VIDEO: Passion for Christ Movement - P4CM.com

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POEMS FROM THE 3RD P4CM LYRICIST LOUNGE!!!

P4CM's Lyricist Lounge 3 exceeded expectations on every level! To begin with, the new venue, Restauracion Church, seated 1,200 people and over 700 people were in attendance that night.  People flew in from across the world to experience a night of sound biblical poetry from 8 featured poets plus 5 open mic poets.  There were poets from Los Angeles, of course, St. Louis and even New York!  P4CM's assistant pastor,  Minister Chris Facey, gave an amazing call-to-repentance that detailed the sacrifice Christ endured in order to purchase us back to God. Over 50 people came to the altar!  Watch some of the poems from that night.

P4CM Official Poet Janette...ikz shares a powerful and unforgettable spoken word piece dealing with child molestation.



 

 

PUB: Paumanok Poetry Contest

Paumanok Poetry Award Guidelines


The Visiting Writers Program
at
Farmingdale State College
is pleased to announce
the twentieth annual competition
for
The Paumanok Poetry Award

One First Prize $1500 and expenses for a reading in our 2011 - 2012 series

Two Second Prizes $750 and expenses for a reading in our series

Interested writers should send the following items to Margery L. Brown, English Department, Knapp Hall, Farmingdale State College, 2350 Broadhollow Road, Farmingdale, New York 11735:

  • a cover letter
  • a one-paragraph bio
  • 3-5 of their best poems (no more than 10 pages, total)
  • the required $25 entry fee

Poems may be published or unpublished, and there are no restrictions on style, subject matter, or length of poems submitted: quality is the single criterion. Please note that the writer's name, address, and phone number should be clearly indicated on the cover page.  Multiple entries will not be accepted.  Entries from previous winners will not be considered.

Make checks payable to Farmingdale State College, VWP.

Poems will not be returned, but writers who want to know the results of the competition via snail mail should enclose a business-size SASE for results (notification by late December).  Results are also published on this website.

Deadline: Postmark no later than September 15, 2010.

Please direct any questions or requests for clarification via email to Margery Brown.

See the Paumanok Award Winners.

Check out the FAQs about the Paumanok Poetry Award.

PUB: call for papers—African American Icons, September 30, 2010 [Update] | cfp.english.upenn.edu

African American Icons, September 30, 2010 [Update]

full name / name of organization: 
Yolanda Williams Page

contact email: 
yolandawpage@yahoo.com

cfp categories: 
african-american
cultural_studies_and_historical_approaches
gender_studies_and_sexuality
popular_culture

 

ICONS OF AFRICAN AMERICAN LITERATURE

Contributors are sought to pen remaining entries for a work tentatively titled: Icons of African American Literature (Greenwood Press 2011). This reference work will be approximately 300,000 words, 2 volumes. It will include extended entries on 24 “iconic” figures of African American literature. Remaining entries are:

1. Dunbar, Paul Laurence. (To include a discussion of dialect poetry)

2. Gates, Henry Louis. (To include a discussion of his impact on black literary studies, including culture and thought)

3. Harris, E. Lynn. (To include a discussion of his impact on contemporary black gay literature)

4. McMillan, Terry. (To include a discussion of her impact on African American pop fiction)

5. Slave Narrative (to include a discussion of the genre and the classic texts: The Life of Olaudah Equiano, The History of Mary Prince, Narrative of the Life of Frederick Douglass and Incidents in the Life of a Slave Girl)

Entries will be fairly substantial, between 10,000 and 15,000 words and will focus on the enduring, iconic significance of the subject profiled, including the significance of the subject to popular culture. Entries will include sidebars of interesting information, such as lists of bestsellers, film adaptations, and the like, along with brief extracts from interviews or published works.

Scholars interested in writing one of the entries should send an email indicating their first, and second choice to yolandawpage@yahoo.com

Deadline for completed entries is September 30, 2010. Completed manuscripts should be 20-30 pages in length—including bibliography. MLA Style of documentation should be used. Manuscripts should be generated in MS Word (or saved in rich text format). Contributors should submit a one-page CV and a brief biographical statement with the manuscript.

Contact:
Dr. Yolanda Williams Page
University of Arkansas at Pine Bluff
Department of English, Theatre and Mass Communications
1200 North University Drive
Pine Bluff, AR 71601
Email: pagey@uapb.edu
Phone: (870) 575-8015

 

PUB: Black Warrior Review Literary Contests

BWR

Welcome to Black Warrior Review

Paho Mann
Artwork by Jason DeMarte.

Black Warrior Review now takes online submissions

In order to cut down on our paper waste and make submitting your work easier, Black Warrior Review has begun to exclusively take online submissions. More details on our submission guidelines, and a link to the submission manager, can be found at our "submit" page.

Fifth-Ever Poetry & Fiction Contest winners announced

Black Warrior Review congratulates the winners of its Fifth-Ever Fiction and Poetry Contests: Miriam Cohen, for her story "Naughty," and Chelsea Jennings, for her poem "Travel, Like Nightfall."

