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Call for Submissions:

Global Dystopias

A special call for submissions from Boston Review‘s fiction editor Junot Díaz:
junot 01
Over the last decades dystopian narratives have proliferated to the point where they seem to have become our default mode for conceptualizing the future. But dystopias are not merely fantasies of a minatory future; they offer critically important reflection upon our present. If (as Tom Moylan has argued) traditional dystopias crafted cognitive maps of the terrors of the twentieth century, what cognitive maps does our current dystopian turn provide us of our turbulent global present?

Throughout 2017, we will feature stories, essays, and interviews on the theme of global dystopias. The project will culminate in a special print issue in the fall of 2017.

We are seeking essays, interviews, and fiction from writers around the globe that engage the theme of dystopia. Nonfiction, personal essay, genre fiction (SF, fantasy, horror, Afrofuturist, slipstream), and work that resides across/between genres are welcome.   

Submissions might explore, but are not limited to:

  • Inequality / precarity
  • Climate change
  • Global democracy
  • Civic media and civic imaginaries
  • Afrofuturism
  • The War on Terror
  • The Global South
  • International politics and speculative futures
  • Post-humanisms
  • The future of females
  • Gendered violence
  • Radical futurities

Listen to Junot Díaz discuss his vision for the special issue here.

INTERESTED?
The submission deadline is May 1, 2017Learn more about how to submit. 

 

>via: http://us2.campaign-archive1.com/?u=6dc1afc00adc00e168459d03e&id=6aa5227791

 

 

 

 

 

 

 

03.13.17

03.13.17

 

 

 

Daymé Arocena’s

‘Cubafonía’

Is a Wonder of

Handcrafted

Cuban Music

 

dayme 02

Daymé Arocena and I met in person for the first time in Edinburgh, Scotland, during her debut at the Edinburgh Jazz and Blues Festival 2016.

She was on a world tour presenting Nueva Era, her first album. I felt so inspired by her presence on OkayAfrica last year that I figured it just made sense to write a piece framing her rise to stardom, along with the work of others, within a strong front of a new generation of Afro-Cuban artists and intellectuals.

I’m inspired again by listening to Cubafonía, her excellent new album which just dropped on Brownswood Recordings. At only 24, Daymé is a seriously powerful performer who wants to bring the rhythms of today’s Cuba to young people across the globe.

Not simply the traditional ’50s-era type Cuban sound, but that fusion of contemporary Cuban sounds that a generation of virtuoso jazz musicians is pushing in Havana. We met over Skype to discuss the new album.

Cubafonía is about the musical sound of Cuba. With this album, I would like to show the world the musical power Cuba has in store. I respect, admire, and study the legacy of the Buena Vista Social Club, and all those masters of traditional Cuban music, but it’s not the only thing there is in Cuba,” Daymé tells me.

Last year, while she was on the Nueva Era world tour, she got a full sense of how important it was for her to work with Cuban musicians. “I made all sorts of sacrifices to get to play my music the way I wanted to, with a band that would understand me and would follow me. The more I travel, the more Cuban I feel.”

Daymé composed all the songs on Cubafonía. She teamed up with leading Cuban musiciansGaston Joya and Emir Santa Cruz, and L.A. based multi-instrumentalist Miguel Atwood-Ferguson to arrange her ‘canciones jazzísticas’ (jazz-style song compositions) into an array of Cuban rhythms.

“Mambo Na’ Mà” (“Nothing but Mambo”), the first single out of Cubafonía, is a savvy combination of the mambo rhythm with a twist of New Orleans jazz. The arrangement on “Valentine” follows Eastern Cuba’s changüi rhythm. On “It’s Not Gonna Be Forever,” Dayme,and her team used Los Van Van’s signature songo rhythm.

My personal favorite is “Lo Que Fue” (“What We Had”), a very smart bolero-montuno-cha fusion that ends with a chorus that references Daymé’s signature laughter. The song is pure flavor. Go see her live, you will understand what I mean.

“All of those are rhythms born in our country. I would like young people worldwide to know that to be a good musician one must also have a go at Cuban music; that’s how I see it,” Daymé says. “I would also like to create my own audience. I want an audience of people who have the same age as me and wish to listen to music that is interesting, new, and fresh. I believe my intention is to take my culture around the world, to play for everyone. I am really, really interested in playing for people my age. They’re an audience that will grow with me, they are living the same times I am living; we will grow old together.”

Coincidentally, one February night while preparing to interview her, I heard “Mambo Na’ Mà” on Julie Adenuga’s iTunes Beats 1 Radio show. I was thrilled because, to me, it’s always exciting to hear present-day Cuban music air on UK radio.

Beyond the fact that Cuban music today has a certain amount of latency with respect to the language of beats and digitally-produced music traversing the diaspora, the fact that the format of Daymé’s new effort is Latin jazz means her music is tailored expertly to carry global currency.

I agree with her, there is a lot of music being made in Cuba today, both for her to explore and to share with the world. Cubafonía, Daymé’s present rendition of such exploration is an audacious album of bespoke Cuban music for all millennials.

Having said that, I should also say here that in my opinion, within the greatness of her new music, the timbre of her voice is the most remarkable element. For future projects, I would love to hear Daymé’s talent venture into the arguably riskier mix of Cuba’s current sounds with the vibrant mosaic of urban Afro-diasporic music that’s in heavy circulation.

I would love to see her pushing the boundaries of our sound in collaborations with other Cuban artists like Kumar Sublevao Beat, Axel Tosca or Ibeyi. It may perhaps be necessary.

