 21 -- Injecting religious rhetoric into a culture steeped in unbridled machismo is tantamount to adding fuel to an already waging fire. In sociological terms, a poisonous and intolerant scenario has bedeviled the gay and lesbian community in the Caribbean.

That some island turfs are notorious for gay bashing, verbally and physically, is no secret. The International Gay & Lesbian Travel Association has sharply criticized policies and attitudes in the Cayman Islands and Jamaica, in particular. Our Caribbean: A gathering of Lesbian and Gay Writing from the Antilles addresses this human rights issue with clarity and salience. It is an unapologetic study of a contentious social problem through the prism of some of the region's finest thinkers.

Overwhelmingly academic and annotated, it examines the social forces that have contributed to the virulent attitude toward selected individuals, so marked because of their sexuality. Old customs die hard, and social spasm will increase as the "gay question" moves to the front burner, if ever.

Our Caribbean is an eclectic compendium of abstract poetry, artistic tales and academic commentaries. Each story is instructive, poignant and pedagogical in depth and scope. These literary activists bang against walls that have imprisoned them from the rest of the community.

The contribution of Wesley Chrichlow is near faultless. In his “Charting a Buller Man’s Trinidadian Past,” he chronicles his life as a young man nurtured in an anti-gay climate. He employs the socio-cultural theories of notable luminaries – W.E.B Dubois, Henry Louis Gates and Marlon Riggs; and notable gay writer, Audre Lorde. In many ways, Chrichlow’s work is the anchor of this seminal undertaking. It encapsulates the writers' resentments and frustration in a hostile world.

He offers a disturbing portrait – a psychological and sociological overview of life as a gay youth. It is a binary existence – one of near paranoia which he calls, “double consciousness,” or looking at one self through the eyes of others.

Chrichlow’s pain is piercing and palpable. In a struggle so grave, he questions the role of the clownish homosexual - the queer - the village fool, known for gossip and comedic flair. He recalls 'playing his cards right,' if only to mask his true feelings. “During my teenage life, in an effort to temporarily secure my masculinity…I participated in events such as stealing ( sugar cane, cocoa, mangoes…) breaking bottles with slingshots or stones…, engaging in physical fights, and “hanging out on the block” with the boys late at night.” He even cavorted with women to probe his sexuality. Chrichlow, like so many of these writers is confronting societies draped in homophobia, where anti-gay sentiments are promulgated by every institution and sanctioned by religious bodies.

Unfortunately, the Caribbean's colonial trauma has created an identity crisis and a cultural zeitgeist based on political strongmen and masculine sexuality.

And while the region has combated racism, sexism and classism, it has failed to dismantle heterosexist views. As Chrichlow ingeniously argues, the Black Power movement – while effecting positive change has also reinforced a pernicious climate for gays and lesbians.

In revolutionary Cuba, as Mabel Cuesta articulates in “Other islanders on Lesbos: A Retrospective Look at History of Lesbians in Cuba,” garzonismo (lesbianism) remains a ghostly subject, absent from in any discourse on the role of women in the Revolution.

Throughout, there is an acute sense of pessimism and distrust of the so called heterosexist establishment. Heterosexuals are scrutinised, even subjected to reverse ‘discrimination.’ This is best exemplified in Cuesta’s work where she describes male attentiveness as suspicious. She writes of her experience building a small house with her partner: “Young men blossomed from every corner, handsome, very strong…..macho, probably promiscuous, probably abusers too.” Maybe, they fantasized about girl on girl sex, she surmised. Admittedly, her tone is far less crestfallen at the end.

At one point, Our Caribbean breaks from academic overload with gripping tales of uninhibited libido, courtesy Pedro Jesus. His “The Portrait,” is a hauntingly provocative exhibit of raw sex pouring from the imagination of the protagonist onto her canvas, and into her bed. It is a sexual contagion that destroys friendships, sadly playing into the stereotypical view of the prurient, lascivious homosexual. Arguably, it goes against the overall thematic grain, although it provides the most cinematographic and artistic impact.

Cultural change in the Caribbean and Latin America is unforeseeable. Unquestionable, though, is the global thrust for human rights. As the writers posit, "gay rights are human rights." No longer can a state uphold or ignore gross violation of its citizenry without repercussions.

Our Caribbean proves a quintessential resource that will ignite debates on creation and the nature of man. Ultimately, it begs a question of conscience: Upon whose authority is violence against gays and lesbians based? For sure, a theological response is a throwback to the Dark Ages, brutally jarring the very sanctity of religious lore.

Dr Glenville Ashby
E-mail: glenvilleashby@gmail.com
Twitter: @glenvilleashby

BOOK INFO
Our Caribbean: A Gathering of Lesbian and Gay Writing from the Antilles
Edited with an Introduction by Thomas Glave
Duke University Press Durham and London
Available: Amazon.com
Ratings: Highly Recommended

 

MEDIA: Series of Brooklyn Billboards Put Racial Inequity on Display > COLORLINES

Series of Brooklyn Billboards

Put Racial Inequity on Display

 

A “Racism Still Exists” billboard in Bed-Stuy, Brooklyn on the corner of Nostrand Avenue and Halsey Street. Jamilah King

Friday, January 11 2013

Billboards are everywhere in New York City. They’re on subway trains and in stations, and on top of and inside taxis. But few, if any, have been anything like a series of anonymous billboards that have popped up on bus shelters in the Bedford-Stuyvesant neighborhood of Brooklyn. They’re not selling anything but a delcaration: that racism still exists.

That’s also the name of the appropriately titled campaign. At least half a dozen billboard sites have sprung up around the neighborhood since August, with each month dedicated to highlighting racial disparities that impact black people in America. So far, the billboards have touched on topics ranging from the entertainment industry, education, fast food, smoking, policing, and black wealth. Each month’s billboard is also accompanied by an detailed post on Tumblr that provides background information, news articles, studies, charts, and statistics to back up each claim. 

A brief statement on the Tumblr page says, in part, that “RISE is a proejct designed to illuminate some of the ways in which racism operates in this country.” But who’s behind the project remains a mystery.

For the time being, the project seems dedicated to its anonymity. Both the Tumblr page and the billboards themselves are devoid of any contact information. Similarly, the private advertising company that’s contracted by New York City’s transit agency to host advertisments and billboards said that it does not give out information about who paid for the advertisements. 

Even local activists who spend their time dedicated to working on racial justice issues can’t figure out who’s behind the billboards. Nonetheless, they’re intrigued by the campaign. This month’s billboard is dedicated to Stop-and-Frisk, the controversial NYPD tactic that’s drawn national criticism for its disproportionate impact on black and Latino men. The billboard’s provactive text reads, “Don’t want to get stopped by the NYPD? Stop being black.” On the heels of New York City’s 2013 mayoral race and the prominent role that critics of Stop-and-Frisk have taken in city politics, the billboards have become a meaningful part of local discussion.

“Bed-Stuy, and Brooklyn in general, is going through a very profound transformation and we gotta put that in context,” says Kali Akuno, an organizer with the Malcolm X Grassroots Movement’s New York chapter, referencing the gentrification that’s drastically altered the borough’s demographics over at least the past ten years. “For many of the young yuppies and buppies, they see the police playing a positive role and trying to engage in a race neutral dialouge.

“What the billboard is doing is kinda opening up and exploding this myth that [stop-and-frisk] is taking place in a race neutral light — it’s making people confront it in a very real way.”

Akuno added, “I applaud the effort. If the intent was to shake things up, I think they did their job.”

It’s no accident that of all of New York City’s neighborhoods, the billboards have targeted this one. A historically black neighborhood, Bed-Stuy has become one of the most contested spaces in New York City. A 2012 study from the Fordham Institute found that Brooklyn is home to 25 of the country’s most rapidly gentrifying zip codes. That’s created a stark contrast between those in the neighborhood who have more upward social and economic mobility than others. Several high profile media accounts have recently noted Bed Stuy’s so-called “hip” transformation and “resurgence”, but the borough’s medium per capita income in 2009 was just $23,000, which was $10,000 below the national average.

The content of the billboard’s messaging may not exactly be news for most residents, but the presentation has nonetheless been powerful. 

I think it’s a different kind of communication than I think people are used to in this neighborhood,” says Mark Winston Griffith, the executive director of Brooklyn Movement Center, a community organizing group based in Bed-Stuy. “It tackles race very directly, even the way it has the conversation with an infographic.”

Despite the billboard’s powerful messaging, questions still remain. 

“As someone who’s paid for billboards before, I know there was a significant cost to [the project], one that was clearly bankrolled and where no one claimed credit for it,” says Griffith. “All those different elements are what makes it really interesting.”

Take a look at the full series of Bed Stuy billboards created by “Racism Still Exists” below:

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* This story has been updated since publication.

