PUB: Call for Papers: The Spanish Caribbean, Toward a Field of its Own « Repeating Islands

Call for Papers:

The Spanish Caribbean, Toward a Field of its Own

The “Reflecting on the Spanish Caribbean” Working Group of the Inter University Program for Latino Research (IUPLR), the CUNY Dominican Studies Institute (CUNY DSI) at The City College of New York, and the Instituto Global de Altos Estudios en Ciencias Sociales in Santo Domingo, Dominican Republic, are sponsoring an international conference entitled “The Spanish Caribbean: Toward a Field of its Own.” The conference will be held on July 25-26, 2011 at the Instituto Global de Altos Estudios en Ciencias Sociales, Fundación Global Democracia y Desarrollo [Global Foundation of Democracy and Development] in Santo Domingo, Dominican Republic. The deadline for submissions is April 30, 2011.

“Reflecting on the Spanish Caribbean” is a working group of the Inter University Program for Latino Research (IUPLR) composed of academics whose work focuses on Cuba, the Dominican Republic, Puerto Rico, and people in the United States who trace their ancestry to those countries. The group’s main objective is to create a multidisciplinary area of study, particularly at the graduate level, specialized in the Spanish Caribbean.  The conference seeks to provide a space for conversations across the disciplines centered on research and analysis regarding the peoples of this region and to create a public platform to collectively build this new field of study.

Proposals for presentations are welcome in all aspects of the society, history, and culture of Cuba, Puerto Rico and the Dominican Republic. Comparative perspectives are also welcome. Proposals for papers and panels should include a title and a 350-word abstract; author’s mailing and e-mail address, telephone number, and institutional affiliation.  Proposals should be submitted by April 30, 2011 to:

In the Dominican Republic:
María Elizabeth Rodríguez Vice Rectora Instituto Global de Altos Estudios en Ciencias Sociales Calle César Nicolás Penson, No. 127 Ensanche La Esperilla Santo Domingo, República Dominicana
Email: m.rodriguez@iglobal.edu.do   

In the United States:
Professor Francisco Scarano Department of History University of Wisconsin-Madison 3211 Humanities Bldg. 455 N. Park St. Madison, WI 53706
Email: fscarano@wisc.edu

A block of rooms has been reserved at Hotel Embajador at a reduced rate and these rooms will be available for panelists and conference attendees. Panelists will be provided with some meals and local transportation to and from the conference site and hotel. This international conference will be open to the public free of charge, but registration is required at www.ccny.cuny.edu/dsi

For further information about the conference, you may contact Professor Ramona Hernández (CUNY Dominican Studies Institute) at rhernandez@ccny.cuny.edu  or by phone at (212) 650-7496 begin_of_the_skype_highlighting; or visit www.ccny.cuny.edu/dsi

 

PUB: CONTESTS | SYCAMORE REVIEW

CONTESTS

Below you’ll find contest submission guidelines for the 2011 Wabash Prize for Fiction and the 2011 Wabash Prize for Poetry. For information about previous judges and winners, click here.

2011 WABASH PRIZE FOR FICTION

Final Judge: ANTONYA NELSON

First Prize: $1000 and winning entry published in Summer/Fall 2011 issue

GUIDELINES FOR SUBMISSIONS

Postmark Deadline: Entries must be postmarked by March 1, 2011

1. Submit one story or collection of related short shorts per standard entry. Please do not send excerpts or chapters of novels. Entries may be no more than 10,000 words.

2. A $15 reading fee (check or money order) payable to Sycamore Review must accompany each entry. The reading fee includes a copy of the prize issue. You may send more than one story, but each additional story must be accompanied by an additional $15 reading fee.

3. Simultaneous submissions are acceptable only if Sycamore Review is notified immediately upon acceptance elsewhere.

4. All entries must be typed and must include a cover letter with the author’s name and contact information (mailing address, telephone number, and email address) as well as the titles and word counts of all stories submitted. Information that identifies the author should NOT appear on the manuscript itself.

5. Manuscript pages should be numbered and should include the title of the piece. Manuscript pages should be double spaced.

6. Please include a self-addressed, stamped postcard if you wish to be notified upon receipt of your manuscript.

7. Manuscripts will not be returned. The winner will be announced by June 1, 2011 on Sycamore’s website.

8. All contest submissions will be considered for regular inclusion in Sycamore Review.

9. All entries must be previously unpublished.

10. Questions may be directed to sycamore@purdue.edu.

Send 2011 Wabash Prize for Fiction submissions and reading fee to:

2011 Wabash Prize for Fiction
Sycamore Review
Department of English
500 Oval Drive
Purdue University
West Lafayette , IN 47907

2011 WABASH PRIZE FOR POETRY

Final Judge: LOUISE GLÜCK

First Prize: $1000 and winning entry published in Winter/Spring 2012 issue

GUIDELINES FOR SUBMISSIONS

Postmark Deadline: September 15, 2011

1. For each submission, send up to three poems.

2. A $15 reading fee (check or money order) payable to Sycamore Review must accompany each submission. The reading fee includes a year’s subscription to Sycamore Review, which will include a print copy of the prize issue and an electronic copy of the Summer/Fall 2012 issue.

3. Additional poems (beyond the initial three) may be included. Increase the reading fee $5 for each additional poem.

4. Simultaneous submissions are acceptable only if Sycamore Review is notified immediately upon acceptance elsewhere.

5. All entries must be typed and must include a cover letter with the author’s name and contact information (mailing address, telephone number, and email address) as well as the titles of all poems submitted. Information that identifies the author should NOT appear on the manuscript itself.

6. Manuscript pages should be numbered and should include the title of the piece.

7. Please include a self-addressed, stamped postcard if you wish to be notified upon receipt of your manuscript.

8. Manuscripts will not be returned. Winners will be announced on Sycamore Review’s website by Dec. 30, 2011.

9. All contest submissions will be considered for regular inclusion in Sycamore Review.

10. All poems must be previously unpublished.

11. Questions may be directed to sycamore@purdue.edu.

Send 2011 Wabash Prize for Poetry submissions and reading fee to:

2011 Wabash Prize for Poetry
Sycamore Review
Department of English
500 Oval Drive
Purdue University
West Lafayette , IN 47907

 

PUB: Call for proposals - Haiku North America

Haiku North America 2011 – Seattle, Washington

Save the date! Haiku North America 2011 will be held August 3 to 7, 2011, in Seattle, Washington.

Members of the Haiku Northwest group have generously offered to host the 2011 conference and they have many exciting plans already in the works, including a harbor cruise. The conference itself will be held at the Seattle Center, at the foot of the Space Needle, providing easy access to ginko opportunities such as Pike Place Market (via the monorail), the Olympic Sculpture Park, the Experience Music Project rock-and-roll museum and Science Fiction Museum, and countless other attractions—including fleet week and the Seafair festival, with the Blue Angels performing overhead.

The conference theme will be "Fifty Years of Haiku," celebrating the past, present, and future of haiku in North America. The deadline for proposals has been extended to February 28, 2011 (http://www.haikunorthamerica.com/pages/next.html), but sooner is better. Proposals do not have to fit the theme. If you've already submitted a proposal, please confirm with Michael Dylan Welch at WelchM@aol.com that you can come to Seattle on the new dates. Speakers already include Cor van den Heuvel, Richard Gilbert, David Lanoue, Carlos Colón, Fay Aoyagi, Jim Kacian, Emiko Miyashita, George Swede, and many others.

Detailed information on registration, lodging, and the conference schedule will be available in March. For further information as it becomes available, please check this site. And check out the new HNA blog at http://haikunorthamerica.wordpress.com/.

See you in Seattle!

