Formerly, "This is Africa/fyeahAfrica".
(Profile Photo by Mama Casset)
DISCLAIMER:
I do not endorse any of the products or opinions shared on this site, nor do I claim any of the work posted here to be my own - except where stated. All posts originally made by me are credited. If no credit is given then the work is either my own/written by me or reblogged from another source.
A LITTLE ABOUT ME:
Student, 24
Based in Cape Town, South Africa
From Lagos, Nigeria
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(As an unemployed media student, all donations go into ensuring my survival in this cruel world and future projects I hope to embark on).
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(since Oct. 21th 2012)
The BlackStar Film Festival is a celebration of cinema focused on work by and about people of African descent in a global context. BlackStar highlights films that are often overlooked from emerging, established, and mid-career directors, writers and producers working in narrative, documentary, experimental and music video filmmaking.
This year, we are launching our first annual short screenplay competition.
http://blackstarfest.org/screenplay/
Enter for your chance to win $2,500 to produce a short film based on your short screenplay!
Submit your short screenplay online by the June 7, 2013 deadline.
Thanks so much for helping get the word out!
submitted by http://pandaguilar.tumblr.com/
Photos from, “The Essence of Mauritius” by ManLi Que
Most people who’ve never been to Mauritius think of it as a paradise island with fabulous beaches made of soft silky sand, turquoise clear sea water, magnificent mountains, breathtaking waterfalls, exotic fauna and flora… I’m not saying it’s not the case, it is very true; but many don’t get to see enough of the other aspects of the island, like the local people and their day-to-day life, the country’s ethnic and cultural diversity, the interesting customs and traditions, rural and urban landscapes and architecture marked by its history, etc.
With this album, my intention is to document all the elements of the island, including those that are not always showcased on the postcards, and to show you the authentic richness and beauty of the island. I hope to wander around in many different places, from the popular areas to the little corners, if I have enough courage to, camera in hand and curiosity in my eyes, and attempt to capture the real essence of this island, even if essence is probably subjective… Very often, I would capture a moment in time of the reality that is around us in our every-day life. Capturing life as it happens, in a natural environment, whereby there is no bias and no ulterior motive behind the image, is what I think expresses the true essence.
Photographs of daily life in the cities of Djenne and Timbuktu, Mali, taken by photographer Sebastien Lanelle.
2009.
“When you say you dance ispantsula in the townships, they would say you’re a hooligan. So we decided to screw taps into our shoes and show them, there’s more to pantsula than you think.” Explains Elvin. “Well, we actually glued them at first, but they kept falling off,” corrects Elrich, Elvin’s identical twin.
Via Volcano, formed by William and his friend Sphiwe back in 1994, was created to encourage dancing in the Kagiso community. Almost two decades later with a group that’s grown to over 30, they’re still working within the community trying to spread the performing arts. “When we came up with the name we thought of something strong and unstoppable. What’s more unstoppable than a volcano?”
The core of the crew as it stands today, got together back in 2001. But it took until 2005 for things to finally galvanise for the Volcanoes. “That year we won the Gauteng Dance Showcase. We were chosen to represent Gauteng in a series of workshops which led to us being chosen to go to the National Arts Festival in Grahamstown,” recalls Elvin. The impact of this exposure completely changed the face of Via Volcano. “It was the first time we were exposed to choreography – we learnt so much. After that, we returned the following year with our own production – Ayashisa Amateki.” He adds.
We break as the crew readies themselves for a display of what differentiates them from being just another pantsula crew. Apart from tapping, it’s clear Via Volcano have broken the boundaries of any specifically defined dance style. It’s a powerful show of movement, at times borrowing elements from Michael Flatley, but with a whistle and the squeak of converse shoes bringing it back to the pantsula roots. It’s clear these guys have moved far beyond Kagiso – all the way to China, in fact.
Princeton, in the summer, smelled of nothing, and although Ifemelu liked the tranquil greenness of the many trees, the clean streets and stately homes, the delicately overpriced shops, and the quiet, abiding air of earned grace, it was this, the lack of a smell, that most appealed to her, perhaps because the other American cities she knew well had all smelled distinctly. Philadelphia had the musty scent of history. New Haven smelled of neglect. Baltimore smelled of brine, and Brooklyn of sun-warmed garbage. But Princeton had no smell. She liked taking deep breaths here. She liked watching the locals who drove with pointed courtesy and parked their latest model cars outside the organic grocery store on Nassau Street or outside the sushi restaurants or outside the ice cream shop that had fifty different flavors including red pepper or outside the post office where effusive staff bounded out to greet them at the entrance. She liked the campus, grave with knowledge, the Gothic buildings with their vine-laced walls, and the way everything transformed, in the half-light of night, into a ghostly scene. She liked, most of all, that in this place of affluent ease, she could pretend to be someone else, someone specially admitted into a hallowed American club, someone adorned with certainty.
