HEALTH: The Power of Love When Healing from Trauma

The Power of Love

When Healing from Trauma

Let’s face it: most of us have survived a trauma. Many of us have experienced sexual assault or domestic violence. And others among us have experienced other traumas too – the kind we often forget can impact us: witnessing a car accident, undergoing a surgery, surviving a hurricane or another natural disaster.

When trauma is such a common occurrence, you’d think that we’d have a stronger infrastructure to talk about it. You’d think we’d have the tools to acknowledge that it’s real.

But we don’t. And we’re even more lost when it comes to learning how to heal from trauma.

One of the most damaging parts of the traumatic experience, even beyond the trauma itself, is the isolation that accompanies it.

The fear, the guilt, and the shame are incredibly isolating and have the potential to sever important relationships with loved ones.

The anxiety that exists after a trauma makes crowded spaces hostile – bars, clubs, crowded apartment parties all become more anxiety inducing than fun.

For a trauma survivor, it is often easier to be alone than to be with others.

It’s almost inevitable – after experiencing a traumatic event, our brains rewire themselves to be ready for an attack. There is a physiological, biological shift in our bodies that begs us to be ready for danger at all times.

Understanding that our bodies remain on high alert after a trauma, the post-traumatic experience looks exactly the way we’d expect: agitation and irritability, difficulty sleeping, anxiety, nightmares, uncontrollable flashbacks to the event.

To speak more scientifically about these experiences:

  • The prefrontal lobe changes, impacting our capacity for language. If you find yourself having extra difficulty finding the words to describe your trauma, this may be why.
  • Have you felt overly emotional? Have your emotional responses surprised you, or seemed out of character? The amygdala steps into overdrive, making it virtually impossible for us to regulate our emotions.
  • Have you been misplacing your keys or forgetting appointments? Sometimes we experience shifts in memory, likely due to the actual shrinking of the hippocampus.
  • Have you felt more jumpy than usual? Are you more easily startled? The medial prefrontal cortex, which controls our responses to fear, changes also.

It happens to our brains and our bodies, and we can’t stop it from happening. But we can work to correct it.

Surviving a trauma calls us to find a new path for life. Most of us don’t want to lead our lives in fear and mistrust. So what’s the alternative? Love.

The decision to trust someone, to tell someone our story, to share part of our own truth, comes from a place of love. When we do this, we open ourselves to receive love. This reciprocal experience is corrective, both emotionally and physically.

Any therapist will tell you that the simple act of relating to another human is curative. There is incredible power in the decision to trust another person, and there is no better way to overcome internal struggles than to use our voices to name those struggles.

Unfortunately, we need to pick our trusted person carefully, as victim blaming and other insensitivities run rampant and can be heartbreaking for a survivor to hear.

But once we have selected a trustworthy person, we can begin to heal by telling that person about our experiences.

How many among us have felt better after sharing a secret with a trusted friend or have felt relieved after telling another how we truly feel?

The idea is the same after a trauma: the act of love, or trusted connection, is healing.

Although forming a connection with a therapist would be ideal, there are cultural, social, and economic barriers to seeing a therapist that make it an impossibility for a lot of folks.

But love extends beyond these barriers – love is possible for everyone. Whether that love is shared with a partner, a best friend, or a kind stranger on the internet, the health benefits of connection are impossible to ignore.

Healthy relationships can help to reverse the negative changes that our brains make after a trauma. The field of mentalization focuses on how relationships improve the physical health of our brains, and believes that love and connection are the best predictors of healthy brains.

Trauma begs us to renegotiate our relationships, first with ourselves, then with others. We find ourselves in a position where we have lost touch with our bodies and our minds. We felt powerless in our bodies in those traumatic moments, but we can reclaim that power.

We can redefine ourselves as masters of our experience when we submerge ourselves in our own interdependence and make meaningful connections with others.

We will each find our own ways to do this. Part of the healing journey is the process of finding our own voices and authentically reclaiming our experiences.

It is impossible to provide a 5-step solution or recovery plan that is guaranteed to help all survivors of trauma. Humans are too complex for that.