—Garry Gay, Paul Miller, Michael Dylan Welch

Call for Proposals

If you already submitted a proposal for HNA, it will still be considered, but please confirm that you can come to Seatte on the new dates of August 3-7, 2011. If you would like to submit a new proposal, please send it to Michael Dylan Welch at WelchM@aol.com by the new deadline of February 28, 2011. The theme will be "Fifty Years of Haiku," but proposals do not have to fit the theme. Proposals can include papers, presentations, panel discussions, readings, workshops, or other activities featuring haiku and related literature (except tanka) in North America. Please provide the following details with your proposal (directly in your email message; no attached files, please):

1. Title (as you would want it to appear in the conference program—make it catchy or provocative if appropriate).
2. A maximum of 50 words describing your presentation (as you would want it to appear in the conference program; please write to attract an audience).
3. Additional descriptions or goals of your presentation (for the benefit of conference organizers), mentioning any planned handouts or activities.
4. Special needs such as digital projection (for PowerPoint presentations), audio, whiteboard, etc.
5. Length of time needed or preferred.

 

 

 

 

 

 

 

EVENT: New York City—The New Black Fest - A Theater Festival

THE NEW BLACK FEST is A THEATER FESTIVAL.

THE NEW BLACK FEST

with guest curators Judy Tate and Godfrey Simmons

in association with

651 ARTS

presents

THE AMERICAN SLAVERY PROJECT

In recognition of the Sesquicentennial of the Civil War (now through 2015), The New Black Fest with Guest Curators Judy Tate and Godfrey Simmons, launch the American Slavery Project Series, a monthly reading series that celebrates the work of African American playwrights who boldly and refreshingly explore slavery and/or the Civil War. The purpose behind the American Slavery Project is to initiate new conversations around theater’s role in counteracting the increasing revisionism in our political/social discourse about the Civil War and slavery. More importantly, the American Slavery Project aims to promote a new generation of African-American voices who are telling the diverse and rich stories from an era that most adversely affected us. The series runs from mid-March through Juneteenth.


Schedule of Events

Monday, March 7, 2011 at 7 p.m.

Fast Blood by Judy Tate

It's 1845.  Ham and Effie, an enslaved couple, stumble across the body of a hanging man who's miraculously still alive.  It is their connection to this mysterious and seductive stranger that tests their faith, love and ultimately, their own notions of slavery.

Location:  CAP 21 - 18 W. 18th Street, 6th Floor, NYC

Post Show Conversation:  The Human Face of Slavery

Kick-Off Wine and Cheese Reception will follow.

Co-presented by CAP 21

 

Monday, April 4, 2011 at 7 p.m.

Sweet Maladies by Zakiyyah Alexander

It's been two years since slavery was abolished and three recently freed slavegirls, stuck in 'the big house', play the only game they know: history.  But what happens when the game turns sticky sweet and deadly?

Location:  Mark Morris Dance Center - 3 Lafayette Aveneue, Fort Greene, Brooklyn

Post Show Conversation:  Tiny Rebellions

 

Monday, May 2, 2011 at 7 p.m.

Living in the Wind by Michael Bradford

Georgia. 1876. Isaiah, a former plantation stud, steps into Sarah's front yard after a twelve-year absence. Married as slaves and separated by their owner on the night of their marriage, Sarah and Isaiah attempt to salvage a relationship.  However, difficulties arise as new lovers, past conquests, and the deadly reminder of slavery stand before them.

Location:  The Drilling Company - 236 W. 78th Street, NYC

Post Show Conversation:  Slavery's Impact on Male Sexual Identity

Co-presented by The Drilling Company

 

Monday, June 6, 2011 at 7 p.m.

Voices from Harpers Ferry by Dominic Taylor

In 1859, twenty-one men, including five free Black men, attacked the arsenal at Harpers Ferry along with the legendary John Brown.  This exciting new play probes into the lives of the five Black men who fought alongside Brown, and more importantly, Osborne P. Anderson, the only Black man who survived to tell the tale of Harpers Ferry.

Location:  Audubon Ballroom - 3940 Broadway, btw 165th & 166th Streets

Post Show Conversation:  John Brown and Civil War Uprisings

Co-Presented by The Classical Theatre of Harlem

 

Wednesday, June 15, 2011 at 7 p.m.

Safe House by Keith Josef Adkins

1843.  Kentucky.  Addison Pedigrew is a free man of color who has big dreams of opening a shoe business.  His family also secretly helps fugitives flee to Liberia.  When a young woman knocks on his door seeking refuge, Addison's loyalty to race and family finally clashes with his unrelenting desire for success.

Location:  Audubon Ballroom - 3940 Broadway, btw 165th & 166th Streets

Post Show Conversation:  Free People of Color and the Trek to Liberia

Co-Presented by The Classical Theatre of Harlem Future Classics Reading Series

 

Please check back for updates.


THE NEW BLACK FEST is URGENT.

The New Black Fest is a movement. It’s a call to action inspired by the state of Black theater in the 21st century. It is a bold step motivated by a growing need within the Black theater community for serious change and boundless opportunity.


THE NEW BLACK FEST is A COMMUNITY.

The New Black Fest is a gathering of artists, thinkers, activists and audiences who are dedicated to stretching, interrogating and uplifting the Black aesthetic.


THE NEW BLACK FEST is VISIONARY.

The New Black Fest is a commitment to celebrate, advocate and showcase diverse and provocative work in a festival of Black theater artists from throughout the Diaspora.  It is a convening of visionaries who are determined to reintroduce the way black theater is perceived, who are ready to chart out resolutions and promote action through panel discussions, workshops, and putting both artists and community members on the hot seat.


THE NEW BLACK FEST is FOR EVERYONE.

The New Black Fest is for everyone and anyone who supports elevating and celebrating Black theater around the world, in a fresh way.


THE NEW BLACK IS NOW.

WE ARE THE NEW BLACK.

__________________________
Mission
It is the mission of 651 ARTS to deepen awareness of and appreciation for contemporary performing arts and culture of the African Diaspora, and to provide professional and creative opportunities for performing artists of African descent.

We fulfill our mission by:

  • Presenting live dance, music and theater events in venues throughout Brooklyn;
  • Maintaining a robust educational program that provides unique opportunities for youth in public schools to engage with professional artists from around the globe;
  • Investing in artists by providing financial and other resources needed to advance their careers and to develop new work;
  • Supporting exchange between U.S.-based and African artists in both the United States and Africa;
  • Leveraging years of experience and leadership to advocate for artists, to develop projects that impact the field of performing arts, and to provide expertise about the artists and art forms of the African Diaspora;
  • Linking communities, artists and audiences as close as our Brooklyn neighborhoods, as varied as our metropolitan area, and as integral as our African Homelands.


We abide by the following principles when undertaking our work:

  • A healthy society requires diverse, continuously generative creativity.  To ensure the vibrancy and continuity of artistic creation requires a commitment to both artist development and audience engagement.
  • Art and art appreciation must be fostered and nurtured in each generation: Having a community which values our art and culture in the future requires education of young people today.
  • Being a culturally specific organization provides a distinct platform on which the multiplicity of perspectives, aesthetics and disciplines being practiced throughout the vastly diverse African Diaspora can be acknowledged and celebrated.
  • Because of our unique history, Americans and especially Black Americans value connections to the heritage and culture of Africa. Channels for communication, collaboration and information between the United States and Africa need to be expanded and fortified.

 

HISTORY: Lucy Parsons: ‘Shoot them or stab them’ | San Francisco Bay View

Lucy Parsons: ‘Shoot them or stab them’

February 15, 2011

by Jean Damu

Lucy Parsons

Lucy Parsons is the Haymarket Square widow who internationalized the struggle for the eight-hour day and whose work led to the May Day rallies held around the world, except in the U.S., to celebrate International Workers Day. I have known about Lucy Parsons most of my adult life but have read little of what she actually said. This is probably because the Chicago police and FBI burned all of her papers and books.

Lucy was born – probably enslaved – in the Oklahoma territory and married to Albert Parsons, a former Confederate soldier, who became a radical labor organizer. I was stunned to learn she didn’t die until 1942 and is buried near the Haymarket martyrs in Chicago. The lesson, in my mind, from the lives of this remarkable couple is that one of the first benefits to all workers that resulted from the ending of slavery, and even though it took much more struggle, was the instituting of the eight-hour day.

