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ACCRA:

THE NEW

FASHION FRONTIER

 

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Accra is  West Africa’s style haven – it has been for decades and present day stylists and designers haven’t let up in creating their own fashion aesthetic that puts them at the frontier of contemporary design in Africa. Today we are checking out three Ghanaian designers who are creating new perspectives of African couture that has its roots in Ghanaian street fashion.

Enter Ajepomaa Mensah.

Ajepomaa Gallery (www.ajepomaagallerygh.com) below are collections for her new line Zoti with Ghanaian actress Maame Adjei.

Photographer: Marcus Hessenberg

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Alikoto Clothing‘s Capsule collection for Josef Otten customized fabric, modeled by Ghanaian musician/designer Jojo Abot and Ghanaian writer Nanama B. Acheampong.

Photographed by Gerard Nartey

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Enter Christie Brown – designing outfits for Beyonce’s Mrs. Carter tour in 2013 put her brand out globally. Ghanaian designer Christie Brown has the world’s attention now.

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>via: http://accradotaltradio.com/2014/10/accra-the-new-fashion-frontier/

 

 

 

 

book smugglers logo

Book Smugglers Publishing is currently open for submissions for short stories to be published between June and August 2016

General information and theme:

We’re looking for original short stories from all around the world as long as they are written in English. Our goal is to publish at least three short stories, unified by a central theme. Each short story will be accompanied by one original piece of artwork from an artist commissioned by us separately. 

For the publication period between June and August 2016, the theme is:

SUPERHEROES

The Year of the Superhero

Recently, we announced that 2016 is going to be the Year of the Superhero and we have quite a few things in the pipeline. To supplement the awesome projects we have in the works, we are also looking to add short stories to our Superhero calendar! When it comes to superheroes, we think of sweeping themes that deal with the central issues of heroism and, of course, superpowers. As usual, we welcome authors to subvert these sample themes, to expand upon what “superhero” means, and adapt the prompt to other possible connotations and genres under the Speculative Fiction umbrella.

What We’re Looking For:

  • DIVERSITY. We want to read and publish short stories that reflect the diverse world we live in, about and from traditionally underrepresented perspectives. We more than welcome stories featuring LGBTQIA characters: PLEASE SEND THEM TO US. It should go without saying that we’d hope for a respectful and responsible approach to creating diverse worlds and characters.
  • Middle Grade, Young Adult, and Adult audience submissions are welcome. Good speculative fiction is ageless!
  • We are VERY keen on receiving Romance stories – or stories with strong romantic elements.
  • We are VERY keen on receiving Horror stories – or stories with strong horror elements.
  • Creativity & Subversion. We love subversive stories. We want you to challenge the status quo with your characters, story telling technique, and themes.

Guidelines for Submission:

  • We are looking for original speculative fiction, between 1,500 and 17,500 words long. 
  • These SFF offerings must be previously unpublished; we do not accept simultaneous submissions.
  • Profanity, sex, and other explicit situations are fine as long as they fit within the context of the story.
  • Submissions are open now, and will be open through December 31 2015 11:59PM PST. Any submissions received after that date will not be considered.

Payment and Terms:

We are funding this ourselves because we are passionate about finding new and diverse voices in SFF. We will be paying $0.06 per word up to $500 (although we welcome stories from a minimum of 1,500 words and up to a maximum of 17,500 words long). 

We plan on publishing these short stories for free in their entirety on thebooksmugglers.com. We also plan on selling these stories in ebook (and possibly limited print editions) at a 50% net royalty, with potential inclusion in future anthologies (royalty to be negotiated). We ask for exclusive rights for one year, and non-exclusive rights following that. 

How to Submit:

Submissions should be emailed to submissions@thebooksmugglers.com. You may also use the contact form below.

Please attach your full story as a document (.doc, .docx, .rtf). Do not send your story as text in the body of an email; we will ignore any manuscripts that are not attachments.

A cover letter is not strictly necessary but highly recommended, and we would love to learn a little bit about you and the inspiration behind your work (or anything else you think is relevant to your story submission). 

We will reply to all authors who have submitted work with our decision by February 10 2016.