GO HERE TO HEAR ALBUM
https://open.spotify.com/embed/album/0PFDg54yooHoFRXXuWzELb

 

>via: http://www.okayafrica.com/audio/dayme-arocena-cubafonia-album-cuban-music/

 

 

 

photo by Alex Lear

photo by Alex Lear

 

 

FOUR HARD FACTS OF LIFE

 

 

#1

all humans start life

as a female fetus, drugs

makes them appear male

 

 

#2

hey man, our dicks ain’t

nothing but a mutant fetus’

drug drenched clitoris

 

 

#3

men are not really

stronger than women, we’re just

more brutal, less caring

 

 

#4

a woman births you

you began as a female

respect origins

 

—kalamu ya salaam

 

 

 

 

 

 

 

 

 

 

 

April 11th, 2017

April 11th, 2017

 

 

 

blk women activists 01

A couple days ago, a visually compelling thread on Twitter exploded with thousands of shares and likes and dozens of users submitting their own contributions. The thread (a series of connected tweets for the Twitter uninitiated) has become an evolving photo essay of women activists standing up to walls of militarized riot police and mobs of angry bigots. The photos feature subjects like Tess Asplund, Leshia Evans, and Saffiyah Khan, and historical inspirations like Gloria Richardson and Bernadette Devlin. Many of the subjects are unknown or unnamed, but no less iconic. These images, from all over the world, of women standing defiantly and often alone, against heavily armed and armored, mostly male power structures inspire and, in the case of children like Ruby Bridges, can break your heart.

Photos like these serve as powerful and necessary testaments to the fact that in social movements throughout history, women have held the front lines. And photographers have captured their activist spirit since the early days of the medium. In the 19th century, long exposures and fragile, finicky equipment made action shots difficult-to-impossible, and for a variety of cultural reasons, many women were far less likely to confront armed men on the streets. Therefore, the portraits of women activists from the time tend toward traditional seated poses. But as famous photographs of Harriet Tubman and Sojourner Truth demonstrate, these images do not show us passive observers of history.

blk women activists 02

Pictures of Tubman and Truth have made their way into every elementary school history textbook. Far less well-known are the many other African-American women activists of the late-nineteenth and early twentieth centuries who fought for the rights of black Americans in education, at the voting booth, and everywhere else. During Reconstruction especially, many such activists rose to prominence in academia, journalism, and civic leadership. Women like Fannie Barrier Williams, at the top, whose wise, direct gaze illustrates her fearlessness as an educational reformer and suffragist, who, despite her maiden name, broke several barriers for black women in higher education and prominent public events like the 1893 Columbian Exposition. Against paternalistic claims that former slaves weren’t ready for citizenship, writes the Rochester Regional Library Council, Williams “called on all women to unite and claim their inalienable rights.”

Above, we see Laura A. Moore Westbrook. Of the first generation to grow up after slavery, Westbrook received a master’s degree in 1880, the only woman in a class of four. She went on to teach and fight fiercely for formerly enslaved students in Texas, earning admiration, as Monroe Alphus Majors wrote in 1893, “in conspicuous instances and under very flattering circumstances” from contemporaries like Frederick Douglass. Majors’ characterization will sound patronizing to our ears, but in the rigid terms of the time, it offers nearly as vivid a portrait as her photograph: “Her motive to do good far surpasses her vanity, except when her race is attacked, then, manlike, she with the pen strikes back, and even goes beyond her loyalty to serve, but makes lasting impressions upon those who are so unfortunate to get within her range.”

blk women activists 03

These images come from a Library of Congress archive of nineteenth-century African American activists from the collection of William Henry Richards, a professor at Howard University Law Schoolfrom 1890 to 1928 and a staunch campaigner for civil rights and liberties. Most of the portraits are of the formal, staged variety, but we also have the more relaxed, even playful series of poses from activists Elizabeth Brooks and Emma Hackley, above. Richards’ collection, writes curator Beverly Brannon at the LoC site, includes many “people who joined him and others working in the suffrage and temperance movements and in education, journalism and the arts.” The photographs “show the women at earlier ages than most portraits previously available of them online.”

blk women activists 04

These portraits date from a time, notes Allison Meier at Hyperallergic, when “rights and opportunities for African Americans, especially women, remained severely limited.” Many “obscure black women writers,” journalists, and teachers “await their biographers,”  argues Jonathan Daniel Wells, and perhaps the rediscovery of these photographs will prompt historians to reconsider their prominence. While they did not physically stand up to armed mobs or police battalions, these activists, writes Meier, “spoke out boldly against gender inequality, while at the same time remaining cognizant that especially in the so-called New South, racism, violence and murder were ever-present dangers for African American women and men.”

Hyperallergic/Library of Congress

Related Content:

1.5 Million Slavery Era Documents Will Be Digitized, Helping African Americans to Learn About Their Lost Ancestors

W.E.B. Du Bois Creates Revolutionary, Artistic Data Visualizations Showing the Economic Plight of African-Americans (1900)

Watch the Pioneering Films of Oscar Micheaux, America’s First Great African-American Filmmaker

+++++++++++
Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

 

 

>via: http://www.openculture.com/2017/04/photos-of-19th-century-black-women-activists-digitized-and-put-online-by-the-library-of-congress.html

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MITOCHONDRIAL

EVE

 

eve pix

____________________

What, if anything, is a Mitochondrial Eve?

by Krishna Kunchithapadam

 

I wrote this essay in December, 1995 for the ERRANCY mailing list (which is devoted to the discussion and refutation of the doctrine of biblical inerrancy).

—Krishna.

 

One of the best indications that a scientific and mathematical statement has not been explained properly is the many different (and incorrect) ways people interpret it.

Excellent discussions of the Mitochondrial Eve are to be found in:

  • Bryan Sykes, The Seven Daughters of Eve, Bantam Press, 2001.
  • Richard Dawkins, River out of Eden, Basic Books, 1995.
  • Daniel C. Dennett, Darwin’s Dangerous Idea, Simon and Schuster, 1995.

