NINA SIMONE
Antibes 1965
NINA SIMONE
Antibes 1965
The 1st Black Superstar
© Forget About It Film & TV, for BBC Wales. 2006. Narrated by Josette Simon. Directed by Suzanne Phillips.
AROHO’s Orlando Prizes & eMessage Competition
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The Pinch Literary Awards in Fiction,
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Poetry, and Creative Nonfiction 2013
Sponsored by the Hohenberg Foundation
Fiction First Prize: $1,000.00. Judged by Roxane Gay.
Poetry First Prize: $1,000.00. Judged by Mark Jarman.
Creative Nonfiction First Prize: $1,000.00 Judged by Abigail Thomas.For more on our illustrious judges, read this.
ENTRY PERIOD:
December 15th – March 15th. Entries not postmarked within the reading period will be discarded unread.PUBLICATION:
All entries are considered for publication. First, second, and third place winners will be selected from each category. The first place winners will be published in the Spring issue following announcement. Second and third place winners will be given high-priority consideration for publication, but because of space, cannot be guaranteed. Due to the high volume of submissions, any prize winners will be ineligible for contest participation for three years.CONTEST RULES:
Only unpublished work will be considered. Simultaneous submissions are welcome, but notify us immediately if work is accepted elsewhere. No refunds will be issued. Manuscripts will not be returned. You may submit entries online via the link below or via mail. Emailed entries will not be considered.INELIGIBLE:
No translations will be considered.
Current students and faculty of The University of Memphis, as well as volunteer staff members for The Pinch, are not eligible.ENCLOSE THE FOLLOWING WITH EACH ENTRY:
- $20 for the first entry; $10 for each subsequent entry. Fiction entries should not exceed 5,000 words. An “entry” in the poetry contest is 1-3 poems, and please include $10 for each group of three after the initial entry. Poems need not be related. Please make checks payable to The University of Memphis Foundation. No cash, please. The $20 entry fee also includes one issue of The Pinch. Additional postage charge for international subscriptions.
- A cover sheet with the author’s contact information: name, address, phone number, and email address. The author’s contact information should not appear on the manuscript itself. Entries that do not adhere to this policy will be discarded unread. Please notify us if your address or email changes.
- An optional self-addressed stamped postcard for notification of receipt of entry and entry number.
Entering the Contest:
SUBMIT ENTRIES ONLINE HERE.
OR
MAIL ENTRIES TO:
Fiction Contest
The Pinch
Department of English
The University of Memphis
Memphis, TN 38152-6176or
Poetry Contest
The Pinch
Department of English
The University of Memphis
Memphis, TN 38152-6176or
Creative Nonfiction Contest
The Pinch
Department of English
The University of Memphis
Memphis, TN 38152-6176See also:
General Submissions
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Dzanc Books is looking for literary fiction that takes chances and does so with great writing. We do not mind books that do not fill a marketing niche. We are looking for absolutely fantastic works to fill those slots. It really is all about the writing to us.If you believe you have a novel that meets what we are looking for, please feel free to submit a portion of your manuscript to us.
1) If submitting a novel (please no young adult fiction), or literary nonfiction, please submit the entire manuscript using our submission manager.
2) If submitting a story collection, please see the Short Story Collection contest guidelines below.
3) Please note that due to an increased number of incoming manuscripts, it might take up to five or six months to respond.
Thank you for your interest in publishing with Dzanc Books.
The Dzanc Books Short Story Collection Competition
Congratulations to Anne Valente, whose manuscript, By Light We Knew Our Names, has been selected as the winner of the 2011 Award, joining previous winners David Galef, Luis Jaramillo, and Jason Ockert.
Dzanc is currently holding its fifth annual contest for all authors wishing to submit a short story collection to Dzanc Books. The winning author will be published by Dzanc in late 2015, and will receive a $1000 advance.
