VIDEO + AUDIO: Blick Bassy


"Maria"

Video from the Léman album
http://museke.com/node/4380

Blick Bassy is a Camerounian musician, formerly part of the group Macase
Produced by World Connection Music

Blick Bassy beim festival 'Au Fil des Voix'



Blick Bassy beim festival 'Au Fil des Voix' (01:05:17)



Blick Bassy: Keeping Cameroon Tradition Alive

Copyright ©2009 National Public Radio®. For personal, noncommercial use only. See Terms of Use. For other uses, prior permission required.

August 8, 2009 - GUY RAZ, host:

In a tiny village in central Cameroon, musician Blick Bassy discovered his sound.

(Soundbite of song, "Africa")

Mr. BLICK BASSY (Musician): (Singing in foreign language)

RAZ: This is the first track of Blick Bassy's debut solo album "Leman." Bassy sings in his native, Bassa; it's on one of the 250 or so languages spoken in Cameroon. And it's a language, as he'll explain in a moment, in danger of dying out.

(Soundbite of song, "Africa")

Mr. BASSY: (Singing in foreign language)

RAZ: For the past decade, Blick Bassy has lived in Paris where he's performed with the legendary Cameroonian musician Manu Dibango, among others. But now, at age 35, he's decided to make his mark as a solo artist.

And Blick Bassy joins me from Paris. Welcome to the program.

Mr. BASSY: Hello.

RAZ: This song that we're listening to, it's called "Africa."

Mr. BASSY: Yeah.

RAZ: Can you talk about it?

Mr. BASSY: Yes, yes. You know, on the history of Africa, we have - it's just that the (unintelligible) was wrote by people coming from others' countries, you know?

RAZ: From European countries.

Mr. BASSY: Yeah, yeah. We don't have the one wrote by people coming from our country. That's why there are so many young people in Cameroon, where I'm coming from, there are so many young people who don't know to speak our languages. And I think it's very, very dangerous. That's why I'm calling them to go back to learn the history and to learn all traditions we have there and rewrite our history by ourself.

(Soundbite of song, "Africa")

Mr. BASSY: (Singing in foreign language)

RAZ: This album, this record, is in your native language, in Bassa.

Mr. BASSY: Yes.

RAZ: You didn't sing in English or French, which are actually the official languages of Cameroon. Why did you decide to record this album in Bassa?

Mr. BASSY: There are so many reasons. The first and the most important one is that if you lose your language, you lose everything. You lose your tradition. Your everything. Because in French, there are so many things I can't say in French or in English. I have to say in Bassa.

RAZ: There's a track on this album, it's called "Mintaba."

Mr. BASSY: Yes.

RAZ: And I want to listen to some of it for a moment.

(Soundbite of song, "Mintaba")

Mr. BASSY: (Singing in foreign language)

RAZ: Mintaba is a village in central Cameroon where you spent part of your childhood. Describe the kind of music you heard in Mintaba as a child.

Mr. BASSY: When I was in Mintaba, when my father sent me there to have the real Bassa and the real education from my tribes, I were with my grandparents.

RAZ: You were sent to live with your grandparents.

Mr. BASSY: Yes. And you know, every weekend we have - you know, in the village there are nothing. People - it's the same life every day. Wake up every day. Go into the forest, deep in the forest, and going back at 6 o'clock every day. It's the same thing. There is no cinema, no nothing, you know?

And so all the event we can have there is just sometimes wedding, sometimes maybe a big, big feast. For every event, we have a different kind of music. We have, for example, N'go, Bolobo, Mokume, Dingoma, and Aseko. Aseko is a national traditional music coming from my tribe.

RAZ: Hmm.

Mr. BASSY: And Aseko is with a guitar. And the legend is of this music is that when Portuguese - people from Portuguese was in Cameroon, they left a guitar because it's not a traditional guitar. It's a normal guitar, acoustic guitar.

RAZ: Hmm

Mr. BASSY: And there is one guy of my village who find this guitar and…

RAZ: He found a guitar.

Mr. BASSY: Yes. And he began to play differently.

RAZ: And you decided to play the guitar sort continuing that tradition. Let's hear you playing in the Aseko style. This song is called "Masse." Am I pronouncing it right, "Masse?"

(Soundbite of laughter)

Mr. BASSY: Yes, "Masse."

RAZ: Let's here it.

(Soundbite of song, "Masse")

Mr. BASSY: (Singing in foreign language)

RAZ: Why did you decide to leave Cameroon and move to Paris?

Mr. BASSY: It's just because it's not possible if you really want to do music. To stay in Cameroon and do music is not possible. There is no music business there.

RAZ: Hmm.

Mr. BASSY: So I have to be here in Paris if I really want to share my music.

RAZ: Do you ever think you'll make a record where you sing in French?

Mr. BASSY: In French, no, I don't think so.

RAZ: No.

Mr. BASSY: Because I think I have many, many beautiful things in Bassa to show.

(Soundbite of laughter)

RAZ: You sing about leaving Africa and about sort of longing, thinking about it all time in the song "Bolo." Can you translate what that song means?

Mr. BASSY: This song is about all people as me, you know, who sometimes we have to go to leave everything. We have the family, people we love and everything, to go far away to find life. As we say in my country, and for all those people, sometimes it can be very, very difficult to live far away from the family, from the children, far away from every people we really love. But we need to do it maybe to make tomorrow better for all those people we love.

RAZ: Let's hear some of that song.

(Soundbite of song, "Bolo")

Mr. BASSY: (Singing in foreign language)

RAZ: This song is called "Bolo." It's off Blick Bassy's new album, "Leman." You can hear full cuts from the record at nprmusic.orq. Blick Bassy, thanks for sharing your story.

Mr. BASSY: You're welcome.

(Soundbite of song, "Bolo")

Mr. BASSY: (Singing in foreign language)

RAZ: And that's ALL THINGS CONSIDERED from NPR News. I'm Guy Raz. Have a great night.