We are happy to answer any of your questions – leave a comment or email us (contact@thebooksmugglers.com), and we’ll get back to you as soon as possible. 

And…that’s it! We hope to be reading your excellent short stories very soon.

GO HERE TO SUBMIT

 

>via: http://thebooksmugglers.com/2015/09/book-smugglers-publishing-open-call-for-short-stories-submissions-summer-2016.html

 

 

 

 

 

 

 

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Fiction, memoir and poetry will be considered for the winter 2016 echapbook anthology by multiple authors, to be published in February 2016.

The theme for this year’s annual themed anthology is Devices: Technology’s impact on our lives and relationships. Fiction on this topic can be contemporary, historical, or speculative science fiction. We’d like to see personal memoir or creative nonfiction about family history. The technology could be as old as the invention of writing, false teeth, the printing press, or something not yet invented; it might be your first TV, your grandfather’s model T, or augmented reality eyeware. What are the stories and the emotional dynamics? We are looking for the human component, regardless of device or genre.

Submissions are open from November 15 through January 31, 2016.

Submit up to three poems or a short story, novel or memoir excerpt, or personal essay (1,000 to 5,000 words). Please indicate whether a first-person prose narrative is fiction or nonfiction. Note that really long poems are not suitable for this venue. Send us your best.

Work should not have been previously published with this exception: If you are submitting poems, at least one submission to the anthology issue should be previously unpublished, either online or in print (excluding self-published pieces). If a second or third poem is submitted, they can be reprints.

Do not include any identification in the submitted document, as these readings will be blind.

Submit ONE FILE (Word doc or docx, RTF, ODT or WordPerfect), which includes title (or titles, if poems) in the file name (but NOT the author’s name). 

The cover letter should include a brief bio and a few previous publications, though this will not be read until after we have decided what might be included.

There is no fee for submissions. 

Payment: $100 for collections ($5 to $20 for single pieces in anthologies)

All rights revert to authors. 

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Note: By submitting to Wordrunner eChapbooks, you are also signing up for the quarterly emailed announcement of newly published echapbooks. We will never give out your e-mail to anyone else. You can always opt out of the mailing.

If you are not submitting at this time, click here to sign up online for email reminders of each issue and upcoming submission deadlines.

 

>via: http://www.echapbook.com/submissions.html

 

 

 

Pearl Hogrefe Fellowship

in Creative Writing

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The Pearl Hogrefe Fellowship offers a talented writer one academic year to study creative writing full time at Iowa State University and focus on his/her creative work without distraction. The fellowship is granted for a nine-month academic year and currently carries a stipend of $1,800 per month ($16,200 total), in addition to full payment of university tuition and fees during the fellowship year.

Applicants to the Hogrefe Fellowship may major in any discipline at Iowa State University. However, the Fellowship is designed for students interested in studying creative writing in the MFA Program in Creative Writing and Environment. Hogrefe Fellows are required to maintain full-time graduate status and take a minimum of six semester credits of graduate work in Creative Writing during the fellowship year. Fellowship support is contingent upon the student maintaining satisfactory grades.

Application Deadline: January 5

 

Eligibility

  •  Successful applicants must qualify for full, unrestricted admission to the Iowa State University Graduate College.
  • New applicants to the MFA Program in Creative Writing and Environment Program are encouraged to apply for the Pearl Hogrefe Creative Writing Fellowship.
  • Students currently enrolled for graduate study in the MFA Program in Creative Writing and Environment at Iowa State University are ineligible to apply.
  • Previous recipients of the Hogrefe Fellowship are ineligible to apply.

Application Process

To be considered for the Pearl Hogrefe Fellowship in Creative Writing, you must submit a Hogrefe Fellowship Application Form with your cover letter for admission by January 5.   Fellowship recipients will be notified by April 1. You may direct questions about the Hogrefe Fellowship to:

English Department
Graduate Studies Program
203 Ross Hall
Iowa State University
Ames, Iowa 50011-1201
Email: englgrad@iastate.edu

Application Requirements for the Hogrefe Fellowship

 

>via: http://www.engl.iastate.edu/creative-writing/how-to-apply/pearl-hogrefe-fellowship-in-creative-writing/

 

 

 

16 Nov 2015

16 Nov 2015

 

 

Eryn Allen Kane

In a short amount of time, Chicago songstress, Eryn Allen Kane, has really created quite a bit of buzz for herself (and deservedly so). After collaborating with Donnie TrumpetTowkioPrince, and more, Eryn Allen Kane is now ready to step out with her solo debut. AVIARY – Act 1, is a 4 track EP (with three songs we’ve already heard), and serves as an “appetizer” as she puts it, before the main course is served in January. Listen to the project below, and get some heartfelt words from Eryn about what this EP means to her.

