Why Africa is poor:
the new denial
that ignores history
In a Johannesburg bookstore I came across a big hardback volume called Why Africa is Poor, and on the back was this blurb:
"This book shows that African poverty is not because the world has denied the continent the market and financial means to compete… Nor is African poverty solely a consequence of poor infrastructure or trade access …Greg Mills controversially shows that the main reason why Africa's people are poor is because their leaders have made this choice."
I have also been encountering this kind of thinking in everyday life: most recently an American "global bass" dj told me that "Africa just needs to stop acting like a bitch and man-up" adding that "it is their own corruption which is the real problem". A while back some Germans told me much the same thing, that "The West" no longer has anything to do with today's poverty and suffering in Africa, and they should stop dredging up the past. Routine denial and systematic disavowal have always played central roles in our brave new world, but these attitudes seem to comprise a new intensified wave of right wing denial that renews a sense of European superiority during a time of economic turmoil, provides false moral grounds for the shirking of responsibility, and reinforces centuries old racism. Let us look at exactly what is wrong with this grade A bullshit:
• Claims of internal corruption being the primary reason for poverty in many parts of Africa today ignore historical facts of the African people's chosen leaders being systematically removed by Western powers due to non-compliance with foreign interests, and corrupt lapdog dictators installed in their place, who then sell out their own people for personal gain, dooming entire populations to decades of famine, war, and disease.
• Claims of incompetence being responsible for under-development leave out a multitude of manipulative measures (such as "Aid") with which foreign agents keeps real development from happening, thus keeping routes open for continuing exploitation.
• These claims disavow the long term interest of multi-nationals in keeping areas such as the Congo unstable and in conflict.
• These claims deny fundamental colonial causation of problems in the very structure of society and in every sphere of life, which are entirely too numerous to list here (but for starters, how about: arbitrary national boundaries which divide ethnic groups; long term inequality fostered within populations by systematically playing one tribe off against the other for decades; introduction of forms of governance and legal systems which go against local customs; suppression and outright denial of education; banning of local languages; destruction of indigenous culture; collective psychological trauma from centuries of violence and oppression; etc, etc, etc, etc.), the effects of which not only live on, but ripple and multiply with each day.
• These claims take none of this into account, saying instead: "Africans simply can not govern themselves, and as soon as we leave, they mess everything up" - calling a man weak after stabbing him in the back.
Superficially, this kind of selective observation and false reasoning may seem either relatively harmless or at the most, only misinformed. But upon closer inspection it unmistakably stems from and validates the same Eurocentric, Social Darwinist, and white suprematist ideology which justified systematic decimation of native peoples for the past 4 centuries.
Ultimately, according to this logic, the only possible reason that "Africans can not govern themselves" is "inherent (racial) inferiority" - these claims which blame the victims not only reveal the deep racism of those who make them, they allow injustice and horror to continue unabated. People who make these claims, just like the ones who deny artificial conflict created by the Belgian masters between the Hutus and Tutsis as one of the central cause of the Rwandan Genocide, and instead cite fictional "ancient tribal hatred" as explanation, are fundamentally no different than Holocaust deniers, and not one bit less morally irresponsible or reprehensible.
Former French defense minister Gerard Longuet was caught on camera giving ‘the arm’ to an Algerian request for recognition of war crimes during the colonial era
Plenty of other examples exist, such as Germany's refusal to call the Namibian Genocide what it is, under pressure from other former colonial powers - because if Germany was to start using the G word, the others would also have to recognize the extent of similar atrocities, and forced to pay reparations. Similarly, the French former defense minister's recent response to Algerian request for recognition of colonial war crimes (photo) more than adequately illustrates this New Denial - it is a much easier option than any other. And last but not least we have the likes of wildly popular right-wing historian Niall Ferguson, one of top 100 most influential people according to TIME magazine, saying things like "the British Empire was mostly a good thing, at least we brought civilization to the savages". His books, which include Empire: How Britain Made the Modern World and Civilization: The Six Killer Apps of Western Power, deny not only the British Empire's pandemic destruction of culture and atrocities against vast numbers of human beings in Africa and around the world, but also, more importantly, Britain's primary authorship of the ideological constructs which made the holocaust possible.
