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twelve winters

CALLS FOR SUBMISSIONS

The Larry D. Underwood Award

in Children’s Literature

Shining Hall, an imprint of Twelve Winters Press, announces the Larry D. Underwood Award in Children’s Literature for an unpublished children’s book. Submissions must include both text and illustrations by either a single author/illustrator, or an author and illustrator together. In addition to print and digital publication, the winner will receive a cash prize and Shining Hall’s standard publishing agreement.

  • The unpublished book should include original text and artwork — produced by a single author/illustrator, or the partnership of an author and illustrator. The author and/or illustrator must have the rights to the work being submitted.
  • The targeted age group for the book should be between about six and twelve years of age; and the book should be between twenty and forty pages (approximately).
  • Submit text as a Word or pdf file, with accompanying artwork as a single pdf file. Or the text of the story could be integrated into the artwork, in which case submit as a pdf file. (The winning entrant will be asked to provide higher resolution artwork prior to publication.)
  • There is no prescribed subject matter or theme.
  • There is a $35 nonrefundable submission fee; entrants will receive a copy of the winning book.
  • The entries will be judged by Melissa Morrissey, author of Shawna’s Sparkle. Relatives, close friends and former students of Melissa are ineligible.
  • A winner will be announced by June 15, 2016, with the winning book appearing in fall 2016.

About the Contest Judge:

Melissa Morrissey has been an educator for more than twenty years and holds degrees from Eastern Illinois University, Southern Illinois University Edwardsville, and University of Illinois Springfield. She is the author of Shawna’s Sparkle, illustrated by Felicia Olin and published by Shining Hall in 2015. She has written other books that will be brought out by Shining Hall in 2016.
submit


Xpress (trans-PRESS) (tentative title):

An anthology of transgressive and

multimodal narratives in print

Twelve Winters Press is seeking submissions for a print anthology of multimodal narratives. Anyone anywhere may submit independent or collaborative work, and there is no fee. The deadline for submissions is January 15, 2015.

Submissions must work on or with the two-dimensional printed page and should be narrative in the broad sense – any account of fictional or nonfictional connected events. Work may comprise graphics, text, and/or any other printable code, notation, or means of making meaning, and must combine modes of communication (e.g., verbal and visual). Color and graphical elements are not strictly required, but are especially encouraged. An ideal submission should exhibit a dimension of strong visual interest and somehow defy, pervert, and/or subvert existing notions of genre and idiom. Without meaning to recommend a specific aesthetic, popular examples of the type of narrative we are seeking might be found in Mark Z. Danielewski’s House of Leaves or Chris Ware’s Acme Novelty Library series. Work that is easily assigned a traditional category (e.g., “poetry,” “photography,” “flash fiction,” “batik”) or might fit with other, more traditional outlets, may not be a good fit with the anthology.

Only printable media will be accepted; however, if the submission innovates a way to involve other media that relies principally on the print medium, it may be considered. (E.g., a QR code linking to a music library would not be acceptable, per se, but could work as an appendix to, or integral element of, a principally print work.) The anthology is targeted to an English-speaking audience. Spanish, sign, Martian, etc., elements may be considered, provided an English-speaking audience can understand what they are meant to understand.

The book will contain approximately 160 pages at 8.5″ x 8.5″, perfect bound, with a default print area of 6.5″ x 6.5″, printed in process color. Submitted work should be formatted to these specifications; otherwise we may modify work to fit the layout. Submissions are permitted and encouraged to take full advantage of the format, including, as desired, the entire 8.5″ x 8.5″ page, but contributors should be mindful of the bleed and gutter.

Submit a complete work or representative, self-sufficient excerpt of 3 to 12 pages as formatted .PDF, .DOC(X), or high-quality (300 DPI) .JPEG or .TIFF. In your cover letter, please include both a brief contributor bio and a brief statement explaining the concept of the work and how you feel it fits the nature and objectives of the anthology. Please direct questions to the project editor at nicholson@salacreative.org. SUBMIT VIA SUBMITTABLE AND NOT VIA THIS EMAIL ADDRESS, PLEASE.

Twelve Winters Press will acquire first serial rights to all accepted work, with rights reverting to the author upon publication. The anthology will be available worldwide in print, Kindle and Nook editions, possibly with audio and other media versions as well.