Instead, I will list below a few phrases that I have used and heard others use to bring up the incredibly difficult and loaded topic of personal trauma.

These ideas will not work for everyone. Some may mix and match phrases, others will see these and throw them away completely. That is all fine.

What matters most is that we start to imagine what it would be like to say and hear that we and the people we love have experienced trauma.

  • Do you remember that time I saw a plane crash? I keep having nightmares about it and I think it freaked me out more than I realized at first.
  • I was raped last week and I feel really confused. If I talk, will you listen?
  • I need to tell you something really scary that happened to me. It’s not a problem that anyone can fix, so I just need you to listen.
  • Last year something bad happened to me, and I am still feeling afraid. I just need to hear myself say it out loud to someone who I trust.
  • I really need your support after experiencing that fire. Is it okay if we just talk tonight?

Please remember that while healing from trauma is often a difficult, long process, there are people who both want to and are skilled at helping survivors.

You are not alone and you can heal.

Sarah Ogden is a Contributing Writer for Everyday Feminism. She is a graduate student in Social Work at the University of Pennsylvania, where she is focusing on clinical work with survivors of trauma, works at a domestic violence agency as a therapist intern, and volunteers as an abortion and pregnancy loss doula. Previously, she’s worked for a suicide and rape crisis hotline and as an emergency room advocate for survivors of sexual assault. Follow her Twitter @xsogden.

 

VIDEO: 4 Movies You Should See & Know About Before You See Django that deal w/ Rebellion > Davey D's Hip Hop Corner

4 Movies

that deal w/ Rebellion

You Should See

& Know About Before

You See Django

There’s been a lot of chatter about the movie Django and how it touches upon slavery and the resistance to it..Lots of debates have sparked off talking about what’s accurate, what’s fantasy etc etc.. I say use this excitement around Django and the hype machine that director Quentin Tarantino has around him to turn folks onto other projects they may have overlooked, forgotten about or not seen at all..It doesn’t have to be an either or thing.. See ‘m all.. Contrast, compare and build..

Sankofa

One film that is frequently mentioned is Sankofa by Haile Gerima  It’s a film that he said took more than 10 years to complete. Hollywood wasn’t interested in financing a movie about;

A self-absorbed Black American fashion model on a photo shoot in Africa is spiritually transported back to a plantation in the West Indies where she experiences first-hand the physical and psychic horrors of chattel slavery, and eventually the redemptive power of community and rebellion as she becomes a member of a freedom-seeking Maroon colony

There have been some who upon seeing the release of Django and its popularity have referenced Sankofa and asked why we didn’t support the painstaking efforts of film makers like Gerima who tried to give the Black community serious information about an institution that is constantly being written out or sanitized in our history books..

If you can’t rent the film here’s one of several copies on line..

Another film which is often mentioned is Spook Who Sat By the Door..by Sam Greenlee. It’s a landmark film that came out in the early 70s and was based upon a book with the same titled which was released in 1969.  Although this film isn’t about slavery, it’s about rebellion and fighting oppression which is whats attracting many to Django.

spook who sat 

The plot of Spook Who Sat by the Door goes as follows.. The CIA because of politics needs to recruit African-Americans to the agency. It’s supposed to be dog and pony show. In other words have Blacks try out for the agency, make it public, but have them fail. However, there was one guy, named Dan Freeman who played the role of an ‘Uncle Tom’ when in real life he was a Black nationalist.. He gets into the CIA, soaks up all their game and then leads an armed rebellion..This fim was so controversial, that it was banned from movie theaters and was hard to get up until recently..

According to Greenlee almost everyone involved in that film from the director Ivan Dixon on down to lead actor Lawrence Cook found themselves outcasted in many Hollywood circles. Cook wouldn’t appear in a major film for almost 20 years after Spook Who sat by the Door.

You can peep the movie here…

Soul of nigger charley 

Another flick building on the Slave revolt theme is the Legend of Nigger Charley and Soul of Nigger Charley featuring Fred Williamson. It focuses on a trio of escaped slaves who are down to fight and win against white oppressors.. Believe it or not when these films came out there were posters all over subways in NYC advertising the film. The N word was not covered or changed.. It was very much in your face.. Legend of Nigger Charley went on to be Paramount pictures highest grossing film in 1972 when it was released.