The contest deadline is December 31, 2012. Those submitting prior to September 30 will see a $5 reduction in cost to enter as well as receive the eBook of their choice free. The winner will be announced in the first quarter of 2013. All those that submitted will be apprised of the winner by email before the announcement is made public.
Please Note: By submitting to Dzanc Books, you are also being added to our email list from which we send out information about upcoming books, events and programs. We will never give out your e-mail to anyone else. Thank you.
The Dzanc Novel Award for Mid-Career Writers
In an effort to further support writers in mid-career, Dzanc Books announces the launch of our Dzanc Novel Award designed to advance the publishing career of an established author. While at times it seems the publishing industry is only interested in the next big thing, we at Dzanc recognize the value of experienced writers who have gone through the process of creating and publishing two or more books. Mid-career writers are the backbone of our industry yet often these writers are overlooked and have a harder time finding a publisher than first time writers. In response, we at Dzanc have created this prize to honor those writers who have stayed the course and learned a thing or three over the years. Congratulations to Andy Plattner for receiving the first Award for his Offerings from a Rust Belt Jockey.
We are looking specifically for a writer with at least two full-length previously published books, either novels, short story collections, and/or non-fiction.
- Entry to our novel prize involves sending a copy of your full manuscript, a cover letter detailing your previously published full-length books, as well as a $25 entry fee.
- Entries by writers who have not yet published at least two full-length books will not be considered.
- The deadline is January 31, 2013.
- Every person that submits will receive a complimentary eBook from Dzanc (selected from one of the titles that has been a monthly selection in our eBooks Club) within 24 hours of submitting their manuscript. Those submitting prior to October 31, 2012 will save $5 by only paying a $20 entry fee.
There will be a winner selected, guaranteed, and this book will receive our standard publishing contract to be published both in print and as an eBook in November 2014, including a $1000 advance and promotional efforts such as arranging a book tour.
To submit, first pay your $25 ($20 if prior to October 31, 2012) entry fee using the paypal button below, then send your cover letter and full manuscript (in .DOC, .DOCX, or .RTF format) to novelcontest@dzancbooks.org. (Entries received without an entry fee or a cover letter containing details of your previous books cannot be considered.)
Email submissions are strongly preferred, but if you need to submit by postal mail, please send all of the above (plus a check for $25 made out to Dzanc Books) to Steven Gillis, at 5220 Dexter, Ann Arbor, MI 48103.
The Dzanc Poetry Collection Competition
Dzanc Books announces the Dzanc Poetry Competition Competition, an annual prize for a book of poetry. The judge for the inaugural contest will be C. Dale Young. The contest is open to new and published poets, and we invite submissions of poetry in all modes and aesthetics. The Dzanc Poetry Competition Competition-winning manuscript will be published in high quality trade paperback and ebook versions. The winning author will receive a $500 advance and a standard Dzanc publishing agreement including support for readings and distribution via Consortium and our network of ebook distributors. Finalist and runner-up manuscripts may also be considered for publication.
The Judge
C. Dale Young is the author of three collections of poetry: The Day Underneath the Day (Northwestern 2001), The Second Person, and Torn (Four Way Books 2007, 2011). His poems and stories have appeared in numerous magazines, journals, and anthologies, including several installments of The Best American Poetry series. A recipient of fellowships from the National Endowment for the Arts, the Rockefeller Foundation, and the John Simon Guggenheim Memorial Foundation, he practices medicine full-time, edits poetry for the New England Review, and teaches in the Warren Wilson College MFA Program for Writers.
Specifics
- The contest deadline is January 31, 2013.
- The winner will be announced in the second quarter of 2013. All entrants will be notified of the winner by email before the announcement is made public.
- Previously published excerpts or individual pieces are acceptable as part of your entry, but the manuscript as a whole must be unpublished.
- Simultaneous submissions are acceptable, but entries should be withdrawn immediately if accepted elsewhere.
- Once submitted, manuscripts may not be revised without a complete withdrawal and the payment of a new entry fee.