Anthology editor Adam McHenry Nicholson is the founder and managing director of Sala Creative Association, a professional association and resource for creatives in all fields, as well as a freelance writer and editor. He has taught English composition and literature, written and illustrated for independent comics zines and collections, and codirected an arts center, managing communications, attracting guests, and coordinating visual, literary, and performing arts events.

Twelve Winters Press, a literary publisher, is dedicated to publishing high-quality work that may be difficult to place with commercial publishers. Visit twelvewinters.com and follow @twelvewinters.

submit

 

>via: http://twelvewinters.com/submissions/

 

 

 

 

 

 

yemassee

2016 Yemassee Writing Prizes

We’re excited to announce that submissions for our 2016 Yemassee Writing Prizes are now open!

The 2016 Yemassee Fiction Contest will be judged by Claire Vaye Watkins (Battleborn, Gold Fame Citrus). $15 to enter ($17 with subscription). $1,000 prize.

Claire Vaye Watkins was born in Bishop, California in 1984. A graduate of the University of Nevada Reno, Claire earned her MFA from the Ohio State University, where she was a Presidential Fellow. Her stories and essays have appeared in Granta, The Paris Review, Tin House, One Story, Glimmer Train, Best of the West, Best of the Southwest, The New York Times and many others.

Her collection of short stories, Battleborn, won the Story Prize, the Dylan Thomas Prize, New York Public Library’s Young Lions Fiction Award, the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, and a Silver Pen Award from the Nevada Writers Hall of Fame. Her latest book is Gold Fame Citrus, a novel. 

A Guggenheim Fellow, and one of the National Book Foundation’s “5 Under 35,” Claire is on the faculty of the Helen Zell Writers’ Program at the University of Michigan. She is also the co-director, with Derek Palacio, of the Mojave School, a free creative writing workshop for teenagers in rural Nevada.

The 2016 Yemassee Poetry Contest will be judged by Catie Rosemurgy (The Stranger Manual). $15 to enter ($17 with subscription). $1,000 prize.

Catie Rosemurgy’s most recent poetry collection, The Stranger Manual, was published by Graywolf Press. Her work has appeared in such places as The American Poetry Review, The Boston Review, and Better. She is the recipient of a Rona Jaffe Foundation award, a National Endowment for the Arts Fellowship, and a Pew Fellowship in the Arts. She lives in Philadelphia and teaches at The College of New Jersey.

The 2016 Yemassee Nonfiction Contest will be judged by Matthew Gavin Frank (Preparing the Ghost, The Mad Feast). $10 to enter ($12 with subscription). $500 prize.

Matthew Gavin Frank is the author of the nonfiction books, The Mad Feast: An Ecstatic Tour Through America’s FoodPreparing the Ghost: An Essay Concerning the Giant Squid and Its First PhotographerPot Farm, and Barolo, the poetry books, The Morrow Plots, Warranty in Zulu, and Sagittarius Agitprop, and 2 chapbooks. He teaches at Northern Michigan University, where he is the Nonfiction Editor of Passages North. This winter, he tempered his gin with two droplets (per 750ml) of tincture of odiferous whitefish liver. For health.

Submissions will be accepted via the Yemassee Submittable page through January 15, 2016.

 

>via: http://yemasseejournal.com/contest

 

 

 

 

 

 

 

DECEMBER 2, 2015

DECEMBER 2, 2015

 

 

 

 

The African

Music Videos 

We Loved The Most

in 2015

phiona

BY PHIONA OKUMU 

 

The first in our series of year-end wrap ups (yes, it’s that
time again) looks at the music videos by African artists
that most caught our eye for whatever reason. The songs
they accompany are equally great and helped decide from
2015’s long list which ones held us captive several views after.

Reniss – Michael Jackson
featuring Jovi
Cameroonian rap god Jovi jumps on his label signee Reniss’
homage to the king of music videos.

Youssoupha – Niquer Ma Vie

Youssoupha, easily one of the continent’s best MCs, never misses an opportunity to combine his dense lyricism with gripping images.

Burna Boy – Soke

With an unconventional choice for a first single, clearly demonstrating his well-known Fela admiration, the Don Gorgon ditches the usual party-driven format for something more in the realms of performance art.

Mashayabhuqe KaMamba
– Shandarabaa Ekhelemendeh
featuring Okmalumkoolkat

Grit, style and bass merge in this explosive video for this long-standing, genre-defining cult hit.