 

HISTORY: Niagara Movement

Niagara Movement

- Cornerstone of the

Modern Civil Rights Movement

At the dawn of the twentieth century, the outlook for full civil rights for African Americans was at a precarious crossroads. Failed Reconstruction and the Supreme Court's separate but equal doctrine (Plessy v. Ferguson), coupled with Booker T. Washington's accommodationist policies, threatened to compromise any hope for full and equal rights under the law.

"...one of the greatest meetings that American Negroes ever held." - W.E.B. Dubois
Painting of
Niagara Conference participants made a barefooted pilgrimage from Storer College to Murphy Farm - then the temporary site of "John Brown's Fort - during the conference in 1906.
National Parks Conservation Association

Harvard educated William Edward Burghardt Du Bois committed himself to a bolder course, moving well beyond the calculated appeal for limited civil rights. He acted in 1905 by drafting a "Call" to a few select people. The Call had two purposes: "organized determination and aggressive action on the part of men who believed in Negro freedom and growth," and opposition to "present methods of strangling honest criticism."

Du Bois gathered a group of men representing every region of the country except the West. They hoped to meet in Buffalo, New York. When refused accommodation, the members migrated across the border to Canada. Twenty nine men met at the Erie Beach Hotel in Ontario from July 11-14, 1905. The Niagarites adopted a constitution and by-laws, established committees and wrote a "Declaration of Principles," outlining the future for African Americans. After three days, they returned across the border with a renewed sense of resolve in the struggle for freedom and equality.

Thirteen months later, from August 15-19, 1906, the Niagara Movement held its first public meeting in the United States on the campus of Storer College in Harpers Ferry, West Virginia. Harpers Ferry was symbolic for a number of reasons. First and foremost was the connection to John Brown. It was at Harpers Ferry in 1859 that Brown's raid against slavery struck a blow for freedom. Many felt it was John Brown who fired the first shot of the Civil War. By the latter part of the 19th century, John Brown's Fort had become a shrine and a symbol of freedom to African Americans, Union soldiers and the nation's abolitionists. Harpers Ferry was also the home of Storer College. Freewill Baptists opened Storer in 1867 as a mission school to educate former slaves. For 25 years Storer was the only school in West Virginia that offered African Americans an education beyond the primary level.

The Niagarites arrived in Harpers Ferry with passion in their hearts and high hopes that their voices would be heard and action would result. They were now more than 50 strong. Women also attended this historic gathering where, on August 17, 1906, they were granted full and equal membership to the organization.

The week was filled with many inspirational speeches, meetings, special addresses and commemorative ceremonies. Max Barber, editor of The Voice of the Negro said, "A more suitable place for the meeting of the Niagara Movement than Harpers Ferry would have been hard to find. I must confess that I had never yet felt as I felt in Harpers Ferry."

A highlight for those gathered was John Brown's Day. It was a day devoted to honoring the memory of John Brown. At 6 a.m. a silent pilgrimage began to John Brown's Fort. The members removed their shoes and socks as they tread upon the "hallowed ground" where the fort stood. The assemblage then marched single-file around the fort singing "The Battle Hymn of the Republic" and "John Brown's Body."

The inspirational morning was followed by an equally stirring afternoon. The Niagarites listened to Henrietta Leary Evans whose brother and nephew fought alongside Brown at Harpers Ferry, then Lewis Douglass, son of Frederick Douglass, and finally Reverdy C. Ransom, pastor of the Charles Street African Methodist Episcopal Church in Boston. Ransom's speech on John Brown was described as a "masterpiece." The late black scholar, Dr. Benjamin Quarles, called the address "the most stirring single episode in the life of the Niagara Movement."

The conference concluded on Sunday, August 19, with the reading of "An Address to the Country," penned by W.E.B. Du Bois. "We will not be satisfied to take one jot or title less than our full manhood rights. We claim for ourselves every single right that belongs to a freeborn American, political, civil and social; and until we get these rights we will never cease to protest and assail the ears of America. The battle we wage is not for ourselves alone but for all true Americans."