Our finalists were Jack Boettcher, Lisabeth Burton, Christina Cook, Ashley David, Sutherland Douglass, Caitlin Doyle, Sarah Falkner, Elizabeth B. Frye, Ashley Hudson, Rich Ives, Jeff P. Jones, Nick Kocz, y madrone, Jenn Marie Nunes, Parker E. Pracjek, Ben Ristow, Deborah Wood, and Tobias Wray.

Thanks to all who entered. Also, many thanks to our judges, fiction writer Brian Evenson and poet Larissa Szporluk.

NOW OPEN: Sixth-Ever Fiction & Poetry Contests, & the First-Ever Nonfiction Contest!

Guest judges this year are Peter Markus (fiction), Claudia Rankine (poetry), and Lia Purpura (nonfiction).

All entries must be submitted online by September 1, 2010. Please go to http://bwrsubmissions.ua.edu to do so.

Winners in each genre will receive $1,000 and publication in the Spring/Summer 2011 issue. Finalists in each category will receive notation in the Spring/Summer 2011 issue and are also considered for publication.

The Reading Fee is $15 per short story (up to 7500 words), $15 per nonfiction piece (up to 7500 words), and $15 per group of up to 3 poems. Payment must be made online (the Submission Manager will direct you to do so). All contestants receive a complimentary one-year subscription.

 

VIDEO: Africa: Humor in the Context of Black Modernity, Cont'd > from A BOMBASTIC ELEMENT

Africa: Humor in the Context of Black Modernity, Cont'd

Stand up comic Louis C.K has a new show premiering on FX and one of the show's promos about a girl's reasons for wanting to date older men is hilarious and dovetails nicely into his stand up bit on the difference btw women and girls. But its his "love being white"/ Black People can't fu*%k with time machines routine (above) that will have you falling out of your chair, laughing till your sides hurt.

Hence this sort of falls under our whole series on "humor in the context of black modernity" and raises the question of how do whites get away with awkwardness of making fun of blacks and the tragedy of race without setting off sirens of the PC police? South African standup comics below continue their thoughts on the matter, suggesting it's all about the angle and finding a way to do it respectfully:

INFO: (S)hell in the Niger Delta « AFRICA IS A COUNTRY

(S)hell in the Niger Delta

June 27, 2010 · 2 Comments

Powerful Amnesty International spot for its campaign around conditions in Nigeria’s Niger Delta where the oil spills make the Gulf of Mexico look like a picnic. It also points to the complicity of oil giant Shell in destroying people’s livelihoods.

Sean Jacobs

__________________________________
BOYCOTT SHELL
This web site is a project of Essential Action

Unfortunately, Essential Action is no longer actively working on the Boycott Shell campaign. The information contained on this site is intended to provide background knowledge of the issue. We encourage you to contact one of the many groups listed on our links page to get involved!

REPORT Oil For Nothing: Multinational Corporations, Environmental Destruction, Death and Impunity in the Niger Delta

For Background on Shell in Nigeria, visit Info and Resources

Shell in Nigeria: What are the issues?

Contents: 

  1. What is Shell?
  2. Why Boycott Shell? 
    The Problem 
    Environmental Degradation (Natural Gas Flaring, Oil Spills, Pipelines and Construction, Health Impacts) 
    The "Shell Police" 
    The trial of Ken Saro-Wiwa and the Ogoni 8: The Struggle Continues 
    The Ogoni 20 and others... 
    Not just the Ogoni!
  3. Why does the Nigerian government allow this to happen?
  4. What are groups in Nigeria doing about stopping Shell? 
    MOSOP demands 
    Refugees
  5. What are the United States and other countries doing to stop Shell? 
    The Commonwealth 
    The United Nations 
    The US: words without action
  6. Sources

Return to Info & Resources


1. What is Shell?

The "Royal Dutch/Shell Group," commonly know as Shell, is an amalgam of over 1,700 companies all over the world. 60% of the Group is owned by Royal Dutch of the Netherlands, and 40% is owned by the Shell Transport and Trading Group of Great Britain. These two companies have worked together since 1903. Shell includes companies like Shell Petroleum of the USA (which wholly owns Shell Oil of the USA and many subsidiaries), Shell Nigeria, Shell Argentina, Shell South Africa, etc.

Shell Nigeria is one of the largest oil producers in the Royal Dutch/Shell Group. 80% of the oil extraction in Nigeria is the the Niger Delta, the southeast region of the country. The Delta is home to many small minority ethnic groups, including the Ogoni, all of which suffer egregious exploitation by multinational oil companies, like Shell. Shell provides over 50% of the income keeping the Nigerian dictatorship in power.

Aside from letters, the only way to reach the powers of Shell Nigeria is through other Shell companies like Shell Oil of the USA.

 When Shell Oil feels the impact of a boycott and understands that our grievances lie with Shell Nigeria, it puts pressure on the Shell Group to influence change in Nigeria.