But she did not like that she had to go to Trenton to braid her hair. It was unreasonable to expect a braiding salon in Princeton—the few black locals she had seen were so light-skinned and lank-haired she could not imagine them wearing braids—and yet as she waited at Princeton Junction station for the train, on an afternoon ablaze with heat, she wondered why there was no place where she could braid her hair. The chocolate bar in her handbag had melted. A few other people were waiting on the platform, all of them white and lean, in short, flimsy clothes. The man standing closest to her was eating an ice cream cone; she had always found it a little irresponsible, the eating of ice cream cones by grown-up American men, especially the eating of ice cream cones by grown-up American men in public. He turned to her and said, “About time,” when the train finally creaked in, with the familiarity strangers adopt with each other after sharing in the disappointment of a public service. She smiled at him. The graying hair on the back of his head was swept forward, a comical arrangement to disguise his bald spot. He had to be an academic, but not in the humanities or he would be more self-conscious. A firm science like chemistry, maybe. Before, she would have said, “I know,” that peculiar American expression that professed agreement rather than knowledge, and then she would have started a conversation with him, to see if he would say something she could use in her blog. People were flattered to be asked about themselves and if she said nothing after they spoke, it made them say more. They were conditioned to fill silences. If they asked what she did, she would say vaguely, “I write a lifestyle blog,” because saying “I write an anonymous blog called Raceteenth or Various Observations About American Blacks (Those Formerly Known as Negroes) by a Non-American Black” would make them uncomfortable. She had said it, though, a few times. Once to a dreadlocked white man who sat next to her on the train, his hair like old twine ropes that ended in a blond fuzz, his tattered shirt worn with enough piety to convince her that he was a social warrior and might make a good guest blogger. “Race is totally overhyped these days, black people need to get over themselves, it’s all about class now, the haves and the have-nots,” he told her evenly, and she used it as the opening sentence of a post titled “Not All Dreadlocked White American Guys Are Down.” Then there was the man from Ohio, who was squeezed next to her on a flight. A middle manager, she was sure, from his boxy suit and contrast collar. He wanted to know what she meant by “lifestyle blog,” and she told him, expecting him to become reserved, or to end the conversation by saying something defensively bland like “The only race that matters is the human race.” But he said, “Ever write about adoption? Nobody wants black babies in this country, and I don’t mean biracial, I mean black. Even the black families don’t want them.”
He told her that he and his wife had adopted a black child and their neighbors looked at them as though they had chosen to become martyrs for a dubious cause. Her blog post about him, “Badly-Dressed White Middle Managers from Ohio Are Not Always What You Think,” had received the highest number of comments for that month. She still wondered if he had read it. She hoped so. Often, she would sit in cafés, or airports, or train stations, watching strangers, imagining their lives, and wondering which of them were likely to have read her blog. Now her ex-blog. She had written the final post only days ago, trailed by two hundred and seventy-four comments so far. All those readers, growing month by month, linking and cross-posting, knowing so much more than she did; they had always frightened and exhilarated her. SapphicDerrida, one of the most frequent posters, wrote: I’m a bit surprised by how personally I am taking this. Good luck as you pursue the unnamed “life change” but please come back to the blogosphere soon. You’ve used your irreverent, hectoring, funny and thought-provoking voice to create a space for real conversations about an important subject. Readers like SapphicDerrida, who reeled off statistics and used words like “reify” in their comments, made Ifemelu nervous, eager to be fresh and to impress, so that she began, over time, to feel like a vulture hacking into the carcasses of people’s stories for something she could use. Sometimes making fragile links to race. Sometimes not believing herself. The more she wrote, the less sure she became. Each post scraped off yet one more scale of self until she felt naked and false.
The ice-cream-eating man sat beside her on the train and, to discourage conversation, she stared fixedly at a brown stain near her feet, a spilled frozen Frappuccino, until they arrived at Trenton. The platform was crowded with black people, many of them fat, in short, flimsy clothes. It still startled her, what a difference a few minutes of train travel made. During her first year in America, when she took New Jersey Transit to Penn Station and then the subway to visit Aunty Uju in Flatlands, she was struck by how mostly slim white people got off at the stops in Manhattan and, as the train went further into Brooklyn, the people left were mostly black and fat. She had not thought of them as “fat,” though. She had thought of them as “big,” because one of the first things her friend Ginika told her was that “fat” in America was a bad word, heaving with moral judgment like “stupid” or “bastard,” and not a mere description like “short” or “tall.” So she had banished “fat” from her vocabulary. But “fat” came back to her last winter, after almost thirteen years, when a man in line behind her at the supermarket muttered, “Fat people don’t need to be eating that shit,” as she paid for her giant bag of Tostitos. She glanced at him, surprised, mildly offended, and thought it a perfect blog post, how this stranger had decided she was fat. She would file the post under the tag “race, gender and body size.” But back home, as she stood and faced the mirror’s truth, she realized that she had ignored, for too long, the new tightness of her clothes, the rubbing together of her inner thighs, the softer, rounder parts.