 

HISTORY + VIDEO: Envisioning Emancipation: Black Americans and the End of Slavery

Envisioning Emancipation:

Black Americans and

the End of Slavery

Through A Lens Darkly Short Shot Series with Deborah Willis: “Dolly – Runaway”

Through A Lens Darkly Short Shot Series with Barbara Krauthamer: “Finding a Lost Photo”

 

The New York Times

“Tasting Freedom, at Last, in Black, White and Sepia”

By: Felicia R. Lee

December 21, 2012

Envisioning Emancipation: Black Americans and the End of Slavery, published to coincide with the 150th anniversary of the Emancipation Proclamation of 1863 on January 1, brings together more than 150 images — half never seen by the public — that depict the many ways slavery, Emancipation and freedom were represented by photography during the Civil War era and beyond.”

Emancipation Day parade, April 3, 1905 in Richmond, Va. Courtesy of Library of Congress via The New York Times

Dr. Deborah Willis, a professor and the chairwoman of the department of photography and imaging at the Tisch School of the Arts at New York University, and Dr. Barbara Krauthamer, an assistant professor of history at the University of Massachusetts-Amherst, said that in compiling the book they hoped to expand the photographic record in a way that would stimulate fresh considerations of race and freedom. They spent years searching museums, libraries and other archives around the country, poring over more than 1,000 photographs.”

“‘We wanted a range of images that showed the scope of the thinking about what freedom looked like,’ said Dr. Willis in a joint interview with Dr. Krauthamer in the library of the photography department at Tisch. ‘We consciously looked for black photographers; we consciously looked for images of women, whose stories have often not been included.’ “

Photograph of Sarah McGill Russwurm, 1854. Courtesy of Temple University Press via Daily Mail

“Mostly, she added, they sought evocative photographs of everyday life, to form a collection that could serve, in Dr. Krauthamer’s words, as ‘a family album’ of ‘the collective African-American experience.’ “

“What they found were mainly ‘images that have gone missing from the historical record,’ Dr. Willis said.”

“The lives of black people at that time are ‘such an abstraction, except for cinematic images,’ Khalil Gibran Muhammad, director of the Schomburg Center for Research in Black Culture at the New York Public Library, says. ‘There are real images, though.’”

Studio portrait of an African American sailor taken between 1861 and 1865. Courtesy of Temple University Press via Daily Mail
  • Susie King Taylor, pictured left in 1902, was the first African American to teach openly in a school for former slaves. Courtesy of Temple University Press via Daily Mail
  •  

    Daily Mail

    “Picturing freedom: How former slaves used photography to imagine and create their new lives after Emancipation”

    By: Daily Mail Reporter

    December 24, 2012

    “The images themselves played a key part in allowing the men, women and children freedom – being distributed through the northern states as propaganda during the push for abolition, and employed by former slaves to showcase their new images.”

    “There are also examples of how photography was used by the supporters of slavery, using images as evidence of its ‘natural order and orderliness’.”

    “And following the Emancipation Proclamation in 1863, the use of photography evolved – eventually being used by black men and women to show off their new, post slavery image and to portray their hopes of freedom.”

    “Subsequently, the book… shows how photography was central in the war against slavery, racism and segregation.”


    A soldier in Union uniform between 1863-1865. Courtesy of Temple University Press via Daily Mail

     

    To read the complete New York Times article, visit “Tasting Freedom, at Last, in Black, White and Sepia”.

    To read the complete Daily Mail article, visit “Picturing freedom: How former slaves used photography to imagine and create their new lives after Emancipation”.

    via ddfr.tv

     

    __________________________

     

    Picturing freedom:


    How former slaves


    used photography


    to imagine and create


    their new lives


    after Emancipation

     

    By DAILY MAIL REPORTER

     


    A scruffy African-American family stands outside their run-down home while a dapper young man sits up straight in a waistcoat and suit: These are the never-before-seen faces of slavery and Emancipation, revealing families' lives before and after they were freed.

     

    The images themselves played a key part in allowing the men, women and children freedom - being distributed through the northern states as propaganda during the push for abolition, and employed by former slaves to showcase their new images.

     

    More than 150 of the photographs feature in a new book, Envisioning Emancipation, which has been published to coincide with the 150th anniversary of the Emancipation Proclamation of 1863 on January 1.

    On the road to freedom: An African American soldier in Union uniform with wife and daughters between 1863 - the year of the Emancipation Proclamation - and 1865

    On the road to freedom: An African American soldier in Union uniform with wife and daughters between 1863 - the year of the Emancipation Proclamation - and 1865


     

    Studio portrait of an African American sailor c. 1861 - 1865
    Self-liberated teenage woman with two Union soldiers, Jesse L. Berch, quartermaster sergeant, and Frank M. Rockwell, postmaster. 1862

    Changes: Photography was also used a propaganda to show how former slaves could become respectable people. Left, a studio portrait of an African American sailor taken between 1861 and 1865. Right, a self-liberated teenage woman with two Union soldiers in 1862


    At work: Fugitive African Americans fording the Rappahannock River in Virginia in 1862 - the year before the Emancipation Proclamation

    At work: Fugitive African Americans fording the Rappahannock River in Virginia in 1862 - the year before the Emancipation Proclamation

     

    Most of the images, which reveal what freedom looked like for black Americans in the Civil War era, were taken between the 1850s and the 1930s.

     

    They have been collated by Dr. Deborah Willis, a professor at the department of photography and imaging at the Tisch School of the Arts at New York University, and Dr. Barbara Krauthamer, an assistant professor of history at the University of Massachusetts-Amherst.

     

     

    The women spent years searching museums and archives throughout the country in a bid to expand the photographic record that would allow readers to look at race and freedom in a new way.

    'We wanted a range of images that showed the scope of the thinking about what freedom looked like,' Dr. Willis told the New York Times. 'We consciously looked for black photographers; we consciously looked for images of women, whose stories have often not been included.'

    Unidentified woman, believed to be Sarah McGill Russwurm, sister of Urias A. McGill and widow of John Russwurm. 1854
    Urias Africanus McGill (c. 1823-1866), merchant in Liberia, born in Baltimore, Maryland 1854

    Respectable: A woman, Sarah McGill Russwurm, is pictured next to her brother, Urias Africanus McGill, a merchant in Liberia. They are pictured in 1854


    Working together: A photograph from 1864 reads: 'Colored army teamsters, Cobb Hill, Va'. It is one of 150 pictures in a new book about photography and Emancipation

    Working together: A photograph from 1864 reads: 'Colored army teamsters, Cobb Hill, Va'. It is one of 150 pictures in a new book about photography and Emancipation


     

    Horrors: The authors also discovered never-before-seen battle pictures. Here, men collect the bones of soldiers killed in battle, Cold Harbor, Virginia in 1865

    Horrors: The authors also discovered never-before-seen battle pictures. Here, men collect the bones of soldiers killed in battle, Cold Harbor, Virginia in 1865


    African American soldier in Union uniform and forage cap. 1863-1865
    Formerly enslaved man holding the horn with which slaves were called, near Marshall, Texas

    Forging on: Top, a soldier in Union uniform between 1863-1865, Below, a formerly enslaved man holds a horn with which slaves were called, near Marshall, Texas


    And as they searched, they found numerous images challenging the ideas of slavery - 'images that have gone missing from the historical record,' Dr. Willis said.

     

    Alongside pictures of enslaved people on plantations, there were images of wealthy black families posing together, black Union soldiers, Emancipation Day celebrations and reunions between former slaves, the Times reported.

     

    The book also contains photographs taken in the bid for emancipation. There are 'before' and 'after' images of children, showing how they could transform into respectable youngsters, and slave children with white skin to create sympathy among white northerners.

     

    Other images allowed northerners to witness the cruelty of slavery and the respectable individuals the former slaves had become. And black leaders, including Frederick Douglass and abolitionists Sojourner Truth and Harriet Tubman, often turned to the medium, to further their abolitionist campaigns.

    Susie King Taylor 1902
    Portrait of Booker T. Washington 1915

    Careers: Susie King Taylor, pictured left in 1902, was the first African American to teach openly in a school for former slaves. Pictured right in 1915 is Booker T. Washington, a teacher, author, orator, and adviser to Republican presidents. He would speak on behalf of black people who lived in the South


    New life: A whole family poses by a building in Savannah, Georgia in 1907

    New life: A whole family poses by a building in Savannah, Georgia in 1907


     

    Smart: The caption reads: 'District of Columbia, Company E, Fourth U.S. Colored Infantry, at Fort Lincoln'. The image was taken between 1862 and 1865

    Smart: The caption reads: 'District of Columbia, Company E, Fourth U.S. Colored Infantry, at Fort Lincoln'. The image was taken between 1862 and 1865


     

     

    African American woman holding a white child in 1855
    Envisioning Emancipation

    Documenting change: This image of an African American woman holding a white child in 1855 features in a new book, Envisioning Emancipation


    There are also examples of how photography was used by the supporters of slavery, using images as evidence of its 'natural order and orderliness'.