RedRed – Ghetto featuring Sarkodie

FOKN Bois’ producer/rapper M3nsa and Hungarian reggae collective Irie Maffia’s ELO are RedRed. This song, which features Ghana’s most prolific rapper right now, is a taster of their “African EDM”, and its video charms with its stunning authenticity.

Baloji – Capture featuring
Petit Noire and Muanza

If you know anything about Baloji, you know by now that visually his intention is always epic or nothing.

 

Baloji – Unité & Litre
featuring Mipipo

Nuff said.

Miss Tati – Don’t Let Go

To watch this video is to feel yourself slowly levitate as all the cares that weigh you down lose their grip of one by one. This feel-good single from Norway-based Angolan Miss Tati has us giddily expectant of her full-length album next year.

 

Nakhane Touré – The Plague

If Nakhane’s flawless vocals here don’t knock all the breath out of you, this video, which borrows David Lynch’s surrealism and the high contrast paintings of Caravaggio for inspiration, certainly will.

 

Stromae – Carmen

Frankly, you could choose any of Stromae’s videos for this exercise and not be faulted. We went with Carmen for the cutting commentary on social media, celebrity culture and consumerism, and the ground-breaking animation.

 

Mickey Lightfoot – Ashanti Bitxh

Quite a few themes are addressed here: gender relations, contradictory speak within relationships, the dying art of genuine connection are some. They all come together with ML’s wry humour, one of the many things we love about him.

 

Fantasma – Cat & Mouse
featuring Mim Suleiman

Following young ballet dancers through the Cape Town township of Khayelitsha, this video is made all the more beautiful for its inspiring back story.

photo credit: Auletch

 

 

>via: http://afripopmag.com/2015/12/02/our-favourite-music-videos-by-african-artists-of-2015/

 

 

photo by Alex Lear

photo by Alex Lear

 

 

Anyone Who Has A Heart

 

 

On the ninth day Akim woke up before the sun. Today he was going home and his family would be there to greet him and to thank him. Akim was a hero.

 

Akim greatly enjoyed basking in the new day sunlight. He sat on a rough, stone bench and remembered when the bus had pulled away to bring him to this cold place that made him shiver—for the first time in his life he had slept under a blanket. 

 

Unconsciously, Akim flashed a warm smile as he recalled the way Kuji had waved to him, her slender arm twisting like palm trees sashaying to and fro in the sea breeze. His sister and their mother had been standing side by side, each with one arm wrapped around the other’s waist. Mother hailing him with her right hand high above her head and Kuji rocking her small left hand back and forth at the height of her shoulder. 

 

Mother had been sporting her best red skirt that was short enough that it would even be short if Kuji had been wearing it, even though, at fifteen, Kuji was half a head shorter than her mother and did not have long legs like her mother. Their mother also had on those black shoes with the pointy toes that she only wore when she went out at night. She did not have on much of a top, it was something black-colored, thin, and tight that stretched over her bulging breasts. But she did have on a red wrap artfully arrayed on her head covering her short hair. Akim was glad mother had not worn her wig, like she usually did in public. The wig made her look so different, made her look like a lot of other women. With that wig on, it was sometimes hard to tell she was their mother. 

 

Kuji had on her plain red-and-white striped dress and rubber sandals, her hair tightly corn-rowed. Regardless of what she wore, Akim would always recognize Kuji’s circular face, round as the bread loaves the women sell in the market.

 

Early this morning when the nurse had handed him his small bundle and told him to get dressed, Akim put on the same clothes he had worn when he came to this place: a dingy but freshly-washed Nike t-shirt and long shorts that had once been some one’s jeans but had been cut off just below the knees so the leg bottoms could be used for patches.

 

Akim wondered if that man who brought him here would take him back home. That man, who had given his mother a brown envelope, had had on clean clothes and new shoes. Akim could tell the shoes were new when he saw the bottoms. At first Akim thought he was the bus driver, but when that man had walked up to them to talk to his mother, Akim realized his mistake. This man did not labor. He smelled like some kind of soap Akim had never smelled before. He had a sweet smell, too sweet for any man who worked hard and nothing like the sweat, or smoke, or liquor, that most men smelled like. But then, this man also spoke clean words. He talked with a clipped, flat sound obviously proud of how distinctly he could pronounce each part of every word he uttered. This man even made the short words sound long when he assured his mother, “Is going to be A-OK. You will see. A-OK.” 