>via:http://www.npr.org/templates/transcript/transcript.php?storyId=111673067

via youtube.com

 

VIDEO: Preview – “A Small Town Called Descent” (Durban Film Festival) > from Shadow And Act

Preview – “A Small Town Called Descent” (Durban Film Festival)

Diff 2010

I wasn’t aware that the Durban Film Festival was under way (thanks to Bombastic E. for the tip). It actually ends on Sunday, August 1st. A number of the films screening have already been profiled and/or reviewed on this blog; others you’ve likely heard about. But I’ll scrub the entire list for any titles worth mentioning here… like the one featured in the video clip below titled, A Small Town Called Descent – its world premiere.

Synopsis reads: A Small Town Called Descent is the stylish debut feature from talented South African director Jahmil XT Qubeka. The film follows three Scorpion agents in their investigation of xenophobic attacks that took place in a small town. A darkly humorous look at South Africa’s political dynamics, the film features powerful performances from the all-star cast of Vusi Kunene, Paul Buckby, Fana Mokoena and Isidingo’s Hlubi Mboya.

Check out the extended, 10-minute preview of the film below. It looks like it contains a mixed bag of cinematic styles, which certainly isn’t a negative; I’m intrigued. It’ll likely come my way, via the African Diaspora Film Festival, or the NY African Film Festival, and I’ll check it out if it does.

 

 

PUB: Cup of Comfort—Call for Submissions

Call for Submissions

*Before submitting your story, how about getting a professional writing critique & story review from Cup of Comfort editors?
                                                          ___________________

A Cup of Comfort® is a bestselling book series featuring uplifting true stories about the experiences and relationships that inspire and enrich our lives. These personal essays are written by people from all walks of life and provide unique personal insights into powerful universal truths. 

 

A Cup of Comfort® for Christian Women (Call for Submissons)

For this anthology of 40-50 inspirational true stories, we are looking for narrative personal essays (creative-nonfiction short stories) written by and for Christian women that reveal how one's faith has provided (provides) insight, guidance, comfort, and joy in navigating one's life. Other acceptable themes include: tests of faith; reconciling personal beliefs/behavior with those of church; impact of your ministries on others, you, your faith. 

We are not interested in "preachy" stories that tell other people how to live their lives and how to practice their faith. Nor are we interested in stories that promote one branch, denomination, or form of Christianity over another. What we're interested in is how your faith positively impacts your life and, by extension, the lives of and your relationships with your loved ones and/or the world at large. You may cite one or more Biblical passages in your story; however, please keep in mind that this is a collection of personal stories and not a devotional.

Stories must be original, unpublished, true, and positive. Stories can focus on any of life's challenges and/or blessings, and can be either serious or humorous or contain elements of both literay tones.

          Story Length: 750 to 1500 words
          Submission Deadline: August 15, 2010
          Finalist Notification: August 20, 2010   
        Compensation: $50 + copy of book, per published story

Updates on the book's progress will be periodically posted on the Cup of Comfort® Blog and in the Cup of Comfort® News Forum, and in the Cup of Comfort® Community Bulletin (free bimonthly e-newsletter that you can subscribe to on the Cupofcomfort.com homepage).

Questions? Just email the anthologist/editor of this book: Colleen Sell

Submit Your Story Now!


*Before submitting a story, please review the
Story Guidelines.

**Call for Submission deadlines are sometimes extended. Any call for submission deadline extensions are posted here, in the Cup of Comfort® News forum, and in the Cup of Comfort® Blog.

 

PUB: Pockets » Annual Fiction Contest

Pockets is a fun devotional magazine for children around the ages of 6-12.

Annual Fiction Contest

Entries are received beginning March 1 and must be postmarked no later than August 15.

 

• Please indicate FICTION CONTEST on both the outside envelope and the cover sheet.

 

• There is no set theme and no entry fee.

 

• Stories should be 750–1,000 words. (Stories shorter than 750 words or longer than 1,000 words will be disqualified.)

 

• Stories must be previously unpublished.

 

• Please include an accurate word count on your cover sheet.

 

• Multiple submissions are permitted, but please submit only your best work.

 

• Past winners are ineligible.

 

• The winner will be announced November 1 at pockets.upperroom.org.

 

• Award: $500 and publication in the magazine.

 

• Entries with a SASE will be returned.

 

• If you have questions, visit our website at www.pockets.org or write to us.

 

SEND ALL MANUSCRIPTS WITH SASE TO:

Lynn W. Gilliam, Editor

P. O. Box 340004

Nashville  TN 37203-0004

 

Please do NOT send submissions via FAX or e-mail.

 

POCKETS is a publication of THE UPPER ROOM.  POCKETS, THE UPPER ROOM, and design logos are trademarks owned by THE UPPER ROOM, Nashville, TN.  All rights reserved.

 

PUB: Texas Review Press Novella Contest

Be part of it: SHSU has been named a Great College To Work For

 

 Texas Review Press Clay Reynolds Novella Prize

Competition Rules and Guidelines 

 

Mail to: Texas Review Press 

Department of English 

Sam Houston State University

Box 2146

Huntsville, TX 77341-2146

 

 

1. Submitted manuscripts must be postmarked by October 15. 

 

2. Manuscripts may be up to 150 pages in length. 

 

3. Manuscripts are handled as blind submissions at all levels of the judging process. 

 

4. Manuscripts must be submitted to the address above with two title pages—one with the author's name, address, and telephone number, and one without. 

 

5. The author's name must not appear on any other page of the manuscript. 

 

6. The envelope label should be clearly labeled “Clay Reynolds Novella Prize Competition.”

 

7. SASE must be included for the purpose of a reply only; manuscripts will not be returned. 

 

8. A reading fee of $20 must accompany each manuscript. Checks should be made out to “Friends of the Texas Review Press.” 

 

9. Each person who enters the contest will receive a one-year subscription to The Texas Review, and will also receive discounts on winning books. 

 

10. The winning manuscript will receive a cash prize of $200 and publication. 

 

11. The manuscripts are first judged by a network of published writers. The final ranking is concluded by major American writers. 

