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hi tek 02

High Tech Soul

Subtitled the ‘Creation of Techno Music’ this documentary sets out to detail just that very subject, going back to the roots of the Detroit scene, the birthplace of techno as we know it today. The film aims to position the genre’s development in the social deprivation of Motor City, and its musical roots in the likes of Kraftwerk, George Clinton and the P-Funk scene.

The piece features interviews with pretty much everyone involved in the development and furtherance of the early techno movement; Blake Baxter, Richie Hawtin, Carl Cox, Stacey Pullen, Jeff Mills, Eddie Fowlkes, Carl Craig and more reminisce and set the scene. Inevitably, the bulk of the film centres on the work of the big three, Juan Atkins, Kevin Saunderson and Derrick May, the founding fathers of techno back in the 80s.

Director Gary Bredow demonstrates a love of the genre, humanising machine music by attaching a personality to the creators of one of the proto-forms of dance music. It was revolutionary at the time and this demonstrates how advanced their knowledge of samplers, synths and electronics was at the time. The stories are genuinely amusing and/or informative, giving a real insight into how a musical style is created. The only downside is the length: you actually want more run time as the credits roll.

 

>via: http://film.list.co.uk/article/7839-high-tech-soul/

 

 

 

 

story share

Story Share $50,000 Writing Contest

Submission deadline: December 7, 2013

Benetech Global Literacy, the National Center for Learning Disabilities (NCLD), the Center for Applied Special Technology (CAST) and Orca Book Publishing are encouraging emerging and existing writers to submit original high-interest fiction and non-fiction reading material for young adults aged 13+ who struggle with reading. No prior experience writing for struggling reader audiences is required. A step-by-step guide is available to assist writers in leveling their stories. Eleven cash prizes will be awarded to winners in categories including best series, best character-based story and best use of illustrations. Prize levels range from $2,000 to a grand prize of $10,000. www.storysharecontest.com

 

 

 

 

minerva rising

Chapbook Submissions

Submit your prose or poetry here.

We’re very excited!

Why: Minerva Rising is sponsoring its first ever chapbook contest.

The ThemeDaring to be the Woman I Am

The Scoop:  We will publish two chapbooks, one in prose and one in poetry.  We’re asking for submissions that speak creatively, powerfully, thoughtfully and maybe even uniquely to our theme “Daring to be the Woman I Am”.  For prose we will consider a collection of short stories or a long short story (up to 45 pages) and for poetry we are asking for a collection of poems (12 – 15 pages).

The Dates: Submissions will be accepted from October 1, 2013 through December 1, 2013.  Publication is planned for March 2014 to coincide with Women’s History Month.

The Fee: The fee for submission is $20

The Prize:   $250 each and 10 copies of the book.

The Judge: Rosemary Daniell

Photo credit: Jim Holmes

Rosemary Daniell’s most recent publication is “The One Who Breaks My Heart,” included inSugar in My Bowl: Real Women Write About Real Sex, edited by Erica Jong and published by Ecco/Harper Collins, 2011. Her book, Secrets of the Zona Rosa: How Writing (and Sisterhood) Can Change Women’s Lives, was published by Henry Holt and Company in May, 2006. Its prequel,The Woman Who Spilled Words All Over Herself: Writing and Living the Zona Rosa Way, was published by Faber & Faber, in 1997. Her revolutionary memoir, Fatal Flowers: On Sin, Sex and Suicide in the Deep South (Holt, Rinehart & Winston, 1980; Henry Holt & Company, 1989; Hill Street Press, 1999) won the 1999 Palimpsest Prize for a most-requested out-of-print book, and was re-issued that same year. Along with her second memoir, Sleeping with Soldiers (Holt, Rinehart & Winston, 1984; Hill Street Press, 2003), which was also published as part of the Book of the Month Club’s Library of Erotic Classics, it was a forerunner of the current memoir trend. She is the author of five other books of poetry and prose, including and her collection of essays, Confessions of a (Female) Chauvinist (Hill Street Press, 2001), a novel, The Hurricane Season (William Morrow & Company, 1992); two collections of poetry, A Sexual Tour of the Deep South (Holt, Rinehart & Winston, 1975; Push Button Publishing, 1994) and Fort Bragg & Other Points South (Henry Holt & Company, 1987). Among her awards are two N.E.A. Fellowships in creative writing, one in poetry, another in fiction. In addition her features and reviews have appeared in numerous magazines and papers, including Harper’s Bazaar, New York Woman, Mademoiselle, The New York Times Book Review andMother Jones; she has also been a guest on many national radio and television shows, such as Merve Griffin, Donahue, The Diane Rehm Show, Larry King Live and CNN’s “Portrait of America.” She is profiled in the book Feminists Who Changed America, 1963-1975. In 2008, she received a Governor’s Award in the Humanities for her impact on the state of Georgia; early in her career, she instigated and led writing workshops in women’s prisons in Georgia and Wyoming, served as program director for Georgia’s Poetry in the Schools, and worked for a dozen years in Poetry in the Schools programs in Georgia, South Carolina, and Wyoming. Also known as one of the best writing coaches in the country, she is the founder and leader of Zona Rosa, a series of creative writing workshops in Savannah and Atlanta, and cities throughout the world, as described in People and Southern Living magazines, and attended by such outstanding writers as John Berendt, Bruce Feiler and Pat Conroy. To date, over 130 Zona Rosans and counting have become published authors. For further information, see Rosemary’s web page at www.myzonarosa.com.

“Rosemary Daniell is one of the great writing teachers I’ve seen at work in the country.” – Pat Conroy

“Rosemary Daniell is enormously gifted. Her work is risky – in the best sense of the word. She is one of the women by whom our age will be known in times to come.” – Erica Jong

“(Daniell) has…proved just how earthy, inspiring, and even rapturous . . . the creative process can be.” – People

The Guidelines:

Format:  Each page of your submission must include the title of the work and a page number in the header and be double-spaced. Please include a table of contents and an acknowledgements page. Poetry submissions should have only one poem per page. Do not include any identifying information, such as your name, address, phone number or e-mail address, in your submitted work.

Multiple and Previously Published Submissions:  We will accept multiple submissions from a single author as long as they are accompanied by separate reading fees.

For poetry submissions, individual poems can be published previously but the collection as a whole must be unpublished. For prose submissions only twenty percent of a multiple story collection may be previously published. Longer short stories must be previously unpublished. All previously published poems or short stories must indicate what publication and issue they appeared in.

Code of Ethics:  We have chosen to adopt the contest code of ethics developed by the Council of Literary Magazines and Presses. We agree to “1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; 2) to provide clear and specific contest guidelines — defining conflict of interest for all parties involved; and 3) to make the mechanics of our selection process available to the public.”