 

Akim had followed directions and found a seat next to a window near the rear of the bus. His mother had given him a small bag of peanuts and some smoked fish wrapped in a piece of paper. Once the bus had left the familiar neighborhood and lumbered away from the coast, Akim clutched the cloth pouch that secured his dinner, and anxiously pressed his face against the window while looking at all the sights he had never seen before.

 

Now it was time to return home and Akim tried to imagine what his family would look like when he got there. Akim could clearly envision Kuji waiting, tall, standing with her feet close together, looking like that pole in front the old barbershop while wearing her dress-up dress with the torn sleeve. 

 

Akim flashed back to when they had decided one of them would do it. They had agreed to toss a beer cap for the honors. She got to choose, he got to flip the cap high into the air. He was so fearful of the outcome, he couldn’t bear to look. When Kuji stomped her bare foot on the hard-packed dirt floor and exclaimed, “haa,” then sucked her teeth before pouting, “you always win,” that’s when Akim opened his eyes and let out a long sigh—his prayers had been answered. 

 

“The next time, it will be your turn to go.” 

 

Kuji had not been listening to him, instead she had plopped down on her little stool, sulking, her face turned to stone as she stared at the paper-covered wall. “No fair. You would not even know if I had not told you.”

 

Akim had hesitated. Kuji was right. She had been the one to find out about the offer. She had been the one to tell him about her plan to help their mother. But he had been the one bold enough to go into the big building and ask questions. Kuji was brave but she was shy. Akim had almost said he would swap turns with her, but, no, a deal was a deal. He was to go first.

 

Who else would be there to welcome Akim home? Who else was there? No one really. There was no other real family that he knew of. He had never met his mother’s people. They lived so far away. In the north. They never came to the city. 

 

Do pictures have family? Akim had always wondered, ever since his mother silently showed him the fading photograph that revealed One-Eye with a grim grin that made the man look hard, at least Akim thought the face was hard, maybe it was because you could not see his teeth, or maybe it was the way he was clutching Akim’s mother. One-Eye had a big python grip almost crushing her into his side, and she was not smiling, just looking straight at the camera. What kind of family would a huge arm have? Who would claim a man whose smile showed no teeth? 

 

Akim recalled how once, when his mother was away, he had snuck into the basket to examine the little photo in detail—the stiff paper hadn’t even covered his tiny ten-year-old palm. When he put his finger atop the man’s face, the face disappeared. 

 

The picture was not too clear, so you could not really make out One-Eye’s features. He had big ears—Akim had touched his own ears, they were not big like the man’s ears. And Kuji’s ears were the same size as his own ears, which was natural since they were twins and were alike in almost every way, except she stuck out at the top—her breast poked out like little ant hills, and he stuck out at the bottom, sometimes, almost big as the small orange bananas that he liked to eat.

 

Kuji had caught Akim just as he had lifted his finger off their father’s face. Akim had tried to wrap the picture up quickly, so she wouldn’t know what he was doing, but she saw. When he shoved the basket back into the corner, she darted over and grabbed the cloth and carefully re-wrapped the photograph. “You have to do it just like mother or else she will know you were trying to find out her secrets.”

 

Another time, when they were older, Kuji had asked, “do you think our father knows he is our father? I mean, do you think he knows we were born?” They were squatting together and Kuji was holding the picture with her thumb atop the man’s chest when she spoke so softly, almost like she was talking to herself, but since their heads were close together and it was so quiet that he could hear her breathing—they even breathed the same—he heard every word, every short pause between words, everything. “Do you think One-Eye has a picture of us and looks at it the way we look at him?”

 

“No, don’t you remember that day mother was crying. Remember she said, ‘Nobody cares about us. Nobody even knows we are alive’?” 

 

“That was the day she was sick,” Kuji had made an excuse for their mother. And the saying stuck. Whenever their mother came home and they could see someone had beaten her, they would say she was “sick.” Akim wondered had their father ever made their mother sick. He looked like he might have.

 

In the picture, the man had his hat pulled so low and at such an angle that you could only see one of his eyes. That’s why Kuji called their father, One-Eye. 