- You may enter the contest as many times as you like, but each entry will require its own separate entry fee.
- Relatives, close friends, and/or former students of C. Dale Young should not enter this contest, and will not be eligible to win in the case of their entry. If such a winner is selected, the manuscript will be disqualified at our discretion, and no refund of entry fees will be granted.
Submission Instructions
Electronic Submissions are strongly preferred.
Electronic Instructions:
- Click on the Enter Now link below—you’ll be led to Submittable.com where you will make your payment, and upload your file: the manuscript itself can not have your name or any other identifying characteristics anywhere on it—we will have access to that information via Submittable.
Postal Mail Instructions:
- Please send a cover letter, which should include your full name, address, and telephone number, and the manuscript itself which can not have your name or any other identifying characteristics anywhere on it. (plus a check for the $25 reading fee made out to Dzanc Books) to Dzanc Books, 1334 Woodbourne Street, Westland, MI 48186.
NALO HOPKINSON
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Acclaimed science fiction writer and educator Nalo Hopkinson examines ongoing discussions about the growing importance of racial and gender diversity in science fiction.
(via latinegrasexologist)
Skin Bleaching, Self-Hatred,
and “Colonial Mentality”
BBC Africa recently posted an article by Pumza Fihlani entitled “Africa: Where Black is not really Beautiful.” Highlighting the well-publicized case of South African musician, Nomasonto “Mshoza” Mnisi, who openly (and unapologetically) acknowledges lightening her skin, the article positions skin bleaching the result of “low self-esteem and, to some degree self-hatred.” While Mnisi herself admits that her decision to lighten her skin is indeed “part of … a self-esteem issue,” can we safely conclude that skin bleaching, a now global, and widely practiced phenomenon, is the result of low self-esteem and/or self-hatred? Among those who bleach, can we be sure that the motivating factors are identical just because they all engage in a similar practice? And if the goal is to understand skin bleaching enough to be able to curb, if not stop the practice, how useful would an individualized approach to skin bleaching be to the hundreds of thousands who bleach all over the world? Perhaps the goal is not to eradicate skin bleaching. Perhaps sensationalizing it is.
In “On Yellow Fever,” I mentioned that I’m bothered by how the self-hate ‘diagnosis’ is so easily assigned to people, specifically women, who bleach their skin. Within the discourse surrounding skin bleaching in Africa and other parts of the Diaspora specifically, this diagnosis is more frequently labeled a “colonial mentality.” Defined, this
mentality almost invariably leads many Africans to prefer European things – values, practices, institutions, and so on – even if a closer look might suggest that the equivalent African ‘thing’ is of comparable worth (Gyekye, 1997, 27).
Connecting this ‘diagnosis’ to the skin bleaching epidemic, many journalists and researchers, including Fihlani, have argued that the “European thing” that Africans who bleach their skin prefer is a white skin color.
Numerous assumptions attempt to account for skin bleaching among populations with histories of colonial subjection. Skin bleaching, in the eyes of many commentators, reflects a desire to “de-Africanize” oneself due to a negative African/Black self-concept and further represents an attempt to emulate Whites. The popularity of the “colonial mentality” rationale for skin bleaching suggests that somehow those Africans who bleach their skin ought to “know better.”
When I spoke directly with individuals who bleach their skin in Ghana, a number of them reported that part of what makes light skin appealing is its presumed connectedness to Whiteness. The idea that in a society where the large majority of people look like me or darker, to have light skin means that you may have White (or Other) ancestry. And if in this context, Whiteness has been historically projected as inherently better than Blackness, to have White blood automatically renders one better than average. While at the surface level, this type of thinking can absolutely be plugged into the “colonial mentality” definition, we cannot treat skin bleachers as if they exist within an ahistoric, apolitical vacuum. They are members of a larger society that has, and continues to privilege Whiteness.