I have nothing but respect and admiration for the strength in my African sisters and brother's hearts when they talk of reconciliation, forgiveness, and moving on; and do of course recognize the importance of letting go of the past and positivity for the way forward. But while, in the 21st Century, Africa is not the only part of the globe still struggling with problems directly or indirectly resulting from colonialism, the situation on this continent is among the very worst, especially with the constant and increased presence of a predatory international economic order. Many African nations are not yet ready to do what China did in 1984 - telling the former British colonizers "thank you for waking us up", in other words: "spare us your crocodile tears, just fuck off" - because the neo-colonial knife, unlike with China, is still firmly planted in their backs - and no real progress can be made until its its removal.
So, the real answer to the question Why Africa Is Poor is the following:
Africa is not poor. But only made to be poor through various historical processes known generally as Colonialism, a process which greatly benefits Europe and the US (and has also made many other places artificially poor). No, Africans are not poor, but are locked into a cycle of poverty by the global economic order which demands cheap materials and depends on the fruits of exploitation for sustenance.
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DJ Zhao lives and works in Berlin; his work can be heard at Ngoma Sound.
via thisisafrica.me
Life and Death
of Steve Biko
(Full Documentary)
This documentary gives you a look at who Steve Biko was and what he meant to the revolution against apartheid in South Africa.
Steve Biko was the founder of the Black Consciousness Movement in South Africa. In 1968 he cofounded the all-black South African Students’ Organization.
The organization’s message spread from campuses to the general community, and in 1972 Biko helped found the Black People’s Convention. He was arrested many times for his anti-apartheid work and in 1977, died from injuries while in police custody.
(via iamqueennzinga)
Ghana Rising Hearts:
Joy Frempong aka OY
Just stumbled across Swiss-Ghanaian singer-songwriter, Joy Frempong aka OY and had to share her fabulous experimental-music-as-art …music with you. For more information about Joy visit: http://www.myspace.com/oyrempong
and https://www.facebook.com/Oyfanpage
The following info about about Joy Frempong. It was taken from: http://www.relevantbcn.com/dj-s-bands-producers/oy-a-k-a-joy-frempong
Originally from Ghana, but now residing in Switzerland, Joy Frempong a.k.a. ‘OY’ has lived in many places and dabbled in a variety of different musical circles, working with Jazz ensembles, Hip hop acts and improvisational musicians, but it has only been in the past year or so that she has really began to develop, nurture and solidify her own signature sound.
In the fall of 2009 Frempong’s distinct and truly unique acrobatic voice was featured on a full length release when she collaborated with fellow Swiss musicians ‘Filewile’, on their dub-laced, electro-pop record ‘Blueskywell’. Joy’s experimental lyrics, her poignant words that swing from childish rants, to state of the world commentary, helped to set the band apart, and they’ve since been nominated for the Jury Prize at the 2010 Swiss Music awards.In February of this year Frempong, under the handle ‘OY’, released a wondrous debut album. This project of epic proportions was mixed by Berlin based electronic producer and musician Frederik Knop a.k.a. pOnk, and was mastered by NYC’s Tidy Kid.
The cheekily titled ‘First Box Then Walk’, was released on Swiss label ‘Creaked Records’, and is home to twenty-seven beautifully crafted, nostalgia-riddled tracks.
In regards to the albums theme, Joy says “I asked my friends to mail me some childhood memories. I received many funny and beautiful, poetic and absurd stories”. These stories included one about a girl “who would box around the corner before walking because it might be dangerous to walk and bump into some dangerous being”, this memory became the album’s namesake.