 

All their mother had ever told them was, “He is gone. His name was David.” Akim had wanted to ask where father-David had gone? But the sad way his mother said “was David,” Akim knew “was David” was not coming back. And when he had looked up from the photograph he was startled, frightened really, to see tears glistening on his mother’s cheek. Later he would learn, that’s always the way she cried: silently. The tears made no sound as they rolled over the cliff of their mother’s high cheek-bones, streaking her gaunt face like chalk marks scrawled on a blackboard by children who did not know how to write.

 

When Kuji told their mother how much money they could get, at first, their mother did not believe Kuji. “No more getting sick, mother. And we can get a house with everything inside—the water, the latrine…”

 

“They call it bathroom.”

 

Akim spoke up for the first time, “Why do they call it bathroom if the latrine is there?”

 

“Because, the room has a shower and a toilet…”

 

“What is to-let?” Akim innocently asked his mother.

 

“Akim, you are in school now. You must say it proper. ‘toy-let’.”

 

“Tar-let,” dutifully repeated Akim. “What is tar-let?”

 

“It’s a latrine that’s shaped like a stool.”

 

“Well, yes. We can get a room with one of those in it,” Kuji insisted.

 

“Kuji, I will have to find out more about this. I do not believe it is easy so to get plenty much money.”

 

“And they even pay you in dollars. Five hundred dollars,” Akim announced.

 

Ama had heard about this before. She had even gone to that man who knew about these things. He told her there was another man she had to go see. And she had gone. He stuck her arm and took some of her blood and told her he would let her know in a handful of days. When she had gone back to him, he said they did not want her. Her blood was wrong family or something like that. Other people she knew had tried, but the man did not want most of them either because either they were sick or they had the wrong family blood. 

 

Ama was certain that if her blood was the wrong family, then most likely they would not want her children because they surely had the same family she had. When she went back to find out the twins’ test results, Ama saw the man smile for the first time. He said the twins had the right family blood and both of them were healthy. So, yes, they would buy a kidney—whatever that was. He had said everybody had two but you only needed one to live.

 

When the bus dropped off Akim back at the marketplace where all the busses came, only Kuji was waiting for him.

 

“Why is mother not here? Is she sick?”

 

“Yes.” Kuji’s eyes were puffy like she was getting over some man making her sick. 

 

Akim looked away before he asked the question, “Kuji, have you been sick?”

 

“No. But we must do something. Mother is very sick.”

 

“Well, we have money now. So we can…”

 

Kuji cut off Akim before he could continue, “Someone took our money.”

 

“What???”

 

“I came home from school one day while you were gone and mother was on the ground and she was very sick. Everything was broken and tossed about.”

 

They walked in silence for a while. Finally, Kuji resumed recounting what happened. “Akim, mother is hurt very, very bad and the money is gone. Mother had paid for my school and for your school too, but they took the rest.” Kuji took a deep breath, “Now, it is my turn to go and get us money.”

 

Akim’s side was beginning to hurt a little. “Kuji, please, I can not walk so fast right now.”

 

“Akim, I forgot, you are sick too.” Kuji slowed down and touched Akim lightly on the shoulder, “You must tell me what I need to do to prepare to make the money. Does it hurt when they cut you open?”

 

“I don’t know how it feels. I was not awake when they did it. They made me sleep through everything. Afterwards it feels like a goat hit you hard in the side. That’s why I can not walk so fast.”

 

They were not even half way home yet, but Akim had to stop to rest. He could tell Kuji was thinking something. “Kuji, what are you thinking? I will be alright. I’m just a little tired. Don’t worry about me. And I’m sure that mother…”

 

“I tried on mother’s red dress.” Akim looked at his sister and was afraid to ask her what she was thinking, but Kuji knew Akim wanted to know, and Kuji began talking before Akim could say anything. “I am too skinny. And too…” Kuji paused and then suddenly changed the subject. “Can I see where they cut you?”

 

“It is covered. When I change the bandage tonight, I will show you. Come on, I can walk now.” 

 

It took them a long time to get home.

 

* * *

 

When Akim and Kuji got home their mother was dead.

 

* * *

 

“We nah need more kidney. Them need heart. You sell heart?”

 

Akim was surprised when Kuji spoke up, “How much heart be?”

 

The man thought about how much money he could skim off these kids and decided half, “Heart be plenty-oh. Two thousand dollars. American. You sell heart. Let me know.”