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>via: http://www.okayplayer.com/news/eryn-allen-kane-drops-her-debut-project-aviary-act-1-mp3.html

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photo by Alex Lear

photo by Alex Lear

 

I Sing Because…

 

         Amid the weariness of work day’s end, Sarah-Bell savored the quiet of oncoming twilight. At last, she could momentarily take it easy, unhurried. And she was grateful for small blessings.

         Lilting into the breezeless amber of the October evening, a mesmerizing wordless song flowed from Sarah-Bell’s full, plum-colored lips as she plodded down the dusty lane. Her ankle-length, thorn-tattered, sweat-soiled skirt swished with each step.

         Six-foot-four-and-a-half-inch, one hundred-eighty-seven pound Jim One-Toe, deftly dragging his maimed left foot, hobbled beside Sarah-Bell. He had a pretty fair voice himself.

         One-Toe smiled in admiration of the way Sarah-Bell made each phrase of her improvised reel end on a little upward swoop that just naturally made a man feel good.

         “Sarah-Bell, you sing so pretty. Can I be your man?”

         Sarah-Bell furtively peeked over at One-Toe, smiled and immediately refocused her gaze on the last visible tip of the orange sun swiftly falling behind the nearly clean-picked field of cotton plants.

         “One-Toe, you know I got a man.”

         “But he don’t come to you all the time,” One-Toe retorted. A quick grin of near perfect white teeth flashed across the dimpled midnight of his handsome blue-black face.

         Almost two good moons had passed since anybody had seen Mule-Boy visiting Sarah-Bell. Gathering was most over, Mule coulda been sold off by now—everybody knowed Master Gilmore over to the nearby plantation was good for sending you down the river at the drop of a hat.

         Sarah-Bell scrutinized the squinting sincerity of One-Toe’s slender eyes. “It ain’t that he don’t. He can’t co…”

         Suddenly interrupting herself, Sarah-Bell deftly hiked-up her skirt as she stepped around a fresh pile of smelly horse droppings. Then, while shooing away a fat, green and black, fly with a quick fan of her much-pricked, field-toughened hand, Sarah-Bell continued her conversation, “…and you couldn’t be with me every night neither, that is, if’n I was to even let you come by at all.”

         One-Toe was encouraged that Sarah-Bell was at least considering the merits of being with him. He spyed a brief glimmer of interest smoldering in her eyes as she announced her decision, “Naw. I don’t think so, One-Toe. I thinks I can wait.”

         “Yes, m’am.” One-Toe was disappointed, but not discouraged. He had plenty mo’ days to blow gently on the spark he glimpsed in Sarah-Bell’s pecan-shaped eyes. He reckoned harvesting the love of a woman like this was worth a long season of planting and weeding.

         “But if you was to get tired a waiting. I would come. You know I would. Like a bird to the nest. I would come to you every night I could.”

         “Which make you no different from my far-away man who come to me every night he can.”

         “Well, don’t forget I’m closer to the nest. I can get to you quicker than him, even if’n I ain’t got but one good foots,” One-Toe joked. Sarah-Bell grinned as One-Toe made fun of his own infirmity.

         She liked his gentle humor but she didn’t feel a need for another man climbing on her just now, even a fine man like One-Toe.

         For a few seconds they exchanged knowing glances and allowed their eyes to speak for them. Then, while holding her hand palm side out, Sarah-Bell gracefully waved to One-Toe and spoke in a husky half-whisper as she strolled on, “Good night, brotha One-Toe.”