2. Why boycott Shell?

Since the Nigerian government hanged 9 environmental activists in 1995 for speaking out against exploitation by Royal Dutch/Shell and the Nigeria government, outrage has exploded worldwide. The tribunal which convicted the men was part of a joint effort by the government and Shell to suppress a growing movement among the Ogoni people: a movement for environmental justice, for recognition of their human rightsand for economic justice. Shell has brought extreme, irreparable environmental devastation to Ogoniland. Please note that although the case of the Ogoni is the best known of communities in Shell's areas of operation, dozens of other groups suffer the same exploitation of resources and injustices.

The Problem

    "
The most conspicuous aspects of life in contemporary Ogoni are poverty, malnutrition, and disease."
-Ben Naanen, Oil and Socioeconomic Crisis in Nigeria, 1995, pg. 75-6
  Although oil from Ogoniland has provided approximately $30 billion to the economy of Nigeria1, the people of Ogoni see little to nothing from their contribution to Shell's pocketbook. Emanuel Nnadozie, writing of the contributions of oil to the national economy of Nigeria, observed "Oil is a curse which means only poverty, hunger, disease and exploitation" for those living in oil producing areas2. Shell has done next to nothing to help Ogoni:  by 1996, Shell employed only 88 Ogoni (0.0002% of the Ogoni population, and only 2% of Shell's employees in Nigeria)3Ogoni villages have no clean water, little electricity, few telephones, abysmal health care, and no jobs for displaced farmers and fisher persons, and adding insult to injury, face the effects of unrestrained environmental molestation by Shell everyday.  

Environmental Degradation 

    When crude oil touches the leaf of a yam or cassava, or whatever economic trees we have, it dries immediately, it's so dangerous and somebody who was coming from, say, Shell was arguing with me so I told him that you're an engineer, you have been trained, you went to the university, I did not go to the university, but I know that what you have been saying in the university sleeps with me here so you cannot be more qualified in crude oil than myself who sleeps with crude oil.
    -Chief GNK Gininwa of Korokoro, "The Drilling Fields", Glenn Ellis (Director), 1994
    Since Shell began drilling oil in Ogoniland in 1958, the people of Ogoniland have had pipelines built across their farmlands and in front of their homes, suffered endemic oil leaks from these very pipelines, been forced to live with the constant flaring of gas. This environmental assault has smothered land with oil, killed masses of fish and other aquatic life, and introduced devastating acid rain to the land of the Ogoni4. For the Ogoni, a people dependent upon farming and fishing, the poisoning of the land and water has had devastating economic and health consequences5. Shell claims to clean up its oil spills, but such "clean-ups" consist of techniques like burning the crude which results in a permanent layer of crusted oil meters thick and scooping oil into holes dug in surrounding earth (a temporary solution at best, with the oil flowing out of the hole during the Niger Delta's frequent bouts of rain) 6.  
      Natural Gas Flaring 
      Ken Saro-Wiwa called gas flaring "the most notorious action" of the Shell and Chevron oil companies7. In Ogoniland, 95% of extracted natural gas is flared8 (compared with 0.6% in the United States). It is estimated that the between the COand methane released by gas flaring, Nigerian oil fields are responsible for more global warming effects than the combined oil fields of the rest of the world9.

      Oil Spills 
      Although Shell drills oil in 28 countries, 40% of its oil spills worldwide have occurred in the Niger Delta10. In the Niger Delta, there were 2,976 oil spills between 1976 and 199111. In the 1970s spillage totaled more that four times that of the 1989 Exxon Valdez tragedy12. Ogoniland has had severe problems stemming from oil spillage, including water contamination and loss of many valuable animals and plants. A short-lived World Bank investigation found levels of hydrocarbon pollution in water in Ogoniland more than sixty times US limits13  and a 1997 Project Underground survey found petroleum hydrocarbons one Ogoni village's watersource to be 360 times the levels allowed in the European Community, where Shell originates14.

      Pipelines and construction 
      The 12 by 14 mile area that comprises Ogoniland is some of the most densely occupied land in Africa. The extraction of oil has lead to construction of pipelines and facilities on precious farmland and through villages. Shell and its subcontractors compensate landowners with meager amounts unequal to the value of the scarce land, when they pay at all. The military defends Shell's actions with firearms and death: see the Shell Police section below.

      Health impacts 
      The Nigerian Environmental Study Action Team observed increased "discomfort and misery" due to fumes, heat and combustion gases, as well as increased illnesses15. This destruction has not been alleviated by Shell or the government. Owens Wiwa, a physician, has observed higher rates of certain diseases like bronchial asthma, other respiratory diseases, gastro-enteritis and cancer among the people in the area as a result of the oil industry16.