Eligible Participants:  Minerva Rising employees, the Contest’s judge and members of their immediate families are not eligible to participate in this contest.

Thank you for joining the Minerva Rising conversation.

 

>via: http://minervarising.com/submissions/chapbook-submissions/

 

 

The Cuban Heritage Collection:

Fellowships for 2014-2015

Marti_web

The Cuban Heritage Collection (CHC) at the University of Miami Libraries is now accepting applications for its 2014-2015 CHC Fellowships, which provide assistance to students and scholars who wish to use the research resources available in the Cuban Heritage Collection at the University of Miami, in Coral Gables, Florida. The application deadline is February 1, 2014.

Description: The goal of the CHC Fellowships is to engage scholars with the materials available in the Cuban Heritage Collection and thus contribute to the larger body of scholarship in Cuban, hemispheric, and international studies. Applicants for any of the fellowships offered by the Cuban Heritage Collection must be residents of the United States and affiliated with U.S. institutions.

The CHC awards Fellowships in three categories:

1) Graduate Research Fellowships: Research Fellowships will support doctoral students who wish to use the Cuban Heritage Collection as a primary resource for a dissertation. Doctoral students applying for these fellowships will have completed their course work and passed their qualifying examinations. They will be prepared to pursue research based on an approved prospectus.

2) Graduate Pre-Prospectus Summer Fellowships: Pre-Prospectus Summer Fellowships will allow doctoral students to determine how the Cuban Heritage Collection may serve their research needs as they prepare the dissertation prospectus. Fellowships of $1,500 will be granted for one month in residence between June 1 and August 31 of the calendar year. These are exploratory fellowships to determine if the Collection will support a dissertation.

3) NEW: Arts in the Cuban Republic Fellowships: This new Fellowship opportunity will support work on topics related to the arts in Cuba between 1933 and 1958, including but not limited to visual arts, music, theater, dance, and architecture.

Graduate students, postdoctoral and tenured scholars, and independent scholars working towards publication or comparable product are eligible for this award. Independent scholars are individuals such journalists, writers, filmmakers, visual and performing artists, and other humanists who are not employed as full-time academic faculty or working towards a terminal academic degree. Recipients must be in residence during the course of their fellowship and may not hold concurrent teaching positions. Fellowships of $2,500 a month will be granted for periods of one to four months.

Criteria for Fellowships
Applications will be evaluated by independent reviewers based on 1) the merit of the proposal; 2) the applicant’s qualifications; and 3) the suitability of the project for the particular holdings of the Cuban Heritage Collection.

Application deadline is Saturday, February 1, 2014. For application instructions and more information, visit http://library.miami.edu/chc/fellows/.

The CHC Fellowships are made possible with the support of the Amigos of the Cuban Heritage Collection, the Ruston-Baker Educational Institution, and additional donors who have asked to remain anonymous.

[Many thanks to Dr. Mary Ann Gosser-Esquilín for bringing this item to our attention.]

For more information, see http://library.miami.edu/chc/fellows/

Image above: Encapsulated print of José Martí, Cuban Print Collection, Cuban Heritage Collection, University of Miami Libraries; see http://library.miami.edu/blog/tag/cuban-heritage-collection/

>via: http://kalamu.com/neogriot/wp-admin/post-new.php

 

For Harriet | Celebrating the Fullness of Black Womanhood

Sunday, October 13, 2013

 

25 More Empowering Books

for Black Girls

Posted by For Harriet

 photo african-american-girl-reading.jpg
Our first list of empowering books for little black girls got an overwhelming response, but the brilliant women of the FH community brought to light some titles we overlooked. In order to be more inclusive of diverse interests and older black girls, we’ve put together a second list of powerful books.

Ages 2-4
– Spike Lee and Tonya Lewis Lee

Academy-Award nominated filmmaker Spike Lee and his wife, producer Tonya Lewis Lee, preset a behind-the-scenes look at the chills, spills, and unequivocal thrills of bringing up baby!

 

 

 

 

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Girls Hold Up This World  – Jada Pinkett Smith

Actress Jada Pinkett Smith–wife of superstar Will Smith–lovingly captures the strength, unity, and beauty that live in girls in this poignant photographic book.

Kindergarten – 2nd Grade
 

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The Magic Poof – Stephen Hodges

Seven year old Ange-Marie has always felt different. Who wouldn’t when your best friend is literally attached to you? The Poof is a great ball of curly hair that sits directly on top of Ange-Marie’s head. His magical and playful nature always seems to produce mischief and adventure. In book one of The Magic Poof series, Ange-Marie must decide what to wear for school picture day. But The Poof also wants to look good for picture day! How does Ange-Marie look her best and keep her enchanted and hairy friend a secret? In the end, both The Poof and Ange-Marie find that compromise is the key in any friendship.

 

 

 

 

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I Like Myself! – Karen Beaumont
High on energy and imagination, this ode to self-esteem encourages kids to appreciate everything about themselves–inside and out. Messy hair? Beaver breath? So what! Here’s a little girl who knows what really matters.
 

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Grace for President – Kelly S. DiPucchio

When Grace’s teacher reveals that the United States has never had a female president, Grace decides to be the first. And she immediately starts off her political career as a candidate the school’s mock election!

 

 

 

 

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–  Ylleya Fields

Cupcake Jones is a modern day princess, who like many girls, loves her tutu, playing with her toys, and most of all creating a mess! Follow Princess Cupcake Jones in her first book, Princess Cupcake Jones and the Missing Tutu. In this adventure, when her beloved tutu goes missing, Cupcake learns the importance of tidying up and putting things in their proper place.

 

 

 

 

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Nina bonita  – Ana Maria Machado

In this wonderful story about diversity, a white rabbit falls in love with a black girl and longs to have beautiful dark skin like hers.

 

 

 

 

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A collection of twenty-five African-American folktales focuses on strong female characters.
 

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Thunder Rose  – Jerdine Nolen
On a dark night of howling rain and booming thunder, Jackson and Millicent MacGruder welcome a new baby girl into their lives. Imagine their surprise when she sits up, thanks them for bringing her into the world, and informs them that she’s quite partial to the name Rose.
 

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– Tonya Cherie Hegamin

An authentic and powerful account of slavery and how a handmade quilt helps a little girl leave home for freedom.

 

 

 

 

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– Barack Obama
In this tender, beautiful letter to his daughters, President Barack Obama has written a moving tribute to thirteen groundbreaking Americans and the ideals that have shaped our nation. From the artistry of Georgia O’Keeffe, to the courage of Jackie Robinson, to the patriotism of George Washington, President Obama sees the traits of these heroes within his own children, and within all of America’s children.
 