 

Akim swiftly grabbed Kuji’s hand and tenderly tugged her away from this man he did not trust. Outside as they walked slowly Akim struggled to figure out what he would do to save Kuji from wearing wigs too big for her head and dresses too short for her legs. Plus, school would be out soon and then they would not have any more food.  Their plan for Kuji to sell her kidney did not work and now, there was… well, there really was nothing else since Akim knew he did not have two hearts.

 

—kalamu ya salaam

 

 

 

 

 

 

 

 

 

 

 JANUARY 3, 2016

JANUARY 3, 2016

 

childs-footprints

LOOKING BLACK

ON TODAY IN 1624,

THE FIRST RECORDED

“AFRICAN AMERICAN”

WAS BORN

 

William Tucker was the first person of African ancestry
born in the 13 British Colonies.  His birth symbolized the
beginnings of a distinct African American identity along
the eastern coast of what would eventually become the
United States.
William Tucker was born in 1624 near Jamestown, Virginia,
the son of “Antoney and Isabell,” two African indentured
servants. Historians do not know much of William Tucker’s
life due to the fragmented pieces of primary source material
available for contemporary study.

According to the 1624-1625 Virginia Census, 22 Africans
lived in Virginia at the time of Tucker’s birth. The first 20
of these Africans arrived in 1619 and all of them worked
under indentured servitude contracts.  These men and
women were not slaves because Virginia’s General Assembly
had not yet worked out the terms for enslavement in the
colony. Consequently these first Africans in Virginia received
the same rights, duties, privileges, responsibilities, and
punishments as their white indentured counterparts from
Great Britain.  They also worked under the same terms and
many but not all were given land at the end of their period
of indenture.  In fact they and their descendants became the
nucleus of the free black population which existed in
Virginia prior to the Civil War.

William Tucker’s parents were among this group of 22 first
Africans. They worked for a Captain William Tucker, the
Virginia envoy to the Pamunkey Indians, and his wife, Mrs.
Mary Tucker. Anthony and Isabella participated in the
establishment of Elizabeth City County, Virginia which is
now the city of Hampton, in 1634. In the early 1620s
Captain Tucker allowed the couple to wed though the
practice violated English custom for indentured servants.
Anthony and Isabella married at least a year before giving
birth to their son William Tucker in 1624.

Looking Black On Today In 1624, The First Recorded African American Was Born Into

William Tucker seems to have had a childhood similar to that of other children born to indentured servants in the colony. According to the 1624-1625 census, there were two other servant children, both white, born around the time of William Tucker.Many facts regarding Tucker’s life remain a mystery. The historical record did not reveal his personal experiences in Virginia, whether he was married or had children, or the date of his death. What was known was Tucker’s baptism in the Anglican Church and that he was named after his family’s master, Captain William Tucker. Young William Tucker was counted as one of Captain Tucker’s 17 servants.

 

Sources: Irene Hecht, “The Virginia Muster of 1624/5 As a
Source for Demographic History,” The William and Mary
Quarterly
, Third Series, Vol. 30, No. 1 (1973), 65-92; “Muster
of the Inhabitants of Virginia 1624” in John Hotten, ed., The
Original Lists of Persons of Quality, Emigrants, Religious
Exiles, Political Rebels, Serving Men Sold for a Term of
Years, Apprentices, Children Stolen, Maidens Pressed, and
Others who Went from Great Britain to the American
Plantations, 1600-1700?: With Their Ages, the Localities
where They Formerly Lived in the Mother Country, the
Names of the Ships in which They Embarked, and Other
Interesting Particulars, from Mss. Preserved in the State
Paper Department of Her Majesty’s Public Record Office,
England
 (New York: Empire State Book Company, 1874);
John Russell, The Free Negro in Virginia 1619-1865
(Baltimore: John Hopkins Press, 1913).

+++++++++++
Wade, Evan 
San Joaquin Delta College

>via: http://blackthen.com/looking-black-on-today-in-1624-the-first-recorded-african-american-was-born-into/?utm_source=rss&utm_medium=rss#.VotqeDboL8t

 

Mon January 16, 2012

Mon January 16, 2012

 

 

Butterfly farmers

help protect

threatened forests
butterfly 01

 

 

 

Farmers in Tanzania are helping to conserve threatened forests by cultivating an unlikely crop: butterflies. 