         One-Toe peered longingly at the broadness of Sarah-Bell’s back and the ampleness of her hips. He looked til his imagination was as full as it could stand to be. One-Toe wanted that pretty-singing woman. He had seen a bunch of women who was face-prettier, but he had never heard no one or nothing, neither woman, man, child or bird, what sang prettier than Sarah-Bell.

         One-Toe had been thinking so hard about holding Sarah-Bell in his huge arms he missed catching sight of Chester Browne squatting nearby Sarah-Bell’s door. When her singing faltered and then abruptly fell silent, One-Toe quickly surveyed the area to see what disturbance had stilled Sarah-Bell’s song. One-Toe glared at Chester. Everybody knowed what a driverman in the lane after hours waiting by a woman’s door meant.

         One-Toe spit into the dust, turned and drug himself into the bitter barreness of his resting room. Shortly thereafter One-Toe heard the thudding shuffle of Chester’s horse moseying past the open doorway as Chester and Sarah-Bell rode out the lane. A high-pitched whinny from the horse taunted One-Toe, but One-Toe refused to look at the too-familiar abduction.

         Chester wasn’t talking, and Sarah-Bell wasn’t singing.

         The chomp chomp chomp chomp of the sorrel’s hooves echoed against the mud-caked wall of One-Toe’s sleep space and reverberated inside One-Toe’s skull.

         One-Toe forcefully buried his face into the gritty dirt floor and stifled an urge to say something, to say anything; a word, a sound, call her name, something.

         Sarah-Bell’s silence tormented One-Toe. He would gladly let them ax-chop his good right foot if-in he could visit Sarah-Bell; Chester or no Chester. Naw, if-in he had a cooing dove like Sarah-Bell to share nights with, he wouldn’t even dream of running again. He would stay and comfort her.

         It was nearly an hour later before Chester had finished his business. Chester never kept any washing-water in his cabin, and Sarah-Bell had not even dared think about going down to the master’s well, so all she could do was wipe herself with her skirt tail before she set off to walking back.

         Despite her general habit of immediately forgetting the weight of an overseer hovering over her and thrashing into her, Sarah-Bell found herself mulling over her plight. Her thoughts were accompanied by the stark crunch of her footfalls on the loamy trail.

         Maybe, if-in it proved necessary and she didn’t wait too long, maybe Sarah-Bell could brave a trek over to Gilmore’s and plead with Mama Zulie for some womb-cleaning chawing roots. Sarah-Bell paused and fleetingly hugged herself. I sure hope nothing that drastic is needed. Probably not. Her regular bleeding had just stopped a day or so ago.

         As Sarah-Bell pushed determinedly on a trivial worriation nagged at her. Even though she was aware that Chester’s drool could do her no harm, it sure was a mighty aggravation the way the taste of Chester’s nasty kiss sometimes seemed to stay in her mouth for days. Luckily, on this particular night, he had mostly wanted to suck at her nipples rather than her lips.

         Plus, he had come quickly enough. It hadn’t been too long fore a spent and drowsy Chester dozed off and Sarah-Bell had been able to scoot from under him, slip off his pallet and proceed to walking the three-quarters a mile back to the lane.

         By the time she was most halfway there Sarah-Bell had managed to bury Chester’s assault and summon up a plaintive song to soften the knot of jumbled sorrow resting heavy in the bottom of her stomach.

         Shortly, for the second time, the soles of Sarah-Bell’s thickly-callused feet felt the well-worn familiarity of the lane’s path. Sarah-Bell was welcomed back by the sleeping-sounds of her people. Snores. Whistles. Sobs. Groans. A few moans from someone sick, or was it from someone really tired, or maybe both.

         Sarah-Bell was too exhausted to stumble fifty more yards down to the creek for to wash herself. She would do that in the morning. And though she was hungry, she was also too fatigued to gnaw on the piece of hardtack secreted deep in the pocket of her skirt. Right now she needed to lay down by herself and seek the solace of sleep so she could disremember the dog-odor of Chester’s hair she had endured when he had been slobbering on her breasts. It was funny how that foul smell lingered in her consciousness. Seems like smell and taste had mo staying power than the abuse of touch.