Numerous books on the contributions and achievements of African American women rarely if ever mention Lucy Parsons. Charlayne Huntger-Gault, Florence Griffiths Joyner, Shirley Chisholm – all worthies of course – but never ever Lucy Parsons. Who hasn’t been impacted by the legalizing and enforcement of the eight-hour day?

As a disclaimer here, not ony am I not an anarchist but I don’t believe in anarchism. However in certain historical periods it has a positive role to play and there is a passion in the real anarchists that one has to admire.

Utah Phillips, the folk singer, used to tell this story about Lucy Parsons. “Shoot or stab them” was advice that got the anarchist agitator arrested whenever she tried to speak in public. Lucy’s husband was among those anarchists framed and executed for the infamous 1886 Haymarket bombing. Lucy continued to advocate for labor rights and social change. Here’s how Utah told the rest of the story:

“One time, she was speaking at a big May Day rally back in the Haymarket in the middle 1930s during The Depression. She was incredibly old. She was led carefully up to the rostrum, a multitude of people there. She had her hair tied back in a tight white bun, her face a mass of deeply incised lines, deep-set beady black eyes. She was the image of everybody’s great-grandmother. She hunched over that podium, hawk-like, and fixed that multitude with those beady black eyes, and said: “What I want is for every greasy grimy tramp to arm himself with a knife or a gun and stationing himself at the doorways of the rich shoot or stab them as they come out.”

Lest her zeal need a little explaining, Lucy Parsons made this declaration at the founding convention of the IWW in 1905: “Never be deceived that the rich will permit you to vote away their wealth.”

Very little remains of the pamphlets which Parsons published over the course of her life. The authorities considered her “more dangerous than a thousand rioters.” They blocked her entrance to public halls and arrested her whenever she addressed a crowd. When Parsons died, the police confiscated and destroyed her library and papers.

Jean Damu is the former western regional representative for N’COBRA, National Coalition of Blacks for Reparations in America, and a former member of the International Brotherhood of Sleeping Car Porters, taught Black Studies at the University of New Mexico, has traveled and written extensively in Cuba and Africa and currently serves as a member of the Steering Committee of the Black Alliance for Just Immigration. Email him at jdamu2@yahoo.com.

 

A LUTA CONTINUA: Imagining A New Libya, A New Africa, A New Middle East, A New World

copyright : www.libyafeb17.com
via www.html">konwomyn.blogspot.com

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>via: http://www.truthdig.com/cartoon/item/liberate_libya_20110223/?utm_source=feed...

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>via: http://www.truthdig.com/cartoon/item/bracketology_20110223/

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By Al Jazeera Staff in on February 23rd, 2011.

Photo by Reuters

As the uprising in Libya enters its tenth day, we keep you updated on the developing situation from our headquarters in Doha, Qatar.

 Blog: Feb17 - Feb18 - Feb19 - Feb20 - Feb21 - Feb22 - Feb23

AJE Live Stream  - Special Coverage: Libya Uprising - Twitter Audio: Voices from Libya 

Benghazi Protest Radio (Arabic)

(All times are local in Libya GMT+2)

February 24, 2011

4:27am: Twitter user @rutevera posted this to Twitpic:File 9971

4:18am: According to some bloggers, a protest has been planned outside Libyan Embassy in London from 1400 to 1800 [GMT].

4:17am: Benghazi, eastern Libya's biggest town, refused orders from power controllers in Tripoli to cut the power.

3:30am: In an interview to Democracy Now website, Libyan American activist Abdulla Darrat says:

It really shows what over the last 40 years has become a country dominated by the megalomania of this one human being [Gaddafi], who cares more for his self and his power than he cares for anybody in Libya.

2:17am: Abdul Rahman Shalgum, head of the Libyan mission to the UN, has said the situation in his country is very dangerous. Addressing Libyan leader as brother, he said Libya is bigger than all of us.

The Libyan diplomat said:

The nation is bigger, stronger and greater than us all. Our nation is in danger. The brother leader [Gaddafi] can take a decision that saves and salvages the country and stops the bloodshed. Libya now has entered a very dangerous tunnel.

1:48am: Aisha, Gaddafi's daughter, has appeared on state television, denying a report she tried to flee to Malta. "I am steadfastly here," she said. She added she was unaware of a report she had been dropped by the United Nations as a goodwill ambassador.

1:14: In the eastern city of Benghazi, cradle of the uprising and home to tribes long hostile to Gaddafi, thousands  filled the streets, lighting fireworks and waving the red, black and green flag of the king Colonel Muammar Gaddafi overthrew in 1969, accoding to Reuters news agency.

1:31am: The U.N. Development Program has dropped Libyan leader's Muammar Gaddafi's daughter as a goodwill ambassador.

1:24am: According to Marwan Bishara, Al Jazeera's political analysts, the Libyan leader has lost all three pillars of his rule - tribal, military and diplomatic. Judging from his desperate speech last night, he seems to be losing his mind and perhaps his nerves.

1:14am: Gaddafi vows to fight till his 'last drop of blood,' urges supporters to take to streets.

File 9951

12:30am: Obama said on Wednesday, he would send Secretary of State Hillary Clinton to Geneva for a meeting of the United Nations Human Rights Council at the weekend and for talks with allied foreign ministers.

12:15am: Obama said:

It is imperative that the nations and peoples of the world speak with one voice.

12:07am: Barack Obama, the US president, for the first time has spoken on the Libyan crisis. He offered his condolences to the people who have been killed and suffered in the violence during the Libyan uprising.

He said that the suffering and bloodshed is "outrageous" and it is "unacceptable". 

The U.S. president on Wednesday said the violent crackdown in Libya violated international norms and that he had ordered his national security team to prepare the full range of options for dealing with the crisis.

12.05am: Late on Wednesday, UN Secretary-General Ban Ki-moon spoke at a press conference, calling for unity in the international community to ensure a "prompt and peaceful transition'' in Libya.

12.01am US president Barack Obama will speak publicly at 22.15GMT (12.15am Libyan local time).

Watch Al Jazeera's Live coverage here.

12.00am: We continue our Live blog from Feb 23 here.

>via: http://blogs.aljazeera.net/africa/2011/02/23/live-blog-libya-feb-24

 

 

A LUTA CONTINUA: Tunisia, Egypt, Libya - African Revolutions?

Where does Africa end and the Middle East begin?

By Sophia Azeb
Azad Essa’s recent article for Al Jazeera, “In Search of an African Revolution” addresses the role of international media in prioritizing the so-called ‘Arab’ revolutions that are taking place in North Africa and Southwest Asia over protests throughout the rest of the African continent. Essa’s take is admirably nuanced. (We assume he was joking with his use of terms like “darkest Africa.”) Perhaps one of the most important observations in the article is Pambazuka Online editor Firoze Manji’s:

 

…people in Africa recognise the experiences of citizens in the Middle East. There is enormous potential for solidarity to grow out from that. In any case, where does Africa end and the Middle East begin?

Heeding these words together with Essa’s arguments on why ‘the Middle East’ has experienced relative success thus far–including the fact that North Africa is “fairly homogeneous compared to sub-Saharan Africa;” or that Barack Obama is more willing to condemn violence in the “Arab world”–I feel it is opportune to ask this question: What the hell is the Middle East?

The arbitrary national borders drawn during the Berlin Conference are not the only relics of colonialism still alive and well in Africa. The mythologies of certain racial, linguistic, and ethnic superiorities and inferiorities are carefully cultivated by the neoliberal order, maintained by oppressive regimes dependent on existing divide and conquer strategies, and perpetuated by Orientalists all over the globe – Arab and non-Arab, African and non-African, black and white.  You get the idea.