      The Shell Police and the Rivers State Internal Security Task Force

      Both Shell and the government admit that Shell contributes to the funding of the military in the Delta region. Under the auspices of "protecting" Shell from peaceful demonstrators in the village of Umeuchem (10 miles from Ogoni), the police killed 80 people, destroyed houses and vital crops in 199017.  Shell conceded it twice paid the military for going to specific villages. Although it disputes that the purpose of these excursions was to quiet dissent, each of the military missions paid for by Shell resulted in Ogoni fatalities18. The two incidents are a 1993 peaceful demonstration against the destruction of farmland to build pipelines and, later that year, a demonstration in the village of Korokoro19. Shell has also admitted  purchasing weapons for the police force who guard its facilities, and there is growing suspicion that Shell funds a much greater portion of the military than previously admitted. In 1994, the military sent permanent security forces into Ogoniland, occupying the once peaceful land. This Rivers State Internal Security Task Force is suspected in the murders of 2000 people20. In a classified memo, its leader described his plans for "psychological tactics of displacement/wasting" and stated that "Shell operations are still impossible unless ruthless military operations are undertaken."21 Since the Task Force occupied Ogoniland in 1994, the Ogoni have lived under constant surveillance and threats of violence. The Nigerian military stepped up its presence in Ogoniland in January of 1997 and again in 1998 before the annual Ogoni Day celebrations.

      The trial and execution of Ken Saro-Wiwa and the Ogoni 8: The Struggle continues...

      Ken Saro-Wiwa and the Ogoni 8 were leaders of MOSOP, the Movement for Survival of the Ogoni People. As outspoken environmental and human rights activists, they declared that Shell was not welcome in Ogoniland. On November 10, 1995, they were hanged after a trial by a special military tribunal (whose decisions cannot be appealed) in the murder of four other Ogoni activists. The defendants' lawyers were harassed and denied access to their clients. Although none of them were near the town where the murders occurred, they were convicted and sentenced to death in a trial that many heads of state (including US President Clinton) strongly condemned for a stunning lack of evidence, unmasked partiality towards the prosecution and the haste of the trial. The executions were carried out a mere eight days after the decision. Two witnesses against the MOSOP leaders admitted that Shell and the military bribed them to testify against Ken Saro-Wiwa with promises of money and jobs at Shell20. Ken's final words before his execution were: "The struggle continues!"

      The Ogoni 20 and others...

      On September 7, 1998, the Ogoni 20 were released on bail! The 20 had been imprisoned for the past four years under the same unsubstantiated charges as those used to execute Ken Saro-Wiwa and the Ogoni 8. It is unclear whether they will be tried. Sadly, another 25 people were arrested in January, 1998 for organizing the annual peaceful Ogoni Day celebration. There are unknown other Ogonis imprisoned because they appeared to support the Ogoni cause or for helping others remember Ken Saro-Wiwa.

      Not just the Ogoni

      The majority of Nigeria's oil comes from the Niger Delta in Southeast Nigeria. All across the Niger Delta, ethnic minority communities suffer the same environmental devastation and oppression under multinational oil companies and the Nigerian military. In 1990, Shell specifically requested that the military protect its facilities from nonviolent protesters in the village of Umeuchem. 80 villagers were killed in two days of violence. A later judiciary panel determined that the villagers posed no threat against Shell21.  There have also been accusations of the military arming some communities to fight other communities and prevent the growth of cohesive groups like MOSOP, because wide-spread movements could lead to the end of the flagrant prosperity for Shell and the military. However, communities like the Ijaw, Ekwerre, Oyigba, Ogbia, and others in the Niger Delta have taken measures to reclaim their despoiled lands and human rights22. Since October 1998, Ijaw groups have been occupying oil industry platforms and pipeline transfer stations, at one point blocking a third of Nigeria's oil exports. As of early December, 1988, the groups were still shutting off flow and demanding environmental and economic justice

      3. Why does the Nigerian government allow this to happen?

      In Nigeria, it is questionable whether it is multinational oil companies like Shell or the military which hold ultimate control. Oil companies have a frightening amount of influence upon the government: 

      80% of Nigerian government revenues come directly from oil, over half of which is from Shell. Countless sums disappear into the pockets of military strongmen in the form of bribes and theft. In 1991 alone, $12 billion in oil funds disappeared (and have yet to be located)23. Local governments admit that oil companies bribe influential local officials to suppress action against the companies. Hence the interests of the Nigerian military regime are clear: to maintain the status quo; to continue acting on Shell's requested attacks on villagers whose farms are destroyed by the oil company; to continue silencing, by any means necessary, those who expose Shell's complete disregard for people, for the environment, for life itself. Shell and the Nigerian military government are united in this continuing violent assault of indigenous peoples and the environment. And just as oil companies exploit numerous communities in the Niger Delta, the government's involvement in the above crimes is not limited to the Ogoni.

      To allow the Ogoni to continue raising local and global awareness and pressure would be political suicide for an oppressive, violent military regime, whose only mandate is its own guns24

      . The Nigerian military government could not allow this movement of empowerment to spread into other impoverished communities of the Niger Delta. By harassing, wounding and killing Ogoni and others, the military ensures that it remains in power and that its pockets remain lined with the blood money of Delta oil.