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– Melissa Ford

Keena Ford is so excited to go on a field trip to the United States Capitol with her second-grade class! At school, she is running for a spot on the student council, and on the field trip she’s going to meet a real live U.S. representative. The only trouble is, mean Tiffany Harris keeps teasing Keena and taking the best place in line. Keena doesn’t mean to get into trouble, but trouble seems to find her anyway!

 

 

 

 

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The Lucky Stone – Lucille Clifton

There is nothing Tee enjoys more than sitting out on the porch with her great-greatmother, listening to the fascinating stories about the lucky stone.

 

 

 

 

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– Patricia McKissack

MOTHER AND DAUGHTER, grandmother and granddaughter, aunt and niece, friend and friend. For a hundred years, generations of women from Gee’s Bend have quilted together, sharing stories, trading recipes, singing hymns—all the while stitchin’ and pullin’ thread through cloth. Every day Baby Girl listens, watches, and waits, until she’s called to sit at the quilting frame. Piece by piece, she puzzles her quilt together—telling not just her story, but the story of her family, the story of Gee’s Bend, and the story of her ancestors’ struggle for freedom.

 

 

 

 

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The Girl Who Spun Gold – Virginia Hamilton
“Stirring…with a rhythm just right for reading aloud…a West Indian version of the universal little-man (Rumpelstiltskin) folktale. Quashiba’s mother…boasts that her daughter can spin and weave a whole field of the finest gold thread. Dramatic words and pictures.” – Booklist, starred review. “A charming and visually stunning tale of cunning, greed, and quixotic good fortune.”
 

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Bintou’s Braids – Sylvianne Diouf

Bintou wants braids. Long, pretty braids, woven with gold coins and seashells, just like her older sister and the other women in her family. But she is too young for braids. Instead, all she has are four little tufts of hair; all she ever gets are cornrows. However, when Bintou saves the lives of her two young cousins and is offered a reward of her choosing, Bintou discovers that true beauty comes in many different forms.

 

 

 

 

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– Robert D. San Souci
You may think you already know this story about a beautiful servant girl, a cruel stepmother, a magnificent ball, and a lost slipper. But you’ve never heard it for true. Now you can hear the tale from someone who was there: a poor washerwoman from the island of Martinique. She has just one thing in the world to love, her goddaughter Cendrillon. When she finds Cendrillon heartsick over a rich man’s son, at first she doesn’t know what to do. But she has sharp wits, a strong will, and the magic wand her mother left her — and soon she has a plan to give her dear Cendrillon the gift of a love that will change her life.
 

 

 

 

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If a bus could talk, it would tell the story of a young African-American girl named Rosa who had to walk miles to her one-room schoolhouse in Alabama while white children rode to their school in a bus. It would tell how the adult Rosa rode to and from work on a segregated city bus and couldn’t sit in the same row as a white person. It would tell of the fateful day when Rosa refused to give up her seat to a white man and how that act of courage inspired others around the world to stand up for freedom.
 

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Nikki and Deja – Karen English

Meet Nikki and Deja, who live next door to each other and are best friends. They do everything together—watch Saturday morning cartoons, play jacks, jump double Dutch at recess, and help each other with their homework for Mrs. Shelby’s third-grade class. But when an arrogant new girl arrives and Nikki and Deja form a club that would exclude her, the results are not what they expect. This warm, easy-to-read chapter book from an award-winning author captures all the joys and complexities of elementary school life—particularly friendships and cliques—with finesse and humor.

 

 

 

 

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4th-6th Grade
– Phillip Hoose
On March 2, 1955, an impassioned teenager, fed up with the daily injustices of Jim Crow segregation, refused to give her seat to a white woman on a segregated bus in Montgomery, Alabama. Instead of being celebrated as Rosa Parks would be just nine months later, fifteen-year-old Claudette Colvin found herself shunned by her classmates and dismissed by community leaders. Undaunted, a year later she dared to challenge segregation again as a key plaintiff in Browder v. Gayle, the landmark case that struck down the segregation laws of Montgomery and swept away the legal underpinnings of the Jim Crow South.
 

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One Crazy Summer – Rita Williams-Garcia
Set during one of the most tumultuous years in recent American history, One Crazy Summer is the heartbreaking, funny tale of three girls who travel to Oakland, California, in 1968 in search of the mother who abandoned them.

6th-8th grade
 

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Ninth Ward – Jewell Parker Rhodes

Twelve-year-old Lanesha lives in a tight-knit community in New Orleans’ Ninth Ward. She doesn’t have a fancy house like her uptown family or lots of friends like the other kids on her street. But what she does have is Mama Ya-Ya, her fiercely loving caretaker, wise in the ways of the world and able to predict the future.

 

 

 

 

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– Mildred D. Taylor

The story of one African American family fighting to stay together and strong in the face of brutal racist attacks, illness, poverty, and betrayal in the Deep South of the 1930s.

 

 

 

 

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Aya – Marguerite Abuet
Ivory Coast, 1978. Family and friends gather at Aya’s house every evening to watch the country’s first television ad campaign promoting the fortifying effects of Solibra, “the strong man’s beer.” It’s a golden time, and the nation, too–an oasis of affluence and stability in West Africa–seems fueled by something wondrous.
 

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Zora and Me – Victoria Bond

Racial duplicity threatens an idyllic African American community in the turn-of-the-century South in a dazzling debut inspired by the early life of Zora Neale Hurston.

 

 

 

 

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Hush – Jacqueline Woodson

Evie Thomas is not who she used to be. Once she had a best friend, a happy home and a loving grandmother living nearby. Once her name was Toswiah.

Now, everything is different. Her family has been forced to move to a new place and change their identities. But that’s not all that has changed. Her once lively father has become depressed and quiet. Her mother leaves teaching behind and clings to a new-found religion. Her only sister is making secret plans to leave.

And Evie, struggling to find her way in a new city where kids aren’t friendly and the terrain is as unfamiliar as her name, wonders who she is.

 

 

 

 

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– Nnedi Okorafor-Mbachu

In the Ooni Kingdom, children born dada—with vines growing in their hair—are rumored to have special powers. Zahrah Tsami doesn’t know anything about that. She feels normal. Others think she’s different—they fear her. Only Dari, her best friend, isn’t afraid of her. But then something begins to happen—something that definitely marks Zahrah as different—and the only person she can tell is Dari. He pushes her to investigate, edging them both closer and closer to danger. Until Dari’s life is on the line. Only Zahrah can save him, but to do so she’ll have to face her worst fears alone, including the very thing that makes her different.