Yes – this so-called ‘Arab world’ has its own sets of racial hierarchies. Absolutely. Many in North Africa would bristle at being called African, much less black. And certainly–the treatment of migrant laborers in North Africa and Southwest Asia (from all parts of Asia and Africa) is just as dire as in Europe and North America. However, and this cannot be said enough, Arabs-in-Africa/African-Arabs are not homogenous peoples. This may be facetious, but it is a point that must be made (and has been, by Arabs and non-Arabs in Africa): treating Arabic-speaking peoples in Africa and Asia as “white” or “not African” or non-white but “not black” was conceived to uphold Western colonization of these continents and remains useful for the same cause as well as for African despots antsy about what their own people can do to them.

Those of us–and we are many–who identify as Afro-Arab, acknowledging our diverse racial identities while respecting our multiple (and sometimes conflicting) geographic positionalities and particular cultural traditions, have even more of a reason to continue working against this imperialist narrative. What international media as well as commentary by scholars, politicians and everyday Westerners of all backgrounds makes evident is that we must take to task those on the outside looking in who continue to contribute to the stratification of Africans based on these mythologies.  Where/what is the “Middle East”? And why are we Africans shut out of this discussion?

Once again, a friend hits the nail on the head: “I figured it out! Palestine is the Middle East  – that’s why I can’t find it on any maps.”

* Photo Benedicte Kurzen in The New Yorker.

>via: http://africasacountry.com/2011/02/23/where-does-africa-end-and-the-middle-ea...

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In search of an African revolution
International media is following protests across the 'Arab world' but ignoring those in Africa.

 

Last Modified: 21 Feb 2011 16:24 GMT

Must a revolt be filmed and photographed to succeed? [EPA] 

Demonstrations are continuing across the Middle East, interrupted only by the call for prayer when protesters fall to their knees on cheap carpets and straw mats and the riot police take a tea break. Egypt, in particular, with its scenes of unrelenting protesters staying put in Tahrir Square, playing guitars, singing, treating the injured and generally making Gandhi’s famous salt march of the 1940s look like an act of terror, captured the imagination of an international media and audience more familiar with the stereotype of Muslim youth blowing themselves and others up.
 
A non-violent revolution was turning the nation full circle, much to the admiration of the rest of the world.

"I think Egypt's cultural significance and massive population were very important factors in ensuring media coverage," says Ethan Zuckerman, the co-founder of Global Voices, an international community of online activists.

"International audiences know at least a few facts about Egypt, which makes it easier for them to connect to news there," he says, drawing a comparison with Bahrain, a country Zuckerman says few Americans would be able to locate on a map.

Zuckerman also believes that media organisations were in part motivated by a "sense of guilt" over their failure to effectively cover the Tunisian revolution and were, therefore, playing "catch up" in Egypt.

"Popular revolutions make for great TV," he adds. "The imagery from Tahrir square in particular was very powerful and led to a story that was easy for global media to cover closely."

The African Egypt versus the Arab Egypt
 
Egypt was suddenly a sexy topic. But, despite the fact that the rich banks of the Nile are sourced from central Africa, the world looked upon the uprising in Egypt solely as a Middle Eastern issue and commentators scrambled to predict what it would mean for the rest of the Arab world and, of course, Israel. Few seemed to care that Egypt was also part of Africa, a continent with a billion people, most living under despotic regimes and suffering economic strife and political suppression just like their Egyptian neighbours.

"Egypt is in Africa. We should not fool about with the attempts of the North to segregate the countries of North Africa from the rest of the continent," says Firoze Manji, the editor of Pambazuka Online, an advocacy website for social justice in Africa. "Their histories have been intertwined for millennia. Some Egyptians may not feel they are Africans, but that is neither here nor there. They are part of the heritage of the continent."

And, just like much of the rest of the world, Africans watched events unfold in Cairo with great interest. "There is little doubt that people [in Africa] are watching with enthusiasm what is going on in the Middle East, and drawing inspiration from that for their own struggles," says Manji.

He argues that globalisation and the accompanying economic liberalisation has created circumstances in which the people of the global South share very similar experiences: "Increasing pauperisation, growing unemployment, declining power to hold their governments to account, declining income from agricultural production, increasing accumulation by dispossession - something that is growing on a vast scale - and increasing willingness of governments to comply with the political and economic wishes of the North.

"In that sense, people in Africa recognise the experiences of citizens in the Middle East. There is enormous potential for solidarity to grow out from that. In any case, where does Africa end and the Middle East begin?"

Rallying cry

The ‘trouble’ that started in Tunisia (another African country) when street vendor Mohamed Bouzazi’s self-immolation articulated the frustrations of a nation spread to Algeria (yes, another African country), Yemen and Bahrain just as Hosni Mubarak made himself comfortable at a Sharm el Sheik spa.
 
Meanwhile, in 'darkest Africa', far away from the media cameras, reports surfaced of political unrest in a West African country called Gabon. With little geo-political importance, news organisations seem largely oblivious to the drama that began unfolding on January 29, when the opposition protested against Ali Bhongo Odhimba’s government, whom they accuse of hijacking recent elections. The demonstrators demanded free elections and the security forces duly stepped in to lay those ambitions to rest. The clashes between protesters and police that followed show few signs of relenting.

"The events in Tunisia and Egypt have become, within Africa, a rallying cry for any number of opposition leaders, everyday people harbouring grievances and political opportunists looking to liken their country's regimes to those of Ben Ali or Hosni Mubarak," says Drew Hinshaw, an American journalist based in West Africa. "In some cases that comparison is outrageous, but in all too many it is more than fair.

"Look at Gabon, a tragically under-developed oil exporter whose GDP per capita is more than twice that of Egypt's but whose people are living on wages that make Egypt look like the land of full employment.

"The Bhongo family has run that country for four decades, since before Mubarak ran nothing larger than an air force base, and yet they're still there. You can understand why the country's opposition is calling for new rounds of Egypt-like protests after seeing what Egypt and Tunisia were able to achieve."
 
Elsewhere on the continent protests have broken out in Khartoum, Sudan where students held Egypt-inspired demonstrations against proposed cuts to subsidies on petroleum products and sugar. Following the protests there on January 30, CPJ reported that staff from the weekly Al-Midan were arrested for covering the event.
 
Ethiopian media have also reported that police there detained the well-known journalist Eskinder Nega for "attempts to incite" Egypt-style protests. In Cameroon, the Social Democratic Front Party has said that the country might experience an uprising similar to those in North Africa if the government does not slash food prices.

"There are lots of Africans too who are young, unemployed, who see very few prospects for their future in countries ruled by the same old political elite that have ruled for 25 or 30 or 35 years," says CSM Africa bureau chief Scott Baldauf.

"I think all the same issues in Egypt are also present in other countries. You have leaders who have hung onto power for decades and who think the country can only function if they are in charge. A young Zimbabwean would understand the frustration of a young Egyptian."

Divide and rule
 
Sure, the continent is vast and acts of dissent and their subsequent suppression are the bread and butter of some oppressive African states. But just as self-immolation was not new in Tunisia, discontentment and rising restlessness is not alien to Africans. In the past three years, there been violent service delivery protests in South Africa and food riots in Cameroon, Madagascar, Mozambique and Senegal.

But whether the simmering discontent in Africa will result in protests on the scale of those in Egypt remains to be seen.
 
"All the same dry wood of bad governance is stacked in many African countries, waiting for a match to set it alight," says Baldauf. "But it takes leadership. It takes civil society organisation," something the CSM Africa bureau chief fears countries south of the Sahara do not have at the same levels as their North African neighbours.

Emmanuel Kisiangani, a senior researcher at the African Conflict Prevention Programme (ACCP) at the Institute of Security Studies (ISS) in South Africa, believes the difference in the success levels of protests in North and sub-Saharan Africa can be attributed in part to the ethnic make-up of the respective regions.