 

Here are some points to note:

  • The name Eve, in retrospect, is perhaps the worst possible name to give to the entity in question. I believe that this is probably the cause of so much confusion in understanding what the significance of this entity is. People think that this title has some deep theological or religious consequences. Nothing of that sort. Someone you come across who claims that the bible (or the book of Genesis) has been validated by the discovery of the Mitochondrial Eve, is talking crap—you should feel free, and even obligated, to tell them so.
  • The Mitochondrial Eve of 200,000 years ago (ME for short henceforth) is NOT our common ancestor, or even common genetic ancestor. She is the most-recent common ancestor of all humans alive on Earth today with respect to matrilineal descent. That may seem like a mouthful, but without even a single one of those qualifying phrases, any description or discussion of the ME reduces to a lot of nonsense.
    While each of us necessarily has two parents, we get our mitochondria and mitochondrial DNA from the ovum (and hence from our mothers). Our mothers got their mitochondrial DNA from their mothers and so on. Thus, while our nuclear DNA is a mish-mash of the DNA of our four grandparents, our mitochondrial DNA is an almost exact copy of the DNA of our maternal grandmother (the match may not be exact due to mutations. In fact, the mutations in the mitochondrial DNA provide the molecular clock that allows us to determine how much time has elapsed since the ME lived).
    The ME represents that woman whose mitochondrial DNA (with mutations) exists in all the humans now living on Earth. That does not mean that she is our lone woman ancestor. We have ancestors who are not via matrilineal descent. For example, our father’s mother (who did pass on her mitochondrial DNA to her daughters) is an example of an ancestor who is not matrilineal to us. However, she did exist at one time and was probably of the same age as our mother’s mother, who is a matrilineal ancestor of ours and from whom we got our mitochondrial DNA.
  • The term Mitochondrial Eve itself is a title given retroactively to a woman. Often (and as is certainly the case with the ME that we are discussing) the conferring of the title occurs many hundreds of thousands of years after the death of the woman in question.
  • ME lived with many other humans (men and women); she was certainly not alone. When she was alive, she was most certainly NOT the Mitochondrial Eve. The title at that time was held by a distant ancestor of hers (and of the many humans who were her contemporaries).
  • The existence of the Mitochondrial Eve is NOT a theory; it is a mathematical fact (unless something like a multiple-origins theory of human evolution i.e. the human species arose independently in different geographically separated populations, and that the present-day ease of interbreeding is the result of a remarkable convergent evolution, is true. Few people subscribe to the multiple-origins theory, and the Mitochondrial Eve observation is a refutation of multiple-origins).
  • The proof for the existence of a Mitochondrial Eve is as follows (based on an argument by Daniel Dennett in the above mentioned book).
    Consider all the humans alive today on Earth. Put them into a set S.
    Next, consider the set of all those women who were the mothers of the people in the set S. Call this set S’. A few observations about this new set S’. It consists of only women (while set S consists of both men and women)—this is because we chose to follow only the mother-of relationship in going from set S to set S’. Also note that not every member of set S’ needs to be in set S—set S consists of all people living today, while some of the mothers of living people could have died, they would be in set S’ but not in set S. Third, the size of set S’ is never larger than the size of set S. Why? This is because of the simple fact that each of us has only one mother. It is however overwhelmingly more likely that the size of set S’ is much smaller than that of set S—this is because each woman usually has more than one child.
    Repeat the process of following the mother-of relationship with set S’ to generate a new set S”. This set will consist of only women, and will be no larger (and very likely smaller) than set S’.
    Continue this process. There will come a point when the set will consist of smaller and smaller number of women, until we finally come to a single woman who is related to all members in our original set via the transitive-closure of the mother-of relation. There is nothing special about her. Had we chosen to follow the father-of relation, we would have hit the Y-chromosome Adam (more on him later). Had we chosen to follow combinations of mother-of andfather-of relations, we would have hit some other of our common ancestors. The only reason why the mother-of relationship seems special is because we can track it using the evidence of mitochondrial DNA.
    Thus there must exist a single woman whose is the matrilineal most-recent common ancestor of every in set S.
    A few others points to keep in mind. One might say that if each woman has only a single daughter (and however many sons), the size of the sets will be the same as we extrapolate backwards. But also note that this backwards mathematical extrapolation is an extrapolation into the past. This process cannot be continued indefinitely because the age of the Earth, life on Earth, and the human species is finite (this argument comes from Dawkins).
    Also important to keep in mind is that while the final set S’* has only one member (the Mitochondrial Eve), she was by no means the only living woman on Earth during her lifetime. Many other women lived with her, but they either did not leave descendents or did not leave descendents via the matrilineal line, who are still alive today.
  • Let us now see how the title of Mitochondrial Eve can change hands.
    Consider an extremely prolific woman living today. She has many daughters and takes a vacation to a remote Carribean island for a week. During the same week a plague of a mutated Ebola virus sweeps the Earth and drastically decreases the fecundity of all living women. Not only that, the viral infection also changes the genome of these women so that the daughters they give birth to will inherit this reduced fecundity. This means that far more than average of their fetuses will undergo abortions (or, in a somewhat kinder scenario, their female fetuses will be aborted more often than male ones).
    Only this one woman and her daughters who were off in this Carribean island are safe from the viral plague. Also assume that the viral plague consumes itself within that fateful week. This woman and her daughters are now free to breed in a world where their reproductive potential far outstrips that of every other woman alive (and to be born of these women). Soon, almost every one on Earth will be related in some fashion to this one woman. Finally, when the last woman who was born to one of the matrilineal descendents of an infected woman dies, the non-infected Carribean tourist takes on the title of the new Mitochondrial Eve. Every human alive on Earth at that point in time is now related via the mitochondrial line to her.
    But consider this new twist. Suppose a group of astronauts (men and women) were sent off into space during the infection week, and were thus not infected themselves. After many centuries in a Moon or Mars colony, they returned to Earth. At that time, suddenly, the title of Mitochondrial Eve would revert back to our own ME. The humans alive on the Earth at that time would all share their mitochondrial DNA with an earlier common ancestor.
  • Thus the title of Mitochondrial Eve depends very critically on the present human population of the Earth. As people die or are born, the title can change hands. Once a ME is established (via the death of a matrilineal line), further births cannot change the title. Further deaths can, however, transfer the title to a more recent woman. The older ME is still the common ancestor of all humans alive today on Earth with respect to matrilineal descent, but she is not themost-recent …. This is part of the reason why I said that each and every word of that definition was important.