     

    And, following the Emancipation Proclamation in 1863, the use of photography evolved - eventually being used by black men and women to show off their new, postslavery looks and to portray their hopes of freedom.

     

    Subsequently, the book, which was published earlier this month, shows how photography was central in the war against slavery, racism and segregation

     

     

     

    Read more: http://www.dailymail.co.uk/news/article-2252946/Picturing-freedom-How-slaves-used-photography-imagine-create-new-lives-Emancipation.html#ixzz2IxR5CLJ8 
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    SHORT STORY: WHEN SUNNY GETS BLUE

    photo by Alex Lear

     

     

     

     

    When Sunny Gets Blue

     

    “That’s who that was,” Jordan whispered to himself. Once again his mother's advice proved accurate. In time all things are revealed to those who are patient enough to wait, and wise enough to look and listen while doing so.

     

    Mister voice stood next to Sonni, tilting toward the microphone, a tenor saxophone hanging around his neck. The guy seemed average. Nothing special. In fact, was a little gaunt. That wiry build distance runners display: slightly sunken cheeks, scrawny arms whose tight weave of skin, sinew, taunt muscle and bone resemble ropes used to rig sailboats. Undoubtedly his legs were equally skinny. Even though he appeared to be in his thirties, he probably could still wear his high school clothes.

     

    “Indigo Sol, yall. Ms. Indigo Sol. Show her some love.”

     

    The fourteen or so people in The Jazz Room clapped enthusiastically. Jordan raised his empty glass, motioning to the waitress for another drink. When she came over Jordan also ordered her to bring Sonni -- "ah, Ms. Sol, the singer -- bring her anything she wants to drink. Anything. Ok?" Jordan sat back, closed his eyes and debated with himself the wisdom of coming to see Sonni.

     

    He shouldn’t have called her yesterday. He shouldn’t have come here tonight. He should have stayed in the hotel and looked at cable or gone to a movie. Or walked around Dupont Circle to Vertigo Books.

     

    Jordan turned in his chair to see where Sonni had gone. She was talking with the pianist, looking at a book of charts, flipping pages. Jordan turned back around, took a sip of his second drink, closed his eyes again and let his mind drift into realms of free association. Jordan started thinking about names. He knew the singer as Sonni, Mr. Voice called her Indigo Sol. Did the new name make her a different person? What was a name?

     

    People assume I’m named after Michael Jordan, but actually I’m named after the Biblical river Jordan. Mother said my birth was her Damascus journey, when she stopped being a sinner and crossed over into Jesus’ arms. She went from one absent man to another, I would sometimes joke once I became old enough to wonder why neither my father nor Jesus every appeared before me, ever put an arm around my shoulder. Ever played...

     

    Indigo approached quietly from Jordan’s rear, bent over his right shoulder, kissed his cheek. “Thanks for coming.”

     

    The quickness of her kiss, light as a moth fluttering against his arm, caught him by surprise. His eyes popped open. The vividness of Sonni’s scent startled him. She was still wearing China Rain. Temporarily tongue tied, Jordan couldn't say anything as Sonni sat next to him. In fact, caught off guard by the onrush of intimate memories that her scented kiss released, he actually momentarily lowered his gaze before looking up into the bright well of Sonni’s shining eyes.

     

    Jordan put both hands on the table top. He gripped the edges of the table. Sonni had looked good standing at the microphone singing with her eyes closed, her head cocked to the side, and her hands frozen in front of her like she was holding an invisible newspaper or about to hug a lover.

     

    “I’m glad to see you. I’m glad you came. You look good. How did your interview go? How long will you be in DC?”

     

    Jordan blushed at Sonni’s bubbling enthusiasm. She smiled again. Leaning forward, eleven silver bangles jangled softly as she placed her arms on the table and waited for his response.

     

    “I guess I’m ok. The interview is tomorrow morning.”

     

    Jordan was slightly disoriented by her eagerness. She’s acting like we’re still friends. Like she saw me yesterday, or last night rather than... what has it been, fourteen months now?

     

    “I know it will go well. You always make good impressions on people.”

     

    ***

     

    The Book of Laughter and Forgetting opens with a story. Czech communist leaders on a balcony. Clementis places his fur cap on the head of Gottwald who is to give a speech in the cold and is bareheaded. Some years later Clementis was “charged with treason and hanged. The propaganda section immediately airbrushed him out of history and, obviously, out of all the photographs as well.”

     

    Jordan had read many accounts of Stalinist visual revisionism, but none were as impactful as Kundera’s irony. “Where Clementis once stood, there is only bare palace wall. All that remains of Clementis is the cap on Gottwald’s head.”

     

    Jordan was determined to get in the picture and stay in the picture.

     

    “Jordan, if you were ordered to kill someone...”

     

    “Mr. Johnson, I understand the question behind the question. You want to know if I am prepared to make history.”

     

    Surgery and history, neither was for the squeamish. Only those who could look at things for what they were, only those who could sever flesh, wipe away blood, and get on with altering reality. Those were the history makers.

     

    “Yes, I am prepared to make history.”

     

    After five years of close observance and six years of participation in various corporate minority outreach programs, Jordan was pre-recruited for the service. A discreet dossier had been kept. Scholarships. Summer internships. Overseas programs.

     

    He didn’t even respond to the female decoy in Germany. “Subject resisted advances.”

     

    When the call came to come to DC for an entry interview Jordan was ready. Of course when one is recruited to become a company member -- one shouldn’t even think “spy” -- it has already been decided that one is fit to make history.

     

    Jordan didn’t know precisely what he would be doing in the future, but he was sure that his doing would be significant. It was decided that he would become a success as a freelance journalist and travel writer. The necessary wheels were turned. That Jordan didn’t know he was already part of the team made him that much more effective a player.

     

    ***

     

    On Friday afternoon around two-thirty in the afternoon they sat on the outside patio of UNO’s Chicago Style Pizzeria enjoying a late lunch. Jordan had taken a taxi over to the Cleveland Park area eatery. He got there early because the interview had gone faster than he expected and rather than go back to the hotel he would wait, hopefully she would be on time.

     

    Indigo arrived thirty-some minutes after Jordan but right on time almost to the minute. She had taken half a day off, rushed home, tidied up the apartment, and lit an aroma candle in the front room and bathroom before walking two and one half blocks to meet Jordan. Indigo wished she had had time to change out of her work clothes, but there had been a delay on the metro and she knew it would have been, as they say at home, "nothing nice" if she kept Jordan waiting. For as long as she had known him, Jordan had been a stickler for punctuality.

     

    The fall day was gorgeous, unseasonably, albeit very agreeably, warm. Jordan had removed his jacket and carefully draped it over the empty chair to his right. Once they ordered, and after a few cautious q&a's, the conversation picked up momentum. What was planned as a quick bite turned into a leisurely hour of catching up, mostly focusing on their respective fledgling careers.

     

    “So when does your book come out?”

     

    “In March...”

     

    “Dag, they couldn’t push it up so you could make...”

     

    “It was originally scheduled for January, but I thought that would look too much like a Black history event in the making. So I urged them to wait until March so the book can rise or fall on its own merits.”

     

    “And you’re saying Black History Month has no merit?”

     

    “No. You don’t understand.”

     

    Jordan stared at Sonni and then suddenly looked away. He stabbed at the chicken breast and pasta dish, moving small pieces back and forth, and then set his fork aside. When he looked up she was smiling at him. He sat back and brought both hands up to his chin. There was no way to tell Sonni the truth.

     

    “What?” she asked.

     

    “What do you mean, ‘What’?”

     

    “I mean the way you’re looking at me.”

     

    “How am I looking at you?”

     

    “Like I’m not here.”

     

    Jordan reached out, covered her hand and then gently cupped her fingers between his open palms, like he was praying and she was god.

     

    Sonni scooted closer to him and quickly kissed him very briefly on the lips. It feel like touching a dragonfly's quivering wing. “Let’s go.”

     

    They got up. The bill was $16.45. Jordan left a twenty on the table. They started walking to her apartment, which she said wasn't far down the block on Connecticut Ave. Each was thinking about the other, but what was there to say?

     

    He desired her. She was ok with that. It had been months since she had gotten it on with someone and getting with Jordan was convenient. There would be no worrying about what comes next. Who calls whom how often. Whether we’re getting serious or whatever. Tomorrow Jordan would be gone and there would be no complications and no entanglements.

     

    “Wait here a minute. I’ll be right back.” Indigo dashed into the convenience store and was back out in less than four minutes.

     

    As they strolled back to her apartment, she held his arm and mischievously bumped her hip against his. Just like she used to.

     

    ***

     

    Q: Why did Indigo go into a convenience store?

     

    A: To buy condoms.