 

>via: http://www.forharriet.com/2013/10/25-more-empowering-books-for-black-girls.html

 

 

Philippa Ndisi Hermann

Philippa Ndisi Hermann

 

The Donkey that Carried

the Cloud on its Back

Bibi, an elderly Taarab singer sits on the beach, a chorus behind her. She begins to sing a heart-wrenching song in Swahili of a young woman that is about to get married.  What do you take and what do you leave, she asks. She sings about holding your breath and leaving everything you know behind, a song about birth, death and marriage, a song about the coming and going of love like the monsoon rain.

High tide, low tide, Full moon, new moon. Lamu is an island frozen in time. Now Africa’s largest port is being constructed. Once a rich town trading in slaves with the East, the monsoon winds connected Lamu to the world. The East African coast gave rise to a new culture and a new people – the Swahili. Lamu town survived and has been declared a UNESCO world heritage site.

The port foundation stone was laid last year. At a cost of 3.5 billion USD, the port will be capable of handling ships almost half the size of the island of up to 100,000 tonnes.

 

 

Lamu has one car and 3000 donkeys, no electricity and no water sewage system. Marginalised economically by mainland Kenya. Lamu relies on tourism where backpackers rub shoulders with the Princess of Monaco.

The advent of the port is giving rise to land speculations, to environmental concerns, to the influx of people, change is coming, change is needed. Is this what the port will bring?

The Donkey that Carried the Cloud on its Back documents and observes life before the marriage of people and land.  What this new life will bring we do not know.

The Donkey that Carried the Cloud on its Back is a quirky and impressionist film about an island which appears not to change yet a looming cloud is approaching and breaking the steadiness and surety of the island’s constant way of life.

Bracketed by the two monsoon rains, the film follows Fatuma as she prepares to begin a new life and get married and concludes as she leaves her parents’ house to be wed. The documentary returns again and again to public spaces that feel the coming port; the main, sleepy square, the port site and the beach that no one visits.

 The film has a universal theme and international relevance. It will be shown at international film festivals and will be released in independent cinemas.

About the Director, Philippa and Her Motivation

I am Philippa Ndisi Herrmann. My mother is Kenyan, my father is German and I was born in Bonn, the capital of the former West germany. I am an artist – I draw and paint, but my craft lies in capturing life and sentiments through film, photography and words. Coming from so many distinct and disparate worlds, I am drawn to telling stories about the shifting boundaries of individual & collective identity; I am fascinated by the influence of culture, community, living space and ancestral memory on our understanding of ourselves. I have exhibited my photography work in collaboration with The Sundance Institute, at MoCADA in New York City (2011) and with the Goethe Institute, at the National Museum, Nairobi (2013).

My short film, “The Revolution of My Heart” commissioned by Guinness and MOFILM was screened this year at the Cannes Lions International Festival of Creativity. 

A substantial amount of my work evolves around the Indian Ocean of Lamu, Kenya, namely Two Princes (a feature-length fiction project) and The Donkey that Carried the Cloud on its Back (a feature-length documentary project funded by the Goteborg Film Festival Fund and the IDFA Bertha Fund). The Donkey that Carried the Cloud on its Back asks, in order to evolve, what part of ourselves do we keep and what part do we leave behind?

I have studied in France, Ethiopia, the Netherlands and South Africa. I now live in Nairobi, Kenya where I do what I love; I write, shoot, cook, make jokes, sing in the car, read Rumi and fall in love. 

I am making this film because the change happening in Lamu is a microcosm of change happening in many other parts of the world – how much do we loose in order to gain. It is just more real and visually stark in Lamu, because of its ancient history and small size, and because it is viewed as a paradise island by so many, because it is beautiful at the same time there is ugliness.

A new culture, a new language, a new people was created in Lamu – the Swahili. I want to make this film, as for myself and Atieno, the producer, this topic is close to us, with our multiple heritages we can relate to Lamu’s amalgamated culture; the central question of the film is pertinent to our understanding and evolution of ourselves, this question is also relevant to the entire developing world; in order to evolve, what part of our culture do we keep, what do we leave behind?

The film will use some magical realism to embody and personify the looming cloud evoking the foreboding change, and we will be shooting underwater. I envisages the documentary film to be a humble, colorful, perfect balance between an ensemble of observational footage, still photography, some interviews and magical realist mysticism.

You can learn more about this project on Facebook: https://www.facebook.com/carriedthecloud

Or email Thedonkeythatcarriedthecloud@gmail.com

Follow us on twitter! @CarriedtheCloud

Funding

We have received development funding (Göteborg International Film Festival Fund) and some production funds for this film (IDFA Bertha Fund). Furthermore our project was selected for different training programs on script development (IDFA WorldView Summer School 2013, Doc Circle Pitch of the Durban Film Mart 2013).

The funds raised through and with your support will enable us to take our project to the next level, fully realize the vision of Philippa and be able to convey the true essence of Lamu.

Dear Supporters – check the right hand side of the site for rewards!

Asante Sana! Shukran! Thank You!

 

>via: http://www.cinecrowd.nl/donkey-carried-cloud-its-back

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african women in cinema

28 November 2011

 

A Conversation with

Philippa Ndisi-Herrmann

©Philippa Ndisi-Herrmann
Kenyan-German Philippa Ndisi-Herrmann explores how her multiple identities and complexity of experiences inform and influence her work.
 
You are of Kenyan and German parentage and have lived and traveled in Europe and Africa. How have these experiences influenced you and your work?
 
I will start by saying I am glad I have seen what I have seen, and that I have been where I have been. It has molded me to who I am. It’s been a long experience and it is still ongoing. For the longest time I battled with being on or the other – and in every location, every place, I am viewed as being other. Sometimes this becomes tiring – during the years I lived in Cape Town – this was harrowing – how others viewed me was incorrect to my vision of myself. However in hindsight this catalyzed my own revision of my vision of myself. Now I believe I am many things – I cannot be one thing – and I do not have to subscribe to one thing. What I am is my spirit, what I am, is my experiences. Being half white and half black, being half African, and half European, and having the perspectives of a German father and a Kenyan mother means that I see two sides to everything – I can put myself in the shoes of two polar perspectives which is advantageous to my filmmaking, especially the films I want to make.
 
This juxtaposition, this contrast was once a battle within me. However now it means that in my work I am drawn to writing stories about people that are misunderstood in their communities. I am also drawn to writing stories whose objectivity comes from their subjectivity of each character. I live in Kenya, and I love Kenya. Kenya is my country – but strangely, and unfortunately I am viewed as an outsider. I do not mind too much, as I have come to terms with myself and who I am, and I believe I am Kenyan. I know I am Kenyan in my heart, and so one’s opinion of what I am is no longer important. I am often asked, in my own country, where I am from. This can hurt sometimes. Personally, I would say I am my experiences, and I would say I am Kenyan, I am, a black woman and I am an African – this is where my heart belongs. I grew up in a multicultural community in Kenya. So I grew up in a dynamic environment where one’s cultural or racial identity was something to be proud of, whilst simultaneously not being an issue at all.
In addition I grew up in the “leafy suburbs” of Nairobi – we grew up protected and educated in a British school system, I learnt Latin. So couple the leafy suburbs with a black white combo and I was an outsider in other people’s eyes. But many people were like me – so my background was not too much of an issue. Only when I went to school in Europe did I get a shock – I was young and sensitive. Suddenly I became aware of the difference between how I viewed myself and how others saw me.
 