         Sarah-Bell’s sharp ears caught the faint sound of some animal moving in the woods. Judging from the swift lightness of the rustling coming from the bushes, she guessed it must be a rabbit. An owl hooted. Sarah-Bell wordlessly empathized with the prey–run brother rabbit, less you be somebody supper.

         Times like this Sarah-Bell wished she was brave enough to hightail it like One-Toe had done. Maybe she would make it to Mexico, which is where One-Toe said he had been headed. Sarah-Bell thought of what One-Toe had declared when they brought him back: Some gets away, some don’t. Getting free was worth the risk, worth losing some of a foot.

         She flinched at the thought of so permanent a loss. Even though she had survived more than her share of suffering, Sarah-Bell still didn’t know if she could stand one of her limbs being mutilated or cut away.

         Sarah-Bell was too tuckered out and emotionally drained to do anything more than collaspe into her doorway. She didn’t even crawl over to check on her children balled together in slumber beneath a patchwork spread of sackcloth and shirt pieces. No sooner her dark-haired head nestled onto the curved comfort of her pillow-stone, a weary Sarah-Bell was dead asleep.

         The next day in the pale dim of half-dawn morning light only one child sat where two usually fidgeted. Sarah-Bell’s heart dropped. “Where Suzee-Bell?”

         “Them took her,” Johnny-Bell replied.

         Was no need to say who “them” was. Was no need to ask “where” they took her.

         We ain’t got nothing but each other, and they won’t let us hold on to that, Sarah-Bell’s insides roiled with anger. Both man and God was unfair. Man for what he was doing. And God for allowing men to act the low down way they did. Sarah-Bell knew Johnny-Bell would be next. She knew it just as sure as she knew a snake would eat an unprotected egg.

         Johnny-Bell was her fifth child.

         “What’s yo name, boy?”

         “Johnny…” the child stuttered frightened by the hissed intensity of his mother’s question.

         “Naw. Yo name Johnny-Bell. BELL. You Johnny-Bell. Yo brothers is Robert-Bell and Joe-Bell. Your sisters is Urzie-Bell and Suzee-Bell. No matter where they cart you off to, no matter what they call you by, you remember the name yo mama give you. And if you ever hear tell of yo brothers or yo sisters, you go find ’em if you can. But you remember ’em even if you can’t find ’em. You remember yo people. You hear me?”

         “Yes, mam.”

         “Say, yes, Sarah-Bell. Don’t mam me. Call me by my name. Sarah-Bell.”

         The confused four year old wet himself. He had never heard his mother speak so harshly to him; but he didn’t cry.

         When she realized how hard she was shaking him, Sarah-Bell softened her grip on Johnny-Bell’s shoulder. He was just a scared little boy, and her rage wasn’t making this crisis any easier for him. She could feel currents of fear in the heavy trembling racking his little body, which was twitching like a throat-cut calf at slaughtering time.

         Within seconds Sarah-Bell reigned in her emotions, mustered up her fortitude, and tenderly enfolded Johnny-Bell into the comforting shelter of her bosom. They swayed in mutual anguish as she sought to rock away both his fear and her grief.

         Instinctively she handled her perdicament as best she knew how. Within seconds of hugging Johnny-Bell, Sarah-Bell was breathing out a long-toned lullaby and anointing the reddish-brown hair of her son’s head with song-embellished kisses.

         And she didn’t loosen her embrace until she heard the rooster crow for day. After emerging into the muted shine of daybreak, hand-in-hand, mother and child marched down to the water to bathe themselves.

         The word about Suzee-Bell buzzed through the small community. Just before departing for the fields, glassy-eyed and scowling, Sarah-Bell stood in the middle of the lane sullenly declaiming her determination.

         “Yalls, hear me. Every time I have one, they take and sell ’em away. Sarah-Bell is through birthing babies. No matter who lay down with me, ain’t no mo babies coming out of me. I’m done. Done, you hear me. Done.”

         And with the finality of her words resounding in everyone’s ears, Sarah-Bell whirled and commenced to trudging off to the field. One-Toe scrambled to catch up to Sarah-Bell.