      4. What are groups in Nigeria doing to stop Shell?

      The first highly visible action organized by the Movement for Survival of the Ogoni People (MOSOP) occurred on January 4, 1993 with 300,000 Ogoni (3/5 of the population) participating in the peaceful "Ogoni Day" demonstration.  The overwhelming turnout signals a solid consensus for change, for freedom from the oppressions of Shell and the military regime. MOSOP is an umbrella association of ten Ogoni groups encompassing over half of the Ogoni population. Today, MOSOP's leaders live in exile, but MOSOP remains a significant presence both in Nigeria and abroad. Since MOSOP became highly visible, other groups in oil producing regions have begun modeling their actions on MOSOP's tactics of intense yet peaceful demonstrations, pan-ethnic-group organizations, and charters based on the Ogoni Bill of Rights. The military and Shell have been careful to prevent any movements from gaining MOSOP's momentum. See 

      The MOSOP Story by MOSOP Canada.

      There are currently many groups in the Niger Delta working on researching and educating about the environmental and social impacts of the oil industry on the Niger Delta. A few of these are Environmental Rights Action (ERA) and Niger Delta Human and Environmental Rescue Organization (ND-HERO). Additionally, many ethnic groups other than the Ogoni are vocalizing and demonstrating against the environmental racism and human rights abuses of Shell, Chevron, Mobil, and many others.

      MOSOP demands

      In 1990, MOSOP created the Ogoni Bill of Rights, which outlines the major grievances of the Ogoni, and applies to the peoples of many other oil producing areas. The major points of the Ogoni Bill of Rights are:

      • clean up of oil spills
      • reduction of gas flaring
      • fair compensation for lost land, income, resources, life
      • a fair share of profits gained from oil drilled at their expense
      • self-determination

      Refugees

        An oft forgotten element of the Ogoni struggle are the thousands of people who have fled Ogoniland under threat of violence from the Shell Police and the Rivers State Task Force. Ogoni refugees are found in Benin, Togo, and Ghana and other countries
      25.  A majority of these refugees are students. There are also many people living in exile in the US, Canada and Europe.  In 1997, Diana Wiwa visited Ogoni refugees throughout the region.

      5. The UN, the Commonwealth and the US

          International  condemnation of Nigeria is widespread, but there has been much more talk than action.

        The UN

        In a surprising and welcome move, the United Nations Special Rapporteur's report on Nigeria (released 4/15/98) accused Nigeria and Shell of abusing human rights and failing to protect the environment in oil producing regions, and called for an investigation into Shell. The report condemned Shell for a "well armed security force which is intermittently employed against protesters." The report was unusual both because of its frankness and its focus on Shell, instead of only on member countries. This was repeated in a November 1998 visit by the same official to Nigeria and the Delta region.

        The Commonwealth

        The Commonwealth is a group of 53 developed and developing nations around the world. Almost all members have had a past association with another Commonwealth country, as colonies  or protectorates or trust territories. The Commonwealth believes in the promotion of international understanding and co-operation, through partnership. Nigeria's membership of the Commonwealth was suspended by Commonwealth Heads of Government on 11 November 1995. Despite repeated pleas from Nigerian human rights activists, the Commonwealth has failed to follow through on threats of expulsion.

        The US: words without action

        In word, the United States is a strong critic of the Nigerian government, both past and present. It has condemned the existence of the military regime, of election cancellations, and of the situation in Ogoniland. It has threatened to take action. Yet it never does. As the largest consumer of Nigerian oil, the US could be the strongest advocate for human rights and justice, yet it refuses to take on that role. The US government has even protected Nigeria from economic sanctions by states and cities within the US. In March 1998 an official from the Clinton administration warned the Maryland House and Senate that bills creating state-wide economic sanctions against Nigeria for human rights abuses are a violation of US commitments to international trade agreements and to membership in the World Trade Organization. The Clinton administration termed such bills a "threat to the national interest." Not surprisingly, multinational oil companies such as Shell, Mobil, and Chevron lobby heavily against aggressive US policy towards Nigeria, an approach which appears to be working. 

         

         

        Sources:


        1. Watts, Michael, "Black Gold, White Heat," in Geographies of Resistance, Steve Pile, Michael Keith,eds., London: Routledge, 1997. 
        2.  Nnadozie, Emmanuel, Oil and Socioeconomic Crisis in Nigeria, Lewiston: Mellon University Press, 1995. 
        3. Watts, op.cit. 
        4. Nigeria Environmental Action Study Team (NEST), Nigeria's Threatened Environment, Ibadan, 1991. 
        5. Saro-Wiwa, Ken, Genocide in Nigeria, Port Harcourt: Saros International Publishers, 1989. 
        6. Ellis, Glenn (Director), "The Drilling Fields," 1994, text from film by Catma Films. 
        7.  Saro-Wiwa, Ken, Genocide in Nigeria
        8. Shell, 1996. 
        9. Ake, Claude, "Shelling Nigeria Ablaze," Tell, 1/29/96, p. 34. 
        10. Cayford, Steven, "The Ogoni "Uprising: Oil, Human Rights and a Democratic Alternative in Nigeria," Africa Today, vol. 43, no. 2, Apr/June 1996, p. 183. 
        11. Ellis, op.cit. 
        12. Watts, op.cit. 
        13. Project Underground, The Flames of Shell: a fact sheet, Berkeley, 1996.
        14. Project Underground and Rainforest Action Network, Human Rights and Environmental Operations Information on the Royal Dutch/ Shell Group of Companies: 1996-1997 Independent Annual Report, 1997. 