You work with both the still and moving image. Your photography is very cinematographic, not in the sense of a constructed image, but rather that it has a strong narrative character. What is your filmmaking in relationship to your photography?
 
I have always been heavily attached to visual art through drawing and painting. I am very interested in images and so it was almost natural course to go into an art, that I believed had a “lifelike” embodiment. I chose to go into filmmaking and a bit later I took up photography as a hobby. I practice both – and I find that each honors the other. In addition through practicing as a photographer I enhance my own visual lexicon, deepen my aesthetic understanding and refine what images speak to me, and through this I know what images I want to speak to others. My penchant for photography is in its beauty to embody memory – a memory that is either real or “imagined.” I also like that, at least for the photography that I like, and that I take – I like that photography honors people. This is beautiful – you immortalize a soul, a whole lineage, a whole moment, a whole feeling in one image. That is beautiful to me. With a lot of my personal photography, the photography I do for myself; I want my images to look like a memory and carry the sentiments of a memory – a memory that the viewer relates to whether it is real or constructed.
 
In this way some of images that I have captured, or lets say, some “evocative memories”, are what influence my filmmaking.  Sometimes I am driven to write a story based on a photograph I took, a photography that maybe reminded me of a life I have never had. Some other times I will take a photograph and by chance, it is a images that belongs to a character I am writing about. It will look and feel like a photograph that was taken from the life of Sheba, the protagonist of Two Princes.
 
Gubi – The Birth of Fruit (2007) by Philippia Ndisi-Hermann
 
Your film, Gubi – The Birth of Fruit is an experimental folktale, recounted solely with beautiful images and sounds of the drum. What inspired this work? Were you influenced by African storytelling while growing up?
 
I wanted to write a story that took place in another time. And so, though I must say that African storytelling did not feature in my childhood, I am moved by it. For Gubi, I chose to create my own myth. Actually I wrote some prose based on my feeling for the film – and the prose spoke of seeds and burying seeds so that one’s spirit be reborn, and in turn return. And so with this, I started writing on the concept. I worked together with two other writers and Gubi – The Birth of Fruit is what we came up with.
 
The drum in the film was surely a blessing – we had toyed with different sounds and songs – and they didn’t work – they were almost too much from this world. I went to a friend’s house who saw the rough cut, and Chris said, “Speak to Kesivan – maybe he can do something for you.” Kesivan Naidoo at the time was an upcoming South African drummer (now he is very established). So I called Kesivan and he came into the studio with a njembe – and we filled a metal thermos with some rice and soil and stones – and in an hour, Kesivan had performed the music for the film. I like the drum a lot in this film. A lot – because I see the drum as being the omniscient immortal character; the narrator of this love story.
 
At the time I was interested in writing stories that had female martyrs – marginalized people that myopic people found easy to ostracize, however through their sacrifice they brought a great evolutionary change in their community. Which is what mythology is mostly about – African mythologies are like small vignettes of how we got where we are now; how our community got to where they are today. And so my narrative, through the protagonist Nok is about how the Gubi community discovered the circle of life, how we as humans became self-sufficient through learning that seeds reap fruit when buried. That is how I saw it in my mind.
 
Your documentary, I’m Not Dead Yet (2009), is about anti-apartheid, resistance artist Manfred Zylla. How did you develop an interest in him and his work?
 
Manfred the protagonist is a man that I really love. We no longer live in the same country and I must say I miss him. He is a close friend. I made the film about Manfred because I found him fascinating and in many ways I was curious about his life. Here is a man, a white man in South Africa – that during Apartheid chose to fight against the system instead of letting it work for him. He took on a problem, that he didn’t need to. I find this admirable. But then of course, in this post-apartheid era he is not recognized for his contribution because he does not fit into the box. So I made the film to honour his contribution and his work.
 
In addition, as we began to know each other I began to ask myself more questions. If one’s art is not recognized or appreciated, is it worth doing? In addition – Manfred is a man who dedicated his life to pursuing his art – and now 2 divorces and 2 children later – I wonder is he happy. As an artist, and I am sure many people can relate to this – you wonder if what you are doing is right, or you hold the perception that following your passion will inevitably make you happy. But what if it doesn’t? And what if you sacrifice people you love for your art, what then? I don’t know – So those are some questions that I was curious about that spurred me to make a film about Manfred. I wanted to begin some sort of deliberation towards the “truth”.
 
Your company, Thirsty Fish, an interesting name, what is its meaning?
 
One of my favorite poems is “A Thirsty Fish” by Rumi. I chose this name for my company and I embraced it as a pseudonym for many reasons – for example, one of my favorite lines is, “a great silence overcomes me and I wonder why I ever thought to use language.” Sometimes there are feelings and moments that I cannot express in words. There are other lines in the poem that I like – that move me. The poem has been with me for a long time too, so it has a lot of memories and feelings that I attach to it. I like the voice of this poem because he or she believes there is so much in store for them. I like that. The words of that poem really move me. Rumi moves me. 
 
Your work in progress, “Two Princes” is a feature film. What is it about and when do you anticipate completion?
 
To be frank, “Two Princes” is a film that I look forward to watching. It is about love, it is about death, it is about grief and it is about regret. I wrote the narrative because I was overwhelmed with a large bountiful landscape of moving pain in my heart and I knew I needed to write. This was coupled with my curiosity – I had so many questions that I wondered about. In my patriarchal society, what it is like for a woman to return to her husband, after she had left him for another man? Do we judge a woman’s infidelity and “wantonness” more harshly than we would a man’s? In Kenya, our strong Christian, Evangelical majority condemns infidelity, however it is socially accepted for men to have multiple partners and to openly partake in infidelity.  A woman accepts that her partner or spouse has other women.  These liberties are not extended to women.  For women, there is an invisible line between when expression of their own sexuality is a freedom or a form of repression.  There seems to be an overarching desire to possess a woman’s sexuality, and if a man fails to possess it, then an undercurrent of contempt brews.
 