     

    Q: Why did she leave Jordan outside?

     

    A: She didn’t want to embarrass him.

     

    Q: Would Jordan have been embarrassed by Indigo unashamedly asking for a pack of condoms and paying for it like she were buying chewing gum or a daily newspaper?

     

    A: What do you think?

     

    Q: What would Jordan have thought had he been standing next to Indigo not knowing what to do with his hands while she handed the 22 year old, female clerk a ten dollar bill with one hand and, with the other hand, blithely slipped the condoms into the mudcloth tote bag on her shoulder?

     

    A: Indigo, thought some bridges were best left uncrossed. This is another example of why the cliché “ignorance is bliss” remains relevant.

     

    ***

     

    “It is better to light a candle

    than to smell the darkness.”

     

    Jordan smiled as he softly read aloud the hand lettered sign posted at eye level above the toilet tissue rack. On top of the toilet bowl a fat, lavender candle flickered in a porcelain dish. As he rinsed his hands Jordan observed that there was only one toothbrush in the holder beneath the mirror.

     

    A small basket of potions was on the cold water side of the sink. On the floor next to the bathtub was a larger basket of shampoos and body washes. The tub was wider than most but also shorter than most. They had bathed together once. No, don’t go there.

     

    As he dried his hands on a purple towel, a faint scent drifted upward. He brought the towel to his nose and sniffed. Whiffs of violets burst into his nostrils. Jordan stood ramrod straight and sneezed into the towel. That was when he caught sight of himself in the cabinet mirror.

     

    He was trying to keep himself from thinking about being in bed with Sonni, but the candle, the towel and his olfactory memory conspired against him. When he and Sonni were seeing each other, she used to mist the pillows and sheets with violet water. And though Jordan could not identify the sensation with words, his nose knew, indeed, vividly remembered the particulars associated with violet.

     

    As he turned to exit Jordan drew in the votive candle’s warm incense. He hesitated, then backed up, and despite the vow he had made not to meddle in Sonni's privacies, he felt impelled to investigate the trashcan. The wicker receptacle lined with plastic was empty -- no bulging sanitary napkins loosely wrapped in paper or plastic. Nothing.

     

    As Jordan switched off the light and reached for the door handle, his nose pleasurably tingled again. Free floating molecules of flowered fragrances filled the air and Jordan's equilibrium was disturbed as he absorbed into the receptive solidity of his body the vivid personality of smells he associated with Indigo.

     

    ***

     

    Jordan left the bathroom, passed the closet-sized, open space that masqueraded as a kitchen and walked into the tiny living room whose far wall contained three sets of large windows. The blinds were raised, the curtains tied back. Beneath the second window, a clear vase held a spray of pink carnations.

     

    A missed opportunity.

     

    When Jordan and Indigo were walking here they had passed a flower stand. Baskets full of roses were on sale. Big pink roses. Tightly curled yellow roses. And magnificent blood red roses. A brief giddiness had flitted over Jordan and he had even considered buying a dozen for Indigo. But he hadn’t.

     

    The only females many young men have lived with are their mothers. No sisters. No daughters (on the premises). No extended stays with lovers. Families of two: mother and son. All such men feel close to women. But despite all their caring, most of these men don't understand women precisely because they see all women as mothers, a variation of the only woman whom they have ever intimately known. And, unfortunately, Jordan had never seen his mother in love and certainly never awash with sexual desire. He did not know.

     

    Abbey Lincoln’s “A Turtle’s Dream” filled the apartment with sublime music. Jordan couldn't identify the singer by name but the sensual music impressed him.

     

    He stood in front of a small table full of photos in wooden frames. The ingeniously carved and layered squares and rectangles of oak, pine, cypress, cherry, and birch were art pieces in themselves. A few were even more interesting than the photographs they contained.

     

    Jordan bent over to more closely examine a group shot. There was the voice with his hands folded over the bell of his horn looking serious as a sixties free jazz musician. Sonni was standing next to him laughing and wearing a big leather African hat like the kind Pharaoh Sanders wore on the cover of Thembi, which was one of Sonni’s favorite albums.

     

    “That’s Ogun. The music director of my band." Jordan stood up. "Well really, it’s our band. We... what?”

     

    “Nothing. I’m listening to you.”

     

    “No, you’re not.”

     

    “Yes, I am.”

     

    “What did I say?”

    “You said he was...”

     

    “What’s his name?”

     

    “O-something.”

     

    “Jordan, you’re jealous.”

     

    “Sonni...”

     

    “My name is Indigo.”

     

    Jordan hesitated. His mouth hung half open. She was right. He was jealous. And this was ridiculous. They weren’t a couple anymore, what right did he have to be jealous? But he was. He closed his mouth. And looked away.

     

    “It’s hard for me to get used to calling you Indigo.”

     

    “It's not that hard, you'll get used to it.” She smiled and started swaying to the rhythm.

     

    “Give your love, live your life.” Indigo harmonized along with the music. Her voice was lighter than Lincoln's heavy contralto, but every bit as strong. Indigo raised her arms and twirled, flowing into the pre-evening glow streaming through the windows. As she spun her smock billowed about the leanness of her lanky legs. She swayed, haloed by butter-colored sunbeams. She angled her head, held her arms aloft and sang, “...you can never lose a thing if it belongs to you.”

     

    The sun shimmered translucently through the thinness of African print. Indigo's legs and the little erotic arch, the intimate gap where her thighs did not quite come together, were etched in enticing relief. Beneath the x-ray of sunlight the thin fabric hid nothing, highlighted everything. Memory and imagination embraced. Indigo's thighs, Jordan's eyes.

     

    The song ended. He clapped. She bowed. Delicately extended, her arms undulated unhurriedly. The curled toes of her right foot, canted slightly to the rear of her left foot, barely touched the floor. Balanced mostly on one leg, she descended with the delicacy of a butterfly kissing a rose. The neck of her top blossomed open and invited his stare. She was bare breasted. Had nothing on other than a diaphanous dress, soft sunlight and a sensual smile.

     

    ***

     

    The harder the shell, the softer the insides. Like most young Black women Indigo had deep fault lines of insecurity that always threatened to erupt and disrupt her carefully cultivated surface of self-sufficiency.

     

    One big inadequacy was her name. Sonni was a made up name. It didn’t mean anything. It sounded a little bit like “sunny” or sometimes, depending on who said it, sometimes it sounded like “sunni” as in Muslim. But it was none of that. It was just some made up sounds her parents hung on her.

     

    And so, as soon as she got back from her trip, she changed that. Legally. Indigo Sol. Indigo because her great-great-grandmother had been an indigo worker in Louisiana when the French paid dearly for the imported dark blue dye. And Sol, well Sol meant “sun” in Portuguese.

     

    Rifiki said her smile was a second sun. Sometimes he would joke with her. He would bound out of bed in the middle of the night. “You smiled at me and the sun was shinning so brightly I thought it was time to get up.”

     

    Rifiki was silly. And gentle. And kind and loving. Three months in Brasil -- Indigo always spelled Brasil with an “s” now because that’s the way they spelled it in Brasil and she wanted to respect their choice -- three months in Brasil and then she returned home. Although she and Rifiki had been together for only a few weeks, if Rifiki had asked Indigo to stay she would have given it a shot. The sun may have set in Salvador for the rest of her life.

     

    But he hadn't and this may have been her biggest fault: Indigo couldn’t keep a man.

     

    If she wanted a man, really wanted a man, he didn’t really want her as much as she wanted him. Indigo decided part of the reason was because her breasts were so small. Her butt was ok, her backside wasn't really big but at least the fleshy cheeks were round and firm. She was shapely, her waist curved, her hips flared, her thighs were thin but blemishless and well formed. But her breasts. They weren’t even as large as the navel oranges the deacons used to give out in church at Christmas time. Her breasts were barely bigger than unripened peaches.

     

    All through college she was the smallest. And now she was almost thirty and didn’t have breasts. Almost thirty. Breast-less. Man-less. Thirty.

     

    And another thing was she was so smart. Four languages smart. An MFA and defense-of-her-dissertation-away-from-a-doctorate smart. Book smart and life stupid.

     

    Maybe that, and not her inability to keep a man, was the big thing. Like her grandmother had said, “How can somebody so book smart be so life stupid. Girl, if you was gon sing your life away, why you stay up in them schools so long?”

     

    Indigo came to DC to do research and found a job at the Library of Congress. So she worked with books and she sang. Books and music. What else was there?

     

    Her books filled her head. Her singing filled her heart.

     

    How come the men she really wanted didn’t want her? Was it because her head and heart were full? Or was it because her chest was flat? Somebody said any single woman who moved to DC was either stupid or desperate, and you got too much education to be stupid, so you must be desperate. That somebody was her brother.

     

    Jordan wanted her to finish her Ph.D.