 

12. All judges have pledged to return to TRP immediately any manuscript whose author they have identified. Any manuscripts so returned will be sent to another initial judge. In the case of a finalist manuscript being returned, it will be an automatic finalist in the following year's competition. 

INFO: Breath of Life: Sarah Vaughan, Terry Callier, Hugh Masekela

Terry Callier is my number one contemporary songwriter/vocalist. His ability to write about the experiences, desires, dreams and hardships of ordinary people is unparalleled. This is music to listen to and reflect on life, to weigh the what went rights, the where we went wrongs, to honestly consider what’s next after examining what happen on the way to where we are now. This is music for adult considerations of the values manifested by how we have chosen and how, in the future, we will choose to live.

______________________________

 

The brilliance of Masekela’s song is that Masekela makes the train live through sound. Not just the choo-choo chug-a-lugging of the rhythm but also the whistles and the steam, the rocking, and, more importantly, the dislocation and emotional ripping of families and community, the separation of urban exploitation and toil from traditional land and cultural community. You don’t have to speak a South Africa language to understand the feeling and to feel the pain.

Hugh Masekela is an excellent instrumentalist. His horn crackles and notes burst forward in a passionate outpouring, but on "Stimela" it’s Hugh’s vocal work that aptly and brilliantly dominates. With his voice he does a creative call and response: he is both the laboring men cursing the train, and the train itself carrying the workers to an accursed circumstance. 

Over the years, Masekela developed a verbal prologue that effectively contextualizes the song. Even people who have never heard about conscript labor under apartheid, even an audience of people who are truly ignorant of the conditions decried by the song, even those who know nothing are given a glimpse of what hell under earth looks like, and if not an intellectual understanding, certainly an emotional portrait.

----------------------------------------------

We begin the week with an intimate set from The Divine One, aka Sarah Vaughan accompanied by only guitar and bass. We follow up with a career spanning retrospective on singer/songwriter Terry Callier. We close with Hugh Masekela offering six versions of his signature song "Stimela."

www.kalamu.com/bol

 

INFO: THELONIOUS HANDS - Independent film Project

THELONIOUS HANDS INDIEGOGO PROMO CLIP
<p>THELONIOUS HANDS INDIEGOGO PROMO CLIP from DuBois Ashong on Vimeo.</p>
IN AN EFFORT TO MOVE FORWARD WITH THE PRODUCTION OF THELONIOUS HANDS WE ARE FUND-RAISING. CHECK OUT OUR indiegogo.com/THELONIOUS-HANDS-FILM PROMO VIDEO......HOPE YOU ENJOY.

CHECK OUT OUR ROAD TO PRODUCTION BLOG
thelonioushandsfilm.tumblr.com/

OUR WEBSITE
thelonioushands.com

OUR TWITTER
@TheloniousHands.com

FACEBOOK
thelonioushands.com/thelonioushandsfilm

 

 

 

 

INFO: TGIF but WTF!?—Laurence Fishburne’s 19-Year Old Daughter Makes Porn Flick To Boost Acting Career! > from Shadow And Act

Laurence Fishburne’s 19-Year Old Daughter Makes Porn Flick To Boost Acting Career!

imagesSay what? What a way to end the work week, huh? ;)

The story goes… revered stage and screen actor Laurence Fishburne’s 19-year-old daughter, Montana Fishburne, has decided to take the seemingly preferred path of least resistance to help bolster her entertainment career. And what do I mean by the preferred path of least resistance? She’s made a porn flick for Vivid Entertainment, said to be the world’s largest adult video producer. The DVD, aptly titled, Montana Fishburne, is scheduled to be released on DVD and online on August 18th.

So, why did she do this? Well, from the horse’s mouth, “I view making this movie as an important first step in my career… I’ve watched how successful Kim Kardashian became and I think a lot of it was due to the release of her sex tape by Vivid. I’m hoping the same magic will work for me. I’m impatient about getting well-known and having more opportunities and this seemed like a great way to get started on it.

Comments from papa Fishburne?? None so far, but I’ll guess that they’re coming. The DVD cover of Montana Fishburne (which you can see HERE) actually reads, “An A-List Daughter Makes Her XXX Debut!” And the fact that she’s trading on his name likely won’t do much to win any votes from him. Unless he just doesn’t give a damn! I don’t know what the father/daughter relationship is like there.

 

Montana does have an IMDB page, but the only credit on it is a “Thanks” for Akeelah And The Bee – specifically, IMDB says that papa Fishburne dedicated his performance to his daughter, Montana, who would have been just 15 years old at the time… little did he know that 4 years later, she’d be returning those thanks in her own lovely way ;)

Here’s a recent interview with Montana talking about her porn experiences:

 

INFO: Café des Arts inspires innovation in Kenya | Africa Report

Café des Arts inspires innovation in Kenya

 

By Africa Report | Jul 5, 2010

KENYA – Located in Nairobi, Café des Arts is the creation of innovative entrepreneur, Susan Deiters. Her long standing passion for both culture and cuisine led her to start a restaurant that is elegantly ‘à la mode.’ Combining two worlds of talent, Susan Deiters not only fashions fine cuisine at Café des arts, she showcases ornate artistry as well.

When Susan Deiters first opened her doors in Kenya a few years ago, she was not the entrepreneur she is today. At the time of starting her business she had just moved from political turmoil in Zimbabwe and was unfortunate enough to meet a difficult political situation in Kenya as well. This coincided with her entrepreneurial entrance into the restaurant industry. Despite this early setback, which affected the beginning of her business, she was unswerving in her dedication to her dream. Meeting the challenges head-on, she continued on her chosen path and has grown into a confident self-starter.

She shares this success of her entrepreneurial enterprise with her committed staff members. She believes that one of the secrets to excel in business is to co-ordinate a team of capable and enthusiastic employees. According to Susan, no company  achieves alone. It is people that build business. Together, she and her team have worked hard to meet client expectations and find the flow in restaurant management. They make sure they discuss the daily run of the restaurant to learn from past mistakes and maintain an excellent service at Café des Arts.

