VIDEO: 'Uprising: Drums, Voice of Resistance' (Diasporic Connections From Cuba To Haiti To New Orleans) > Shadow and Act

Preview

'Uprising:

Drums, Voice of Resistance'

(Diasporic Connections

From Cuba To Haiti

To New Orleans)


by Tambay A. Obenson

 

November 20, 2012

Titled Uprising: Drums, Voice of Resistance, it's said to be part one of a trilogy that explores the historical and cultural connections between Santiago de Cuba, New Orleans, and Haitithrough cultural expression.

The popular traditions in this project include: “Las Congas” from Santiago de Cuba, the “Second Line” from New Orleans, and the “Rara” from Haiti. Through a video documentary and photographic essay, we analyze power dynamics during popular festivals in the Caribbean region, exploring issues of resistance in the context of Afro Diasporic communities. In doing so, we draw connections between the New Orleans, Cuba, and Haiti.

These connections certainly shouldn't surprise, but I'm definitely intrigued, and would love to see the final product, when it's complete.

There appears to be a larger work here that the above documentari is a part of, titled A Cultural Odyssey: from New Orleans to Santiago de Cuba, seemingly more of a multi-media project (photographs, film footage, and audio recordings) which seeks to accomplish a similar mission of connecting the Diaspora.

After returning from Cuba in August, the filmmakers have been spending time compiling, managing, organizing and transcoding the massive amounts of data they collected while there, including thousands of photos, thousands of gigabytes of raw footage, hours of audio recordings, and countless stories to tell.

So I wouldn't expect to see a finished work anytime. But we'll have our eyes and ears open for any progress worth reporting.

In the meantime, check out a preview Uprising below (the above photo is courtesy of their massive Flick library of photos they shot for the project HERE):

Uprising, Drums Voice of Resistance from Melodius Thunk Productions on Vimeo.

 

LITERATURE + VIDEO: Jackie Kay, ‘Falling Back” – Meeting my Nigerian Father

Jackie Kay, ‘Falling Back”

– Meeting my Nigerian Father

Jackie Kay @ 5×15 from 5×15 on Vimeo.

The Red Dust Road

Jackie Kay was born in Edinburgh in 1961 to a Scottish mother and Nigerian father. She was adopted by a white couple at birth and was brought up in Glasgow, studying at the Royal Scottish Academy of Music and Drama and Stirling University. Her experiences of growing up inspired her first collection of poetry, The Adoption Papers (1991), which won a Scottish Arts Council Book Award and the Saltire Society Scottish First Book of the Year Award. Her other collections include Other Lovers (1993), Off Colour (1998), Darling: New and Selected Poems (2007) and The Lamplighter (2008). Her collection of poetry for children, Red, Cherry Red (2007) won the 2008 CLPE Poetry Award. Her first novel, Trumpet, published in 1998, was awarded the Guardian Fiction Prize and short-listed for the International IMPAC Dublin Award. She has also published three collections of short stories: Why Don’t You Stop Talking (2002), Wish I Was Here (2006) and her latest book, Reality, Reality (2012). Her memoir Red Dust Road (2010), a memoir about meeting her Nigerian birth father, which was short-listed for the 2011 PEN/Ackerley Prize. Jackie Kay was awarded an MBE for services to literature in 2006.

 

IDENTITY: Soy Afro- Panameña! – A Personal Story of Afro-Latina Identity and Pride

Soy Afro- Panameña!

– A Personal Story of

Afro-Latina Identity and Pride


afro-latina

“What are you? I thought you were black!”

I often hear this when people  find out my parents are Panamanian.  Looking down at my arm  and responding with a sarcastic, “Oh, I thought I was too,” is how I usually dismiss the statement when I am not in the mood to explain the difference between race and ethnicity. Being questioned about my background is something I have grown accustom to, as it has happened my entire life. As a result, I have made it a point to represent my culture whenever possible.

Natural Born Orgullo

Embracing my Panamanian and West Indian background was something that was taught to me at a very young age.  Both of my parents were born and raised in Panamá, but past generation from both sides of their families originated from West Indian countries. My father’s family is from Barbados and my mother’s family is from Jamaica. Both families migrated to Panamá to help with the construction of the Panamá Canal. This is where my family gets our darker pigmentation and our West Indian traditions from. Being a direct decedent of Panamanian parents is something I have always held close to me,like a badge of honor, displaying it proudly throughout my entire life by wearing T-shirts and accessories with the Panamá flag on them.