The Niagara Movement laid the cornerstone of the modern civil rights era. A new movement found a voice. The organization continued until 1911, when almost all of its members became the backbone of the newly formed National Association for the Advancement of Colored People (NAACP). There, the men and women of the Niagara Movement recommitted themselves to the ongoing call for justice and the struggle for equality.

With thunderous applause, the Harpers Ferry conference drew to a close. Years later recalling this conference, Du Bois referred to it as "...one of the greatest meetings that American Negroes ever held."

VIDEO: Jesse Boykins III | Prototype 3010, a short film > Vimeo

JESSE BOYKINS III

| Prototype 3010, a short film

In a time where life is often guided by misconception and tainted love its hard to truly find someone who is there for you for all the right reasons. No matter how you deliver your heart to a person, you still have to wait for them to open it up. I came up with this concept to inspire honesty. I've learned through life, communication is everything when you're in a relationship. Take these visuals as an example of how something could be if there is no truth between two parties. She/He is your prototype and could be so much more if you allow it. Never Take The Love Of Your Believer For Granted. Much Thanks to Andre 3000
- Jesse Boykins III

Shot, Directed & Edited by @DrWooArt for @LightUpFilm

Dan Cathcart - Lead | Jesse Boykins III - Singer
Sinorice Moss - Bass Player | Chris Turner - Guitar Player
MeLo - X - Keyboard Player,MC | Joshua Kissi - Drummer
Trae Harris - Dancer , Poet | Akeema Zane - Dancer
Lyfe Silva - Dancer | Jerricka Whitlock - Dancer

Download Song : bit.ly/JB3Prototype2010

jbiiimusic.com
lightupfilm.com
twitter.com/jb3music
twitter.com/drwooart

via vimeo.com

 

PUB: The Wisconsin Institute for Creative Writing Fellowships

 

PHOTO: Our 2012-2013 Fellows

Our 2012-13 Institute Fellows. Pictured left-to-right: Sara Gelston, Elaine Romero,
Miriam Cohen, Ari Banias, Jaquira Diaz, Sarah Hulse, and Alyssa Knickerbocker.

The Fellowships

Since 1986, the University of Wisconsin's Institute for Creative Writing has provided time, space, and an intellectual community for writers working on a first book of poetry or fiction. Beginning this year, we will also consider applicants who have published only one full-length collection of creative writing prior to the application deadline, although unpublished authors will remain eligible as well. Altogether, our poetry and fiction fellows have published over ninety full-length collections and novels, many of them winning major national honors. Since 2008, the Institute has also awarded a fellowship for playwrights.

At present, the Institute annually offers up to seven year-long fellowships. Typically there are three fiction fellowships (the Carl Djerassi Fiction Fellowship, the James C. McCreight Fiction Fellowship, and the Carol Houck Smith Fiction Fellowship), two poetry fellowships (the Jay C. and Ruth Halls Fellowship and the Diane Middlebrook Poetry Fellowship), one playwriting fellowship (the Carl Djerassi Playwriting Fellowship), and one fellowship in either fiction or poetry for a graduate of the University's MFA Program in Creative Writing (the Halls Emerging Artist Fellowship).

Each of these fellowships carries with it a $27,000 stipend, generous health benefits, and a one-course-per-semester teaching assignment in intermediate or advanced undergraduate creative writing. Fiction and poetry fellows are asked to give one public reading during the fellowship year. Additionally, all fellows participate in determining the recipients of the annual Brittingham and Felix Pollak Prizes in Poetry, as well as the Program in Creative Writing's undergraduate writing contests. Along with faculty, fellows also serve on the committees selecting the following year's Institute fellows.

Details and frequently asked questions regarding the fellowships can be found on the applications page of this website. Applications to the poetry, fiction, and HEAF fellowships must be received in the month of February. Applications to the Djerassi Playwriting Fellowship must be received by April 1.

The current director of the Wisconsin Institute for Creative Writing is Amaud Jamaul Johnson. For questions about the fellowship program not answered below please contact the Creative Writing Program Administrator, Sean Bishop, at institutemail@english.wisc.edu.