Adding a little something more to her business, Susan offers customers the chance to not only indulge in fine food (always fresh from the backyard vegetable garden) but fine art as well. She fuses culinary creations with artistic masterpieces that decorate the walls and garden of the restaurant. She exhibits the works of local Kenyans in the eatery to not only add pizazz to the place but to help community artists at the same time. This way, she innovatively includes corporate social responsibility into her burgeoning business and assists economic development as well. To make sure every artist gets a chance to display their work she operates the gallery on a rotational system, exposing African art to her international clientele.

For the future, Susan hopes to bring even more Café des Arts to Africa. She plans to possibly open another restaurant in Uganda or Tanzania and spread her joy for what she does. Her advice to any entrepreneur is to do exactly this; follow “what you love, what makes you feel comfortable.” She is certain that if you set your goals, have a vision and constantly keep your desires in the back of your mind, “you can achieve whatever you set out to do.”

via africareport.com

 

INFO: The Whole World Is Africa! - A Roundup

WE ARE ALL AFRICAN NOW

by J.M. Ledgard on July 14, 2009--> Africa.jpg

The story of humanity is written in our genes, and thanks to modern science and technology, we are finally able to read it. In our latest cover story, J.M. Ledgard reports from where it—and we—all began ...

From INTELLIGENT LIFE Magazine, Summer 2009

1.  OLORGESAILIE
An hour’s drive and a 600-metre drop in altitude from Nairobi is Olorgesailie, a Lower Palaeolithic archaeological site on the floor of the Rift Valley in Kenya. It is blisteringly hot. Nothing moves in the heat of the day except dust, gathering into twisters. There are puff adders in the grass, scorpions under the rocks. The lions are thin, the giraffes few, the elephants killed. It might be the closest we have to the Garden of Eden.

From the campsite it is possible to make out the outline of the prehistoric lake which once flooded the plain in soapy water. According to potassium-argon dating, hominids lived here for 900,000 years. They made handaxes which they used to butcher the hippos, zebras and baboons they hunted and scavenged. Olorgesailie stands for the gaping history of our species, a blurry, half-formed and dreamlike time from which archaeology can pull out only pieces. The Kenyan anthropologist Louis Leakey uncovered a Homo erectus skull here in the 1940s; the brain cavity was disappointingly small. There must have been grunts, gestures with stones, blood, the sky blotted with vultures, ape children kept back in the darkness. The sense of space here is immense. So too is the sense of known time, hominid time, known at first in the way a beast knows time, in light and darkness, but conscious all the same. The night sky is black lacquered. Satellites pass across it like trams. There are shooting stars. Sometimes there is the sound of hyenas.

“To the extent we are hardwired, it is probably as small bands of hunter-gatherers,” says Spencer Wells, the American geneticist who heads the Genographic Project. Its aim is to take 100,000 DNA samples from indigenous peoples around the world and write the songline of mankind’s journey out of Africa from a place like Olorgesailie, obliterating any literal interpretation of the Garden of Eden and replacing it with a new evidence-based creed.

WE ARE ALL AFRICAN NOW2.  THE  GENOGRAPHIC CREED
The creed holds that every single non-African on the planet is descended from one or possibly two small bands of humans who made it on rafts and skins across the Red Sea at the narrows of the Bab el-Mandeb, or Gate of Tears, about 50,000 years ago. We are a more maritime species than we ever supposed, even if we keep close to the shore. These early humans, this Mayflower on foot, scavenged shellfish along the tideline and in the rock pools, increasing their range by a few kilometres a year. Within 5,000-10,000 years, without much need for adaptation, they had worked their way around India and across the land bridges that then linked Asia with a short sea crossing to Australia.

Some 99% of the human genome is shuffled from one birth to the next. The Genographic Project traces the 1% of the genome which is not shuffled—mitochondrial DNA (mtDNA) through the maternal line and the Y-chromosome through the paternal. These jokers in the pack allow geneticists to work back to our common ancestors. Our mtDNA appears to coalesce in a single woman, who lived on the African savannah 150,000 years ago. Our Y-chromosome survives from a single man, who lived in the Rift Valley of Kenya or Tanzania 59,000 years ago. So Adam and Eve did exist—90,000 years apart. The discrepancy is because, unlike the biblical Adam and Eve, this couple only represent the last common Ancestors we can trace genetically.

About 60,000 years ago, our species had crashed to 2,000 individuals, then recovered with the help of language and conceptual thinking. The speed of our spreading is alarming set against evolutionary time, as if we’re bacteria. The journey of each individual is arranged by haplogroup, a branch of migration marked by a genetic mutation. Since the 1848 revolutions, the spread of mechanised transport and the rise of “isms” culminating in globalism, couples have been shuffling their distinct genetic families, or haplogroups, some representing tiny indigenous peoples, others much of western Europe. In many respects the Genographic Project is a race against time. Indigenous peoples amount to just 350m of the 6.8 billion people on the planet. The number of languages has gone from 15,000 in 1492 to 5,900 today. The ancient bloodlines are almost gone. Soon only the vampires will be left.

The Genographic Project, which is underwritten by National Geographic, IBM and the Waitt Foundation, revolves around the dazzling countenance of Spencer Wells (pictured below). With his blond hair, blue eyes and Nebraska roots, he is the ideal high priest to explain to white Americans that they are blacks gone curdy. His biography carefully notes that he was a “child prodigy with a love for both history and science” who entered the University of Texas at 16. He took his PhD at Harvard under the noted evolutionary geneticist Richard Lewontin, then worked for the founding father of population genetics, Luca Cavalli-Sforza, at Stanford. After a stint running a lab in Oxford and a couple of television shows, he became an explorer-in-residence at National Geographic, which he regards as “the world’s coolest job”.

For publicity’s sake, the project will help solve popular history questions. Did the Vikings leave a genetic imprint on America? How far did the Incas spread? But at its core is the hard science of population genetics.