        15. NEST, op.cit. 
        16. Marrah, Kofi, "No Let-up in Ogoniland Struggle", African Agenda, Third World Network Features, June, 1998. 
        17. Ellis, op.cit. 
        18. Ellis, op.cit. 
        19. Nigerian News du Jour, "Environmental Action Group says military on Shell's payroll," 4/23/98. 
        20. Human Rights Watch, The Ogoni Crisis, report 7/5, New York: Human Rights Watch, 1995. 
        21. Robinson, Deborah, Ogoni: The Struggle Continues, Geneva: World Council of Churches, 1996. 
        22. Birnbaum, Michael, QC, "Nigeria: Fundamental Rights Denied," Article 19, Appendix 10. 
        23. Kudirat Institute for Nigerian Democracy, "Oil Economy," KIND Website <www.igc.org/kind/economy.html
        24. Watts, op.cit. 
        25. Wiwa, Diana, "The Role of Women in the Struggle for Environmental Justice in Ogoni," Delta website, <http://www.oneworld.org/delta/news4.html#1>, October 1997.
        >via: http://www.essentialaction.org/shell/issues.html

         

        INTERVIEW: Tatyana Fazlalizadeh > from kiss my black ads

        Is this the Poster for Tyler Perry's; For Colored Girls


        I'm sure you've heard by now the classic play is up for a Tyler Perry make-over. The purist are up in arms and afraid TP will put a Madea spin on it and lead many a young lady to the ledge. But you have to remember he had a very gentle hand in the promoting of Precious and according to the Academy of Arts & Sciences it was an Oscar nod worthy production. So he has history with keeping things as they were. But the fact of the matter is this is not (yet) the poster or even the teaser poster for the new movie.

        A brilliant artist by the name of Tatyana Fazlalizdeh put paint to canvas, imagination to artistry & will to power to create her own vision version of how lovely the poster could be. We think it should be the poster for the movie. After all there is about one very actively working movie poster designer who happens to be black. Here's a chance to launch this greattalent onto a bigger brighter stage. What do you think Tyler Perry? can we give the Sister a shot?

        See the interview with Ms. Fazlalizadeh below

        Artist: T a t y a n a F a z l a l i z a d e h

        ___________________________________________________________

         

        When I first saw Tatyana's work I was enlivened by the power of it. I love a concept or a dual meaning in artwork. Even if it's not readily available at first glance, a deeper meaning or twist of a visual makes my damn day. Tatyana delivers that again and again. Even when it's just a portrait the feels very surface and impenetrable, there's something to be said or even unsaid about that stoic veneer of subject's front. Her boldness with color taps you right between the eyes and says come closer or just think deeper, the choice is yours. 

         

        Tell us about why you created the 'Colored Girls' poster and what does it mean to you?

         

        "For Colored Girls" is a really important piece of work. The topics addressed in Ntozake Shange's choreopoem were relevant when she first wrote it, and they are still relevant today - it's a work that I know has personally transformed women's lives. Now, I'm a freelance illustrator working mostly with magazines. But I've been wanting to expand my portfolio by doing film posters. So, when I heard that they were making a film out of "For Colored Girls", I immediately thought to do a poster. The title alone evokes strong imagery and color; "Colored Girls", "Rainbow", "Suicide". I thought that the title made for a potentially beautiful poster. So, staying close to the original poster done by Paul Davis by using a portrait of a woman, and infusing the colors of the rainbow, I came up with the posters I have.

         

        How did you discover your artistic ability?

         

        Since I was a kid I've always kind of known that I housed some sort of artistic abilities. But it wasn't until late in my high school career that I sat down with a pencil and paper and completed a detailed rendering. After I finished that one drawing, I realized that visual art was what I really liked to do and had a talent for. So, I continued drawing. Eventually started painting. And I'm still painting today. 

         

        How is your ethnicity a source of inspiration or strength in your work?
        Or is it just sort of a default setting that has little bearing.

         

        I think ethnicity in general inspires my work. I'm very interested in race relations, African-American history, my experiences with being a black woman, my environment, etc. I'm interested in exploring social and political issues that deal with race.  

         

        Is being a woman artist different from being a man designer, do you find it liberating or challenging?
        Is that question irrelevant?

         

        Well, I've never been a man designer so it's a little hard to say! I have experienced a lot things in my life that happened to me specifically because I'm a woman. Those experiences greatly influence the art I create, subsequently influencing the jobs I go after. But I don't think there is a notable difference between men illustrators and women illustrators when it comes to creating good work and getting gigs. When it comes to the contemporary art scene, however, I do find it difficult as an exhibiting fine artist. The art scene has always been dominated by white males, so that world can be a challenge to break into as a woman. 