     

    “It doesn’t make sense not to finish after you’ve fulfilled all the basic requirements. Even if you don’t do anything with it after you get it, it’s better to have it and not use it, then to need it and not have it.”

     

    The old something-to-fall-back-on, petite-bourgeois crap.

     

    Oh, Jordan.

     

    ***

     

    One version of this story had Indigo and Jordan making love in the shower. The lubricant of boysenberry soap lather smoothing the slide of Jordan's hand across and around and in between Indigo's quivering cheeks. A cataract of warm water crashing onto his shoulders as he hugged her hugely and slid his fingers across the twitching tenderness of her rectum.

     

    There was even a risquely intoxicating interlude of laughter as she shampooed her distinctive pheromone from the tangle of his beard. She had slapped the shower wall as he pressed his face into the curl of her delta and massaged her labia major with the brush of his close-cropped beard. The tang of her scent had been excitingly sharp, neither pleasant nor relaxing but instead a stimulant that caused him to grunt as he licked at her, which licking in turn caused her to emit long tones of low-pitch laughter that he could both hear as well as feel as her torso shook with each yes that leaped from her throat. And then she went down on him and sucked him until it seemed he could hold it no more and then somehow she stood up quickly, hoisted herself by wrapping her arms around his neck, placing one foot on the side of the tub and...

     

    Another version was more conventional. They remained in the sunfilled room. He had crossed to her. Kissed her. Removed her dress. Touched her until a glistening thread of vagina effluence trickled down the inside of her thigh and then mounted her from the rear as she leaned over the side of the couch.

     

    There were other scenarios, all of them involving unprotected vaginal penetration to the alleged delight of both parties, but what actually happened was more interesting than anything I or Jordan imagined. Both of us were thinking about a climax. But that’s not what happened.

     

    The vicarious enjoyment of sex and the proliferation of public erotic expressions actually are the exact opposite of what they purport to represent. Could it be that an excess of public sex masks a paucity of private satisfaction? Will everyone who is happy with their sexual life please stand up -- just kidding; but I did notice not many people moved.

     

    ***

     

    Jordan and Indigo stood across the room and looked at each other. Just quietly looked. Each with their own thoughts and emotional resonances. They had dated for almost two years and had lived together for seven months. Seven months, when Sonni left suddenly. She never actually told Jordan why she left. She claimed that she still loved him. And that she would be back even though she couldn't say how long she would stay in Bahia, Brazil. Nor what she hoped to accomplish by quitting the doctoral program after her thesis was complete. She had boxed a bound copy of the thesis along with her MFA-in-literature diploma and had mailed it off to her college professor father from whom she was irreparably estranged. When she wouldn't respond to Jordan's queries as to why she felt it necessary to hurt her father by refusing to accept a Ph.D., Jordan assumed Sonni was transferring sublimated feelings. Even though he understood what she was doing, his understanding did not make it any easier to deal with what he provocatively called "her irrationality." No matter how much they tried to talk it out, she refused to share with him her real motivations.

     

    If there were two things in life Jordan couldn't understand, one was why Sonni had mailed that box to her father and the other was why Sonni had left him.

     

    If there was one thing Indigo didn't understand it was why she even cared what any man thought.

     

    Indigo perched on the arm of the couch.

     

    Jordan turned and pretended he was interested in three pictures on the wall.

     

    ***

     

    Her voice startled him.

     

    "You want something to drink? Juice?" Jordan looked over his shoulder at Indigo. "Herbal tea? Water?" He shook his head from side to side. "Coffee?"

     

    He turned to face her. He loved coffee. She knew that. When they had been together, even though she never drank coffee herself, she would always buy freshly ground coffee beans and brew small pots of exquisite dark roasted Jamaican coffee. "Yeah, I would love some coffee."

     

    "What kind? Kenyan, Turkish, Colombian, Jamaican?"

     

    "What kind you got?"

     

    "What kind you want?"

     

    "I want what you got."

     

    Indigo jumped up. "I ain't got none, but I'll get whatever you want."

     

    Jordan looked confused. Indigo walked to the door and slipped on the sandals she kept on a little red rug beside the front door.

     

    "Where you going?"

     

    "To get your coffee, silly." Indigo hoisted her tote bag to her left shoulder. "Now what kind do you want?"

     

    "No, you don't have to do that."

     

    "I know, but it's ok."

     

    "I'll take some tea."

     

    "Jordan, don't even try it. You know you don't like no tea."

     

    Jordan smiled inwardly hearing her use the double negative that was a linguistic remnant of her New Orleans upbringing.

     

    "It's ok. I don't need anything."

     

    "The coffee shop is just one block down Connecticut."

     

    "Indigo." She looked over to him. "It's ok. You don't have to go."

     

    "But suppose I want to go. Suppose I want to go and get you some coffee."

     

    "Suppose I want you to stay."

     

    "Why?"

     

    "Why what?"

     

    "Why do you want me to stay? Why don't you want me to go get you some coffee."

     

    "Probably for the same reason you want to go and get me some coffee. Probably because we're both trying too hard to make up for whatever went wrong before."

     

    There was a long silence.

     

    Then Indigo lowered her bag and turned so she was facing the wall. She slipped off the sandals and, with her bare foot, arranged the sandals side by side. The material at the back of her dress was bunched up slightly atop the protrusion of her behind. As minimal as it was, her steatopygia was nonetheless attractive.

     

    When Indigo turned around her face was contorted in what Jordan perceived as an obvious effort to hold back tears.

     

    If there was any moment to do something, to go to her and hold her, this was it. Jordan sensed that. Indigo had no idea how difficult this was for him. She stirred up all kinds of sediments in the stomach of his soul.

     

    Damn it, he liked Sonni. And it hurt that Indigo wouldn't give him back the Sonni he knew and loved. Instead, she continuously stepped back one step, just out of his reach, like a giggling child playing a cruel game of you can't catch me.

     

    Jordan grew more and more pessimistic. He should have left bygones be bygones. But there was still something there. All them damn candles. She must be working some voodoo on him or something.

     

    No, that wasn't even funny. She was just being herself and he liked her. Go hug her, fool. Go ask her to get back together. Go do something. Don't just stand here like a bump on a log.

     

    Jordan convinced himself to risk rejection.

     

    But when he looked up, she was gone.

     

    He had not heard her leave the room.

     

    ***

     

    Stung by what he perceived as rejection, Jordan started to leave. He went back into the front room to retrieve his jacket. His eye was drawn again to the three pictures and to the poems inscribed on them. The first read:

     

    at dawn the seed of

    life enters -- at midnight the

    fruit of life exits

     

    The color palette for this picture was red, orange, gold and yellow with the haiku in blue-black lettering at the bottom and two near-identical color photos of Indigo in the middle (in one photo her eyes were open and she was looking up into a camera positioned above her, in the other photo her eyes were closed and her head was bent downward toward the camera positioned below her).

     

    The second picture was in black and midnight blue with lettering in silver and with two black and white photos that seemed to be extreme close-ups of hair. Jordan assumed they were close ups of Indigo's head except that the texture of the hair in the photo on the right was visibly different from that of the photo on the left. This one read:

     

    only our dark depths

    ego empty can contain

    the vastness of light

     

    The third picture was green and gold with lettering in dark green and a trio of nude color photographs: Indigo sitting, shot from the back, the side, and the front, her legs drawn up to her chest, her arms wrapped around her knees and she looking straight ahead. This one read:

     

    thinking is dry dust

    feeling is moist mud -- we are

    more water than dirt

     

    All three of the pieces had some sort of abstract design across the top in a faint goldish color. They hung side by side, obviously meant to be viewed as component parts of a singular statement. As agitated as he was, Jordan was nevertheless mesmerized by the complexity and the mystery of the triptych.

     

    Before he realized what he was doing he was studying the photographs, peering closely at the details in each shot, and also, in a hushed voice, unhurriedly reciting each word of the poems as though he was a non-typist searching for and painstakingly using a rigidly extended index finger to peck at the keys of an out-of-date but still functional manual typewriter.

     

    He heard movement in the kitchen and what sounded like a microwave. A timer chirped and then, shortly after the mechanical beep, Indigo returned into the room and sat cross-legged on the couch. She was sipping from what Jordan assumed was a mug of herbal tea.

     

    Jordan stood with his left arm folded across his chest and his right hand spread over his chin. "That's deep."

     

    "Thank you."

     

    "Who did the artwork?"

     

    "I did."

     

    "When did you start painting?"

     

    "I don't paint. I mean those are mixed media collages over monoprints."

     

    "What's a monoprint?"

     

    "A one of a kind print. Most prints are run in batches, but a monoprint is just one of a kind, so I guess it is something like painting."

     

    "So, how did you do that."

     

    "I can't... ummm."

     

    "Oh, it's a secret technique or something, huh?"

     

    "No."

     

    "Then tell me how you did it?"