"In most of the countries that have had fairly 'successful riots' the societies are fairly homogeneous compared to sub-Saharan Africa where there are a multiplicity of ethnic groups that are themselves very polarised. In sub-Saharan Africa, where governments have been able to divide people along ethnic-political lines, it becomes easier to hijack an uprising because of ethnic differences, unlike in North Africa."

'Where is Anderson Cooper?'

Egypt and Tunisia may have been the catalysts for demonstrations across the Arab world, but will those ripples spread into the rest of Africa as well and, if they do, will the international media and its audience even notice?

"What the continent lacks is media coverage," says Hinshaw. "There's no powerhouse media for the region like Al Jazeera, while European and American media routinely reduce a conflict like [that in] Ivory Coast or Eastern Congo to a one-sentence news blurb at the bottom of the screen."

Hinshaw is particularly troubled by the failure of the international media to pay due attention to events in Ivory Coast, where the UN estimates that at least 300 people have died and the opposition puts the figure at 500.

"With due deference to the bravery of the Egyptian demonstrators, protesters who gathered this weekend in Abidjan [in Ivory Coast] aren't up against a military that safeguards them - it shoots at them.

"The country's economy has been coughing up blood since November, with banks shutting by the day, businesses closing by the hour and thousands of families fleeing their homes," he continues. "And in all of this where is Anderson Cooper? Where is Nicolas Kristof? Why is Bahrain a front page news story while Ivory Coast is something buried at the bottom of the news stack?"

The journalist is equally as disappointed in world leaders. "This Friday, Barack Obama publicly condemned the use of violence in Bahrain, Yemen and Libya. When was the last time you saw Obama come out and make a statement on Ivory Coast? Or Eastern Congo? Or Djibouti, where 20,000 people protested this weekend according to the opposition?

"The problem is that most American media compulsively ignore everything south of the Sahara and north of Johannesburg. A demonstration has to be filmed, photographed, streamed live into the offices of foreign leaders to achieve everything Egypt's achieved."
 
Nanjala, a political analyst at the University of Oxford, suggests this journalistic shortcoming stems from journalists' tendency "to favour explanations that fit the whole 'failing Africa' narrative".

Filling a void

So with traditional media seemingly failing Africa, will social media fill the void?

Much has already been written about the plethora of social media networks that both helped engineer protests and, crucially, amplified them across cyber-space. Online-activists, sitting behind fibre optic cables and flat screens, collated and disseminated updates, photographs and video and played the role of subversive hero from the comfort of their homes. Of course, not all Tweets or Facebook uploads came from pyjama-clad revolutionaries far from the scene of the action - an internet-savvy generation of Egyptians was also able to keep the world updated with information from the ground.

"It's not clear to me that social media played a massive role in organising protests," says Zuckerman. "[But] I do think it played a critical role in helping expose those protests to a global audience, particularly in Tunisia, where the media environment was so constrained."

So, could the same thing happen in Africa?

"I think it's important to keep in mind that African youth are far more plugged in than most people realise. The spread in mobile phones has made it possible for people to connect to applications like Facebook or Twitter on their telephones," says Nanjala, adding: "At the same time, I think most analysts are overstating the influence of social media on the protests.

"The most significant political movements in Africa and in other places have occurred independently of social media - the struggles for independence, the struggles against apartheid and racism in Southern Africa. Where people need or desire to be organised they will do independently of the technology around them."

Baldauf concurs: "In every country you see greater and greater access to the internet and greater access to cell phone networks. I remember getting stuck on a muddy road in Eastern Congo, out where the FDLR [Democratic Forces for the Liberation of Rwanda] controls the mining industry. We had to stay the night in a village, the guests of a lovely old man in his mud hut. It was [at] the end of the world, but to get a phone call off to my wife and my editor, I just had to walk out of the hut and use my cell phone."

An important year

2011 is an important year for Africa. Elections are scheduled in more than 20 countries across the continent, including Zimbabwe and Nigeria.
 
But as food prices continue to rise and economic hardship tightens its grip on the region, it is plausible to imagine Africans revolting and using means other than the often meaningless ballot box to remove their leaders. 
 
"What people want is the democratisation of society, of production, of the economy, and indeed all aspects of life," says Manji. "What they are being offered instead is the ballot box."

But, Manji adds: "Elections don't address the fundamental problems that people face. Elections on their own do nothing to enable ordinary people to be able to determine their own destiny. "

This, according to Kisiangani, is because "the process of democratisation in many African countries seems more illusory than fundamental".
 
Gabon, Zimbabwe, even Ethiopia may never have the online reach enjoyed by Egyptians, and the scale of solidarity through linguistic and cultural symmetry may not allow their calls to reach the same number of internet users. But this does not mean that a similar desire for change is not brewing, nor that the traditional media and online community are justified in ignoring it.
 
Screens were put up in Tahrir Square broadcasting Al Jazeera’s coverage of the protests back to the protesters. It is difficult to qualify the role of social media in the popular uprisings gaining momentum across the Arab world, but it is even more difficult to quantify the effect of the perception of being ignored, of not being watched, discussed and, well, retweeted to the throngs of others needing to be heard.
 
Ignoring the developments in Africa is to miss the half the story. 

"The protests have created the 'hope' that ordinary people can define their political destiny," says Kisiangani. "The uprisings ... are making people on the continent become conscious about their abilities to define their political destinies."

Follow @azadessa on Twitter.

 
Source:
Al Jazeera

 

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Has Gaddafi unleashed a mercenary force on Libya?

Reports describe black, French-speaking troops but observers warn they could just be sub-Saharan immigrants in the army

Protesters chant anti-government slogans in Tobruk, Libya.Protesters chant anti-government slogans in Tobruk, Libya. Photograph: Asmaa Waguih/Reuters

There are widespread reports that Muammar Gaddafi has unleashed numerous foreign mercenaries on his people, in a desperate gamble to crush dissent and quell the current uprising.

Their origins vary according to speculation: Chad, the Democratic Republic of Congo, Niger, Mali, Sudan and possibly even Asia and eastern Europe.

The claims are hard to pin down but persistent. Ali al-Essawi, the Libyan ambassador to India, who resigned in the wake of the crackdown, told Reuters on Tuesday: "They are from Africa, and speak French and other languages."

He said their presence had prompted some army troops to switch sides to the opposition. "They are Libyans and they cannot see foreigners killing Libyans so they moved beside the people."

In a separate interview, Essawi told al-Jazeera: "People say they are black Africans and they don't speak Arabic. They are doing terrible things, going to houses and killing women and children."

Witness accounts seem to bear out the claims. One resident of Tripoli was quoted by Reuters: "Gaddafi obviously does not have any limits. We knew he was crazy, but it's still a terrible shock to see him turning mercenaries on his own people and just mowing down unarmed demonstrators."

Saddam, a 21-year-old university student in Bayda, claimed mercenaries had killed 150 people in two days. "The police opened fire at us," he said. "My friend Khaled was the first martyr to fall and seven others died with him.

"The next day, we were shocked to see mercenaries from Chad, Tunisia, Morocco speaking French attacking us ... We captured some of the mercenaries and they said they were given orders by Gaddafi to eliminate the protesters."

Amid the chaos gripping Libya, the volume of foreign mercenaries and much else remains confused. Some believe they could be veterans of civil wars in the Sahel and west Africa.

Ibrahim Jibreel, a Libyan political activist, told al-Jazeera that some had been in the country for months, based in training camps in the south, as if in anticipation of such an uprising. Others had been flown in at short notice, he said.

Some reports suggest white mercenaries have also been spotted fighting on Gaddafi's behalf. White South Africans who left the national army after the end of racial apartheid have been in demand for their expertise in various war zones, including Afghanistan and Iraq, but there is currently no evidence that any have joined the conflict in Libya.

Experts suggest that Gaddafi has plenty of options in the region. "He has traditionally had a network of skilled soldiers from all over west Africa," said Adam Roberts, author of The Wonga Coup, the story of a failed attempt by Simon Mann and other mercenaries to overthrow the president of Equatorial Guinea in 2004. "There are lots of Africans, particularly from west Africa or Sudan, who go to Libya because it's wealthier."