Cavalli-Sforza’s “The History and Geography of Human Genes”, written with Paolo Menozzi and Alberto Piazza (Princeton University Press, 1994), is still considered the best overview of genetic diversity in humans. Cavalli-Sforza demolished the idea of there being different species of human being. No more Homo afer, asiaticus, europaeus, americanus and monstrous. Race, says Cavalli-Sforza, has hardly any useful biological meaning at all. It is about adaptation. Grain-eaters between the Baltic and Black Sea got pale skin, pale eyes and pale hair because they were under selective pressure to process more Vitamin D from limited sunlight. Lewontin, Wells’s other mentor, posited that if a nuclear war struck and only the Kenyan Kikuyu survived, they would still have 85% of the genetic variation of mankind; with a similar history and conditions, they too would turn blond and blue-eyed under the northern sun.

Cavalli-Sforza was the first to propose a global sample of genetic diversity, but his Human Genome Diversity Project foundered on insensitivity to indigenous peoples and a murky position on whether the DNA samples could be sold. The Genographic Project has learned from those mistakes. Instead of covering its costs with industrial sponsorship, it sells kits to interested members of the public, which in turn support a small legacy fund for indigenous peoples that sweetens their participation. The project has so far gathered 50,000 DNA samples from indigenous peoples. It has sold 300,000 kits at $100 a pop to the public in 130 countries. The major findings will be made public in 2011. “The biggest challenges have been bureaucratic and financial,” says Wells. The few remaining ethnolinguistic hotspots are in remote bits of rainforest, marsh, desert and steppe: National Geographic country.

IBM3.  IBM
The sequencing of nucleotides—the Lego bricks which build our DNA and RNA—within each gene segment is only possible with the power of computing, particularly the algorithms that allow for swifter and more detailed analysis of the data. The work on the Genographic Project is being done by the computational biology team at IBM’s vast research division in the Watson labs outside New York. The genome has a digital structure played out over long strands. It may be significant that we live in an age where the digital is more understandable to us.

The head of the IBM team is an Indian, Ajay Royyuru. IBM has used the Genographic Project as a way of sharpening its understanding of genetics. The goal was to build a statistical model for human variation and migration, he says, but the first lessons were ethical. IBM extended its non-discrimination policy to include genetic markers and helped make it law in the United States; it is now illegal to get rid of an employee because their genes indicate, say, a likelihood of multiple sclerosis.

The biggest advance Royyuru’s team has made is on new algorithms that could allow population geneticists to work with the 99% of the genome that is shuffled. Since the number of our ancestors grows by “two to the power for each generation removed”, the Genographic Project is only looking at a small part of any given person’s genetic inheritance, a few branches on a tree. So far, says Royyuru, the problem remains “NP-hard” (nondeterministic polynomial-time hard), meaning that it cannot be proven with the present computing power. But by applying parsimony, the logic of the simplest evident solution, the IBM algorithm could allow geneticists to say something about complex traits within given populations. Royyuru expects it could be applied to the growing field of personalised testing for genetic markers within the next decade, constituting a significant medical advance.

4.  MY MIGRATION
If you are not an indigenous person, you can buy a DNA kit. You “vigorously” scrape off cells from the inside of your cheek, insert the sample in a clear plastic vial and send it off to Washington, DC. For Europeans, the results are generally bland. About 80% of Europeans are descended from paleolithic hunter-gatherers, with the rest coming up the Danube with the first farming culture, or in smaller groups, such as Ottomans and attendant gypsies.

Genetically speaking, my genes are the unsalted of the bland. I was born in the Shetland Islands, of Yorkshire Norman stock. Predictably, comfortingly, my Y-chromosome haplogroup is identified as I1a. “Because of its high frequency in western Scandinavia,” my results read, “it is likely many Vikings descended from this line. The Viking raids on the British Isles might explain the dispersal of this lineage as well.” The I1a Northmen migrated from Africa, through the Middle East to the Balkans and on to western Europe.

About 28,000-23,000 years ago they helped found the sensual “Gravettian” culture, weaving cloth from natural fibres and carving voluptuous figurines, fertile in their swollen breasts, belly and hips. They then took refuge from the last glacial maximum in Iberia. When the ice retreated, they made their way up the French coast to populate parts of Britain and Norway.

At least I am not a Neanderthal. One of the Holy Grail questions of anthropology, which persisted until recently, was whether Europeans had some Neanderthal blood. The groundbreaking research by Svante Paabo at the Max Planck Institute in Leipzig, examining DNA extracted from Neanderthal bones, shows that is not the case.

The lead researcher for the European part of the Genographic Project is Lluis Quintana-Murci of the Pasteur Institute in Paris. He spends some of his time in the Central African Republic studying the links between Bantu and pygmies. In Europe, he hopes to help solve the mystery of the Basques. Are they relic hunter-gatherers, as some Basque nationalists claim? An extensive study of the Basque lands in Spain and France together with control groups from non-Basque Asturias and Aragon may settle the question and shed light on the Basque language, which “doesn’t belong to any known linguistic family”.

My partner is Czech, and her  mtDNA is haplogroup K. At first glance this is a quirky group associated with Ashkenazi Jews, but it is in fact also a common Slav maternal line. Our youngest son, Hamish, has lived all his life in the Rift Valley. He speaks a little Swahili, but also inherits from his Mum the M17 marker which indicates Kurgan descent. These pre-Scythian nomads glittered on horseback, leaving burial mounds—kurgans—filled with gold across the Eurasian steppe. The Ashkenazi marker is interesting, no question, but the Kurgan brings me back to one of the definitive films of my childhood, “Highlander”, in which two (almost) immortals, a Scottish Highlander played by Christopher Lambert and a Kurgan played by Clancy Brown, engage in mortal swordplay.