The Halls and Middlebrook Poetry
Fellowships & the Djerassi,
McCreight, and Smith
Fiction Fellowships

Poets and fiction writers who have completed or will have completed an MFA or a PhD in creative writing by August 15th of the fellowship year are eligible to apply for a Wisconsin Institute poetry or fiction fellowship, provided they have not yet published more than one full-length book of poetry, fiction, creative nonfiction, or other creative work by the February 28 application deadline. Details and frequently asked questions regarding these fellowships can be found on the fellowship applications page of this website. The HEAF is the only Institute fellowship for which graduates of the UW MFA program are eligible to apply.


The Djerassi Fellowship
in Playwriting

The Carl Djerassi Fellowship in Playwriting was established by scientist and author Carl Djerassi to encourage beginning-to-mid-career playwrights whose work is not only performed, but also has intrinsic literary value. To realize Dr. Djerassi's vision, the University of Wisconsin-Madison's Program in Creative Writing annually awards a fellowship to a playwright whose whose plays can be read and discussed as works on the page as well as performed on the stage. Playwrights whose works have been published as well as performed are especially of interest. Applications must be received by April 8. Details and frequently asked questions regarding the fellowship can be found on the application page of this website.


The Halls Emerging
Artist Fellowship

The Halls Emerging Artist Fellowship (the HEAF) is awarded to a graduate from the University of Wisconsin-Madison's Creative Writing MFA program who has not had a book of fiction, poetry or other creative work published or accepted for publication as of the postmark date of application. Poets and fiction writers will be eligible for the HEAF in alternating years. In spring 2013 we will be considering HEAF applications from poets only. We will consider fiction applications in spring 2014.

The recipient of the HEAF will be determined by an outside judge. The name of this judge will be withheld until the HEAF has been announced. Applications should arrive during the month of February. Details and frequently asked questions regarding these fellowships can be found on the fellowship applications page of this website. The Institute may decline to give the HEAF award in any year it deems appropriate.

 

 

PUB: The Tusculum Review » Contests

Contests

Bernheimer, Pritts to Judge 2013 Contests

Kate Bernheimer & Nate Pritts

THE TUSCULUM REVIEW 2013 PRIZE IN FICTION:  KATE BERNHEIMER

Kate Bernheimer has been called “one of the living masters of the fairy tale” by Tin House, and is the author of four books of fiction, most recently the final novel in a trilogy, The Complete Tales of Lucy Gold (FC2 2011), and Horse, Flower, Bird, a collection of stories with illustrations by Rikki Ducornet (Coffee House Press 2010).  She has edited three anthologies including the World Fantasy Award winning My Mother She Killed Me, My Father He Ate Me: Forty New Fairy Tales (Penguin 2010).  She teaches in the MFA Program at the University of Arizona, and is founding and acting editor of Fairy Tale Review.

THE TUSCULUM REVIEW 2013 PRIZE IN POETRY:  NATE PRITTS

Nate Pritts is the author of five books of poetry, most recently Sweet Nothing which Publishers Weekly describes as “both baroque and irreverent, banal and romantic, his poems […] arrive at a place of vulnerability and sincerity.”  POETRY Magazine called his third book, The Wonderfull Yeare, “rich, vivid, intimate, & somewhat troubled” while The Rumpus called Big Bright Sun, his fourth book, “a textual record of mistakes made and insights gleaned…[in] a voice that knows its part in self-destruction.”  His poetry & prose have been widely published, both online & in print & on barns, at places like Southern Review, Forklift, Ohio, Court Green, Gulf Coast, Boston Review & Rain Taxi where he frequently contributes reviews. The founder & principal editor of H_NGM_N, an online journal & small press, he lives in Syracuse, New York.

2013 CONTEST GUIDELINES—FICTION & POETRY

The prize is $1,000 and publication.

The deadline is March 15, 2013 (postmarked).

Send contest submissions to:
The Tusculum Review
P.O. Box 5113
60 Shiloh Road
Greeneville, TN 37743.

Mark envelopes:  “FICTION CONTEST” or “POETRY CONTEST.”