         Without breaking stride, Sarah-Bell closely examined One-Toe’s unblinking gaze. Satisfied with what she saw, Sarah-Bell gave a quick nod and gratefully accepted the respectful silence of One-Toe’s company.

         She started singing, quietly at first but more forcefully as they sauntered on. The irresible refrain of Sarah-Bell’s song syncopated their gait. Together, they would face another day.

 

—kalamu ya salaam

 

 

 

December 4, 2015

December 4, 2015

 

 

 

A Cartographic

Narrative

–The 1760-1761

Slave Revolt

in Jamaica

 

by Liz Timbs

 

 


In my opinion, spatial analysis represents one of the most compelling new modes of storytelling provided by the digital turn.  David Bodenhamer noted the value of spatial analysis in an interview for the New York Times in 2011.  The value of the “spatial turn” as some have termed it, Bodenhamer argued, is that it “allows you to ask new questions:  Why is it that something developed here and not somewhere else, what is it about the context of this place?”  These new questions that arise with the implementation of spatial analysis, as Bodenhamer suggests, add new features to historian’s traditional analysis of change over time.  Projects like this week’s featured site, Slave Revolt in Jamaica, 1760-1761: A Cartographic Narrative, expand these investigations from change over time to change over time and space, both conceptually and visually.

Slave Revolt in Jamaica visualizes the story of the “greatest slave insurrection in the eighteenth century British Empire.”  In 1760, in the midst of Britain’s Seven Year;s War, around 1500 enslaved men and women staged a massive insurrection in Jamaica; a struggle that lasted from April 1760 to October 1761.  This project not only maps the events of this insurrection dynamically, providing an animated tour through the events of this insurrection, but also provides a curated archive of documentary evidence to support the data given on the map.  The data and archive on the site was accumulated and organized by Vincent Brown, is a professor of History and African American Studies at Harvard University.  Slave Revolt builds on Brown’s corpus of written analyses of death and slavery in the Caribbean specifically and the Diaspora more broadly.

It is important to note that this project, just like Brown’s written works, represents an argument.  The “narrative” in the site’s title is not only descriptive, but also represents a central tenet of the project’s goals.  This is not simply a map displaying data.  It is a narrative of the events of the slave insurgency and an argument about the nature and character of the rebellion.  Brown intended to use this map as a way to change the debate around “public perceptions of black insurrection.  Brown explained in a 2013 interview:

As with more recent disturbances, people at the time debated whether the slave insurrection in Jamaica in 1760-61 was a spontaneous eruption or a carefully planned affair.  Historians still debate the question, their task made more difficult by the lack of written records produced by the insurgents. Cartographic evidence developed…shows that the rebellion was in fact a well-planned affair that posed a genuine strategic threat, not an indiscriminate outburst.

In addition to the historical argument that Brown presents through the map, one of the most compelling things about this project is it’s simple, well-constructed design.  Brown built Slave Revolt in Jamaicawith Axis Maps, a company specializing in custom interactive maps (you can find some of their other collaborations here).  David Heyman, the managing director of Axis Maps, noted the power of interactive mapping in a 2013 interview on the project for The Voice Online.  “We wanted to build the simplest and most elegant map possible in order to provide users – expert historians and members of the public alike – a high quality and detailed narrative of the uprising, allowing them to understand the story visually as well as through text,” Heyman explained, “Interactive cartography provides a completely new method through which to interpret existing demographic and event data into a more rounded historical narrative, revealing surprising and unprecedented patterns that were previously hidden.”  Slave Revolt in Jamaica is a compelling example of the power of interactive mapping for storytelling and scholarly analysis.

As always, feel free to send me suggestions via Twitter (or use the hashtag #DigitalArchive) of sites you might like to see covered in future editions of The Digital Archive!

*This post is No. 23 in our Digital Archive series covering African archives on the web.

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Liz Timbs – PhD Candidate in History at Michigan State University,
Studying precolonial Zulu history, advocate for Digital Humanities. 

 

>via: http://africasacountry.com/2015/12/slave-revolt-in-jamaica-1760-1761-a-cartographic-narrative/

 

December 6, 2015

December 6, 2015

 

 

Gun Control Battle:

A Picture’s Worth

a Thousand Rounds

 

Mom's demand action. gun control ad. PSA.