Growing up in Panamanian family with West Indian roots meant I was spoken to with a mix of Spanish, Bajan, and broken English. I ate Arroz Con Pollo, Plátanos, and Jamaican Patties. I grew up listening to Celia Cruz, Héctor Lavoe, Rubén Blades, Gregory Isaacs, and Bob Marley. I attended Panamanian events and knew all the Panamanians in the area. Whenever I met someone that had a Panamanian parent, 9 times out of 10 their family knew or grew up with someone in my family. It was like I belonged to my own special club, bound together by Panamanian culture. And that made me feel comfortable because we all understood each other’s background and where we came from.

Helping Others To Understand

However, things were different when I came across people who did not understand my background. I grew up in a small suburban community that didn’t have many black people in it. So, when people heard my parents’ accents or noticed we had a foreign flag hanging in the mirror of our car, I would often hear the question, “If your parents are from Panamá, how are you black?”

When I was younger, I had no idea how I was supposed to answer that question. My mom would say, “Tell them you are a black Panamanian.” Giving that response worked for a while, but when I got older that response lead to additional questions and confusion for others. People would ask,“Well how are you both?” With close friends I would explain it.  But after a while I found myself bothered that people did not have a basic understanding of the difference between race and ethnicity. Because it was something they were unfamiliar with, people didn’t understand how I could be black with a Latin background.

But when I moved to Carson,CA, a suburb of Los Angeles, to attend college I figured I would get questioned less, but I was wrong. Since Los Angeles is sometimes referred to as a “melting pot”, I thought people would be more aware of culture diversities. Nevertheless, throughout college I continued to receive the same kinds of questions and responses regarding my background. I was amazed that people just could not grasp the concept of a black Latina.

Soy Afro-Latina

It wasn’t until I watched a few videos on Youtube that I started to understand other people’s mentality on this subject. One of the videos I watched was entitled,“Afro-Latinos: The Untaught Story”. The video featured black Latinos discussing our lack of representation in the United States. I found that I was able to relate to everything discussed in the video. The underrepresentation of people like me is what led to the ignorance of others. It was sad to know that in this day and age people were still able to dismiss a person’s culture because of the color of their skin.

This is why I am thankful for Afro-Latino blogs, Youtube videos, New Latina and Latina magazine. These media outlets have brought attention to the term “Afro-Latino”, which is defined as a Latin person of black African ancestry.  I like this term because I can identify myself as such. Bringing attention to the term will hopefully help others to understand that a Latin person can be of any skin color. This type of awareness can bring about change, and then maybe Afro-Latinos will be represented in more TV shows, movies, and magazines.

As for me, I will continue to do my part by sharing information about Afr0-Latino culture on my blog. I will also take the time to explain my background to others, letting people know that I am African because my ancestors were carried on slave ships and dropped off in West Indian countries; and that  I’m also Panamanian because both of my parents were born in Panama.  I will make sure that people know that I am a proud Afro- Panameña!

++++++++++++++++++++

Tamika Burgess

Tamika Burgess

Tamika Burgess is a personal essay and Hip Hop Freelance Writer and blogger who currently lives in Brooklyn, NY. She is the founder of The Essence of Me blog and her work has been featured on various sites including Clutch Online Magazine and The Well Versed.com. Tamika is from California and has an MA in Strategic Communications.

 

HISTORY: If the children are of African or Native American... > Needing To Be Found

Pow Wow Rogers Williams Park, Providence, RI

If Children Are Of African

Or Native American Descent

Pow Wow Rogers Williams Park, Providence, RI

 

If the children are of African or Native American descent, they learn that their ancestors lost badly and ingloriously, but that was all for the best anyway. The historical record often does not agree with these kinds of conclusions. The English newcomers sent to Roanoke Island in 1584 by Sir Walter Raleigh are a case in point. What these pioneers did was self-destruct over their own love of possession. When a silver cup allegedly disappeared, the Roanoke men roared out of their tiny enclave, muskets, and torches in hand, to destroy their Indian neighbors’ village and crops. This blazing display of European possession-mania cut the colony off from the one local source of help.

When the Spanish Armada severed the settlement’s connection to British ports, it withered and died. Roanoke Island became famous as”the lost colony”.

In light of this unacceptable object lesson for children, school texts prefer to begin US history with another colony, Captain John Smith’s Jamestown, Virginia, founded in 1607. Captain Smith was sent out by a London joint-stock company seeking profits from colonization. Smith sailed with an overload of failed aristocrats and settled on land owned by the Algonquin Confederacy.

Trouble began when the newcomers refused to plant, build, or exert themselves. Iron pistol in hand, Captain Smith ordered his lazy gentlemen to “work or starve.” Time and again the English were rescued from starvation through the generosity of the Algonquin Confederacy, which provided corn and bread. The foreigners responded by refusing to share their advanced agricultural tools with the Indians and violence soon broke out.