The Amani Butterly Project is one of the schemes using butterfly farming to help locals supplement their incomes and protect the environment at the same time.

butterfly 02

The brainchild of American biologist Theron Morgan-Brown, it’s based in Tanzania’s East Usambara Mountains — a region known for its biodiversity, but where forests are being cleared to produce charcoal and to open up farmland.

“The main objective was to find an alternative income for the local community in the surrounding village and forest, and also relieve the pressure on the forest of people cutting timber,” says project manager Amiri Saidi.

The butterfly rearing process starts with farmers catching a few female butterflies and transferring them to an enclosure where they can lay eggs on host plants. 

The farmers then collect the eggs and when they hatch, the caterpillars that emerge are placed on new plants, which must be regularly replaced to satisfy their voracious appetites. The caterpillars continue to feed until they pupate, and are ready to be transported.

butterfly 03

The Amani project has been selling pupae to live butterfly exhibits in the United States and Europe for between $1 and $2.50 each. Of that sum, 65% goes directly to the farmers, while another 7% goes to a community development fund that contributes to projects such as building schools and hospitals.

Because most tropical butterflies don’t live for long, exhibits usually order new pupae every two to three weeks.

Farmers keep some pupae from each generation, so they rarely need to catch more female butterflies from the wild, although they sometimes catch new male butterflies to maintain genetic diversity in their farms.

 

The project now uses 250 butterfly farmers, more than half of them women, says Saidi.

He says the project’s own studies show that because butterfly farmers rely on forests near their communities to provide host plants for their butterfly farms, many farmers now support forest conservation. 

“Because butterfly farmers get tangible benefits, they get money, people involved in butterfly farming conserve the area,” says Saidi. “They have their own forest area and use the money they are getting for replanting and other activities.” 

As well as training its own farmers the Amani project has helped train farmers for a butterfly project on the Tanzanian archipelago of Zanzibar.

The Zanzibar Butterfly Centre consists of a netted tropical garden that’s home to hundreds of butterflies, all bred by local farmers. It was created as a tourist attraction, funded by admission fees, and like the Amani project the aim is to help protect the environment.

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“A lot of forest is being destroyed in Zanzibar,” says project manager Rosa Santilli. “Local people cut down trees to make charcoal to sell. People need it for fuel because gas and electricity is very expensive, so people cook with charcoal.

“The center was set up to stop local people cutting the forest down, and to provide an alternative for them to earn money from.” 

Santili says the center has trained 17 local farmers to rear the pupae that provide all the center’s butterflies.

 

It’s not a solution to deforestation, but it is helping, says Santili. “The butterfly farmers don’t make charcoal anymore, so it has stopped that small sector of the community cutting down trees,” she says.

Like the Amani project, the Zanzibar center funds a village development association, which is improving the local water supply. It is also trying to get local people to produce crafts and honey to be sold as souvenirs at the center.

But there is a cloud on the horizon. Both the Amani and Zanzibar schemes rely on couriers to transport their pupae to overseas buyers, and they say they have been hit by courier DHL’s decision to stop transporting their pupae.

Saidi says Amani has been hit especially badly. It now has to transport pupae by air cargo, which dramatically increases their cost to buyers. 

He says that until the end of 2010 the Amani project was selling a total of 50,000 pupae a year to 13 buyers, but now the project has lost all but one buyer. But DHL says it will be now discussing transport options with both projects, and hopes to find a solution that will let it resume pupae deliveries.

The Zanzibar center sees exporting pupae as key to getting more locals trained as butterfly farmers. 

Santilli says: “We are hoping to expand to get more farmers involved. We need butterflies for our garden and also to export. If the farmers can export to Europe then the sky’s the limit.”

 

>via: http://www.cnn.com/2012/01/16/world/africa/butterfly-farm-tanzania/

 

 

December 29, 2015

December 29, 2015

 

 

 

 

 

Robin_Coste Lewis 01

Poet Robin Coste Lewis

evokes the black female

form across history

Voyage of the Sable Venus

“Voyage of the Sable Venus,” the first collection from Robin Coste Lewis, is the winner of this year’s National Book Award for poetry. Lewis discussed her debut, her readers and her influences with Jeffrey Brown at the Miami Book Festival.