Mercenaries remain a potent weapon against civilian populations, despite the African Union's 1977 Convention for the Elimination of Mercenarism in Africa. Liberian civil war veterans have been hired by Ivory Coast president Laurent Gbagbo to terrorise protesters following his widely acknowledged election defeat.

Roberts added: "Gaddafi and other dictators tend to surround themselves with fighters who will be loyal to them rather than to a local faction. Foreign mercenaries are likely to be less squeamish about shooting at local people.

"They are likely to better trained – a small unit that can be relied upon. They might also have experience of fighting battles and therefore be more capable if push comes to shove."

The view was echoed by Reed Brody of Human Rights Watch. "It's hard to get your own people to shoot your own people," he said. "In this kind of situation, you can see why mercenaries would be an advantage because it's easier to get foreigners to shoot at Libyans than to get Libyans to shoot at Libyans."

Gaddafi can offer mercenaries what they want more than anything: money. Sabelo Gumedze, a senior researcher at the Institute for Security Studies (ISS) in South Africa, said: "Mercenaries are purely driven by profit. As long as they make money, they're going to do it, and leaders like Gaddafi have money at their disposal."

There is a constant supply of willing recruits, he added. "In Africa the process of demobilising rebels is poor. The only thing they know is how to fight. If someone can turn the barrel of a gun into profit, they jump at it. They have few other employment opportunities."

José Gómez del Prado, chair of the working group on the use of mercenaries at the UN human rights council, said: "You can find, particularly in Africa, many people who've been in wars for many years. They don't know anything else. They are cheap labour, ready to take the job for little money. They are trained killers."

Del Prado said he has heard the reports of mercenaries in Libya from a number of sources and is "very worried".

But some analysts urged against jumping to conclusions in Libya, noting that the country has a significant black population who may simply be serving in the regular army and could be mistaken for mercenaries. These include Chadians who sided with Gaddafi in his past conflicts with Chad and were rewarded with houses, jobs and Libyan citizenship.

The UN refugee agency (UNHCR) said yesterday it had received "alarming reports" that Libyans were turning on African refugees whom they accused of being mercenaries.

Issaka Souare, a senior researcher at the ISS's Africa conflict prevention programme, said: "In the south of Libya you do have people of sub-Sarahan origin, including Hausa speakers. Some might have integrated into the Libyan army and these would probably be among the first to be deployed. It will then be easy for people to say they are foreign mercenaries.

"People started talking about this issue on the third day, but I think Gaddafi should have had sufficient resources to deal with the protests before resorting to mercenaries. How long would it take Gaddafi to get mercenaries together and deploy them? Maybe a week. So I see it as unlikely at this stage, but it could happen if army defections continue."

>via: http://www.guardian.co.uk/world/2011/feb/22/gaddafi-mercenary-force-libya?CMP...

 

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TUESDAY, 22 FEBRUARY 2011

About Those 'African Mercenaries', An Open Letter to Al Jazeera From Africa

Dear .......... (Insert name of media organisation and modify letter as you wish)


Dear Al Jazeera

 

I have decided to write this letter to you as you've been the channel I watch the most for informative coverage on events in the Middle East and North Africa. In many ways your coverage has been amazing and I sincerely applaud the unbelievably brave efforts of your journalists who had to work under very difficult conditions to cover events in North Africa. However I now write to you with concern at international media's coverage of events in Libya, particularly concerning 'African mercenaries'. I honestly don't have a problem with the term 'African mercenaries' because this is how Libyans probably refer to Black non-Libyans, but what bothers me is the way some of your tv anchors and field journalists continue to push this meme on air. For example on Sunday the anchor on Al Jazeera English, David (I didn't get his last name, he was an older man with an English accent hosting the news around 6 p.m GMT) said 'mercenaries are coming from Africa' ...but Libya is in Africa. As correction perhaps, the Al Jazeera website had an excellent Features article, 'In Search of an African Revolution' the very next day on Monday (21 Feb) addressing this very issue. 


And yet your other journalists continue to refer to 'Black African mercenaries coming from Africa' (as with the 1p.m broadcast at the Egypt/Lybia border on 22 Feb with the courageous and brilliant Jamaal Elyshayyal) yet some of those mercenaries are also reportedly Arab and European. (RE: David Smith's column in Guardian UK) Understandably this may have been an unintentional oversight on the part of the news network as this is what Libyans on the ground are reporting, but I think continually pushing a singular narrative about a more complex story has the danger of reinforcing an African and Arab narrative that has an uncomfortable racial connotation to it. I am not accusing Al Jazeera of having a racial bias, far from it. I just feel its important for the network to be sensitive to how this issue plays out to an international audience of both Black Africans and Arabs when the full story is untold. 


Elsewhere, other Al Jazeera and international journalists who although tweeting in their personal capacity, tweet the news and again they repeat this 'mercenaries are coming from Africa' line. One has to wonder whether we're looking at the same map when we speak of Africa or is this some journo code-speak ordinary people are not privy to?


 
As reports are emerging, it seems to be that the 'mercenaries from Africa' are most likely from Chad, Niger, Nigeria, Tunisia and Guinea as well as South Africa and parts of Europe. So they are White, Arab, European and Black, not all Black Africans. They may not be from the Congo, maybe not from Somalia but almost certainly not Zimbabwe as some wild speculations claimed. Yes, there was no plane full of soldiers dispatched from Harare to Tripoli at 1 a.m (!) on Sunday morning - any well-educated Zimbabwean could have told these international journalists tweeting in their personal capacity that this 'witness account', as dubbed by Al Jazeera, was untrue. Of course AJE is only the messenger so you can't be blamed for what you can't verify and I don't blame you. But since this is an open letter I may as well post some info for other inquiring minds who'll stumble on my blog. For starters soldiers are not mercenaries, our history of mercenaries is mainly from the apartheid era, Mozambique's civil war and the Angolan war when White South Africans and White Zimbabweans (some of them were former Rhodesian soldiers) would use Zimbabwe as temporary base but they did not operate in Zimbabwe. Secondly today in Zimbabwe we have thugs (don't often use guns but often beat and rape) not mercenaries (skilled hit-men like Simon Mann (Equatorial Guinea plot)) that are busy with their own electoral campaign of violence, thirdly Zimbabwe's thugs* have no knowledge of Libyan terrain and finally Zimbabwe doesn't speak French. Sadly no amount of @'ing international journos on twitter could kill this rumor. But as untruths die in time, I sincerely hope that this untruth will die sooner rather than later. (see David Smith'scolumn in the Guardian UK)

 

 Anyway about these mercenaries and Al Jazeera's role in coverage. As there have also been suggestions that it is likely the 'African mercenaries' are from Chad, Niger, Nigeria, Tunisia and Guinea. I'd like to know why an investigative journalist couldn't be dispatched to these countries to find out how the mercenaries work - surely Chad, Tunisia and Niger are not as hostile to international journalists as Mummar Gadaffi's Libya. If not, could a Chadian Ambassador or Activist could be invited to Al Jazeera studios to share their view? How can the story of mercenaries be reported to the exclusion of Chad, yet Chad is the French and Arabic speaking nation where some of these hitmen are allegedly coming from?  


 It bears repeating that Chad is an Arab African nation. It is Libya's neighbor. As your coverage is mainly centered on the 'Arab World' its tempting to think that Chad is perhaps not Arab enough that it should be spoken of and not spoken to in news reports and analyses. I appreciate that this is a fast-developing story and there are many angles to cover, but the impact of events in Libya on security and political relations between these two countries cannot be so insignificant that it's not worthy of mention, can it? At the very least one would think, Idriss Deby must be having sleepless nights while the Arabs next door are revolting. He could very well be the next Arab dictator to go. Does the Chadian government not have an opinion on the fact that the Brotherly Leader, King of Kings of Africa is said to be using Sub-Saharan Arab Africans and Africans to kill North Africans? Oops I'm sorry, I meant Chadian gunmen are allegedly crossing the border to help murder protesting Libyans? And Niger? Is it too poor to mention? 0.12% of the people speak Arabic if that helps. 