The collection of other people’s memories, as well as her own childhood stories were the inspiration for the songs that became a brilliant, and at times eerie full length record brimming with bright, fun lyrics but also managing to successfully capture the insecurities and world-weary air of the little child within us all.
Frempong’s sensibility and attention to detail are a key part of this release; her carefully crafted lyrics exude innocence and some serious emotional depth. The album features stories about being scared of snakes under the bed, biting kittens, witches who live in the toilet and wild Trolls living in the forest.
The exceptional music, created using samples, toys, piano and synths, pairs well with Joy’s thick, rich vocals. The music is wildly eclectic, constantly switching genres from Jazz, to hip hop, to electronica, but still managing to maintain a solid tone throughout.
OY is a stand-alone vocalist and producer; her live performances are captivating and refreshingly experimental. Over the next year she will be touring in support of her new album, so be sure to catch her when she hits your city.
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The Winter Anthology Writing Contest
A prize of $1,000 and publication in the Winter Anthology will be given annually for a group of poems or a poetry collection, a single story or essay, or a full-length novel, novella, or collection of essays or short stories. Cole Swensen will judge. Submit a group of poems, a single story or essay, or a full-length manuscript of up to 50 pages with a $10 entry fee by January 15. Visit the website for complete guidelines.
The Winter Anthology, Writing Contest, 20 Nielsen Lane, Lenox, MA 01240. Zachary Cotler, Editor-in-Chief.
via pw.org
“Discovery”/Boston Review Poetry Contest - The Joan Leiman Jacobson Poetry Prizes
Mailed submissions should consist of four identical sets of the ten-page manuscript and a check or money order payable to 92nd Street Y. Please staple each set. Enclose ONE cover letter including your name, address, email and day and evening telephone numbers, as well as a list of the submitted poems in the order in which they appear, with copyright attributions for published poems. Do not attach this cover letter to the manuscripts. If you wish to receive confirmation of receipt, please enclose a stamped, self-addressed postcard and allow several weeks for its return. Due to the large number of submissions received, manuscripts cannot be returned.
Writers submitting electronically should enter their contact information, as well as a list of submitted poems, in the COVER LETTER field, not as part of the attachment.
- The contest is open to poets who have not published a full-length poetry collection. Poets who have published chapbooks of less than 42 pages or in editions of less than 500 are still eligible to apply. Poets who have a book contract at the time of submission or who are subsequently awarded a book contract are not eligible for the contest if their book is scheduled for publication before fall 2013.
- Submissions consist of a typed ten-page manuscript, with only one poem per page. Individual poems that have been or will be published in periodicals or anthologies may be submitted; however, at least two of the submitted poems must be unpublished and fewer than two pages in length. Do not submit photocopied pages of the periodical or book in which the poem(s) originally appeared.
- NO personal identification should appear on any of the poems; no copyright attributions for previously published poems should appear on the poems.
- All poems must be original and in English. Translations are not eligible. No contestant may submit more than one entry, and manuscripts by more than one author will not be accepted. No corrections can be accepted after receipt of the submission.
- Entries must be received by 5 pm on Fri, Jan 25, 2013. An entry fee of $12 must accompany the submission.
- Contest entries and fees may be submitted online or mailed to:
"Discovery"/Boston Review Poetry Contest 2013
Unterberg Poetry Center
92nd Street Y
1395 Lexington Avenue
New York, NY 10128- Winners will be contacted by telephone in March 2013; all contest entrants will be emailed the names of the winners shortly thereafter. All contestants will receive a copy of the May 2013 issue of Boston Review.
- No queries can be taken regarding the status of your entry or the names of winners.
via 92y.org
A Room of Her Own Foundation
- Orlando Prizes
Deadline:January 31, 2013Entry Fee:$15Website:E-mail address:tracey@aroomofherownfoundation.orgFour prizes of $1,000 each and publication in Los Angeles Review are given twice yearly for a poem, a short story, a short short story, and an essay by women writers. Submit a poem of no more than 36 lines, a short story of up to 1,500 words, a short short story of up to 500 words, or an essay of up to 1,500 words with a $15 entry fee by January 31. Send an SASE or visit the website for complete guidelines.