         

         

        What aspect of your art do you really love? 

         

        There are a few aspects of my art that I love. Some very small, some, like the general aspect of seeing an idea that existed solely in my mind manifest into an actual painting, are larger. I love the physical aspects of painting - the brushes, the paint, the smells, the messiness. I love being able to express an idea, or make a comment on a social issue with a painting. It's funny - painting and drawing is really just creating an illusion. A portrait can look realistic and 3-dimensional. But it's really just a combination of brush strokes on a flat surface. I love creating that illusion. 

         

        What's the most challenging part of what you do?

         

        Artistically, the most challenging part is coming up with solid paintings that marry a strong concept with a strong and to-the-point image. I often have topics that I want to comment on in a painting but, I have a hard time developing images that express the topic in a clean and simple design. Professionally, the most challenging part of being a freelance illustrator is the constant promotion and marketing of yourself. It's like running a small business. You have to stay busy, otherwise, you aren't eating. 

         

        What's your dream job?

         

        My dream job used to be illustrating the cover of Time magazine.That was a big thing for me when I started doing editorial illustration and I'd still love to do that. But as I've moved into different arenas with my fine art and illustration, my goals have branched out. (Also, the recent decline of print publication prompted me to reconsider my goals.) Now when I think of what my dream gig would be as an illustrator, I think of doing work for/with people I really admire - to have someone who I think is amazing in their own right seek me out for my art because they think I'm amazing too. Example: I would love to do album art for a favorite musician. Or, to do a collaborative piece with someone like Kara Walker.

         

        Can you discuss any specifics about the process of creating a few of the pieces you sent.

         

        Well, my process is pretty much the same for each illustration. Take "For Colored Girls...". I start out by doing loose sketches of ideas, deciding on one or two ideas to make the final illustration(s). Then I have to shoot reference pictures. Since I mostly paint portraits and figures, I have to find a model to pose for the pictures. For "For Colored Girls" I took a few photos of a friend of mine. I knew I wanted her to have a sad facial expression, and that I would crop her from the chest up. I chose the photo with the most interesting use of light and shadows. From there, I played around with the rainbow colors in Photoshop. I print the photos and paint from them. I use oil paint on canvas. I'll scan the painting to get a high resolution digital image of it to send to the client. 
        Any advice for neophytes?

         

        My advice for any beginning illustrator is to be persistent. Most of the jobs I've gotten have been from persistently contacting the same art directors over and over again. Be memorable and keep knocking on their door. Also, I think it's really important to keep a strong belief in your talent and your purpose as an artist. Don't lose that. 

        ________________________________________________

        Painting Janelle Monáe by Tatyana Fazlalizadeh

         

         

        T a t y a n a  F a z l a l i z a d e h
         

         

         

        INFO: The Hush on Abortion -- In These Times

        The Hush on Abortion

        What the silence surrounding black abortion rates says about race relations in America.

        By Shell Fischer

        Film still from Silent Choices (Photo by: Melissa Cliver)

        Black women frequently feel a tension between asking for government support for access to family planning and opposing efforts by policymakers to use birth control to limit family size.

        Several years ago, during their “annual argument about abortion,” documentary filmmaker Faith Pennick’s pro-life friend asserted that as African Americans, they shouldn’t be arguing in the first place, since abortion is a “white woman’s issue” and black women have more important things to worry about.

        Shocked by this statement, Pennick started doing extensive research to dispute her friend’s assertion, and the result was Silent Choices, an award-winning documentary that explores black women’s experiences with abortion—a topic Pennick and other black reproductive rights activists say is blanketed in silence.

        “White women not only allow themselves to talk about this issue, but willingly own it and take it on as the bellwether of politics, of why they vote,” Pennick says. “But as black women, we feel if we acknowledge we have abortions, or even considered having an abortion, we’re going to be looked down upon not only as women, but as a race.”

        This silence is significant, Pennick says, when one considers a recent study by the Guttmacher Institute that shows black women obtain abortions at rates three to five times higher than white women.

        Through her research, she discovered not only a pervasive hush on black abortions in the public sphere, but, perhaps more surprisingly, within black families and their communities.

        This silence, Pennick says, cuts across all class lines. “In my experience, both in researching and making Silent Choices as well as in my personal circles” she says, “middle-class, college-educated black women are just as uncomfortable talking about abortion or acknowledging that they had abortions as poor working-class black women.”

        Pennick says the reasons for this self-censorship are complicated, and are rooted in the history, mythology and stereotypes that surround African-American women and their reproductive rights, as well as a deeply religious culture.

        According to a 2009 report by the Pew Forum on Religion & Public Life, nearly eight in 10 African Americans claim that religion is very important in their lives, compared with just over half of all U.S. adults. And while black churches have historically served as beacons of political activism in this country, most of them have remained mute on the issue of abortion. “Black churches are very left as far as their political views on certain issues,” Pennick notes, “but when it comes to something like abortion, there’s this weird sort of break, like a split personality.”