Two children sit on the floor in a classroom, their legs folded “criss-cross apple sauce,” as if for story time. They face the camera with slightly glazed expressions, one holding a book and the other an assault rifle. “One child is holding something that’s been banned in America to protect them,” read the ad’s words. “Guess which one.” Of course, it’s not the assault weapon. The banned object? The original version of Red Riding Hood, deemed dangerous because of the bottle of wine in the basket Red is bringing to Grandma.

Lobbying advertisements rest on their ability to arrest and shock, and this one—part of a series by the group, Moms Demand Action for Gun Sense in America—used an absurd contrast to great effect. Consider that it was issued a mere four months after twenty-year-old Adam Lanza entered an elementary school in Connecticut with an assault rifle, using it to murder twenty young children and six staff members. It can’t be an accident that this ad uses children who look about seven, the same age as Lanza’s victims.

The ad is powerful for other reasons too. The dishwater-grey palette of the background signals a world leached of color and innocence; the empty rocking chair implies a lack of adult presence and responsibility. The American flag on the left hangs limp and faded, as if the country it represents has been forsaken. And in a nod to business-as-usual race relations, the girl holding the gun is white and the other is black.

Contrast this with an NRA print ad from 1982, in which eight-year-old Bryan Hardin poses with his BB gun. Pictured outdoors, Bryan is bright-eyed and rosy, lit by golden sunlight that glances off his hair and skin. The saturated color palette and his dorky sweater and bangs recall a 1950s, “Leave It to Beaver” world where everything is wholesome and bright. Surely, only someone unpatriotic could deny this kid’s right to his gun! The syrupy warmth is in stark contrast to the cool dystopia of the Moms Demand Action ad.

I'm the NRA ad. Boy with a gun.

Now, after last week’s incident in San Bernardino—the most deadly mass shooting since Sandy Hook—the gun control debate is heating up again. Yet with each new massacre, it seems as if the ideological split between gun control advocates and gun rights backers grows deeper and less bridgeable. One side wants the supply of guns curbed; for the other, the problem is that there aren’t enough guns. Now we even have a crop of entrepreneurs offering snazzy new products ranging from armored classroom whiteboards to bulletproof blankets and backpacks. Never mind Charlotte’s Web, kids—here’s what to do in a hostage shootout.

For the moment, as we deal with the aftermath of San Bernadino, the usual visual tropes are in place. Tear-stained faces, candlelight vigils, police tape: we’ve seen all these before, after Columbine, Virginia Tech, Sandy Hook. We’ve watched as bills have been brought before Congress, only to be watered down and then, with crazed glee, shot to pieces by the pro-gun lobby.

So what’s going to move the dial? Clearly it will take creativity and persistence, because our outrage is no longer enough. We need a marketing genius to dream up the perfect image—which, thanks to the Internet, will go viral.

For inspiration, groups like Moms Demand Action might want to look to Europe, whose advertising is often both aesthetically sophisticated and emotionally devastating. And they might want to take off the gloves and get bloody, as these two public service ads from Europe do.

In this 2013 ad about child abuse, a Spanish agency caused ripples when it used lenticular printing technology so that only people under 4’ 5”—the height of an average ten-year-old—could see the boy’s bloody bruises and read the words, “If somebody hurts you, phone us and we’ll help you.” Meanwhile, adults saw the same boy with an unblemished face and the message, “Sometimes child abuse is only visible to the child suffering it.”

A Spanish charity has revealed a unique poster that only reveals an anti-abuse helpline to children.The Anar foundation poster can only be fully seen when looked at from a child's point of view due to a lenticular printing technique more often seen in novelty postcards.When an child sees it, they see the message 'If somebody hurts you, phone us and we'll help you,' while an adult simply sees an image of a frightened child.The foundation said it hoped the poster would help children gain confidence to call the number.The campaign was designed get the information about where to find help to children who may be accompanied by their abuser.The foundation was concerned that if a poster containing a phone number that both adult and child could see, the adult may possibly say things to dissuade the child from considering seeking help.'It is a message exclusively for them, hidden from adult's eyes' said Grey Spain, the agency behind the poster.'It uses a lenticular to combine two images, and we have calculated an area visible only by children under ten - and a warning for adults.' (PICTURE BY©Anar foundation)PHOTOGRAPH PROVIDED BY IBERPRESS+393358099068http://www.iber-press.com/redazione@iber-press.com