As an exercise, try to eliminate just one phrase of the definition of the ME and see what happens. The key terms are most-recent, common ancestor, humans alive today, matrilineal descent.


I mentioned the Y-chromosome Adam (YcA for short) earlier in discussing patrilineal descent. The YcA has also been identified (by the careful sequencing of a small region of the Y-chromosome that all men carry) and has been dated considerably more recent than the ME (yet another slap-in-the-face for bibliolaters—their Adam and Eve lived many tens of thousands of years apart). The YcA is not as special as the ME because only men carry the Y-chromosome, whereas all humans, men and women, carry mitochondria and mitochondrial DNA. So the YcA would not leave the same kind of trace in women living today as the ME did. However, the existence of the YcA is as mathematically necessary as the existence of the ME (use the earlier set argument, but now with the father-ofrelationship).

While the existence of the ME and the YcA are mathematical, I am more interested in the point in time when the titles were conferred on the particular ME and YcA were are talking about today. These people have held their respective titles for perhaps many centuries, but the really tantalizing question is when they qualified. Was the original human population (from which we all descended) so small that our ME was identified very quickly after her death or did the death of an old woman in a remote village in Southern Africa during the time that the Pharohs ruled in Egypt represent that critical demise of the last matrilineal line not connected with our ME. Similar arguments hold for the YcA.

A final note. The techniques of DNA sequencing, DNA-relatedness comparisons, and the calibration of the molecular clock have been improving dramatically over the past few years. The existence of the Mitochondrial Eve and the Y-chromosome Adam are no longer in any doubt (remember, both are mathematical necessities)—what is still being discussed is the estimation of how long ago they lived. Determining their ages requires an accurate calibration of the molecular clock and there is some disagreement here.


Copyright © Krishna Kunchithapadam
Last updated: Mon May 1 16:46:06 PDT 2000
Mirrored from: http://www.geocities.com/krishna_kunchith/misc/eve.html

This page is part of the Fossil Hominids FAQ at the talk.origins Archive.

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http://www.talkorigins.org/faqs/homs/mitoeve.html, 12/14/2000
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APRIL 17, 2017

APRIL 17, 2017

hiking 07

____________________

Apr 11, 2017

Apr 11, 2017

 

The author on McAfee Knob, near Roanoke, Virginia, June 2016  Photo: Courtesy of Rahawa Haile

The author on McAfee Knob, near Roanoke, Virginia, June 2016
Photo: Courtesy of Rahawa Haile

Going It Alone

 

What happens when an African American woman
decides to solo-hike the Appalachian Trail from
Georgia to Maine during a summer of bitter
political upheaval? Everything you can imagine,
from scary moments of racism to new friend-
ships to soaring epiphanies about the timeless
value of America’s most storied trekking route.

 

It’s the spring of 2016, and I’m ten miles south of Damascus, Virginia, where an annual celebration called Trail Days has just wrapped up. Last night, temperatures plummeted into the thirties. Today, long-distance Appalachian Trail hikers who’d slept in hammocks and mailed their underquilts home too soon were groaning into their morning coffee. A few small fires shot woodsmoke at the sun as thousands of tent stakes were dislodged. Over the next 24 hours, most of the hikers in attendance would pack up and hit the 554-mile stretch of the AT that runs north through Virginia.

I’ve used the Trail Days layover as an opportunity to stash most of my belongings with friends and complete a short section of the AT I’d missed, near the Tennessee-Virginia border. As I’m moving along, a day hiker heading in the opposite direction stops me for a chat. He’s affable and inquisitive. He asks what many have asked before: “Where are you from?” I tell him Miami.

He laughs and says, “No, but really. Where are you from from?” He mentions something about my features, my thin nose, and then trails off. I tell him my family is from Eritrea, a country in the Horn of Africa, next to Ethiopia. He looks relieved.

“I knew it,” he says. “You’re not black.”

I say that of course I am. “None more black,” I weakly joke.

“Not really,” he says. “You’re African, not black-black. Blacks don’t hike.”

I’m tired of this man. His from-froms and black-blacks. He wishes me good luck and leaves. He means it, too; he isn’t malicious. To him there’s nothing abnormal about our conversation. He has categorized me, and the world makes sense again. Not black-black. I hike the remaining miles back to my tent and don’t emerge for hours.

Photo: Courtesy of Rahawa Haile

Photo: Courtesy of Rahawa Haile

Heading north from Springer Mountain in Georgia, the Appalachian Trail class of 2017 would have to walk 670 miles before reaching the first county that did not vote for Donald Trump. The average percentage of voters who did vote for Trump—a xenophobic candidate who was supported by David Duke—in those miles? Seventy-six. Approximately 30 miles farther away, they’d come to a hiker hostel that proudly flies a Confederate flag. Later they would reach the Lewis Mountain campground in Shenandoah National Park—created in Virginia in 1935, dur­ing the Jim Crow era—and read plaques acknowledging its former history as the segregated Lewis Mountain Negro Area. The campground was swarming with RVs flying Confederate flags when I hiked through. This flag would haunt the hikers all the way to Mount Katahdin, the trail’s end point, in northern Maine. They would see it in every state, feeling the tendrils of hatred that rooted it to the land they walked upon.

 

During the early part of my through-hike, I arrive in Gatlinburg, Tennessee, one afternoon, a little later than I planned. I was one of many thirtysomethings who’d ended their relationships, quit their jobs, left their pets with best friends, and flown to Georgia. By this point, I’m 200 miles into my arduous, rain-soaked trek. Everything aches. The bluets and wildflowers have emerged, and I’ve taken a break in town to resupply, midway through my biggest challenge thus far, the Smokies. 