The entry fee is $15 per manuscript. We accept checks and money orders made payable to The Tusculum Review.

Each manuscript entered should consist of no more than twenty-five pages of fiction or no more than five poems (we will allow up to 10 pages total of poetry).  You may enter more than one manuscript and/or more than one genre contest (as long as you include a $15 reading fee with each contest submission).

Please send a cover letter with your contest entry.  The cover letter should include the title(s) of your entry, genre of the work—fiction or poetry—your name, postal address, phone number, and e-mail address. Please do NOT include your name or any other identifying information on your actual submission.

Previously published stories and poems (including web publications) are not permitted for submission.

Entry fees include a one-year subscription to The Tusculum Review (an annual publication) and consideration for publication. We consider all works submitted for publication.

Manuscripts will not be returned; they will, instead, be recycled.

The judges for the 2013 prizes will be Kate Bernheimer for fiction and Nate Pritts for poetry. Family, friends, and previous students of the judges, or those with reciprocal professional relationships with the judges, will be disqualified from the contest. Submissions will be screened by the staff of The Tusculum Review, and finalists will be forwarded for judging.

Manuscripts will be numbered, and all names on the manuscripts will be removed before they are read and work is presented to the judges. In the event that judges do not deem any submissions worthy of the prize, The Tusculum Review reserves the right to extend the call for manuscripts or to cancel the award.

All contestants will receive the 2013 issue of The Tusculum Review and a letter listing the winner and finalists. The new issue will be mailed to all contest entrants before June 1, 2013. The winners and finalists will be listed on The Tusculum Review companion website.

 

PUB: Tupelo Press — Snowbound Series Chapbook Award

2012-2013 Snowbound Chapbook Award Guidelines

December 1, 2012 – February 28, 2013
(postmark or online submission-date)
Final Judge: Kathleen Jesme
$1,000 Prize

The Snowbound Chapbook Award includes a cash award of $1,000 and 25 copies of the book, in addition to publication by Tupelo Press, a book launch, and national distribution with energetic publicity and promotion. Manuscripts are judged anonymously. All finalists will also be considered for publication. This competition is open to any poet writing in English. Previously published poems with proper acknowledgment are acceptable. Translations are not eligible, nor are previously self-published books. Employees of Tupelo Press and authors previously published by Tupelo Press are not eligible.

Manuscript Requirements:
Submit 20 to 36 pages (of poems) plus SASE and a $23 reading fee. Manuscripts should be on good quality white paper, paginated consecutively, with a table of contents and acknowledgments, and bound with a clip. Include two cover pages, one with only the title of the manuscript and a second with your name, address, telephone number(s), email address, and title of the manuscript. The author’s name should not appear elsewhere on the manuscript. Please retain a copy for your records.
  • The Snowbound Chapbook Award is open to anyone writing in English, whether living in the United States or abroad. Translations are not eligible for this prize.
  • Individual poems in a contest manuscript may have been previously published in magazines, print or web journals, or anthologies, but the work as a whole must be unpublished (this includes previously self-published books).
  • Simultaneous submissions to other publishers or contests are permitted, as long as you notify Tupelo Press promptly if your manuscript is accepted elsewhere.
  • Before you submit a manuscript to a Tupelo Press competition, please consider exploring the work of the poets we have published.
  • Tupelo Press endorses and abides by the Ethical Guidelines of the Council of Literary Magazines and Presses (CLMP), which can be reviewed here, along with more about Tupelo Press’s ethical considerations for literary contests.
Entries must be postmarked or uploaded to the online Submission Manager (see below) between December 1, 2012 and February 28, 2013.
Terms:
A reading fee of $23 (US) by check or Pay Pal must accompany each submission. If sending a check, please make this payable to Tupelo Press, Inc. Multiple submissions are accepted, so long as each submission is accompanied by a separate $23 reading fee.

Why a reading fee? We are an independent, nonprofit literary press. Reading fees help defray, though they don’t fully cover, the cost of reviewing manuscripts and publishing the many books we select through our competitions.

Notification:
If mailing your submission, you may include a stamped, self-addressed postcard for confirmation of your manuscript’s receipt. The online Submissions Manager (see below) automatically confirms receipt.