UNHCR is becoming increasingly concerned at the displacement and violence experienced by foreigners living in Libya, including the other one million plus legal and illegal migrants from different parts of Africa other than Egypt. In the interests of humanity, its only fair and right that Al Jazeera to report on the fate of these people as well as they have reported Egyptian, Turkish and Italian migrants returning from Libya. There are another one million plus legal and illegal migrants from different parts of Africa otherthan Egypt. What is their fate? Surely their welfare is important enough to be covered by the media?


This isn't just an Arab story, its an African story and it's a World story too. It must be told as such, with its multi-layered, complex, tragic and heartwarming narratives including the all too-often forgotten voices of poor migrants and refugees of all hues, tongues, nationalities and faiths.  


Al Jazeera's code of ethics states that the organisation aims to: 
 
1. Adhere to the journalistic values of honesty, courage, fairness, balance, independence, credibility and diversity, giving no priority to commercial or political over professional consideration.
2. Endeavour to get to the truth and declare it in our dispatches, programmes and news bulletins unequivocally in a manner which leaves no doubt about its validity and accuracy.


To me, this suggests that Al Jazeera strives to be impartial, give a voice to the voiceless and empower people to hold their governments and institutions to account. As the media organisation is becoming a leading player in international affairs, Al Jazeera has the chance to re-shape political and social discourses of our time, it has the potential to shift the centers of power from the traditionally empowered to the historically marginalized. Given that Al Jazeera wields this potential influence to enable a plurality of voices to speak, as a viewer, I don't understand why the Libyan Uprising being covered from a largely singular perspective. I feel that the story is still told from a West v Middle East perspective. Granted it is thankfully being told from the Middle Eastern side, but the speakers still remain the same. You promise to uphold 'fairness, balance' so it's fair to ask when will other voices be invited to speak on this matter? Here's a suggestion, just for a day, in between field reports, you could have ongoing satellite conversations with diplomats from the UN, AU and Arab League battling it out with Libyan activists and bloggers who want to know where the real help is for Libya is, rather than going through a never-ending list of London and Washington's political and financial experts. I think that would be an 'unequivocal' display of 'fair and balanced' ethics, non?  


If the Arab League, the EU and United Nations are being interrogated for their role in stopping the carnage in Libya, then the AU should be in the spotlight too. Its shameful that they have been silent on this issue and yet they, under Article 4 of the Constitutive Act, have a humanitarian responsibility to intervene in the affairs of a member state of the African Union when a crime against humanity is committed. Its funny but sad and infuriating that Al Jazeera spends more time discussing what the Arab League must, can or will do yet it can only issue condemnations and suspensions of Libya. None of these things will stop the carnage. The African Union has a peace keeping force that could help Lybia, that is why John Kerry of the Obama administration suggested this tonight (at about 7 p.m GMT 22 Feb), but the Al Jazeera anchor and Libyan analyst in the studio glossed over this and went back to discussing the Arab League and UN. 
The news broadcast then switched to gathering views from around the world and South America, North America and Europe all had opinions. Nothing from Africa. Nothing from Asia. I laughed out loud, but inside I died a little and it hurt a bit. Is the Africa beneath the Sahara that irrelevant? Have African leaders, diplomats and UN representatives not been asked? Perhaps your Africa news desk is aware that the African Heads of Missions (AU) might be meeting in South Africa today. If its taking place it would be great if one of your correspondents in S.A could ask senior AU figures about the possibility of sending Lybia some of the peacekeeping troops that are partly funded by Gadaffi? As an African member-state, this is Libya's security investment so the AU should be pressured to get in there and save Libyans from the terror of this mad man and his sons. Please don't let the AU escape from responsibility because it doesn't fit the 'Arab World Revolutions' narrative. Right now Libyan lives matter more than pondering about 'new pan-Arab uprisings' and decoding Hillary Clinton and William Hague's diplo-speak.


I honestly don't mean to offend, but I'm a frustrated viewer who enjoys Al Jazeera's coverage and believes that the network has the ability to be the champion of the people. All people. As an African I was raised to see to the Continent as a whole with all its differences, contradictions and multiple identities, not to the exclusion of others. We are all Africans. The countries below the (sometimes imaginary) Saharan line may be the North's poorer half, but we matter too. In solidarity, the Lybian, Egyptian and Tunisian struggles are mine too as a young-ish person who lives under an oppressive regime. Including the Sub-Saharan Africans in this conversation would only further the North Africans cause as both the AU like the Arab League is a mixed club of despots and liberals all of whom have a case to answer to oppressed peoples on the whole Continent.


 
You can see a slightly longer version of this letter posted on my blog. A number of people have read it, shared it on twitter and some people, North Africans included, have commented on the post. I have also shared it on Twitter and have gotten a positive response thus far. I hope that despite, my cheekiness you will address my concerns. You may perhaps take comfort in knowing that I'm not singling out Al Jazeera, it's an across the board progressive media non-engagement with Africa as a whole and I will be writing open letters to the few revolutionary-inclined print media organisations that I've relied on for coverage as well.  

I look forward to receiving a response from you regarding the concerns I have raised. 

Thank you for reading my letter.

Yours Sincerely

A. Viewer
*'Zimbabwe's thugs' is not to imply that I am covering or defending for their brutality but a clumsy way of saying that their violence has been unleashed out on innocent, often defenceless people within the borders of Zimbabwe.
** This is the modified (supposedly better) version of a letter that I have now sent to AJE.
-------------------
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By KonWomyn
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CULTURE: BADILISHA POETRY EXCHANGE

Background and Context to Badilisha and the Africa Centre

For a range of historical, political and economic reasons, many of the important collections and productions of African art today are located or performed outside of Africa. As a result, Africans living on the continent have limited access to their own artistic heritage and the work of contemporary practitioners. Based in South Africa, the Africa Centre was conceived as both a physical entity and an ongoing philosophical journey that aims to redress these imbalances.

The poetic voices from Africa and its Diaspora are no exception to this reality. New voices in Pan-African poetry have historically gained their global exposure and documentation through foreign publications and academic research. These
narrow channels have limited the plethora of African writers, poets, and academics from being read and heard throughout the world.

The lack of publications and recordings has meant that most young African poets and writers are primarily influenced by the work of literary icons from the Global North through what they have been taught in school, read about, seen and heard. Their knowledge of African authors and poets is limited, preventing the inspiration and influence vital to their growth, development, self-confidence and sense of place.

The issues are not confined however to simply the lack of access and outlets. Equally important are what Pan-African’s have to say.  The contribution Pan-African poets and writers have made to social transformation throughout history is immeasurable. The poetic medium provides an extraordinary tool to define, expose and fundamentally shape our perceptions of the worlds we occupy.  Bringing these Pan-African voices beyond their localities can make a vital contribution to both Africa and the rest of the world.

The Radio and Event Platforms

The Badilisha Poetry X-Change project plays out its vision through Badilisha Radio. The project has been created to encourage and present:

  • Platforms for the exposure and growth of unheard voices;
  • Opportunities for established and aspirant poets to engage with each other and their work for mutual benefit through networking and skills transfer;
  • Diverse genres of poetic expression including performance and multi-media;
  • Access to wider market places utilising these media; and
  • Spaces for discussion and debate, as a means to explore and mature the poetic form as a tool for social activism.

Badilisha Poetry X-Change continues to grow in its fulfilment of these objectives and is proud to be a unique international poetry project based and produced on the African continent.

The main information sections on this site has been translated from English into French/Portuguese. Some sections of the website are being constantly uploaded, and therefore the information on the poets, the introduction to the poems remain in English, and the poems themselves remain in their original language. The podcasts are introduced in English.