It isn’t until I’m about to leave town that I see it: blackface soap, a joke item that supposedly will turn a white person black if you can trick them into using it. I’m in a general store opposite the Nantahala Outdoor Center. The soap is in a discount bin next to the cash register. I’d popped in to buy chocolate milk and was instead reminded of a line from Claudia Rankine’s book Citizen: “The past is a life sentence, a blunt instrument aimed at tomorrow.”

There’s a shuttle back to the trail at Newfound Gap leaving in 15 minutes. I fumble to take a photograph of the cartoon white woman on the packaging, standing in front of her bathroom sink. She can’t believe it. How could this happen? Her face and hands are black. She scrubs to no avail.

I leave. Cars honk. I’m standing at an intersection and straining to return to the world. The shuttle arrives to take us from town to trailhead. The van leads us up, up into the mountains. It’s a clear day. Hikers are laughing, rejuvenated. “Did you have fun in town?” a friend I met on the trail asks. “This visibility is unreal,” says another, nose against the window. He thinks he has spotted a bear. The sun has lifted spirits. The van spills us out, but I can barely see a thing. 

Two days later, a stream of texts hit my phone. Prince has died. I feel my vision blur, sit down on the first rock I see, and don’t move for a while. The hikers who walk past ask if I’m hurt. “I’m sorry to tell you this,” I’ll hear myself say. “Prince just died.” No one knows who I’m talking about. I will see variations of the same vacant expression for the rest of the day. “The Prince of Wales?” one hiker asks.

I’m losing light. I have to get to the next shelter. The afternoon has been a learning experience: the trail is no place to share black grief. Later, when Beyoncé releases Lemonade, an album that speaks ­powerfully to black women, I won’t permit myself to hear it out here. I’m lonely enough as it is, without feeling additional isolation. I keep it from myself, and I follow the blazes north. I tell the trees the truth of it: some days I feel like breaking.

• • •

The National Park Service celebrated its centennial last year. In one brochure, a white man stands boldly, precariously, in Rocky Mountain National Park, gazing at a massive rock face. He wears a full pack. He is ready to tackle the impossible. The poster salutes “100 years of getting away from it all.” The parenthetical is implied if not obvious: for some.

In a Backpacker interview from 2000, a black man named Robert Taylor was asked about the hardest things he faced during his through-hike of the Appalachian Trail. He’d recently completed both the AT and the Pacific Crest Trail. “My problems were mainly with people,” he said. “In towns, people yelled racist threats at me in just about every state I went through. They’d say, ‘We don’t like you,’ and ‘You’re a nigger.’ Once when I stopped at a mail drop, the postmaster said, ‘Boy, get out of here. We got no mail drop for you.’ ”

It will be several months before I realize that most AT hikers in 2016 are unaware of the clear division that exists between what hikers of color experience on the trail (generally positive) and in town (not so much). While fellow through-hikers and trail angels are some of the kindest and most generous people I’ll ever encounter, many trail towns have no idea what to make of people who look like me. They say they don’t see much of “my kind” around here and leave the rest hanging in the air. 

The rule is you don’t talk about politics on the trail. The truth is you can’t talk about diversity in the outdoors without talking about politics, since politics is a big reason why the outdoors look the way they do. From the park system’s inception, Jim Crow laws and Native American removal campaigns limited access to recreation by race. From the mountains to the beaches, outdoor leisure was often accompanied by the words whites only. The repercussions for disobedience were grave.

“For me, the fear is like a heartbeat, always present, while at the same time, intangible, elusive, and difficult to define,” Evelyn C. White wrote in her 1999 essay “Black Women and the Wilderness.” In it she explains why the thought of hiking in Oregon, which some writer friends invited her to do, fills her with dread. In wilderness, White does not see freedom but a portal to the past. It is a trigger. The history of suffering is too much for her to overcome. This fear has conjured a similar paralysis nationwide. It says to the minority: Be in this place and someone might seize the opportunity to end you. ­Nature itself is the least of White’s concerns. Bear paws have harmed fewer black bodies in the wild than human hands. She does not wish to be the only one who looks like her in a place with history like this.

Perspective is everything.

There are 11 cats at Bob Peoples’s Kincora Hiking Hostel in Hampton, Tennessee. When I ask Peoples how he keeps track of them, he responds, “They keep track of me.” We talk about the places he’s hiked and the people he’s met. “Germans have the best hiking culture of any country,” he says. “If there was a trail to hell, Germans would be on it.” The chance of precipitation the next day is 100 percent. When it drizzles the rain plays me, producing different sounds as it strikes hat, jacket, and pack cover. Of the many reasons to pause while hiking, this remains my favorite. The smell and sound of the dampening forest is a sensory gift, a time for reflection.

A gloomy day on Roan Mountain, Tennessee Photo: Courtesy of Rahawa Haile

A gloomy day on Roan Mountain, Tennessee
Photo: Courtesy of Rahawa Haile

The first bumper sticker I see in Hot Springs, North Carolina, says that April is Confederate History Month. A week later, I stay in a hostel near Roan Mountain, Tennessee, next to a house that’s flying a Confederate flag. Hikers who’ve hitched into town tell me that the rides they got were all from drunk white men. Be careful, they warn.

I reconsider going into town at all. It’s near freezing. Two days ago, I woke up on Roan Mountain itself in a field of frozen mayapples. Today I wear my Buff headband like a head scarf under my fleece hat. When I walk a third of a mile back to the trailhead alone the next morning, I look at the neighbor’s flag and wonder if someone will assume I’m Muslim, whether I’m putting myself at risk. I lower the Buff to my neck and worry that I’m being paranoid. Six months later, the San Francisco Chronicle will report on a woman of color who was hiking in Fremont, California, while wearing a Buff like a bandana and returned to find her car’s rear window smashed, along with a note. “Hijab wearing bitch,” it said. “This is our nation now get the fuck out.” She wasn’t Muslim, but that’s not the point. The point is the ease with which a person becomes a “them” in the woods.