     

    "You really want to know?"

     

    "Yes. I really want to know."

     

    "OK. I'll give you a clue." Indigo unfolded her legs, placed the mug on the floor, and then walked over to a short bookcase next to where Jordan was standing. As she bend down to pull out a book from the bottom of the bookcase Jordan noticed that she was now wearing a bra.

     

    "Page 130." Indigo handed a large hardback to Jordan. Featuring a nude study on the cover, the book had a one word title: Eros.

     

    As he flipped the pages looking for 130, he saw that it was a book full of nudes. He gave Indigo a bemused glance. On 130 there was a short poem and on the facing page a woman's butt. The model seemed to be kneeling back on her heels and she had her hands between her buttocks and her feet, her fingers were spread open covering her rectum.

     

    Jordan looked up at Indigo's artwork and back to the book. He read the poem on page 130. It was about a Chinese woman who won a best picture of a peach contest by sitting in pollen and then sitting on a piece of paper. "I don't get it."

     

    "Look on page 151."

     

    Another butt shot, a woman in bed, she must have been laying on her side in a fetal position or something, the fleshy folds of her vagina were exposed, bulging between the back of her thighs. It did look like it could have been a peach between her legs, not literally, but sort of. Jordan closed the book, looked up at Indigo's artwork one more time. Rubbed his jaw again.

     

    "Ok, the monoprints at the top of each piece were made by me sitting on paper draped over the bathtub edge."

     

    "You mean, that's..." Jordan's voice trailed off.

     

    "Yeah, that's me. It's about the mystic power of the female. Power in the sense of birth and being the spirit gate humans pass through to begin life's journey.

     

    Jordan didn't say anything. He didn't know what to say. A pussy monoprint. He wasn't sure whether it was clever or freaky. Or maybe a little, or a lot, of both.

     

    Indigo removed the book from Jordan's hand.

     

    "Now, you know."

     

    ***

     

    "I’ll take you up on that juice you offered."

     

    When Indigo went into the kitchen, Jordan closely examined the right-hand photo of the second picture. He wondered if that was a close up of her pubic hair. He tried to remember detailed specifics of how she looked down there; most likely it was. Damn, this was wild. He would never have thought of that. He...

     

    "I've got apple-mango and carrot juice."

     

    "Apple."

     

    "I don't have just apple."

     

    To keep from shouting over the music, Jordan walked around the partial wall into the kitchen area. "Well just water then."

     

    "Try the apple-mango."

     

    "I don't like carrots."

     

    "There's no carrots in the apple-mango, silly."

     

    "I thought you said apple, mango and carrot juice."

     

    "Apple-mango is one choice. And carrot juice is another choice."

     

    "Well, I'll try the apple-mango."

     

    Indigo turned from the refrigerator, grabbed a heavy, very tall and narrow rectangular glass from a cabinet and poured it half full. "There's more if you like it."

     

    Jordan took a sip. "It's good."

     

    "Great." Indigo held up the carafe of juice silently asking if he wanted more. Jordan nodded yes, and held the glass out to her. She topped it off and then put the carafe back into the refrigerator. When she closed the door she noticed that Jordan was staring at her.

     

    "What?"

     

    “Umm. Nothing.”

     

    “Jordan. What?”

     

    He rubbed his jaw. “I wish you had come back to New Orleans when you returned from Brazil.”

     

    “I wish you had come to DC when I came here.”

     

    Jordan started to say, I wanted to but you told me not to come, remember? But he didn’t say anything. He wanted to kiss her. He took another sip of juice. Then he thought to say, "well, I’m here now," but he didn’t. Instead he took another sip of juice.

     

    "Jordan."

     

    He put the glass down on the counter top.

     

    "Yes."

     

    "Is your glass half empty or half full?"

     

    This was typical Sonni. This was her way of getting inside his head.

     

    "It's both. Half is half. Half empty, half full, that's just an abstract semantical argument. The glass is both half empty and half full."

     

    "I don't believe it's both, I believe the answer lies in the context. It depends on whether you're drinking or pouring. If you're drinking it's half empty because you're in the process of emptying the contents down your throat. And if you pouring it's obviously just half full because you still have half a glass more to fill up."

     

    "So what's the point?"

     

    "The point is I believe this society is half empty and you believe it's half full."

     

    "And..." Jordan made a circular motion with his hands, "help me here. You said that to say?"

     

    “I have very strong feelings for you and I think you feel the same way, but we’re not good for each other.”

     

    “What do you mean?”

     

    “Maybe what I mean is that we want different things in life and we end up making each other unhappy.”

     

    “Sonn... I mean, Indigo. You don’t really believe that.”

     

    Indigo bristled visibly, her shoulders squared and she leaned back slightly as though preparing for a fight.

     

    “I’m sorry, I didn’t mean to tell you what you believe.”

     

    They looked at each other. Between them they were replaying old fights and old joys, misunderstandings and passionate moments. Indigo remembered how possessive Jordan was, how she felt trapped and had no way to explain to him what was up. Jordan was fixated on the satisfaction of holding her and the frustration of her leaving him. Finally, Jordan picked up the glass, chugged down the rest of the juice, put the glass down and drifted out of the kitchen.

     

    Indigo bit down on her bottom lip. He was always afraid to confront her, and the more she confronted him, the more he backed away. She stopped thinking about it. This wasn’t healthy.

     

    Indigo followed Jordan into the front room. “You know how much I pay for this apartment?”

     

    Jordan looked around as though he was surveying the space. “It’s one bedroom, right?”

     

    “Yeah.”

     

    “Oh, I don’t know. What, five, six hundred a month?”

     

    “Try seven-fifty a month and about to go up to eleven hundred.”

     

    “Eleven!” Jordan whistled. “For this?”

     

    “Yeah, now that Berry’s not running for reelection, the white folks are reclaiming the city.”

     

    Indigo pushed her hand against the small of Jordan’s back as he backed toward the couch. He stopped and looked over at her. She picked up her mug of tea, held it up, and then flopped down onto the couch motioning for Jordan to sit.

     

    “But they can’t just raise the rent like that.” Jordan sat down, “Don’t you have a lease?”

     

    “It’s up in three months and they’ve told me either pay the new rates or leave. I can’t afford a fifty percent increase, I have to find something else.”

     

    “I guess so.”

     

    “And what about you?”

     

    “What about me?”

     

    “You’re moving to New York, that’s worst than DC.”

     

    “Brooklyn, baby. Brooklyn, not Manhattan.”

     

    “Good luck.”

     

    “Thanks.”

     

    Then they sat in awkward silence, each waiting for the other to say something.

     

    “So how is it living in DC?”

     

    “It’s good, in general. You know it’s a funny place because it’s so international but so stratified. It’s like you go from the absolute center of power to the absolute center of poverty in an eyeblink and everybody in one center pretends that everybody in the other center is not there. You know what I mean?”

     

    “You mean the gap between the haves and the have nots?”

     

    “No, it’s more than that. I’m talking about power, not money. I mean I understand that money is behind power, but there is a certain arrogance of power...”

     

    “Marion Berry.”

     

    "And Bill Clinton." Indigo smiled impishly, “But, it's systemic and not simply a matter of individual weaknesses. In DC we get to see the reality and the attitudes in their most concentrated forms.”

     

    “And you don’t like it.”

     

    “You can’t love power and love people at the same time.”

     

    “Oh, whatever happened to ‘power to the people’.”

     

    “That’s exactly what I’m talking about. Look at what happened to the Panthers.”

     

    “Way a minute, I thought you believed that the government, cointelpro and all that stuff.”

     

    “Yeah, they did but we also did some stuff to ourselves and that’s what I’m talking about.”

     

    “Power corrupts and absolute power cor...”

     

    “Jordan, it’s not that simple, not that one dimensional. “

     

    “Ok.” He held his hands up in mock surrender. "We're about to start clashing again, aren't we?"

     

    "But Jordan, this is where we're at. This is where the world is at. Look at us. College educated and can't figure out how to live a satisfying life."

     

    “You know, you're right.”

     

    “Don't patronize me.” Indigo glared at Jordan and then quickly turned her head. "I'm sorry. That wasn't fair. You weren't patronizing me you were just stating your opinion."

     

    Jordan didn't respond. A foul silence sullied the air.

     

    Just as Jordan glanced at his watch, Indigo looked over at him. “So what time is it?”

     

    “Almost four. No, it’s almost five. I didn't change my watch, I’ve still got New Orleans time.”

     

    More silence.

     

    “You know you never told me how the interview went. Who was it with?”

     

    “It went ok. I was just taking it to see how I would do. You know now that this book is coming out, well, I’m not really looking for a job.”

     

    “Jordan...” Indigo started to tell him he didn’t tell her who the company was, but he knew that and she knew... Just let it go. Indigo looked away.