The Team
Ingrid Masondo

Ingrid Masondo

Curator

ingridm@africacentre.net

 

Masondo was born and (mostly bred) in Soweto, and has worked in the creative industries in a variety of institutions and capacities for more than a decade.

In the music sector, she has coordinated and managed a range of projects and productions, including artist and live event management, production and tour management, as well as programming. On a retreat from the music industry, she went on to study photography at the renowned Market Photo Workshop in Newtown - Johannesburg. Between 2002 and 2007, while completing some courses there, Masondo subsequently became very involved in the activities and programmes of the institution - as photographer, project manager, curriculum manager, and curator, amongst others. Although she admits to being a ‘reluctant’ photographer, her photographic work has been featured in various exhibitions and publications in Southern Africa and abroad.

She is currently completing her studies in Public and Visual History, while continuing to explore her personal photography projects, particularly on the human body and form. Apart from music and photography, Masondo declares she’s also passionate about poetry, dance, reading, fragrances, travel and dreaming. Masondo is also a member of the SPACE collective (Smart Partnerships in Art & Creative Enterprises).

 

Malika Ndlovu

Malika Ndlovu

Badilisha Radio Guest Presenter

malikan@africacentre.net

 

Malika Ndlovu is a poet, playwright, performer, arts project manager and mother of three sons, with a wide range of experience in the Arts and Arts Management arena. Malika is a founder-member of Cape Town-based women writers' collective WEAVE, co-editor of their multi-genre anthology WEAVE’s Ink @ Boiling Point. Malika has had four poetry collections published, namely Born in Africa ButWomb to World: A Labour of Love,Truth is both Spirit and Flesh and Invisible Earthquake: a Woman’s Journal through Stillbirth a poetic memoir published by new South African Women's press, Modjaji Books. Her published plays include the award-winning drama A Coloured Place and Sister Breyani.

Between 2007-2010 Malika was co-curator of the Africa Centre’s Badilisha Poetry X-Change. She is now a guest presenter for BadilishaPoetry.com. As an independent artist, Malika operates under the brand New Moon Ventures and is dedicated to creating indigenous, multi-media and collaborative works in line with her personal motto "healing through creativity." Visit www.malika.co.za.

 

Mbali Vilakazi

Mbali Vilakazi

Badilisha Radio Guest Presenter

mbalentle@gmail.com

 

Emerging voice, Mbali Vilakazi is a writer, poet, performer and vocalist, who describes herself as ‘a child of the city by the sea, who came into being under the watchful eye of a silent mountain’ and traces her beginnings as 'a patient journey through and within the heart of the city into herself’. She contextualises herself as a soul activist with the dream of a youth that rises to assume both its relevance and place. She has performed on several platforms and is compiling her first anthology.

 

Mimi Cherono Ng’ok

Mimi Cherono Ng’ok

Badilisha Poetry Researcher

mimin@africacentre.net

 

Born 1983, Mimi Cherono Ng’ok is a Kenyan photographer, based between Cape Town and Nairobi.  In 2006 she completed a Bachelor of Arts degree in Fine Arts from the University of Cape Town with her graduate exhibition documenting experiences of African immigrants within South Africa. With support from the Edward Ruiz photography mentorship award Mimi Cheron Ng’ok completed a photographic series on African immigrants in South Africa and had a solo exhibition at the Market Photo Workshop gallery in Johannesburg. She has exhibited in Johannesburg, Cape Town, Maputo, Tarifa, Nairobi and Berlin. Currently, she works in Cape Town, continuing her project on African immigrants

 

Felicia Pattison-Bacon

Felicia Pattison-Bacon

Festival Administrator

feliciapb@africacentre.net

 

Technical Credits

Badilisha! Radio, Sound Engineer:

Mogale Mamaila, Bagale Sounds 
email: bagale@homemail.co.za

Badilisha! Radio Jingle Composer:

Garth Erasmus, Khio Khonnexion
email: sherasmus@mweb.co.za

Design:

Two Shoes 
web: www.twoshoes.co.za

Zero One One 
web: www.011.co.za

Web Development:

Tenacity Works
web: www.tenacityworks.com

Brandscape Digital
web: www.brandscapedigital.co.za

via youtube.com

 

VIDEO: Rage Against The Machine - Music and Advocacy « Independent Global Citizen

Rage Against The Machine

Music and Advocacy

Posted: January 31, 2011 by Independent Global Citizen in Politics, Entertainment, Music
Tags: ,

The power of music can inspire and advocate social and political change. I highly recommend this documentary that chronicles the role of music in addressing public-policies and challenges with political ideologies, economic structures, social systems and institutions.  It highlights the powerful music and influence of Rage Against The Machine.

 

 

 

VIDEO: AP History Month: Grace Jones Is Punk As Hell! - AFRO-PUNK

AP History Month: Grace Jones Is Punk As Hell!

So it's Black History Month. Most media outlets are busy honoring the usual historical figures of African descent, as they should. But this is Afro-punk, and it's time to take minute to acknowledge the ultimate counter-culture soldier, Ms. Bad-Ass herself, singer/songwriter/performer/model/actress Grace Jones. I don't care how old you are, you need to know that Grace owns this shit, the timeless talent, the "fuck you" attitude, the outrageous fashion, the political lyrics. Don't come to me talking about your latest starlet of the moment, I'm talking about Legendary here, OK? :-P

Grace Jones Is Punk As Hell
by Lou Constant-Desportes

Born in Spanish Town, Jamaica, Grace Jones moved to the U.S. as a teenager when her parents relocated. She comes from a very religious family, which seemingly gave her something to rebel against... She later became a model in New York City and got signed to Island Records in 1977. But we figure you know how to use Google, so instead of giving you a history class about her career and accomplishments, let's focus on her art and how unique and subversive it is.
First thing first, the woman is one of the most charismatic performance artists of our time. The kind of artist you have to see Live to fully understand the scope of their talent. The videos included in this article are there to show you what we're talking about, please watch them.
;) Let's start with a stunning performance during which Jones sings about a man "pulling up to her bumper with his long black limousine", while members of the British Royal Family are in the audience. She got balls, I tell ya!

 


(note the natural hair when she takes her hat off, while most famous Black female artists are busy
spending all their dough on lace front wigs made of European/Indian hair)

 


One of Jones' main qualities as an artist is her versatility. Don't even try to put her in a box. One day she's in Jamaica singing in patois with Sly & Robbie, the next she pulls off a jaw-dropping performance next to tenor Luciano Pavarotti, or at a high-profile fashion event. Proud of her Caribbean roots, she often includes reggae and other sounds from the islands in her recordings and shows.

 

 

 

Watch this:

 

 

But at the end of the day, if Jones' recording career spans 4 decades, that's because she wrote and recorded timeless music, with the help of inspired producers like Chris Blackwell, Nile Rodgers, and more recently, Tricky. One of the best example is 'Slave To The Rhythm', produced by Trevor Horn:

 

 

 

 

'Hurricane', produced by Tricky - another powerful performance:

 

It's not all about hot tracks and extravagant shows though. Jones' songs often tackle social issues, politics... If you thought 'Slave To The Rhythm' was about shaking your thang at the club, think again. The lyrics are about "the system" and how many of us are slaves to a way of life that involves working 'for the man' and do what society expects from us in order to survive.
'Corporate Cannibal', the lead single from her latest album 'Hurricane', is about capitalism and corporations. Brilliant song and video...

 

 

 

 


As for her fashion icon status, well, the avant-garde, androgynous, extravagant looks speak for themselves. She's a muse to designers and artistic directors alike. No other pop artist is in her league. Except Madonna maybe... ALL the other ones a pale copies, you heard?!

 

 


In today's music world, few artists have such staying power. Like a force of nature, Grace Jones is a better performer than ever at 62, touring the world, giving one mind-blowing performance after the other, putting out the kind of music she wants to make. So yeah... Grace Jones is punk as hell! And that's the gotdamn truth.