Two weeks later, at Trail Days, there’s a parade celebrating current and past hikers. A black man with the trail name Exterminator aims a water gun at a white crowd as he moves along. He shoots their white children. They laugh and shoot back with their own water guns. This goes on for 30 yards. I pause to corral my galloping anxiety. He is safe, I tell myself. This event is one of the few places in America where I don’t fear for a black man with a toy gun in a public setting. 

The Southern Poverty Law Center tracked more than 1,000 hate crimes and bias incidents that occurred in the month after the election. On November 16, 2016, the Appalachian Trail Conservancy posted information about racist trail graffiti on its Facebook page. It showed up along the trail corridor in Pennsylvania. The group was encouraging anyone who encountered ­“offensive graffiti or vandalism” to report it via e-mail. 

Starting in 1936, amid the violence of Jim Crow, a publication known as the Green Book functioned as a guide for getting black motorists from point A to point B safely. It told you which gas stations would fill your tank, which restaurants would seat you, and where you could lay your head at night without fear. It remained in print for 30 years. As recently as 50 years ago, black families needed a guide just to travel through America unharmed. 

There is nothing approximating a Green Book for minorities navigating the American wilderness. How could there be? You simply step outside and hope for the best. One of the first questions asked of many women who solo-hike the Appalachian Trail is whether they brought a gun. Some find it preposterous. But one hiker of color I spoke to insisted on carrying a machete, an unnecessarily heavy piece of gear. “You can never be too sure,” he told me.

• • •

As a queer black woman, I’m among the last people anyone expects to see on a through-hike. But nature is a place I’ve always belonged. My home in South Florida spanned the swamp, the Keys, and the dredged land in between. My father and I explored them all, waving at everything from egrets to purple gallinules and paddling by the bowed roots of mangroves. This was before Burmese pythons overran the Everglades, when the rustling of leaves in the canopy above our canoe still veered mammalian.

Throughout my youth, my grandmother and I took walks in Miami, where I’d hear her say the words tuum nifas. It meant a delicious wind, a nourishing wind. These experiences shaped how I viewed movement throughout the natural world. How I view it still. The elements, I thought, could end my hunger. 

Little has changed since. Now the rocks gnaw at my shins. I thud against the ground, my tongue coated in dirt. I pick myself back up and start again. 

Every day I eat the mountains, and the mountains, they eat me. “Less to carry,” I tell the others: this skin, America, the weight of that past self. My hiking partners are concerned and unconvinced. There is a weight to you still, they tell me. They are not wrong. My footing has been off for days. There were things I had braced for at the beginning of this journey that have finally started to undo me. We were all hurtling through the unfamiliar, aching, choppy, destroyed by weather, trying not to tear apart. But some of us were looking around as well. By the time I made it through Maryland, it was hard not to think of the Appalachian Trail as a 2,190-mile trek through Trump lawn signs. In July, I read the names of more black men killed by police: Philando Castile, Alton Sterling. Never did I imagine that the constant of the woods would be my friends urging, pleading, that I never return home.

That was then. Back home in Oakland, California, now, my knees hurt. I struggle with the stairs. I wonder if it’s Lyme disease from an unseen tick bite. The weight I lost has come back. My arms, the blackest I ever saw them after weeks in the summer sun, have faded to their usual dark brown. The bruises on my collarbones from my pack straps are no more. My legs aren’t oozing blood. My feet haven’t throbbed in four months. I am once again soft and unblemished and pleading with my anxiety every day for a few hours of peace. My timing couldn’t be worse. The news is relentless. Facts mean nothing. The truth is, I don’t know how to move through the world these days. Everything feels like it needs saving. I can barely keep up.

Entering the Smokies   Photo: Courtesy of Rahawa Haile

Entering the Smokies Photo: Courtesy of Rahawa Haile

Who is wilderness for? It depends on who you ask. In 2013, Trail Life USA, a faith-based organization, was established as a direct response to the Boy Scouts of America’s decision to allow openly gay kids into their program. A statement by the group made the rules clear: Trail Life USA “will not admit youth who are open or avowed about their homosexuality, and it will not admit boys who are not ‘biologically male’ or boys who wish to dress and act like girls.” 

Roughly two years later, news outlets profiled the Radical Monarchs, a group for children of color between the ages of eight and twelve, intended as a Girl Scouts for social activists. Headlines like “Radical Brownies Are Yelling ‘Black Lives Matter,’ Not Hawking Girl Scout Cookies” highlighted what an intersectional approach to youth activism could look like. Organizations such as Trail Life USA and Radical Monarchs show opposite ends of the outdoor spectrum. For conservative Christian men, religion is used as a means of tying exclusionary practices to outdoor participation. For people of color, the wilderness is everywhere they look. They don’t need mountains. Wilderness lives outside their front doors. Orienteering skills mean navigating white anxiety about them. They are belaying to effect change. And even then, their efforts might not be enough. 

“People on the trail, overwhelmingly, are good people, but it isn’t advertised for us,” says Bryan Winckler, a black AT through-hiker who went by the trail name Boomer. “If you see a commercial for anything outdoor related, it’s always a white person on it. I think if people saw someone who looked like them they would be interested. It’s not advertised, so people think, That’s not for me.”

Brittany Leavitt, an Outdoor Afro trip leader based in Washington, D.C., echoed this sentiment. “You don’t see it in the media,” she told me recently. “You don’t see it advertised when you go into outdoor stores. When I do a hike, I talk about what’s historically in the area. Nature has always been part of black history.”

She’s right. Outdoor skills were a matter of survival for black people before they became a form of exclusion. Harriet Tubman is rarely celebrated as one of the most important outdoor figures in American ­history, despite traversing thousands of miles over the same mountains I walked this year. 