In “Two Princes,” the central idea is ownership. I believe there are some things we can and other things we cannot own. We own our self; our body, our thoughts, our pain, our honor, our sexuality. However we must justifiably take responsibility of our actions. We cannot own others; our husbands, our wives, our lovers, our children. Our cars, our houses, our land; they can never be truly ours, yet we are fixated on acquiring or keeping them. In Kenya; the desire to own is a common denominator. If we cannot legally acquire land, then we steal it. In the history of Kenya, and many other nations, this desire to own has brought conflict and destruction.
 
My narrative unfolds in Lamu. This Islamic, Creole island embodies the conflict of ownership. Gentrification and animosity are surging. Plans are underway to build “Africa’s largest port. ” I ask, perhaps too naively, why do wealthy foreigners, and the Kenyan and Chinese Government have more say over this land than the people who were born there? Whose land is it anyway? How do we define ownership, and why? These are questions I ask myself, and you see I don’t know the answers, but I engaged myself on this journey to put myself there, and to get one step closer to the truth.
 
In this phase of my life, I believe we all have our life journeys and we all have to live them – and we can’t stop others from living their life, and in turn we should have the freedom to live ours. I believe as long as we know why we do something, and as long as it is in line with our life journey, and we know why we embark on a certain voyage, and the implications of such a voyage – and if it does not harm somebody – then do it. I believe this – but sometimes I doubt my belief – what happens to the people you leave behind? What if the damage is irreparable? What if you regret it? I don’t know. I don’t know this answer. But I want to find out.
 
I like “Two Princes” for many reasons – it is a film I need to make in order to let go of certain things I hold onto. It will be very cathartic for me. I find it to be such a hard and taking story to write and revisit. I find the story heavy. But it is an extension of me.  This story needs to be made. This story needs to be told. I am also enthusiastic about the contribution that the film will make, certainly to Kenyan and African cinema. The film is slow – its personal and moody but very loving. I would like to finish “Two Princes” by the end of next year 2012 – or latest early 2013.
 
Interview with Philippa Ndisi-Herrman by Beti Ellerson, November 2011
 
Links
 

 

>via: http://africanwomenincinema.blogspot.com/2011/11/conversation-with-philippa-ndisi.html

 

 

For Harriet | Celebrating the Fullness of Black Womanhood

Thursday, November 7, 2013

 

 

Black Female Debaters

Make History

 photo debatewomen.jpg
by Hailey Mayo
 

(The Collegian) Two Fresno State University students, Nadia Lewis and Jamila Ahmed, were the first African-American women to win first-and second-place speakers in the 42 years of the Henry Clay Invitational Debates held at the University of Kentucky.

The competition was established in 1971 and is one of the oldest and largest U.S. policy, varsity debate tournaments in America. This year, the Fresno State debate team competed against 286 speakers from 30 schools.

Despite it being her first semester in debate, Lewis won first place among individual speakers. She is now ranked 29th in the nation. Ahmed is in her second year in debate and won second place and is now ranked 16th in the nation.

“This is the first time in the history of the Henry Clay Debates at the University of Kentucky that two African-American women have been awarded the top two speaker positions,” said Dr. Shanara Reid-Brinkley, director of debate at University of Pittsburgh. “I do believe it is also the first time in the history of national debate competition that two African-American women have won the top two speakers at any national tournament.”

Reid-Brinkley said in the 1990s she was the most successful African-American female debater in national policy debate history, but the Fresno State debaters represent a new wave of talent.

“Nadia Lewis and Jamila Ahmed have accomplished a feat that many debaters around the country can only dream of achieving,” Reid-Brinkley said. “And, it is important to note that they did so as virtual novices competing in the varsity level division. Their competitors are likely to have five to eight more years of debate experience than these young women.”

In U.S. policy debate, a topic is chosen by the Cross Examination Debate Association (CEDA) and is voted on by all university debate members. After a topic is chosen, four resolutions are then drafted by CEDA.

These resolutions then can be used by the teams during their debates.

This year’s topic was: “The U.S. Federal Government should substantially increase statutory and/or judicial restrictions on the war powers authority of the president of the United States in one or more of the following areas: cyber operations, indefinite detention, targeted killing such as drones, and deploying the armed forces into hostile places.”

Lewis and Ahmed are non-traditional debaters, which means they read poetry, sing, draw metaphors to the topic and criticize the structure of debate as it exists today. They also have a constant theme of the oppression of African-American women throughout their debates.

“We take a metaphorical approach to the resolution,” Ahmed said. “One of the topics was targeted killing; we talk about how black women are targeted every day in society. It’s not the same as using a drone, but we would use a metaphorical drone and examples in history or the world to further our argument. We discuss the oppressive structures that black women deal within our daily lives and despite these obstacles, we can still affirm ourselves through song and poetry and our resilience as phenomenal black women.”

Non-traditional debate style has only been prominent for a little more than a decade and is not fully accepted by everyone in the debate community.

“Non-traditional style began about 12 years ago when speakers started to bring philosophical topics into their arguments,” said Deven Cooper, director of debate at Fresno State. “Then people began to actually do what the philosophies were saying and it has grown into what it is today. It’s not really fully accepted by everyone because some people like to look at traditional policy debate as the most legitimate style, because it’s been argued that particular style creates better critical thinking, better advocacy and better policy making skills.”

Both Lewis and Ahmed use their life background to validate their argument in their speeches. In their opinion, it’s important to be a non-traditional team in debate because it reveals who they are on a personal level.

“We’re using our black aesthetics and our experiences as black women in society,” Lewis explained. “We bring that into our [debate] round through our music and poetry. We express how we feel and the struggles that we go through and the oppression through [our speeches]. When people leave [the debate] rounds, they know who we are, they know our struggles, and who we are as black women in this society.”

Lewis and Ahmed said they want to use debate as an opportunity to make a difference in the debate community and inspire young girls.

“That’s why I think it’s important for debate [to be non-traditional], because a lot of the people [in debate] want to be policy makers,” Ahmed said. “I think that’s why what we do is so essential, because if you’re going to be making policies that are going to affect the people, then you need to know the people. That’s why we think that it’s so important to bring out your subjectivity and not have this distant way of debating. That’s what’s kind of wrong with our society and our policy makers now because they don’t realize actual people that are suffering.”

“I want to be able to leave debate knowing that what we’re doing made a difference, because it’s more than just an academic sport for me,” Lewis added. “The topics we debate, Jamila and I are truly passionate about. I want to create a change that, after we leave, other black women and girls that are younger can join this activity and it can be something that’s educational for them.”

 

>via: http://www.forharriet.com/2013/11/black-female-debaters-make-history.html

 

davy d 01

NOVEMBER 16, 2013

 

Former Spelman Activist

Rebukes Nelly’s Angry

Tip Drill Tirade

 

 

BY     6 COMMENTS

Nelly

Looks like the drama that made headlines 10 years ago surrounding rap star Nellyand his infamous ‘Tip Drill‘ video is rearing its head again. For those who don’t know, when Nelly made this video he decided to push the envelop and blur the lines between rap video and porn. he hired a bunch of strippers, filmed an fantasy bachelor party and in the middle of all the gyrating and booty shaking, he infamously swiped a credit card down a woman’s butt cheeks.