        One of the most pervasive stereotypes attached to this issue, Pennick says, is the image of the black woman as sexually promiscuous. “If we talk about abortion,” says Pennick, “it might make people think we’re freaks who just love sex. Not that there’s anything wrong with loving sex, but we’re giving the racists ammunition to say, ‘See, look at those sluts.’ “

        To illustrate how this stereotype continues to thrive in contemporary society, Pennick points to the discovery in 2008 that Bristol Palin—the 17-year-old, unwed daughter of the GOP’s vice-presidential candidate—was pregnant. “Somehow, for conservative whites, it reinforced their traditional family values because she kept the baby and got engaged,” Pennick says. “But if that had been Sasha or Malia Obama, if they had been 16 or 17 and had gotten pregnant, oh my, every conservative in this country would have been saying, ‘[The Obamas] have no family values, they’re horrible parents.’ “

        Dorothy Roberts, a law professor at Northwestern University and author of Killing the Black Body: Race, Reproduction, and the Meaning of Liberty, traces the promiscuity stereotype directly to the original defenses of slavery that “painted Africans more like animals than human beings, people who were sexually licentious and didn’t have the intellect to control their bodily drive.”

        Historically, black women’s childbearing has been portrayed as irresponsible and in need of government regulation, Roberts says. Practices reflecting these stereotypes have included such things as family caps for welfare recipients, forced sterilization, and the distribution of risky birth-control medicines such as Norplant and Depo-Provera to poor black women. “It’s no wonder black people would think there’s an effort to stop us from having children, and that affects how we think about abortion,” Roberts says.

        Another reason for the silence may be a lingering belief that grew out of the 1960s black nationalist movements: that abortion and birth control are tools of whites in power to limit the black population. “Even if people aren’t nationalistic,” says Roberts, “there’s a sense that childbearing is a positive thing that contributes to your whole community, and therefore having an abortion violates that.”

        Because of this complicated history, Roberts says, black women frequently feel a tension between asking for government support for access to family planning and opposing efforts by policymakers and others to use birth control to limit their fertility. It has also created schisms between black and white reproductive rights activists.

        One example, Roberts says, is the battle in the late 1970s over sterilization. “[Prior to regulations] there were cases where doctors would refuse to sterilize white women even if they begged for it, because in the doctor’s view, why would a young white woman not want to have children? Whereas they were sterilizing black women without their consent and sometimes even knowledge,” she says.

        In 1978, federal rules put into place to restrict sterilizations included a 30-day waiting period and guaranteed consent. To many white women, these regulations interfered with their constitutional rights, yet women of color wanted assurance they wouldn’t be sterilized without permission.

        In recent years, Robers says, anti-abortion groups have been attempting to label abortion as “black genocide.” In 2008, Rep. Trent Franks (R-Ariz.) proposed the Susan B. Anthony Prenatal Nondiscrimination Act, which would “prohibit discrimination against the unborn on the basis of sex or race.” His proposal died in part because women of color organized to opose it.

        Byllye Avery, founder of the Avery Institute for Social Change and the National Black Women’s Health Imperative, says that while it’s true the black community has remained largely hushed on the issue of abortion, leading black women’s reproductive rights activists have been speaking loudly about it for years. The problem, she maintains, is that women’s rights organizations—run largely by white women—have not been receptive to their ideas.

        “One of the many fights we had with them … is when we said, ‘Expand your agenda to include all reproductive rights issues. Don’t just talk about abortion. What about infant mortality rates, or access to birth control, or sterilization abuse?’ When people hear these things linked together, they have a harder time isolating you as just being pro-choice,” Avery says. “But that’s not something they wanted to do.”

        In 1974, Avery cofounded the Gainesville (Fla.) Women’s Health Center, a women’s gynecological center that was also a first-trimester abortion clinic. “It was very important to me for people to understand that abortion doesn’t exist in isolation, that it’s included in the whole reproductive spectrum,” Avery says. “So when people saw [birthing and abortion centers] hooked together, it made it much more acceptable and they were better able to understand.”

        Lori Hylton, a married mother in New York who speaks in Silent Choices of having two abortions after becoming pregnant with the same man while on birth control in college, says she too was acutely aware of cultural pressures to keep her experiences secret. “A lot of it stems from this idea of, ‘Why would you put your business in the street so white America can judge you? Don’t they spend enough time judging us as it is?’, ” says Hylton.

        Even so, Hylton believes it’s important that she continue to share her story. “Having a choice is something people take for granted in this country, and we need to be able to stand up for it. It doesn’t mean anyone’s pushing anyone to get an abortion,” she says. “[I]f I keep my secrets, then no one can learn from my experience.”

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        Shell Fischer is a journalist based in Brooklyn. The initial chapter of her first novel, The Joy of Mom, about the Sexual Revolution as seen through the eyes of a 10-year-old girl, won the 2009 Bronx Center for the Arts Chapter One Award.

        More information about Shell Fischer