The value bestowed light skin in its presumed connection to Whiteness reflects a larger framework. It reflects the extent to which the entire society continues to privilege Whiteness. So if there is such a thing as a “colonial mentality,” our society undoubtedly engenders it.
Now of course, with our skin color being the immutable mark of our Blackness, skin bleaching emerges as the most egregious attack on our identity, the most literal proponent of White Supremacy. Nevertheless, it is but ONE reflection of White Supremacy. So while we’re passing judgment, and ridiculing African women as ‘naïve’ or ‘irrational’ for thinking lighter skin is more appealing, we ignore the fact that you can’t walk through the streets of Accra without being bombarded with 60 ft billboards for skin bleaching products.
Open a popular magazine marketed towards African women and encounter pages upon pages of ads for skin bleaching products.
If we really want to understand the connection between White Supremacy and skin bleaching, we need to discuss how Africa has become a proverbial dumping ground for chemicals deemed unfit for White bodies. Most of these skin bleaching products are manufactured in Europe and Asia, places where the active ingredients have been banned. Banned from use, not manufacture. It seems then that the products are made specifically for Black bodies, or bodies ‘of color.’ Why aren’t African countries closing their borders to the import of these products? Well, according to the Ghana Food and Drug Board (FDB), the country needs to encourage free trade. Said another way, the Ghanaian government needs European products. Please review the definition of “colonial mentality” above. Thank you.
We should exercise more care in the ways in which we present skin bleaching as an indication of colonial mentality. Skin bleachers are continuously depicted as objects of society as opposed to active agents who negotiate the meaning of their reality. By focusing almost exclusively on female bleachers, not only do we gender the entire phenomenon female, but in chastising women for “betraying their culture,” members of the press present female bleachers as both naive and irrational for believing that lighter skin is more appealing. So let me get this straight – on the one hand, the popular press supposes that women who bleach do so as a result of their inability to resist colonial projections of Whiteness as the standard of beauty for women, yet on the other hand, the popular press, inclusive of the African media, continues to project images of presumed female beauty that often look nothing like the large majority of African women. Watched a Nollywood film lately? Who is more often positioned as the object of desire?
If the media indeed understands the colonial mentality, then they should understand the power of dominant imagery to affect the consciousness of the society. In the same way that the colonial order projected images of Europeans and advertisements for European commodities in an effort to construct and further validate a superior White identity, it appears that in the press’s continual projection of European (read: White) beauty ideals, that they too continue this legacy of White supremacy. Yet it is skin bleachers who suffer from “colonial mentalities?”
Instead of asking women why they bleach, why aren’t we asking men why they “prefer light skinned women?” Or why they feel emboldened to make public statements about their preferences.
There’s a fine line between “preference” and pathology – and the pathology is White Supremacy. Where is the discussion of the “low self-esteem” and/or “self-hatred” of these men?
In 2012, when most of Africa seeks “modernization,” what would be the parameters of a colonial mentality and how would it be measured? Would wearing Western clothes, obtaining Western educations or migrating to Western countries characterize colonial mentalities? Or would the fact that Christianity is the largest practiced religion in Ghana indicate widespread colonial mentalities? Perhaps the fact that lawyers and judges in “independent” Ghana still wear powdered wigs evidences colonial mentalities.
Where is the discussion of self-hate and colonial mentalities now?
My point is where do we draw the line? Why are skin bleachers positioned as the proverbial poster children for colonial mentality? For as much as the media seems to be interested in chastising women, to date, I have seen no commentary offered by the Ghanaian press about the prevalence of hair straightening or the widespread marketing campaigns for chemical hair relaxers in Ghana.