“How can we make being in the outdoors a conduit for helping people realize, understand, and become comfortable with the space they occupy in the world?” says Krystal Williams, a black woman who through-hiked the AT in 2011. The change is happening slowly, in large part because of public figures bringing attention to the outdoors. Barack Obama designated more national monuments than any president before him. Oprah has called 2017 her year of adventure. “My favorite thing on earth is a tree,” she told ranger Shelton Johnson, an advocate for ­diversity in the national parks, when she met him in Yosemite in 2010. A recent ­photo of Oprah at the Grand Canyon shows her carrying a full pack. “Hiking requires no particular skill, only two feet and a sturdy pair of shoes,” she said. “You set the pace. You choose the trail. You lock into a certain rhythm with the road, and that rhythm becomes your clarion song.”

Resting on New Hampshire's Kinsman Mountain   Photo: Courtesy of Rahawa Haile

Resting on New Hampshire’s Kinsman Mountain Photo: Courtesy of Rahawa Haile

Halfway through the descent into Dale­ville, Virginia, I found myself lying on the trail floor, wincing up at the canopy. I had taken a sudden tumble and was dazed. My right ankle ached badly, though my trekking poles had saved me from a truly nasty sprain. It was not a difficult stretch of trail—some packed dirt, a few small rocks, ­plenty of switchbacks. I felt betrayed and then ashamed. I could feel my confidence evaporating. If I couldn’t walk a well-groomed trail, what in the world was I going to do with the boulder scrambles awaiting me in the north? Falls could be fatal. At worst this one was a slight embarrassment, but it marked the first time I needed to forgive myself for what I could not control.

Every inch of my being by that point had been shaped by an explicit choice. In pursuit of Katahdin—which I reached on October 1, after six months of hiking—I had wept and chopped off the long, natural hair, so poli­ticized in America, that my grandmother had told me to always treasure. My afro was no more. I had left my skin to ash, my lips to crack. I wore my transmission-tower-print bandana like an electric prayer. The Appalachian Trail was the longest conversation I’d ever had with my body, both where I fit in it and where it fits in the world. 

Reaching the trail's end in Maine, October 1   Photo: Courtesy of Rahawa Haile

Reaching the trail’s end in Maine, October 1 Photo: Courtesy of Rahawa Haile

One of the popular Appalachian Trail books I read while preparing for my trek asked readers to make a short list of reasons why they wanted to do it. The author suggested we understand these reasons, down to our core, before embarking, coming up with something deeper than “I like nature.” I took out this document often when things felt overwhelming on the AT, when the enormity of the pursuit threatened to swallow me whole. Looking back, the list is a series of unrealized hopes. One line reads: “I have always been the token in a group; I have never chosen how I want to lead.” Another says: “It will be the first time I get to discover not whether I will succeed but who I am becoming.” The last line is a declaration: “I want to be a role model to black women who are interested in the outdoors, including myself.”

One of the most common sentiments one hears about the Appalachian Trail is how it restores a person’s faith in humanity. It is no understatement to say that the friends I made, and the experiences I had with strangers who, at times, literally gave me the shirt off their back, saved my life. I owe a great debt to the through-hiking community that welcomed me with open arms, that showed me what I could be and helped me when I faltered. There is no impossible, they taught me: only good ideas of extraordinary magnitude.

+++++++++++
Rahawa Haile (@rahawahaile) is an Eritrean American writer whose work has appeared in Pacific Standard, Brooklyn Magazine, and Buzzfeed. She lives in Oakland.

 

>via: https://www.outsideonline.com/2170266/solo-hiking-appalachian-trail-queer-black-woman

 

04/10/2017

04/10/2017

 

 

Sexism In Jazz:

Being Agents Of Change

Many elements of jazz have remained
in the past, therefore artists that are trying
to move jazz forward can’t be in the past
regarding social issues.

 

In a recent NPR article, Michelle Mercer’s “Sexism From Two Leading Jazz Artists Draws Anger—And Presents An Opportunity,” has inspired much impassioned discussion, as well as hopeful determination for resolve, and affirms that sexism in jazz continues to be a fervent topic in the predominantly male genre.

 

There has been abundant dialogue about sexism in jazz—since I can remember – but not enough conversation with the violators and not enough self-evaluation. These current times feel especially critical and seem to be generating a heightened sense of awareness, so I have recently shared these thoughts with many leading men in jazz to evoke reflective and meaningful conversation. Many elements of jazz have remained in the past, therefore artists that are trying to move jazz forward can’t be in the past regarding social issues. I have experienced a charmed and fruitful career, feeling relatively unscathed in comparison to many other female musicians, but the current climate of activism suggests we don’t hide behind our instruments or be reclusive artists, but instead accept a call to arms. In my 30 plus year career, I should have had more female peers than I’ve had. I would like to spend the next 30 years helping to make sure this conversation becomes a moot point for the young women just embarking on their careers.

We are all a work in progress, and one of the great benefits of life is that we have the opportunity to evolve. It takes effort to not fall into the societal traps we have been exposed to for most of our lives, and to move beyond these traps, we have to question ourselves—our ethics, our value system, our ideology. Concerning sexism, men have to acknowledge their male privilege and ask ‘what am I doing to contribute to sexist thought and behavior in my field and what am I doing to abolish it?’ And for women the question can be ‘what am I doing to destroy the stereotypes and what am I doing to educate and encourage others to put their sexism or internalized sexism in check?’ When someone acts or speaks, and it hurts others, whether intentional or not, that is a real, tangible thing—and can create angry, or at least tense, exchanges. For example, words like “chicks” have become unacceptable and “locker room talk” about grabbing women by the you know what—Donald—is ludicrous. To be truly progressive, it is essential to understand intersectionality, practice compassion, and have the ability to empathize. On issues of racism and sexism, there can be impatience from progressives, expecting that after all this time everyone should just know better and stand on the correct side of consciousness. It seems illogical to be concerned with some forms of oppressive behavior and not others.