If you like, enclose a stamped, self-addressed envelope (SASE) for notification of the winner. An email announcement will also be sent to all entrants. Do not enclose a SASE for return of manuscript; all manuscripts will be recycled at the conclusion of the competition, except those under consideration for future publication.

Kindly refrain from requesting an individual response to confirm our receipt of your manuscript and/or payment. Both the electronic submission manager and the PayPal system offer automated confirmations. For those wishing acknowledgment of a paper manuscript, your self-addressed stamped postcard will serve this purpose. We receive thousands of manuscripts each year and cannot offer individual acknowledgments beyond these. Thank you for your understanding.

Results will be announced in late spring 2013.

Online Submission
Click here to submit electronically. The online submission system will be accepting Snowbound Chapbook Award manuscripts between December 1, 2012 and February 28, 2013.
Online PayPal Payment
Click below to pay the reading fee for online or postal mail submissions:

 

Submission via Postal Mail
We also accept manuscripts via postal mail. Please include a check or money-order for the $23 reading fee, payable to Tupelo Press, or utilize our online PayPal option and enclose a copy of the receipt with your printed submission.

You may also include a self-addressed postcard for acknowledgment of receipt of your manuscript and a SASE for notification of the winner, who will also be announced by email.

Mail your submission (and check or PayPal receipt) to:
Tupelo Press Snowbound Chapbook Award
Tupelo Press
PO Box 1767
North Adams, MA 01247

International submissions only:
Tupelo Press Snowbound Chapbook Award
243 Union Street, Eclipse Mill #305
North Adams MA 01247 USA

All Snowbound entries must be postmarked or certified by our online Submissions Manager between December 1, 2012 and February 28, 2013.

 

 

 

 

 

 

 

 

 

VIDEO: S&A Presents A Video Compilation Of The Year 2012 In Black Cinema > Shadow and Act

S&A Presents

A Video Compilation

Of The Year 2012

In Black Cinema


by Tambay A. Obenson

 
December 24, 2012 

 

This will likely be my last post for the day. It's Christmas Eve suckas! Although it's certainly quite possible that you might see posts from Sergio, Courtney, Emmanuel, etc... so it doesn't mean there won't be anything after this.

As we've done every year, for the last 2, here's an S&A year-end video complitation created by our very own Ms Vanessa Martinez (a hat-tip to her for putting in the time, as always), which wraps up the year in cinema of the African Diaspora, as we saw it!

The video includes only those films that were released commercially, theatrically, here in the USA (maybe someday, when there's more money and manpower, we'll create a video that's much more comprehensive; but this is what it is for the time being).

It starts off with documentaries, then goes into a nice mix of all the fiction films, arranged by mood and action, followed by the year's RIPs. 

The titles of all the films included follow in the tail-end credits, so you can find them all there.

It's just about 7-minutes long.

And here it is - S&A's year in black cinema; signing out, a merry X-mas to you all, and I'll see you on the flip:

 

TECHNOLOGY + AUDIO: Kenyan Women Create Their Own 'Geek Culture' > NPR

Kenyan Women Create

Their Own 'Geek Culture'

December 24, 2012
Kenyan Susan Oguya created an app to help farmers in her homeland. Shown here in the office of her company, M-Farm, she also belongs to the group Akirachix, which seeks to bring more Kenyan women into the tech world.

Kenyan Susan Oguya created an app to help farmers in her homeland. Shown here in the office of her company, M-Farm, she also belongs to the group Akirachix, which seeks to bring more Kenyan women into the tech world.

By Gregory Warner
Kenyan Susan Oguya created an app to help farmers in her homeland. Shown here in the office of her company, M-Farm, she also belongs to the group Akirachix, which seeks to bring more Kenyan women into the tech world.

When a collective of female computer programmers in Kenya needed a name for their ladies-only club, they took their inspiration from the Japanese cult film Akira.

"So akira is a Japanese word. It means energy and intelligence. And we are energetic and intelligent chicks," says Judith Owigar, the president of Akirachix.