Nor have I seen any commentary about the number of toddler girls (ages three and younger) whose mothers have added European textured hair extensions to their hair. What is our investment in supporting one aspect of a European aesthetic for Ghanaian women (chemical hair alteration/Euro-fashioned hair extensions), yet completely rejecting another (skin bleaching)? Could it be that we continue to seek social acceptance based upon what it means to look “civilized” in the eyes of the rest of the “civilized” world? Possibly, but if you understand my point, then you can begin to understand the complexities of the skin bleaching phenomenon, and thus the limitations of the “colonial mentality”(and by extension “low self-esteem/self-hatred) diagnosis.
If skin bleachers suffer from colonial mentalities, low self-esteem, and/or self-hatred, then in some ways, so too do we all.
How I Learned
That A Healthy Relationship
Is More Than Having
A Sexually Satisfied Partner
January 3, 2013 | by Skylar ShibataOriginally published on Role/Reboot and cross-posted here with permission.
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Credit: Rare Fashion
Skylar Shibata shares her deeply personal experience with rape, post-traumatic stress disorder, sexual dysfunction, and learning to accept love.
My first sexual experiences taught me that sex is all about power and control. For me, being in a relationship meant relinquishing any power or control I had over my own body and my own emotions. Sex was the key to emotional security; when my partner was sexually satisfied, I was emotionally satisfied.
It took four years of counseling with a therapist specializing in trauma for me to understand that this was a very unhealthy way of thinking. My therapist helped me push past the memory blocks my mind had put up, and I started to remember the truth: that those first sexual experiences were not healthy and consensual; they were manipulated and coerced.
I can still remember that session—how the memories suddenly flooded my mind. I kept hearing his voice telling me over and over again, “You can say ‘no,’ but it makes me feel like you don’t love me…” Those words were like a gun to the head of 16-year-old me.
All I managed to vocalize to my therapist was that he made me do things I didn’t want to do. So she said it for me.
“Skylar,” she said. “That’s rape.”
It was during that session that I was diagnosed with post-traumatic stress disorder (PTSD).
*****
Getting the appropriate treatment for PTSD is crucial, but it’s not a magic cure. I can’t speak for others with the disorder, but for me it was like taking college courses—you learn a lot of theory, but until you enter the “real world,” you’re not quite sure how it all applies.
If my post-therapy relationships can be likened to a final exam, I think it’s pretty safe to say that I failed. Many, many times.
Theory and reality were simply too tough for me to reconcile. Intellectually, I understood what it meant to set my own boundaries. To have more than just physical intimacy. To have a partner who loved me for more than the ways I could get him off.
When it came to reality? Well, perhaps I could’ve used a little more time in therapy, but my former insecure, emotionally unhealthy self took over as soon as physical intimacy became a part of the relationship. I wanted to be physically intimate all the time, not because I had a high sex drive, but because of the overwhelming anxiety I experienced when we weren’t physically intimate.
After all, a sexually satisfied partner meant an emotionally satisfied me.
My anxiety was exacerbated by a partner who truly enjoyed spending platonic time with me, a concept I could only understand in theory. I didn’t understand why when we’d go to bed at night, sometimes he’d just wrap his arms around me and go to sleep. I’d lie there, heart pounding, wondering what I’d done wrong to make him lose interest in me.
I didn’t understand how we could get through an entire movie without touching each other in a sexually intimate way. After all, my first relationship taught me that a well-performed blow job was the fee for whatever activity I really wanted to do.
Why weren’t these things requirements anymore? Didn’t he want me? Didn’t he feel desire for me? It’s as if I had forgotten everything I’d learned in those therapy sessions.
The anxiety was intense, and it had me constantly questioning my partner’s feelings for me. After all, if he really had feelings for me, he’d desire me sexually at all times, right? Irrational, yes. But that’s the nature of PTSD.
Then suddenly, I began to experience a kind of sexual dysfunction.
*****
It took a year and a half, two doctors, and many blood tests and ultrasounds to come to a diagnosis of polycystic ovarian syndrome (PCOS). While it’s different for every woman, the first signs I had were bleeding with intercourse (a frightening experience if it’s never happened to you before), followed by prolonged abnormal uterine bleeding, which at one point lasted more than 30 consecutive days.