     

    He read the agitation in the way she cocked her head and looked away. Jordan paused and then softly blurted, “It’s a State Department job.”

     

    Indigo instantly turned to face him, “So, you’re not going to take it, are you?”

     

    “Well they haven’t offered it yet, but even if they do... I don’t know. I'd really like to just write but you know, man can not live by books alone.” He smiled at his own joke.

     

    She couldn't take it any longer. How could he even consider going into the State Department. Indigo drained her mug of tea and jumped up. “Excuse me a minute.”

     

    Indigo went into the kitchen and then into the bathroom, as she closed the door, her phone rang. She shouted through the door, “Jordan, answer that please.”

     

    The phone was in the kitchen.

     

    “Sol residence. Hello.”

     

    “Hotep. This is Ogun. Let me speak to Indigo.”

     

    “Ah, she’s indisposed right now.”

     

    “Well, tell her rehearsal is for seven. I’ll pick her up at six-thirty.”

     

    “Rehearsal at seven, you’ll be here at six-thirty.”

     

    “Right. So did you enjoy the show last night?”

     

    “Yes. Sure. It was pretty good. Yall are a good band and you know Indigo can sing.”

     

    “True that. Don't forget to tell Indigo I'm coming by. Have a safe trip back home, brother. Peace.”

     

    Jordan hung up the phone. He would always remember that guy’s voice.

     

    “Who was that?”

     

    Jordan turned around to face Indigo.

     

    “That was Ogun. Rehearsal at seven, he’ll pick you up at six thirty.”

     

    “Thanks.” She moved to the sink and rinsed out her mug and then washed Jordan’s juice glass. He watched her dry her hands.

     

    “Well, I guess, I should be going.”

     

    “Ok. You have my number. Keep in touch.”

     

    Jordan walked into the front room, picked up his jacket off the couch armrest and started slowly to the door. Indigo was waiting at the door.

     

    “Thanks for lunch, Jordan.”

     

    “Sure. Anytime.”

     

    As they simultaneously reached for the door, their hands touched and quickly recoiled. Not knowing what else to do, Jordan held out his hand to shake. Indigo made a fist to exchange a pound. Jordan grinned as Indigo dapped him up.

     

    Then she embraced him warmly. “May trouble never find it’s way to your door and may love never leave your heart. Stay black and you’re always welcomed back.” She kissed his cheek with a lingering intensity that warmed his jaw.

     

    Indigo opened the door. He stepped through and that was the last time they saw each other.

     

    ***

     

    Of course life goes on. After three years of checkered accomplishments as a singer and one independently produced cd, Indigo focused entirely on her research project on the role of women in Black music of the African diaspora. She also chose to remain single and childless. After her mother died, the last anyone in the States heard from Indigo she had hooked up with Susana Baca and was somewhere in Peru.

     

    I wish I could tell you more details about Indigo’s life after DC, but I don’t know those details. Her story is still unfolding in inconspicuous ways, in remote places. Indigo is living a life of intimate contact with people whom most of us know of only as statistics. People whose histories are not minutely documented; no birth certificates or death certificates, no social security numbers and no driver's liscenses. Nothing we would recognize as I.D. Indigo has chosen to become one of the mysteries of life, an uncelebrated unknown whose work is done on the periphery, intentionally set far outside the withering purview of the power centers.

     

    Jordan, on the other hand, became well known. His career soared. A book on Black American involvement in international voting rights campaigns won a Freedom's Foundation Award. His byline was sought by editors of respected journals. He drew assignments from the Sunday New York Times Magazine and was frequently commissioned to do overseas stories. Jordan Haydel was particularly good at profiles and interviews. He won a Pulitzer for a three-part series "What's Going On: Life In Exile For Black Radicals, 30 Years Later."

     

    Things went swimmingly, as his British colleagues would say. In Germany he met a basketball star when he was working on an article on American athletes who were stars overseas. His twist was focusing on the careers of female athletes. Barbara "Flow" Collins was one of six interviewees for that feature.

     

    Jordan never forgot his first interview with Flow in Barcelona, no it was in Munich. Technically, the Barcelona interview was the first but that had only been a short, making-contact, getting-acquainted phoner. Munich was the first face-to-face interview. One of Jordan's throw away questions had been what did she do with her free time. She said, "I go to museums." He asked could he watch her go through a museum. She said, "what?"

     

    "I'd like to watch you watch art."

     

    They went to a Max Beckmann, German Expressionism exhibit; Jordan was previously unaware of the sensitivity and accomplishments of German visual artists. They stayed in the museum for four hours, had dinner afterwards and stayed up all night talking about art. Jordan almost missed his early morning plane flight.

     

    Before either of them could figure out what the attraction was, they found themselves rendezvousing in European capitals, visiting every museum they could find. Flow was captivated by Monet and Jordan was profoundly moved by the intensity of Van Gogh.

     

    It didn't take Jordan long to realize that this was the relationship he needed, he wanted, and he wasn't going to let this one slip away. Indigo had taught him a valuable lesson and though he never saw Indigo again, he also never forgot her.

     

    He used his contacts to get her gigs, even arranged for her to be invited to a festival in Barbados, which was partially underwritten by USIA. Indigo never knew about Jordan's intercessions on her behalf. But he knew and that gave Jordan a measure of quiet pleasure.

     

    Only once did he try to reach Indigo. He wanted to tell her he was getting married. What made him think about calling was that Flow was from Baltimore and they were going to be married there and, well, it would probably be in the paper, especially since he had done a few features for the Washington Post and, well, you know, he didn't want Indigo to read about it in the paper and he not have said anything to her. Trying a long shot, Jordan called the old number but, predictably, it was no longer good. Then, hoping her mail would be forwarded, Jordan added Indigo's name and old address to the list for invitations. The invite was returned. He could have found her, there were ways, but he let it go.

     

    Jordan and Flow lived, as the cliché goes, happily ever after, although Jordan never told Flow that he worked for the CIA. But then, that's how history is made.

     

     —kalamu ya salaam

     

    VIDEO: Terri Lyne Carrington


    TERRI LYNE CARRINGTON
    01. Echo 0:00 / 02. Unconditional Love/Michelle 7:58 / 03. Body And Soul 32:00 / 04. Will You Love Me Tomorrow 43:31 / 05. That Day 51:37

    Auditorio Parque Almansa, San Javier (Murcia) - July 14th 2012

    Terri Lyne Carrington - Drums
    Dianne Reeves - Vocals
    Tineke Postma - Sax
    Tia Fuller - Sax
    Nir Felder - Guitar
    Helen Sung - Piano
    Joshua Hari Brozoski - Bass

     

     

    __________________________

     

     

     

     

     

    VIDEO: Africa albums to watch out for in 2013 > guardian-co-uk

    African albums

    to watch out for in 2013

    Thirteen artists we're looking forward to hearing from this year

     

    D'Banj
    Nigerian singer-songwriter D'Banj. Photograph: Richard Saker for the Observer

    So 2012, amazing year that it was, is firmly behind us. We turn our attention now to the next 12 months in which we hope to hear from the following artists, some debutantes, others old favourites, and all African descended.

    Tawiah (Ghana/UK)

    When you have champions from Mark de Clive Lowe to Mark Ronson in your corner, you know you have something special. Beverly Tawiah's skater-girl-meets-soul siren charisma always radiated from the back of the stage where she stood supporting the likes of Eska and Corine Bailey Rae. Not long after she alighted from the conveyer belt of talent that is the Brit School (alumni include Floetry, Adele, Amy Winehouse, Shingai Shoniwa), Gilles Peterson's World Wide Awards named her Best Newcomer. Inevitably, Warner music offered her her first record deal.

    Click here to view the video on mobile

    Prior to that, Tawiah had independently put out her debut EP In Jody's Bedroom, now something of a cult classic for fans of the UK independent soul music scene, especially for tracks like Every Step.

    The hope was that a full-length album was not far behind, but it's been over three years since that EP, and it's intermittent nuggets like these that have kept all-out despair from her fans at bay.

    Viviane Chidid (Senegal)

    Viviane Chidid is a former in-law to Senegalese music ambassador and sometime politician Youssou N'dour. That's probably the link that eventually led her to Wyclef's Grammy Award-winning cousin and frequent production collaborator Jerry "Wonda" Duplessis.

    In Francophone Africa you will certainly have come across Viviane's name. In the rest of the continent, not as much. But it looks like with Jerry Wonda's signing her to his label, things are looking to change somewhat.

    Viviane features Mavado (with some Final Cut magic to include Busta Rhymes near the end) on this remix of Soldier Girl.

    Click here to view the video on mobile

    But her recent track with Ghanaian Hip-hop marvel Sarkodie is a more believable fit she needs for that all-important crossover, which hopefully can translate on her forthcoming album.

    But her recent track with Ghanaian Hip-hop marvel Sarkodie is a more believable fit she needs for that all-important crossover, which hopefully can translate on her forthcoming album.