Many female instrumentalists feel like they have to be better than their male counterparts to combat sexism. This is a lot of unnecessary pressure. Musical space is sacred, and it would be far more productive for all of us to be able to relax and create. The sexualization of it can be a slippery slope. Sexuality is throughout our music, but it becomes a matter of how we contextualize it and if we are oppressing, objectifying, or stereotyping. Most of my mentors were male and from the generation before me. And though they we were not perfect, they knew the importance of breaking the molds and fostering the idea of inclusion, understanding that it creates and promotes balance in the world. Jack DeJohnette, Wayne Shorter, and Herbie Hancock have all taught me that sensitivity and strength, leading and following, confidence and humbleness—balance—helps make the magic happen, on and off stage. Feminizing or masculinizing music can be counter-productive. The studying, composing, and performing of music should be gender neutral, and I think the greatest musicians are musically “gender fluid.”

It’s not about one person’s thoughts and behavior (although it can be a great catalyst for action) or attacking anyone’s character or artistry. It’s about everyone rolling up their sleeves, digging in, widening their view points, further stretching their compassion and understanding that this must be addressed and changed in order for their daughters and sons to have a better, more equitable world to live in. Studies have proven when expectations are higher students perform better. When expectations are lower, they perform worse. There are consequences for us all if we don’t treat a classroom or public forum with this in mind. We’ll miss out on things—opportunities seen or unseen—as we do not know who the next person is that will change the world. Using art as a social weapon is far more purposeful than being part of the fabric that continues silencing, devaluing or dismissing talent or aptitude. We can all be agents of change, and as the familiar adage goes, if you’re not part of the solution, then you’re part of the problem.

photo by ERIK JACOBS

photo by ERIK JACOBS

 

+++++++++++
Terri Lyne Carrington is a three-time Grammy award-winning drummer, composer, and multi-genre producer. She currently holds the position of Zildjian Chair in Performance at Berklee Global Jazz Institute, Berklee College of Music.

 

>via: http://www.huffingtonpost.com/entry/sexism-in-jazz-agents-of-change_us_58ebfab1e4b0ca64d9187879

 

 

 

 

11.17.15

11.17.15

 

 

 

feven

This Video Packs

100 Years Of

Ethiopian Beauty

Trends Into Just

60 Seconds

 

 

by PATRICE PECK

 

 

History buffs and beauty aficionados alike will appreciate the latest installment in Cut Videos‘ viral 100 Years of Beauty video series. Ten decades of popular Ethiopian hairstyles and makeup looks take center stage, showcasing model Feven G. wearing a variety of teased Afros, bold lipstick, precise cornrows, straightened tresses and more—all in under 60 seconds.

At first glance, the video might seem to be all about beauty. But, an accompanying behind-the-scenes video reveals that each of the featured looks is actually a nod to either a trailblazing woman or a momentous event in Ethiopia’s past or present. Some of the icons commemorated include Empress Taytu Betul, the nation’s first pilot Asegedech Assefa, singer and actress Asnaketch Worku and supermodel Liya Kebede.

According to Karen Maniraho, the researcher behind the video, viewers can expect to see additional African countries featured in the series: “This isn’t the end to African beauty. This is just the first of many ways to talk about the diversity on the continent.”

 

>via: http://www.okayafrica.com/culture-2/100-years-of-beauty-ethiopia-the-cut/

 

 

2017 curt johnson prose awards

awards

Submissions are OPEN – March 1 to May 1, 2017.

We are pleased to announce Lily King (Fiction) and Roxane Gay (Nonfiction) will judge our 2017 Curt Johnson Prose Awards. $1,500 and publication in our Fall/Winter 2017 issue for First Place (fiction and nonfiction); $500 and publication in our Fall/Winter 2017 issue for honorable mention (fiction and nonfiction).

 

 

Lily King is the award-winning author of Father of the Rain (NY Times Editor’s Choice, Publishers Weekly Best Novel of the Year) and Euphoria (Kirkus Award for Fiction, New England Book Award, National Book Critics Circle Award finalist). She grew up in Massachusetts and received her B.A. in English Literature from University of North Carolina at Chapel Hill, and her M.A. in Creative Writing from Syracuse University. She has taught English and Creative Writing at several universities and high schools in this country and abroad. Lily is the recipient of a MacDowell Fellowship and a Whiting Writer’s Award.

 

 

Roxane Gay’s writing appears in Best American Mystery Stories 2014, Best American Short Stories 2012, Best Sex Writing 2012, A Public Space, McSweeney’s, Tin House, Oxford American, American Short Fiction, Virginia Quarterly Review, and many others. She is a contributing opinion writer for The New York Times. She is the author of the books Ayiti, An Untamed State, the New York Times bestselling Bad Feminist, and Difficult Women and Hunger forthcoming in 2017. She is also the author of World of Wakanda for Marvel.

 

 

Our submission period is OPEN.

SEE CURRENT AND PAST WINNERS HERE

Guidelines:

Maximum of 8,000 words for fiction and non-fiction.  Name and address on cover letter only.  $20 entry fee includes copy of Awards issue.

AUTHOR NAME OR OTHER IDENTIFYING INFORMATION SHOULD NOT APPEAR IN YOUR TITLE OR ANYWHERE ON YOUR UPLOADED OR HARD COPY DOCUMENT.

december accepts submissions online through Submittable.

We do not accept simultaneous submissions, but we generally provide a response within six weeks.

december also accepts submissions through the U.S. mail. If submitting by mail, please enclose a self-addressed, stamped envelope (SASE) with sufficient postage, your $20.00 entry fee (check or cash), and indicate if you would like your manuscript returned. Multiple entries accepted with additional $20.00 entry fee per submission.
december assumes no responsibility for delayed, lost, or damaged manuscripts.

submit

Address postal submissions and correspondence to:

december
P.O. Box 16130
St. Louis, MO 63105

 

>via: http://decembermag.org/2017-curt-johnson-prose-awards/