Even though the video was shown only on BET‘s then adult themed Uncut TV show which aired after midnight, it caught the attention and upset more than few people including some of the women at Spelman College who decided they wanted to take a stand and do something about it. The opportunity to confront Nelly was within sight when he made Spelman College one of the stops for a a series of bone marrow drives he was doing around the country in an attempt to save the life of his sister Jackie who was battling cancer.

Depending on who you talk to the story that unfolded went something like this; the women of Spelman said they wanted to meet with Nelly and express their concerns about the video and address the issue of mysogny and the exploitation of women. They requested a meeting with Nelly which for the most part was supposed to be private.They had no intention of canceling the bone marrow drive, but felt it was important to meet with him since he was asking for their help.

According to Nelly, the women of Spelman were unfairly protesting him and using an event in which he was focused on saving his sister’s life to bring attention to a conversation he felt could’ve been had when her life wasn’t in danger.  Jackie would eventually pass away from the disease.

The press got wind of this and the ‘protest at Spelman’ received international attention. Nelly pulled out of the bone marrow drive. The women at Spelman went on and held one without him and it’s been bad blood at least on Nelly’s part ever since.

In a recent interview on the Huffington Post, host Marc Lamont Hill asked Nelly about the 10 year old incident and Nelly still upset, offered up his perspective. He placed the death of his sister at the feet of the women at Spelman, claiming their ‘protest’ robbed him and may have turned away a potential donar who would’ve been a match. He also said that if he do do anything different, it would’ve been to kick someone’s ass. You can peep the interview below..

——————————-

Needless to say, Nelly’s inflammatory remarks set off a firestorm which prompted a number of women from Spelman including key organizers around the protest like Asha Jennings who had initially teamed up with Nelly’s 4Sho4Kids Foundation to do the bone marrow drive and Moya Bailey, president of the Feminist Majority Leadership Alliance , to point out Nelly spreading a bunch of lies.

Moya Bailey during her days at Spelman

Moya Bailey who is now an African American Studies postdoctoral fellow at Penn State University, penned a stinging Open Letter to Nelly where she rebukes his claims on the Black Youth Project blog. She wrote…

My group raised questions about the misogynoir in the video and lyrics, and when we heard that you were invited to campus by our Student Government Association, it seemed fair to us that we could ask you about the dehumanizing treatment of black women while you were asking us for our help. You declined our offer to talk about your music and lyrics. Instead, you chose to go to the press, which made our alleged threat of a protest an international news story. In the time since, whenever asked about the situation, you both mischaracterize what happened and lament not using violence, something you repeated most recently during a Huffpost Live interview earlier this week. Let’s be clear: No student or faculty member of Spelman College canceled your bone marrow registration drive. In fact, we held our own drive after you and your people chose to cancel the bone marrow registration drive for fear that there might have been a protest.

She continued:

Had you decided to come, to just talk with us, you would have seen fewer than ten “protesters,” all of whom were planning to register to donate bone marrow, despite your refusal to hear us. I say “protesters” because we didn’t actually get to have a conversation. What started as a simple request that you speak with a small group of concerned students about representations of women in your lyrics and videos turned into a national conversation about misogyny, race, and class in hip hop culture.

Moya ended her open letter by noting

If you want to check my resume and my work, please, go right ahead. Know that this was no flash in the pan for me or most of the Spelman sisters involved.

Glad to know if you had it do over again you would have “kicked some ass.”

Just name the time and place, sir. I’m ready.

 

>via: http://hiphopandpolitics.com/2013/11/16/former-spelman-activist-rebukes-nellys-angry-tip-drill-tirade/

__________________________

black youth project

November 14, 2013

 

Guest Post:

“An Open Letter to Nelly”

 

 

Dear Nelly,

At the urging of others, I am taking a hesitant trip down memory lane. I was a 19 year old junior and president of the feminist group at Spelman College when you decided to hold a bone marrow registration drive on our campus on behalf of your sister, who needed a transplant. Your now-infamous video “Tip Drill” had started airing on shows like BET’s Uncut. It features, most memorably, a scene where you slide a credit card down the crack of a black woman’s butt. My group raised questions about the misogynoir in the video and lyrics, and when we heard that you were invited to campus by our Student Government Association, it seemed fair to us that we could ask you about the dehumanizing treatment of black women while you were asking us for our help. You declined our offer to talk about your music and lyrics. Instead, you chose to go to the press, which made our alleged threat of a protest an international news story. In the time since, whenever asked about the situation, you both mischaracterize what happened and lament not using violence, something you repeated most recently during a Huffpost Live interview earlier this week. Let’s be clear: No student or faculty member of Spelman College canceled your bone marrow registration drive. In fact, we held our own drive after you and your people chose to cancel the bone marrow registration drive for fear that there might have been a protest.

Had you decided to come, to just talk with us, you would have seen fewer than ten “protesters,” all of whom were planning to register to donate bone marrow, despite your refusal to hear us. I say “protesters” because we didn’t actually get to have a conversation. What started as a simple request that you speak with a small group of concerned students about representations of women in your lyrics and videos turned into a national conversation about misogyny, race, and class in hip hop culture.But the dialog our actions started stalled because people remained hung up on the same concerns. People railed against censorship as if our efforts were an attempt to get you banned from the airwaves, when all we really wanted was to have a conversation about the representations you produce and their potential impact on our communities.

Often Black feminists are represented as advocates for censorship. People often portray us as sex-hating, stick-in-the-mud conservatives concerned with respectability. That couldn’t be further from the truth. In fact, we like sex so much (NSFW) we dare to think that women should enjoy it and not be subjugated to images that define our sexuality in limited ways. Music videos and lyrics, including yours, often portray women as silent partners and objects of male attention. This silence, Nelly, is not unlike the silence you expected from us regarding your visit. Women are instructed in many songs about what to do, wear, drink, how to dance and behave to make themselves appealing to men.

The heterosexist and cissexist nature of these images reinforces the idea that women’s sexuality, our bodies, are not our own and are ultimately in the service of men’s needs. It must be ya ass cause it ain’t your face,” literally reduces women’s value to the attractiveness of their body parts.

As much as we’d like to rid the world, particularly our safe spaces like Spelman College, of misogyny, we know that censoring music and images is not the solution. We also know that at a private institution devoted to the well-being of women of the African Diaspora we can and should cultivate an environment that doesn’t assault our very humanity. These are two entirely different projects and the later is often confused with the former. We have and had the right to ask questions of you, especially when you are asking something so important of us.