This makes it very difficult to have normal physical intimacy with your partner.
My anxiety skyrocketed. I could no longer fully please my partner whenever he wanted to be intimate. I knew there were other ways, but the feelings of inadequacy, of ugliness, and of being completely undesirable made those attempts feel shallow, pathetic.
How could he want me? How could he want to be with me, this disgusting, unsexy, asexual thing I had become? I was forced into a semi-platonic relationship with my boyfriend, and I was terrified.
Having PCOS forced me to confront a fear created by the trauma of rape—that no one could ever love me; that my worth was determined by my sexual performance.
It didn’t go well at first. I offered to break things off many times. The longer the symptoms continued, the more often I made the offer. But each time I offered, he responded as if the most current offer was even more ridiculous than the last. And even though sex had become a sort of sexual Russian roulette, he carried on as if that was what sex was like with any other woman.
He normalized it. Made an uncomfortable situation acceptable.
It took a little over a year, but my inability to perform sexually forced me to look at my boyfriend as more than just my emotional warden. When sex was not an option, he expressed distaste for other sexual activities that only benefited him. It confused me, but eventually I had to admit to myself that my happiness was actually important to him.
I began to realize a happy, healthy relationship with him was not contingent on his sexual satisfaction and that my anxiety was self-created.
Soon I found myself relaxing more and more around him. I could cuddle up to him on the couch while we watched a movie, with no thoughts about when and where we’d be having sex that night. It’s a liberating feeling, and it makes the intimacy we do share so much better and more natural.
It’s been just over three months since the diagnosis, but nearly two years since the adverse symptoms began. The journey has been overwhelming, and I still have occasional bouts of anxiety and depression.
But for the most part, I feel a calmness I have never before experienced in a relationship.
I accept that I am worth loving. I deserve to be loved. That’s a tremendous post-therapy step for me.
Skylar Shibata is a writer based in the Midwest.
Published in the December 2012 issueStreeter Lecka/Getty
"Bring me the stick."
August 10, 2012: 8:40 p.m.
Tianna Madison, sprinter, first leg of U.S. women's 4x100 relay team:
All we'd been hearing about was how we hadn't been able to make it happen in the last two Olympics, but we knew what we were going to do. As I walked out to the blocks, the crowd was at full roar. You could see the flashes of all the cameras. But at some point, I heard nothing. I wasn't nervous. I was just excited. Okay, Shelly-Ann Fraser-Pryce is to my inside, I thought. I'm going to run away from her and run down the two on my outside — start this off right.
The gun goes off, and I start my drive phase. But I don't rush it. This was one of the few times this season I didn't rush through my drive phase. I went through all my zones, and when I came up in my acceleration, I saw that I had run down the girls to my outside. Allyson's standing still when she comes into view. She starts to run, and I think, Catch her. When I'm close enough, I yell "Stick!" and she puts her hand back. We had a clean pass, but she spiked me with her long legs. I didn't realize until two hours later.
Allyson Felix, second leg:
Tianna just killed the start. I went out hard and tried to give her a good target. As soon as I put my hand back, she punched it in there. Really flawless. All I was thinking was Don't let anyone in front of me. Make up the stagger. The third leg is when you start to see exactly where you are, because the stagger kind of breaks, and I knew that I was handing off in first position. I yelled, "Stick!" Bianca put her hand back, and we got it in there. Three or four times I yelled, "Let's go!" There's a picture of me full-on yelling at her.
Bianca Knight, third leg:
Watching Tianna and then Allyson come in, that's the anxious part. You don't want to leave too early. Then it was just I'm ready to get the stick. Allyson and I had practiced only one handoff on the day of the final, because she ran the hundred and two hundred and didn't really have any time. We went over to one corner and did the handoff. The chemistry was just crazy.