    Djeff (Angola/Portugal)

    Angolan house music has been on the bubble in the last three to five years. Riffing off some elements from its cousin scene in South Africa, and from its local-turned-global dance phenomenon, kuduro, this is a house music capital on a steady come-up. All it needs is a dependable ambassador. Someone to kick down the doors continent-wide in the same way that Cabo Snoop did for Angolan dance culture in Africa. If anyone can be this, it's Portugal-born, Angola-based Djeff Afrozilla. He often operates in a tag team with fellow producer/DJ Sylvi, but, a label owner and artist himself, Djeff also stands impressively on his own as one of the most exciting talents in the Angola right now. He is visually polished, and, as a credited architect of Angola's style of house, has the substance to boot.

    Click here to view the video on mobile

    If Djeff's recent remix for Weeknd's Enemy sounds a lot like something from Boddhi Satva's catalogue, it's because he, along with Louie Vega and Black Coffee – stalwarts from the soulful end of house music – are his influences.

    Ajebutter 22 (Nigeria)

    It might have been nice to see how far Soyinka's Afro (best name ever, or what?), the Afro-Hiphop-Soul brother-sister duo of Ajebutter 22 and Socialajebutterfly (taymii), would have gotten. Formed in 2009, they were cute and a little different from what was on offer on the Naija pop scene. But when something is meant to be, it's meant to be. And in this case, that's Ajebutter as a one-man act. Only three songs - all of them hits - and just over a year into his solo career, Ajebutter's unique languid, melodic delivery is a winner.

    In the pipeline for over a year has been a collaborative mixtape with his go-to team of producers Studio Magic, which is exciting enough. But we'd like to fast forward to an official debut album which could quite easily be the rookie Naija rap album of 2013.

    Tiwa Savage (Nigeria)

    When Tiwa Savage – former backing singer for Mary J Blige, Sting, George Michael, Kelly Clarkson and Spice Girls – entered UK singing TV talent contest X-Factor in 2006, she couldn't possibly have predicted her path to glory would go the way that it has: the Grammy nod for a song she wrote for Fantasia and the vocal performance credit on Whitney Houston's I Look To You are old news for the Nigerian singer-songwriter whose star now towers above her labelmates' at Don Jazzy's Mavin Records.

    To be honest, Tiwa is not just the first lady of the stable as is popularly bandied about. She is to Mavin what D'Banj was to Mo'Hits – the main event. From Kele Kele, the break out solo single that heralded her strategic move back to Naija, through her flawless pairing with the likes of Flavour N'abania, she has not hit a single bum note. But she's also yet to drop her debut album, though the word from her camp is that 2013 is the year.

    Eska (Zimbabwe/UK)

    If there's any justice in the world, one day the definitive list of Britian's best singer/songwriters will include Zimbabwe-born, London-raised vocalist, arranger and force of nature Eska Mtungwazi.

    Zero 7, Ty, Bugz in the Attic, Cinematic Orchestra, Bobby McFerrin, Grace Jones are some of the names Eska has been associated with over the years. There were once whispers of an album called The Great British Songbook, on which ESKA would pay tribute to the greatest who ever put pen to paper. Presumably this incredible version of the Police's Walking on The Moon would have made the cut.

    Click here to view the video on mobile

    Her website promises that her solo debut album will arrive at last in 2013 and "reveals Eska as an outstanding contemporary folk singer-songwriter whose music, whilst sitting within the English folk tradition, wears the influence of psychedelia, jazz and choral music proudly on its sleeve."

    Bamboo (Kenya)

    Not only did the documentary Hip-hop Colony draw the curtains back on Kenya's younger Hip-hop scene, it cast the spotlight squarely on Simon Kimani aka Bamboo. Based on his starring role, Bamboo was the Kenyan hip-hop artist unanimously deemed most likely to make it internationally. But his mixtape, a directionless blend of euro-pop and Southern rap beats, fell dismally short of expectation.

    Occasionally, the odd track surfaces to offer glimpses of what Bamboo the beast of old is capable of, but not big or often enough.

    Then there's the stint writing for Akon's Konvict Records, which may or may not turn into something. Either way, Bamboo is back in Kenya now and if his new Friday mixtape series means that there's still some hunger left in him, then now is the time to drop that album and seize the moment before it finally fades for good.

    Somi (Rwanda/Uganda)

    Any artist will tell you that there's nothing like a change of scene – particularly one that takes you out of your comfort zone - to get the creative juices flowing. When faced with the "where next?" question, it was Somi's mentor Hugh Masekela, a renowned musical migrant himself, who prompted her leap of faith. ('He said to me "Somi, stop thinking about it as a move. By nature as a musician, you are a global citizen"'). So off to Lagos Somi went, where of course Naija's gaudy and ubiquitous pop music stands like a Goliath to her earthier, more subtle jazz-influenced David. Still she held her own, using a teaching artist residency at a university in Ilorin to conduct the research for an album she has now recorded in New York, and that's due for release this year.

    Click here to view the video on mobile

    Check out a snippet from her showcase at Drom NYC.

    Tumi and the (new) Volume (South Africa)

    On new year's eve, Tumi Molekane took to social media to announce that he and the Volume – the band that he and drummer Paulo Chibanga, guitarist Tiago Correia-Paulo and bassist Dave Bergman formed in the early 2000s – was no more.

    With that dramatic tweet, Tumi confirmed the end of the golden era for Joburg's live music scene for which defunct venue Bassline was a hub. A time and a place when catching a show by Blk Sonshine, Moodphase 5ive and McCoy Mrubata on the same day was not uncommon.

    Recorded over two nights, TATV's 2004 album Live at the Bassline became their definitive work, although they would later release two studio albums, one self-titled and 2010's Pick a Dream, to critical acclaim and amass followings in places such as Reunion Island and France.

    There is no doubt that Tumi, at the helm of his newly formed ensemble, will make it his mission to prove with the next album that it's still high quality business as usual, and as soon as possible.

    Click here to view the video on mobile

    The end of an era.

    D'Banj (Nigeria)

    At the moment, the difference in impact between Oliver Twist, D'Banj's first true global breakthrough hit, and the three subsequent singles seems a difficult one to erase.

    Oliver Twist coincided with the upsurge of African urban music ("Afrobeats" as some call it) in the UK, and by default he became something of a poster boy for it. The truth is D'Banj – "the Michael Jackson of Africa" (Wyclef's moniker for him) – has never made a memorable album. His position as one of Africa's highest paid entertainers is due largely to the singles masterminded by his famously estranged producer and business partner Don Jazzy.

    Click here to view the video on mobile

    But now, after the infamous fallout and those big announcements – signing to the UK's Mercury Music and more recently to Sony Music Africa – everyone seems to be waiting, arms folded, to see what D'banj will do next.

    He says in this interview that his next song is with Kanye (11.37 mark). Remains to be seen.

    Efya (Ghana)

    Africa must be the only place on the planet where the term 'neo-soul' is still an actual thing. That's the genre often used to classify Ghanaian singer Efya's style. Formerly Jane, one part of the musical duo, Irene and Jane, and without the benefit of a complete body of work as a solo artist, Efya remarkably commands one of the most sizable followings of any recording artist in Ghana. Tellingly, all her best work has been collaborative. Compare the song with M.anifest (below),

    Click here to view the video on mobile

    for instance, to her debut solo song Little Things.

    What Efya possesses in abundance is a smouldering star power, which, if harnessed well, and coupled with carefully A&R'd co-writing and production, can result in an album that warrants the deafening buzz around the singer.

    K'Naan (Somalia/ US)

    When K'Naan practically apologised for his latest album in the New York Times, and effectively dissuaded everyone from buying it, he raised some eyebrows and maybe even more questions. But everyone deserves a second chance, and he's more than earned it with his first two albums.

    Click here to view the video on mobile

    Far be it for me to dictate the direction of any artist, but if he can give us something approaching the production values of Troubadour and the raw urgency of Dusty Foot Philosopher within the next 12 months (while the iron is hot and what not), all will be forgiven.

    Various (Red Hot + Riot)

    These days there is no shortage of Fela Kuti remixes, re-hashes, re-interpretations, re-releases etc. The runaway success of the musical about him - which Jay Z, Will Smith and Jada Pinket bankrolled - which debuted on Broadway before hitting Europe and Nigeria, may have something to do with it. Suddenly Beyonce was crediting the Nigerian Afrobeat legend for inspiring her album 4. And, who would have thought it, Swizz Beatz.

    Before American pop music's Felagate though, was the Red, Hot + Riot series. The first instalment featured versions of Fela classics and original songs by artists like Macy Grey, D'Angelo, Dead Prez and Sade. The follow-up promises to bring things even closer to home with Spoek Mathambo, Just a Band, Zaki Ibrahim among the names billed. Yes please!