Even more bluntly, a new British PSA about drunk driving tells the story of Brendan, a husband who’s been exiled to the spare room and is sleeping on cushions. Flash back to the phone conversation where Brendan is refusing to pick his wife, Sandra, up from the train station because he’s on his second glass of wine. It’s raining, and Sandra is “proper cross”—but just as we’re thinking Brendan is being over-cautious, there’s a sound of screeching brakes and a cut to a shot of the couple being flung against the sofa cushions, bloody and dead. It happens in a split second, with the color changing from warm tones to a morgue-like blue in which splashes of red stand out. The shock value of this “accident,” and the sudden change of tone—from soap opera to horror film—is inspired.

British drunk driving PSA.

It’s depressing to think that news photographs might not be enough anymore; that we might need the manipulative powers of advertising to shock us into action. But in this age of visual overload, something has to cut through the noise. A mass shooting now occurs in the United States more than once a day. Excuse the unsuitable metaphor, but it’s time to bring some bigger guns to this fight.

— Sarah Coleman

(screenshots: MDA; NRA; Foundation ANAR; Think Road Safety.)

 

>via: http://www.readingthepictures.org/2015/12/battling-the-nra/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28Reading+The+Pictures%29

 

 

 

 

 

2015/12/02

2015/12/02

 

 

 

 

Adichie Sweeden gender equality

Yesterday, Sweden’s largest publishing house Albert Bonniers Förlag released the Swedish translation of We Should All Be Feminists.

Titled Alla Borde Vara Feminister, the translation represents yet another win for a book that has become the go-to document of global feminism.

To launch the new translation, Albert Bonniers Förlag partnered with The Swedish Women’s Lobby and a host of other organizations to run a gender equality campaign targeted at high school students.

Clara Berglund, Chairman of the Swedish Women’s Lobby, says that, as a book that promotes feminism as a concern for everyone, We Should All Be Feminists is a gift for future generations.

At the launch event, which took place at Norra Real High school in Stockholm, it was announced that copies of the book will be given as gifts to high school students across the country. Organizers of the campaign also asked readers to use the #allafeminiser hashtag to post images of the book.

We Should All Be Feminists started out as a Ted Talk [watch here]. It snowballed into global prominence after Beyonce sampled it in her “Flawless” track. From being recommended by the British actor Simon Pegg to setting off an epic Twitter hashtag calling attention to women’s plight in Nigerian, the book has attracted the attention of readers interested in feminist writings.

The Swedish Women’s Lobby said, in a statement on their website, that they hope the book “will work as a stepping stone for a discussion about gender equality and feminism.”

Adichie who could not make it to the launch participated via a lovely video message in which she talks about why she thinks of herself as a feminist.

For me, feminism is about justice. I am a feminist because I want to live in a world that is more just. I am a feminist because I want to live in a world where a woman is never told that she can or cannot or should not do anything because she is a woman. I want to live in a world where men and women are happier, where they are not constrained by gender roles. I want to live in a world where men and women are truly equal. That’s why I’m a feminist. When I was 16 I don’t think I knew what feminism meant. I don’t think I knew the word at all, but I was a feminist. And I hope that the 16 year olds who’d read this book in Sweeden would also decide to be feminists. And mostly I hope that very soon that one day we would not need to be feminists because we would live in a world that is truly just and equal.

Congrats to Adichie for the Swedish translation of her work!

It is such a delight that her feminist writings and politics are inspiring a generation of young girls and boys around the world to take a stand for gender equality.

 

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Brittle Paper – I’m finishing up a phd at Duke University where I study African novels, which I believe are some of the loveliest things ever written. Brittle Paper is the virtual space/station where I play and experiment with ideas on how to reinvent African fiction and literary culture.

 

>via: http://brittlepaper.com/2015/12/adichie-celebrates-swedish-translation-feminist-chapbook-lovely-video-message