WE ARE ALL AFRICAN NOW 2What does it mean to be a couple of thousand generations removed from Adam when, say, Donne and his sonnets are already a cosmos away after only eight generations? On the level of modern history the genographers are no big deal. A haplogroup is so vague as to be useless to genealogists. I could stand on a street in Edinburgh and find more people who shared my I1a haplogroup than my green politics, much less my star sign. But on the level of deep ancestry the Genographic Project is a very big deal. Matt Ridley, author of  “Genome” and a former science correspondent for The Economist, believes the genome revolution “is the biggest development in human history, bar none”. Within that, “out of Africa is a huge story”.

Most of genetics looks forward—to the elimination of disease, cloning, perhaps even the creation of a new species. But if we as a species are but nature’s brief experiment with self-awareness, the Genographic creed is a moment of Copernican consequence, when we truly awake to our origins and journey.

5.  ALL AFRICANS
We are all Africans. We originated in Africa. That is proved by the continent’s rich genetic inheritance. Africans are more diverse than the rest of humanity put together, because they are drawn from the pool of humans who did not leave. As Wells points out, two Africans from the same village could be more divergent from each other than either is from a non-African. The question is whether this new understanding will reinforce prejudices against Africans, or help end them.

As Africa’s population rises and parts of the continent collapse under economic and environmental pressures, eugenics may reappear. This would be revised eugenics, conceding the physical superiority of Africans in everything from penis size to sprinting, but holding that they are not selected for problem solving, having never benefited from the training ground of the Eurasian steppe (with its need for microliths, clothing and portable shelters). “To give them equality is to sink to their level, to protect and cherish them is to be swamped in their fecundity,” wrote the novelist H.G. Wells, a proponent of eugenics.

Rubbish, says Spencer Wells. There are no nasty genetic secrets out there about Africans, “certainly no differences in general intelligence”. Whites’ superior attitudes towards blacks, he reckons, is based on a “general correlation between latitudes and economic development”. Even if National Geographic is suffocated by political correctness and an obsessive need for a tidy narrative, he is right. If Africa is stunted, it is through circumstance, not genetics. Just look at the Nile-Saharan Genetic markers on President Obama’s Y-chromosome.
Besides, evolutionary biologists point out that cold rewarded as much as it punished. With plentiful reindeer, fish in the rivers, nutritious roots and berries, more water, more wood and fewer diseases, the living may have been easier in the north.

In any case, the genetic questions for Africa come rolling in. Who are the most ancient Africans? Why did some Africans select for milk digestion and others remain intolerant? Did the slave trade weaken natural selection in west Africa or strengthen it? What is the genetic legacy of Arabs and Europeans in east Africa?

There is agreement that Y-chromosome Adam would have looked much like a San Bushman of the Kalahari, with an epicanthic fold over the eyes, a hairless cocoa body, and a loose graceful gait. East and southern Africa would have been scattered with hunter-gatherer groups. They probably spoke click languages similar to the San. In modern times they were replaced by farming Bantu from western Africa. Now only the San and a few other groups like the Hadza in Tanzania keep alive the ancient hunter-gatherer traditions.

6.  THE MORMON  QUESTION
All this is provocative. Success for the Genographic Project undermines traditional beliefs. When I asked Spencer Wells about it, he took the Genographic Fifth Amendment: genetics tells us where we come from, not why we are here, or where we are heading. “We try to present it as one aspect of their history. We tell them it does not replace their mythos. It just means they are connected to people all over the world.”

Ajay Royyuru of IBM admits that he is “not used to using the part of my brain that deals with religious questions”. But he had a revelation, a year in. “The bulb went off in my head. All the differences we see in each other, colour of skin and the rest, I realised they were all so minor.” Religions, he says, have appeared and disappeared since Y-chromosome Adam. Royyuru acknowledges that the research means the end of any literal understanding of large parts of Hinduism. “I came to see these like clothes you wear. The human population has existed through all this.”

AfricaTry telling a Hindu nationalist or a Mormon, whose Book is confounded by genetics. “American-Indians are not the lost tribe of Israel,” says Wells evenly. “They are from Central Asia.” As science advances, so too will creationism. The clash of cultures will deepen between those who recognise genetic markers and their implications, and those for whom the price of acceptance is too high: ditching their creed. Right now, creationism is winning. The only major religion in Africa to uphold Darwin is the Roman Catholic church. Hominid finds in Kenya are stored in a vault in the National Museum to stop them being destroyed by religious fundamentalists. The persistence of creationism “is something we as evolutionary biologists cry about,” says Wells. “Literally.”

Yet the Exodus story as told by geneticists may prove more vivid than any religious tradition. There is poetry in the way the Lord parted the Red Sea for Moses, congealing the waters, then “dasheth in pieces” the pharaoh and his chariots. But the physical arc of the story is puny. Writing this, I’ve been listening to “Exodus” by Bob Marley.

Exodus: movement of jah people! So we’re going to walk—alright!—through da ropes of creation: We the generation (tell me why!) trod through great tribulation.

 

It is not the Rastafarian return to the Rift Valley that comes to mind as I listen, genetically elegant though it now seems, but the first hunter-gatherers making it through the Gate of Tears and heading for every point in our world.

 

FURTHER  READING:

"The Human Career" by Richard Klein, 1989.  The authority on human evolution.

"The History and Geography of Human Genes" by Luca Cavalli-Sforza, 1994.  The authority on evolutionary genetics.

"The Journey of Man" by Spencer Wells, 2002. Zippy if self-promotional.

"Genome" by Matt Ridley, 2000. The best overview of the genome.

"Self-Made Man and His Undoing" by Jonathan Kingdon, 1993. Rare insights and African knowledge.

 

Picture Credit: Sand Paper, khym54, whiteafrican, nd.strupler (all via Flickr); Andrew McConnell/WPN 

(J.M. Ledgard is The Economist's Nairobi correspondent and author of "Giraffe". His next novel is about the ocean. His last piece for Intelligent Life was about the tallest building in the world.)

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5 THINGS YOU DIDN’T KNOW ABOUT AFRICA

By Tolu Ogunlesi

 1.