It has been ten years and yet here we are. You continue to say that we canceled the drive when your organization decided to stop it. You continue to not so subtly blame us for the transition of your sister even though Spelman still had a bone marrow registration drive–one that actually had more attendees than were initially signed up for your event. All of the “protesters” made the decision to register to ensure that the goals of the drive were honored. A few of us were already on the registry. If after all this we are still to blame for your sister’s passing, can we blame you then for the misogynoir that we face daily?

The timing of your interview and the release of Lilly Allen’s video that borrows so heavily from “Tip Drill” just hurts my head. Solidarity is indeed for white women and Black Power is indeed for Black men. I guess you have a new album to promote so you were willing to be used for clicks and page views through the dredging up of this long passed controversy. All in a day’s work, I guess.

I will say that I did find something compelling in your interview. You are right: We should protest strip clubs, but not for the reasons you think. Any strip club or business that doesn’t provide benefits, unions, safe working conditions, paid sick leave, child care, etc., deserves our collective outrage. We should all be really mad about a lot of people’s places of employment–and what their employers often demand of them. We all deserve better. Women who work on music video sets, at strip clubs in Atlanta, our Spelman sisters and not, Nelly, even your sister deserves better than to serve as the scapegoat for your lack of accountability and refusal to recognize black women as more than bodies to be used as you see fit.

If you want to check my resume and my workplease, go right ahead. Know that this was no flash in the pan for me or most of the Spelman sisters involved.

Glad to know if you had it do over again you would have “kicked some ass.”

Just name the time and place, sir. I’m ready.

Love,

Moya

Moya Bailey is an African American Studies postdoctoral fellow at Penn State University. Her current work focuses on constructs of health and normativity within a US context. She is interested in how race, gender, and sexuality are represented in media and medicine. She is the co-conspirator of Quirky Black Girls, a digital collective of strange and different Black girls. She also co-curates the #transformdh initiative in Digital Humanities.

 

>via: http://www.blackyouthproject.com/2013/11/guest-post-an-open-letter-to-nelly/

 

3 Black Women
Who Changed the World
(Who You Have Probably
Never Heard Of)
3 Famous Black Women Who Changed the World
 

Here is a list of 3 black women who have inspired others and made a big difference but who you may have never have heard about.

When we think of famous black women who changed the world we usually turn our attention to well-known celebrities and activists such as Oprah Winfrey and Rosa Parks. However, there have been other famous black women who have stood up and made a difference. Here are just three of them.

1) The Powerful Leader

– Queen Ranavalona I

(1778–August 16, 1861)

Queen Ranavalona I

Queen who? You may well be asking. This sister was one to be reckoned with; Queen of Madagascar from 1828 to 1861, Ranavalona gained herself a bit of a reputation as a badass.

Known by some as the “Mad Queen of Madagascar,” during her 33 year reign this remarkable and very powerful woman successfully fought off the encroachment of European colonialists such as Great Britain and France while keeping the sovereignty and culture of her country intact.

She banned the practice of Christianity from the island for her own people and used forced labor in lieu of tax payments in money or goods to complete public works. Her excessive force used on both her own sovereign people and foreigners alike gained her the epithet of “Ranavalona the Cruel.”

History has since changed its view of “The Bloody Mary of Madagascar” and recognized that despite her seemingly harsh rule and despotic reputation, she was in fact a much respected and admired Queen who loved her country and would do anything to protect her empire and the country’s sovereignty.

Not long after her death, Madagascar did indeed become a French colony, something which she had fought fiercely against. It is considered that the reason why the island is so rich in traditional crafts today is because it remained free of European rule for much of the 19th century, thanks to Ranavalona.

In her own country Ranavalona is viewed with pride as a great sovereign and symbol of patriotism.

 

2) The Actor, Dancer, and Activist

– Josephine Baker 

(June 3, 1906–April 12, 1975)

Josephine Baker

Known as the “Black Pearl,” Josephine Baker was an American born French actress, dancer, and singer who during her time received approximately 1,500 proposals.

This babe was talented and hot!

In her heyday she literally took Paris by storm with her exotic beauty, not to mention her seductive dance routines and revealing dresses and costumes, one of which was a skirt made from bananas.

Unfortunately she was not so well received in her home country, the US, who were not open to the idea of a black woman having such celebrity status at the time.

Josephine Baker was more than an entertainer, she was also an activist who even worked for the French Resistance during World War II for which she received a medal.

During her career she continued to travel to the US to fight racism and even adopted children of different ethnic backgrounds and named them the “Rainbow Tribe” to show others how we could all get along together in this world.

She went on to make a performance at the New York Carnegie Hall in the 1970’s and was nervous about how she would be received, however times had changed and she received a standing ovation on stage before her performance even began; which moved her to tears leading her to weep on stage.

This woman was an absolute inspiration who was not only the first African American female to star in a major movie, but one who also paved the way for other black women in the field of entertainment as well as life in general.

3) The Sports Super Star

– Florence Delorez Griffith Joyner 

(December 21, 1959–September 21, 1998).

Florence Delorez Griffith Joyner

Better known as “Flo-Jo,” this American track and field sensation took home 3 gold medals and a silver at the 1988 Summer Olympics.

She is known as the “fastest woman of all time” and still holds the world record in the 100 and 200 meter events.

Despite her success, there were rumors that her coach Bob Kersee encouraged the use of performance enhancing drugs which Flo-Jo always denied.

The claims came about as a result of her increased performance levels between 1984, where she competed in the Summer Olympic games in Los Angeles winning a silver in the 200 meters, and her performance in 1988 where she took home 3 gold’s and a silver.

In fact, Flo-Jo never failed a drug test so there was never any real evidence that she did make use of performance enhancing drugs.

Flo-Jo was famous not just for her incredible athleticism but also her distinctive unique style when running. She would often run in spandex body suits while sporting 6 inch long decorated fingernails.  When she was younger she was once asked to leave a shopping mall for wearing her pet boa constrictor around her neck!

Sadly, Flo-Jo died in her sleep at the age of just 38 following an epileptic seizure.

Her records remain unbeaten to this day and she stands as an inspiration to other hopeful athletes.

Flamboyant, gifted and smart, this was a woman who will remain very hard to beat.

~

Nowadays women have many more opportunities than they used to have thanks in part to these breed of determined and great women. However, there is still much work to be done.

So let’s take our inspiration from those who have gone before us, continue their legacy and pave our own way to a better future.

Cover photo: http://thegrio.com

 

>via: http://youqueen.com/inspiration/3-black-women-who-changed-the-world-who-you-have-probably-never-heard-of/