I started running for what felt like a lifetime, but it was actually quick. I think Veronica [Campbell-Brown, of Jamaica] actually got the baton before me, because they have a shorter zone. So they got it first, but they were farther back. They were trying to make her run longer. Once I got the baton, I was thinking, Keep the lead. Keep the position. Then it was Get the baton to Carmelita. If we do that, she'll do what she's supposed to do.
Carmelita Jeter, anchor:
I saw Bianca coming, and all I was thinking was Bring me the stick. I started to run, threw my hand back, and she put the baton in my hand and I lit up like a firecracker. I ran with every emotion, every drive, every ounce of confidence I had. I was moving so fast I felt like I was running on air. Coming down the stretch, I looked at the clock and saw ":34," and I thought, If it's at thirty-four seconds, we're about to the break the world record. So I tried to run faster. I was watching the clock. It was at 35. Then 36. Then 37. As soon as I crossed the finish line, I just pointed.
Madison:
It was so overwhelming that Carmelita and I ran past each other.
Felix:
I saw the clock and thought it was a mistake. Something is a bit off, I thought. This is wrong. Normally, it's not uncommon for the clock to change a little bit after we're done running. So I was kind of waiting for that adjustment, and it never happened. I saw the WR next to it and that was when — just crazy.
Knight:
We were the first women under forty-one seconds. Like, ever.
Jeter:
I knew that we broke the record. I didn't know that we shattered it, but I definitely knew we broke it. I couldn't stop screaming. I was hollering.
—As told to Matt Goulet
Shouters and the
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'Control Freak' Empire
From Trinidadian-Nigerian filmmaker Oyetayo Raymond Ojoade, this thought-provoking documentary questions power and social control by exposing the central conflict between Euro-centric and Afro-centric religions. It exposes the schisms inherent in the unhappy marriage between the secular and the sacred, first offering a socio-historical context as it re-visits the 1917 - 1951 Prohibition Ordinance on the “Shouter” Baptist religion of Trinidad & Tobago. But it goes further by daring to challenge laws that legislate against a belief system, questioning the real causes and effects of such legislation both on members of the faith and the general public.
Winner Best International Documentary - Columbia Gorge International Film Festival, Vancouver 2011.
A short film brought to you by Buni TV thanks to its partnership with Africa in Motion.
__________________________
In the African documentary “Shouters & The Control Freak Empire” Nigerian-Trinidadian directorOyetayo Raymond Ojoade explores the controversial prohibition of Shouter Baptism in Trinidad & Tobago from 1917-1951. Here is a quick synopsis:
“From Trinidadian-Nigerian filmmaker Oyetayo Raymond Ojoade, this thought-provoking documentary questions power and social control by exposing the central conflict between Euro-centric and Afro-centric religions. It exposes the schisms inherent in the unhappy marriage between the secular and the sacred, first offering a socio-historical context as it re-visits the 1917 – 1951 Prohibition Ordinance on the “Shouter” Baptist religion of Trinidad & Tobago. But it goes further by daring to challenge laws that legislate against a belief system, questioning the real causes and effects of such legislation both on members of the faith and the general public.”
Featured on Buni TV, the 30 minute documentary focuses on interviews where current Shouter Baptist church members explain how colonial authority interpreted the religion, through its incorporation of Africa belief systems as somehow threatening to the colonial regime.
The documentary is certainly captivating, particularly in how it unearths components of colonial history. One member of the church states that when the prohibition was written into law “it was like being erased from the map of your homeland.” Perhaps this is where the film could have been more affecting- if it had been more effective at highlighting the post-colonial materiality of the prohibition. In other words- how can we understand the prohibition today- what does it mean for current Shouter Baptists beyond the historical facts? Overall, the documentary provides an interesting history lesson, so be sure to check it out to learn more about the fascinating history of Shouter Baptism and the relationship between law and colonialism.
>via: http://www.okayafrica.com/2013/01/02/shouters-the-control-freak-empire/