Africa their Africa

AfricaWhen Western tourists talk about Africa somehow it seems to me that what they really mean is East and Southern Africa, places like Namibia and Kenya and Botswana and parts of Uganda where you will find safaris and zebras and elephants and lakes in abundance.

When I think of Tourists' Africa I almost never think of Nigeria. Tourists stay away from a country like Nigeria – those masses of foreigners to be seen at the arrival terminal of the Lagos International Airport (MMIA) are diplomats and NGO-types and oil workers and journalists and researchers, and maybe spies. (And of course the occasional ‘Nigerian letter’ victim desperately hoping to recover a lost fortune). For most of them there will be the lure of money to be made / earned – as hardship allowance or crazy business profit. Nigeria is one country where foreigners come to make money, not fritter it away on guided tours and lakeside resorts.

In the Congo they will be aid workers and diamond-seeking businessmen and gorilla savers; ditto the Sudan (minus the gorilla-savers and businessmen). In Liberia and Sierra Leone they will be IMF and World Bank officials. In Guinea Bissau they will mostly be cocaine merchants and US drug enforcement agents.

2.

i-frica

If Africa didn’t exist, the world – the West, actually – would have had to invent it. If they failed, then China would have succeeded. Indeed the anthropologist and Africa specialist John Ryle wrote, in his review of Richard Dowden’s Africa: Altered States, Ordinary Miracles, in the London Guardian: “In an important sense, “Africa” is a western invention. Despite attempts by visionaries to promote unity among the states that inherited dominion from Europe's retreating empires, African politicians have never paid anything more than lip-service to the pan-African ideal.”

But we could even take that concept of invention to the extreme; beyond the invention of African "unity" to the invention of Africa itself.

Think of a planet without Africa, without what British journalist and author of 3 important books about the continent, Michela Wrong described (speaking on behalf of all foreign journalists) as “Africa’s various trouble spots, our professional bread and butter.” 

I repeat this: If Africa didn’t exist the West would have had to invent it. If Africa didn’t exist, where would all that aid money go? Saving Europe’s poor? Or bailing out Greece and Iceland? Certainly not; it would have gone instead towards providing grants for publishers and novels churning out books about an 'imaginary continent of Africa', where the only thing that worked would be the dysfunction. If Africa didn't exist, what we today know as Sci-fi would be set on a continent known as 'Africa'.

What would the slave plantations of the New World have done in the absence of Africa? What would Mungo Park have done? David Livingstone? Lord Lugard? Lord Palmerston? Ryszard Kapuscinski? Bob Geldof? What would the World Bank and IMF be without Africa?

If Africa didn’t exist, Steve Jobs would have come to the rescue with the i-frica.

  

3.

The epidemic of the angry African

Ever since the arrival of television Africa has been greatly defined by its children. Kwarshiorkoed Biafran kids – with bloated bellies and flies in the eyes – shocked the world in the final years of the 1960s, and galvanized a massive humanitarian operation, the modern beginnings of the billion-dollar charity industry. A decade and half later the theatre of pity moved to Ethiopia. Bono and Bob Geldof (as we know them today) were born. The hungry African child motif took its place as the unifying metaphor for a continent of grossly disparate parts.

And then in the 1990s the helpless African child got tough competition, in the form of the child soldier. In place of the begging bowl, the African child now held a Kalashnikov. There’s an entire genre of literature built around these children; books like Chris Abani’s Song for Night, Ahmadou Kourouma’s Allah Is Not Obliged, Uzodimma Iweala’s Beasts of No Nation; Ishmael Beah’s A Long Way Gone, China Keitetsi’s Child Soldier: Fighting For My Life.

Today, decades later, another image is emerging, that will both reflect and define the image of the continent in the years to come. It is the angry African. She is everything that the child victim is not: educated, privileged, in many cases domiciled in the west. She is angry at the portrayals of Africa by Western media. She foams at the mouth when she sees the TIME Magazine essay on maternal mortality in Sierra Leone, has a JPEG file of the Economist’s famous “The Hopeless Continent” cover on her memory stick; can quote Binyavanga Wainana’s essay “How to write about Africa” line by rib-cracking line; and is an avid reader and commentator on blogs and websites, mind an automated search engine programmed with one word: "Africa".

The angry African is as helpless about her anger as the hungry African child is about her hunger. But unlike the hunger the angry African’s anger is justified; every bit of it. She has taken the AK47 from the child soldier, emptied it of its lead and filled its cartridges with ink instead.

True, African anger at Western portrayal is not new. Long before now there was Achebe (to mention only one example) and his trenchant critique of Joseph Conrad. There was the postcolonial anger of the sixties and seventies. So what’s new? The internet, maybe, which has succeeded in multiplying access to the instigators of the anger as well as to means of expressing it. If there were only a handful of angry Africans before now (mostly sequestered in Ivory Towers), today there are armies of them, let loose on the internet.

Backed up by blogs and Twitter and Facebook, angry Africans can wield their anger effortlessly. Beware, all you misinterpreters of the continent. Being well-intentioned will probably no longer save you. There’s a lot to learn from what recently happened to TIME Africa Bureau chief, Alex Perry, here.

  

4.

Africa is the past – and the future

Ever heard of the Rift Valley? It’s the place in East Africa where scientists tell us humans first learned to walk on two feet, and from where the humans who today occupy other parts of the world commenced their wandering. The Economist’s Intelligent Life magazine 2009 summer issue had as its lead a fascinating piece titled: “We’re all African now.” 

In it J.M. Ledgard writes: “According to potassium-argon dating, hominids lived here for 900,000 years. They made handaxes which they used to butcher the hippos, zebras and baboons they hunted and scavenged… The Kenyan anthropologist Louis Leakey uncovered a Homo erectus skull here in the 1940s; the brain cavity was disappointingly small. There must have been grunts, gestures with stones, blood, the sky blotted with vultures, ape children kept back in the darkness…”

Ledgard goes on to declare: “We are all Africans. We originated in Africa. That is proved by the continent’s rich genetic inheritance. Africans are more diverse than the rest of humanity put together, because they are drawn from the pool of humans who did not leave…”

Africa is indeed the world’s past. In its darkest recesses lies overwhelming shame – the shame of slavery, of colonialism, of neocolonialism –  fuelling the guilt of the world.