At Roanoke Island colonization proved a total failure. At Jamestown, what collapsed was the European “work ethic.” No wonder some scholars decided that US history did not begin until the arrival of the hard-working Pilgrims aboard the Mayflower in 1620. Leaping over events can avoid some unpleasant conclusions about early European motives, character, and success.

William Loren Katz, Black Indians, p. 20-21

 

VIDEO: Miles Davis Quintet: Live in Europe 1969: The Bootleg Series Vol. 2 > The Revivalist

Miles Davis Quintet:

Live in Europe 1969:

The Bootleg Series Vol. 2

The second volume of one of the most exciting releases from the Miles Davis collection we’ve seen in the past few years drops January 29th, 2013. It features the “Third Great Quintet” of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette. 

The deluxe edition contains 3 CDs and a DVD of material that we’ve only seen or heard from bootlegs. These feature performances at the Antibes Jazz Festival in France, a performance in Stockholm, and color video recording of their Berlin performance. The package will be available through Columbia/Legacy.

Miles Davis Online

 

VIDEO: Acoustic Africa: Afropean Women

Manou Gallo

 

 

Acoustic Africa:


Afropean Women

An exhilarating musical journey, this season's Acoustic Africa: Afropean Women celebrates the roots of traditional African music and contemporary pop and R&B with three of Africa's most compelling female singers—Dobet Gnahoré, the Ivory Coast's Grammy award--winning singer and percussionist; Manou Gallo, the acclaimed former bassist for Belgian group Zap Mama, and Kareyce Fotso, the young Cameroonian singer who contributes an intriguing combination of Afropop and blues. With musical direction by guitarist Leni Stern, this first-time meeting of Afropean talent showcases a spellbinding exchange between these three great female artists.

PUB: University of East Anglia David T. K. Wong Fellowship > Poets & Writers

University of East Anglia

David T. K. Wong Fellowship

Deadline:
January 14, 2013
Entry Fee: 
$16

A one-year residential fellowship at the University of East Anglia, which includes a stipend of 26,000 euros (approximately $41,600), is given annually to a fiction writer for a work that "deals seriously with some aspect of life in the Far East." Submit up to 2,500 words of fiction with an entry fee of 10 euros (approximately $16) by January 14. Visit the website for the required entry form and complete guidelines.

University of East Anglia, School of Literature and Creative Writing, Norwich NR4 7TJ, England.

via pw.org

PUB: University of East Anglia David T. K. Wong Fellowship > Poets & Writers

David T. K. Wong Fellowship

Deadline:
January 14, 2013

Entry Fee: 
$16

A one-year residential fellowship at the University of East Anglia, which includes a stipend of 26,000 euros (approximately $41,600), is given annually to a fiction writer for a work that "deals seriously with some aspect of life in the Far East." Submit up to 2,500 words of fiction with an entry fee of 10 euros (approximately $16) by January 14. Visit the website for the required entry form and complete guidelines.

University of East Anglia, School of Literature and Creative Writing, Norwich NR4 7TJ, England.

via pw.org

 

PUB: BkMk Press - Contest Submission Guidelines

BkMk Press

of the University of Missouri-Kansas City

Announces


Short-Fiction Book Award

The G. S. Sharat Chandra Prize for Short Fiction

 

Poetry Book Award

The John Ciardi Prize for Poetry

Next postmark deadline (both awards): January 15, 2013

For the best book-length collections of poetry and of short fiction in English by a living author

Prize: $1,000 and publication of winning book for each prize

Submissions:

  • Manuscripts must be typed on standard-sized paper, in English. Poetry manuscripts should be approximately 50 pages minimum, 110 pages maximum, single spaced. Short fiction collections should be approximately 125 pages minimum, 300 pages maximum, double spaced.

  • Entries must include two title pages: one with author name, address and phone number; and one with no author information. Any acknowledgments should appear on a separate piece of paper.

  • Entries must include a table of contents.

  • Author's name must not appear anywhere on the manuscript.

  • Please submit your manuscript in loose pages, bound only with a clip or rubber band. We prefer that you do not staple or permanently bind your manuscript. Do not submit your manuscript by fax or e-mail.

  • Simultaneous and multiple submissions are acceptable. Please notify us of acceptance elsewhere.

  • A SASE should be included, for notification only. Note: No manuscripts will be returned.

  • A non-refundable reading fee of $25 in US funds (check made payable to BkMk Press or a completed credit card form printed from this link) must accompany each manuscript. Entrants will receive a copy of the winning book in their genre when it is published.

  • Manuscripts must be postmarked no later than January 15, 2013. 