A Room of Her Own Foundation, Orlando Prizes, P.O. Box 778, Placitas, NM 87043. (505) 867-5373. Tracey Cravens-Gras, Associate Director.
via pw.org
10 African films
to watch out for, N°16
December 20, 2012By
Filmmaker Shannon Walsh teamed up with director and writer Arya Laloo to make Jeppe on a Friday, “a neighborhood documentary.” The setting is Jeppestown in Johannesburg, South Africa, chronicling a day in the lives of eight residents of this area on the brink of massive change. The featured residents are Beninese entrepreneurs Arouna and Zainab; Ravi, a second-generation Indian shop owner; Vusi, a garbage reclaimer; Alfred, a wedding planner; Robert, who leads a isicathamiya singing group; Mr. Gift, a blind Zimbabwean; JJ, a young white venture capitalist; and sixteen-year-old Lillan, a political refugee.
Joy, it’s Nina – produced in England and Nigeria — is a film built on the experiences and lives of West African women living in the UK who have been separated from their families. The stories are based on news, court reports and director Joy Elias-Rilwan’s own life. Details here and here.
La Réunion: Terre d’asile ou Terre hostile (“land of asylum or a hostile land?”) is a documentary by Said-Ali Said Mohamed about racism and prejudices held towards Comorean immigrants in Réunion:
Lonbraz Kann is a Mauritian film project by David Constantin about the sugar cane industry on the island, how it has been affected by the global market, and the wider implications of the sugar demand crash on the island’s society. Or, as the synopsis has it, “Sugarcane is no longer viable, soon there will be only a golf course and luxury villas where it stood.” Here’s the film’s website.
Earlier this year, when it was presented in Cannes, some reviewers found Egyptian filmmaker Yousry Nasrallah’s After the Battle “too complex”. Never a bad sign:
Not unrelated to the Mauritian film above, Faso Fani, La Fin du Rêve (“Faso Fani, the end of the dream”) is a documentary project in production by Michel K. Zongo (left), also the maker of ‘Espoir-Voyage’, about Burkina Faso’s first textile factory — named Faso Fani, or “national loincloth”. In its heyday, Faso Fani was one of the most important factories in the country before it went into decline. Faso Fani finally closed in 2001 under a Structural Adjustment Program imposed on the country.
Le Djassa a Pris Feu (“Burn it up Djassa”) is a first long-feature by Ivorian director Lonesome Solo. Pitch line: a “noir-tinged urban legend set to the cadence of slam poetry and the beat of street dance”:
Director Nabil Ben Yadir (in the photo left; whose film on first and second generation Belgian-Moroccan The Barons was a local — and highly recommended — hit) is to start shooting his second feature La Marche (“The march”). Synopsis: “The screenplay is inspired by real events and is set back in 1983. For many ‘Arabs’ across France, racist crimes and police brutality are inevitable. Youth from the Minguettes (a neighbourhood in Vénissieux, on the outskirts of Lyon), who are no better armed than the others, decide to stop “hanging out” and to do everything so as not to be considered as second class citizens. In the way of Gandhi, they have the idea of a great non-violent march. With the support of Christophe Dubois, the Minguettes’ priest, they start a ‘March for equality and against discrimination’. From Marseille to Paris.”
Joe Ouakam is a documentary by Senegalese director Wasis Diop about the painter, sculptor, actor and playwright also known as Issa Samb:
And there’s this short film by the directors of When China Met Africa: Madam President, a “behind-the-scenes access” to Malawi’s President Joyce Banda. Wonderful shot: Banda on a visit to Brussels, diving into the city’s tunnels. Quote: “I believe we have so much to learn from China. / How is China!? / We need to go to China!” Final shot: Malawi’s next elections are scheduled for 2014.