A group like Akirachix would have been unthinkable even five years ago. But Kenya is making a big push toward IT — part of a plan to create a middle-class country by the year 2030.

Kenya has laid hundreds of miles of fiber optic cable. Google and IBM set up shop here. The city even has plans for a $7 billion technology hub just outside the capital, Nairobi.

But you need more than tech giants and broadband and even money to launch a local tech industry. You also need a culture of computer geeks. That's where Owigar and her collective Akirachix come in. They want to make sure that the girl geeks are encouraged as much as the guys.

Bridging The Gender Gap

"You know you're the oddball just because of your gender," Owigar says.

It turns out that in Kenya, exactly as in Silicon Valley, the problem with getting more women in tech is that there aren't more women in tech.

"There are probably other women in tech who are alone, and they think they're the weird ones, but if enough of us meet together, you know, it won't be so weird anymore," Owigar says.

High school girls in Nairobi at a computer workshop organized by Akirachix.

High school girls in Nairobi at a computer workshop organized by Akirachix.

Susan Oguya is also an Akirachick. She grew up on a farm in western Kenya without a computer. But she was lucky enough to have an uncle who worked in Nairobi.

When he came home for the holidays, he would haul his entire workstation in the car back with him — the monitor, the CPU, the keyboard, the mouse — and set it up in Oguya's living room. Oguya was 15.

"So he'd bring it over, we'd use it, and then he would go back with it," Oguya says. "So in the times when I didn't have a computer, there were books that he left. Books about what is a computer, parts of a computer, what is a ROM, what is a RAM. It's really basic."

When she got to a university, she majored in IT. She had an idea for a mobile phone app that would help farmers like her parents.

One of the striking things about Kenya is that even impoverished farmers have cellphones. For decades, Kenya was too poor to lay copper telephone wire in the ground, so the vast majority of Kenyans use cellphones as their primary phone.

Now, all those Kenyan cellphone users are set to take advantage of an increasingly mobile world. Oguya's app would allow farmers to check the crop prices with text messaging, skipping the middleman.

"Yeah, corrupt middleman," Oguya says. "Let's say skipping the corrupt middleman."

But Oguya was one of only 10 women in her department of 80 — about the same ratio you'd find in a computer science class at Stanford. Her teachers doubted her ability to actually program this app she'd thought up.

"In my culture, it's like men can only communicate with men. And I was like, 'OK.' Then if I could share this passion, like try and explain to the person, this is what I want to do? It's only a woman who could understand me better," Oguya says.

It wasn't until her third year that she met a computer researcher at the same university, Jessica Colaco, who says she bumped into Oguya in the hallway. "I remember when I met her in the corridor, Susan was really shy. She was like, 'Excuse me, are you Jessica Colaco?' " she says.

"So she invited me and was like, 'Come meet other women who also have a passion like you, but they want to relate to other women who don't know that this exists,' " Oguya says.

Oguya started spending some Saturday mornings with Colaco and other women, snipping code and poring through hacker cookbooks. These informal gatherings became the Akirachix.

Oguya graduated and turned her mobile phone idea into a company called M-Farm. At 25 years old, she now has a staff of 18. And 7,000 African farmers use her app.

Solving Local Problems

One floor up from Oguya's office is a kind of oasis of geekdom — a gathering space for Nairobi's tech community called the iHub. It feels like any sort of hacker space in Silicon Valley or New York, with comfy couches, fast Wi-Fi and cappuccinos served by a barista named Miss Rose.

But the techies you meet here aren't trying to come up with the next Facebook or another app to share your photos. They're solving local problems.

There's one app that brings math and reading help by cellphone to village schools.

There's an app that lets Kenyans who don't have computers do their online shopping by cellphone.

There's a micro-insurance product that measures the rainfall at cellphone towers and automatically distributes money to farmers in drought.

These are all applications started by women. Akirachix's Owigar says they're sending a message to the next wave of girl geeks. "We need them to see that we are doing it and we enjoy it. You know, you don't find many African women looking for the spotlight. Most of them tend to hide their awesomeness," Owigar says.

The best time to carve a spot for women in geek culture, she says, is when there isn't much geek culture yet.

via npr.org