But Africa is also the future. Ask China.

African-submarine-fibre-optic-cables

Ask Europe in a few decades, when its streets will teem with pensioners, beneath whose combined weight economies will totter; when it’d be easier to find a mosquito in Germany, than a teenage German.

55 percent of the world’s cobalt is in Africa, as are 15 percent of the world’s arable land, 16 percent of its gold, 89 percent of its platinum, and a sixth of its population. Add China and India and Western Europe, the resulting landmass would still be smaller than Africa.

There is an invasion of fibre-optic cablingacross huge swatches of the continent, that is certain to smash much of the invisible ceiling that has kept Africa on the ground floor while the world inches towards the penthouse.

It is a fact that it is now much harder than ever before to be a dictator on the continent. Vicious wars have ended in Liberia and Sierra Leone and Angola.

Africa, the scar of yesterday (In 2001 Tony Blair called the African situation “a scar on the conscience of the world”) is also the potential star of tomorrow. It is where the guilt of the world will be assuaged.

  

5.

How to read about Africa:

I have written before about the 'ink-attracting' nature of Africa’s many fires. Africa has turned the world into firefighters; firefighters with cash and ink in their hoses. What many do not bother to realize is that there are as many “experts” from within as from without.

In a You-Tube Q & A session with readers, New York Times columnist Nicholas Kristof was asked why his “columns about Africa almost always feature black Africans as victims, and white foreigners as their saviors.”

His interesting response: “The problem that I face — my challenge as a writer — in trying to get readers to care about something like Eastern Congo, is that frankly, the moment a reader sees that I’m writing about Central Africa, for an awful lot of them, that’s the moment to turn the page. It’s very hard to get people to care about distant crises like that. One way of getting people to read at least a few grafs in is to have some kind of a foreign protagonist, some American who they can identify with as a bridge character.”

So there – we meet the lazy American reader who cannot engage with a piece unless he sees either of the following: a “Donate” button or a White Character created by a White Expert.

It is important for Americans interested in learning about Africa to read not just the Western interpreters of Africa but also the Africans who daily spill ink about a continent they care very much about and probably know more about than many of the foreign experts ever will. Please read the Nicholas Kristofs -- but also make sure to read the Tatalo Alamus and the Reuben Abatis.

In his 2007 TED lecture Chris Abani said: “If you want to know about Africa, read our literature. And not just Things Fall Apart, because that would be like saying I've read, Gone With the Wind, and so I know everything about America.”

Speaking in 2008, author of Things Fall Apart Chinua Achebe told Transition Magazine: “The last five hundred years of European contact with Africa produced a body of literature that presented Africa in a very bad light and now the time has come for Africans to tell their own stories.”

They have since started telling those stories. You only need to pay a little more attention.

Posted by Tolu Ogunlesi at 12:05 AM | Permalink

>via: http://www.3quarksdaily.com/3quarksdaily/2010/07/5-things-you-didnt-know-about-africa.html

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Africa, their Africa and who can name themselves

by SOKARI on JULY 27, 2010

in AFRICA

I loved this piece by Tolu Ogunlesi [via Naijablog]  titled “5 things you didnt know about Africa“.       I somehow feel this  might end up as the third in the triology of breaking down that grand narrative known to all of us as “Africa”.   The person who started the ‘unDoing” of the  Africa singularly represented,  is Binyavanga Wainaina with “How to Write About Africa“. This was followed last year by Chimamanda Ngozi Adichie’s “The Danger of the Single Story” both pieces very much stories of their time in that they wizzed around cyberland at super sonic speeds and still continue to pop up regularly.

Tolu’s first unknown is there is actually an Africa  bigger than just the East and Southern Africa tourists spots. There are countries in central Africa, west Africa, mid-west, north - basically those places outside of world cups and safari’s.  Take Nigeria for example? No one ever [or so we are told] visits there unless they absolutely have to ie they have family there or they have business………

Nigeria is one country where foreigners come to make money, not fritter it away on guided tours and lakeside resorts.

In the Congo they will be aid workers and diamond-seeking businessmen and gorilla savers; ditto the Sudan (minus the gorilla-savers and businessmen). In Liberia and Sierra Leone they will be IMF and World Bank officials. In Guinea Bissau they will mostly be cocaine merchants and US drug enforcement agents.

The second unknown, poses the question how would the world look if Africa did not exist – had not been invented?  ”Steve Jobs would have come to the rescue with i-Africa” thats what.   OK for the 3rd [angry African], 4th [where is Africa on the path of past, present, future] and probably most important, the  5th [how to read about Africa] you had better go read for yourself…… here.

As slight aside from Tolu’s theme  is a post by Kayode Ogundamisi on meeting his “white Yoruba aunty” on the London underground. The conversation started with the dreaded and tiresome “where are you originally from” sigh! The conversation goes like this…

“I am originally from Yoruba Land in Africa until the British merged my ancestors with our African neighbours and made me Nigerian.” to his surprise the white lady responded
“Oh you are Yoruba?” My new ‘friend’, almost screaming, facing me, she stretched her hands forward, offering a hand shake. “I am Yoruba too, you are my brother. My name is Wendy, Wendy Omotayo. “That was when she switched from English to Yoruba – not my kind of Yoruba, but what we refer to as the “Ijinle” Yoruba.”

I found this really interesting because it is one of those stories which blows a huge hole in western and Nigerian perspectives on who can dare to call themselves “Nigerian”.    I really need to write more on this  since it has been a bug bear for most of my adult life when I am repeatedly informed by encounters with fellow nationals that it is either not possible for me to be Nigerian or I dont look like one [the tale of the single look Nigerian] more sighs!

>via: http://www.blacklooks.org/2010/07/africa-their-africa-and-who-can-name-themselves/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+blacklooks%2FmUCi+%28Black+Looks%29&utm_content=Bloglines