Manuscripts will not be returned.  No refunds will be issued.

Judging will be blind at all levels. Initial judging will be done by a network of published writers and editors. The final judging will be done by a poet and a fiction writer of national reputation. Winners will be announced in July 2013 and the winning entries will be published in 2014.

These competitions are held annually.

Address To:

    John Ciardi Prize for Poetry or Sharat Chandra Prize for Fiction
    BkMk Press
    University of Missouri-Kansas City
    5100 Rockhill Road
    Kansas City, MO 64110-2499

    (816) 235-2558*
    Fax (816) 235-2611
    bkmk@umkc.edu

    Available to contest entrants at the special price of $5 each postage paid are the following titles from BkMk Press:

      Stations of the Air by John Ciardi. These poems were collected after Ciardi's death in 1986.

      Family of Mirrors, poems by G. S. Sharat Chandra, professor of English at UMKC who died in 2000.

      Available to contest entrants at the special price of $10 each postage paid are the past winners of the John Ciardi Prize for Poetry: The Resurrection Machine by Steve Gehrke,  selected by Miller Williams; Kentucky Swami by Tim Skeen, selected by Michael Burns;  Escape Artist by Terry Blackhawk, selected by Molly Peacock; Fence Line by Curtis Bauer, selected by Christopher Buckley; The Portable Famine by Rane Arroyo (selected by Robin Becker); Wayne's College of Beauty by David Swanger (selected by Colleen J. McElroy); Airs & Voices by Paula Bonnell (selected by Mark Jarman); Black Tupelo Country by Doug Ramspeck (selected by Leslie Adrienne Miller); Tongue of War by Tony Barnstone, selected by B. H. Fairchild; Mapmaking by Megan Harlan, selected by Sidney Wade; Secret Wounds By Richard Berlin, selected by Gary Young; and the past winners of the Chandra Prize: A Bed of Nails by Ron Tanner (selected by Janet Burroway); I'll Never Leave You by H. E. Francis, selected by Diane Glancy; The Logic of a Rose: Chicago Stories by Billy Lombardo, selected by Gladys Swan; Necessary Lies by Kerry Neville Bakken, (selected by Hilary Masters); Love Letters from a Fat Man by Naomi Benaron, (selected by Stuart Dybek); Tea and Other Ayama Na Tales by Eleanor Bluestein, (selected by Marly Swick); Dangerous Places by Perry Glasser, selected by Gary Gildner; Georgic by Mariko Nagai, selected by Jonis Agee; Living Arrangements by Laura Maylene Walter, selected by Robert Olen Butler.

      In 2012, watch for Ciardi Prize winner Axis Mundi by Karen Holmberg, selected by Lorna Dee Cervantes; and Chandra Prize winner Garbage Night at the Opera by Valerie Fioravanti, selected by Jacquelyn Mitchard.

       

      PUB: CALL FOR PAPERS: THE JOURNAL FOR HIP HOP STUDIES

      CALL FOR PAPERS:

      THE JOURNAL FOR HIP HOP STUDIES

       

      The Journal for Hip Hop Studies (JHHS) is committed to publishing critically engaged, culturally relevant, and astute analyses of Hip Hop. Submissions should emphasize Hip Hop’s relationship to race, ethnicity, nationalism, class, gender, sexuality, justice and equality, politics, communication, religion, and popular culture. JHHS also explores the intersections of the sacred and profane for a better understanding of spirituality and religious discourses within the Hip Hop community.

      JHHS has five broad aims, each of which adds a new and distinctive dimension to the academic analysis and study of Hip Hop: 

      1. The religious discourse and rhetoric of Hip Hop and rap

      2. Culture, structure, and space within Hip Hop and rap

      3. Race, ethnicity, identity, class, and gender in a Hip Hop and rap context

      4. The sociology of religion in Hip Hop and rap

      5. Hip Hop’s influence and reach in other culture industries (fashion, sports, television, film); within the political sphere, and within educational spaces

      Papers that engage with the above listed points are encouraged. Other questions we are considering, but are not limited to include:

      • How do we understand mediated presentations of Hip Hop?

      • What is the relationship among rap music, film, and the Internet?

      • What theoretical frames are best adapted for the study of proliferation of Hip Hop?

      • How do members of the Hip Hop generation understand God, religion, and spirituality?

      • How is Gnosticism interpreted within the Hip Hop community?

      Papers should be between 4000-6000 words. Papers should follow the Chicago style of writing (16th B) and include tables, charts, and graphs as either Word or Excel documents (no chart, graph, or table images).

      Papers should be sent to Daniel White Hodge (Editor in Chief) dwhodge@northpark.edu