A new United Nations report says AIDS-related deaths in Africa are falling while the number of Africans getting treatment for the AIDS virus is on the rise.
The report from the Joint United Nations Program on HIV/AIDS says the number of people in Africa who receive anti-retroviral drugs increased from less than 1 million in 2005 to more than 7 million last year.
It says AIDS-related deaths fell by nearly a third during that same period, and that new HIV infections are also falling.
Many African countries have taken steps over the past decade to ensure that at least some of their HIV patients have access to treatment.
The report, released Tuesday, notes that Africa continues to be affected by HIV more than any other region in the world. It says the continent accounts for nearly 70 percent of people living with the virus worldwide.
It also notes that in 2011, there were still 1.8 million new HIV infections in Africa, and 1.2 million people died of AIDS-related illnesses.
Wodaabe women, Abouza, Zinder-Tanout region, Niger. 1970
Photographer: Eliot Elisofon
submitted by http://nigerianostalgia.tumblr.com/
Only a few days ‘til you can buy Canadian-Ghanaian artist Kae Sun’s sophomore album AFRIYIE digitally (May 28th). But in the meantime, OkayAfrica has made the album available for streaming in its entirety. Yes, all ten tracks including his incredible and anthem-like song When the Pot (which I absolutely love).
The rest of the album is full of catchy sing-a-long tunes with guitar-led rhythms in the same vein as When the Pot, such as Heart Healing Pulse and Weh-Weh, striking heart-felt emotive songs like Burden of Love, Lead Loaded Letters and Ship and the Globe, and the socially conscious driven Lion Unleashed that shows the true dynamism of Kae Sun’s voice.
A cohesive and well put-together effort from Kae Sun, AFRIYIE is definitely an album to add to your collection.
Hair braiding
Nigeria, 1960s.
The New African Photography - Emeka Okereke: Invisible Borders
“100 years ago, photography was a colonial tool…”
“A photography is a window and not the view” - Emeka Okereke
For decades, the camera was used as a tool through which colonial governments and Western photojournalists alike imposed their own views on Africa through the restrictions of 2D imagery, defining Africa without much, if any, input from those whose faces were plastered on postcards, posters, magazines and media platforms across the world.
Profiling a new crop of African photographers using their lens to transform and inspire both change and development, Al Jazeera opens us up to the world of Nigerian photographer Emeka Okereke, founder of Invisible Borders - a organization that gives ‘African artists a space to define Africa for themselves’. In this video, the group travels on their annual roadtrip within Africa, going from Lagos to Kinshasa, as a means of developing young African artists through the lens of photojournalism.
A must-watch journey.
Al Jazeera South2North host Redi Tlhabi interviews some of Africa’s most influential and powerful women, including Malawian President Joyce Banda - Africa’s second woman president, and South Africa medical doctor, business woman, activist and politician Dr Mamphela Ramphele about their transformative and historical roles.
Powerful and interesting commentary.
A Touch of Art - an exclusive evening celebrating African inspired art
On Saturday, 15 June 2013in Cape Town, two commissioning editors from Al Jazeera will listen to pitches from 16 African filmmakers. Each person will have a maximum of five minutes to pitch their film, with an additional 10 minutes allocated for feedback and questions from the panel. Visual aids will be provided for those that have DVDs or presentations during the pitch.
This is the second year in a row that Al Jazeera has hosted a pitching session during Encounters. In 2012, Mayenzeke Baza pitched Ndiyindoda: I Am Man, which went on to screen on Al Jazeera earlier this year.
Submissions
Interested parties should send not more than:
• A one-page synopsis of their film
• A one-page biography of the filmmaker, including complete contact details (telephone no, city of residence, home and work address)
To: Nikissi Serumaga (manager@encounters.co.za) on or before 4pm, Monday 27 May.
Selections will be confirmed by Friday, 31 May 2013.
Please note that all participants who have been selected to pitch must be available for a one-day pitching workshop that will take place on Friday, 14 June 2013.
The Al Jazeera Pitching Forum takes place on Saturday, 15 June 2013 at the Protea Breakwater Lodge, V&A Waterfront, Cape Town.
ABOUT AL JAZEERA
Al Jazeera English is an international news channel, holding over sixty bureaus which span six different continents. Since being established in 2006, it has continued to grow in reach and popularity due to its global coverage, especially from under-reported regions. The channel currently broadcasts to over 250m households across 130 countries.
Its in-depth approach to journalism has won it numerous awards and plaudits over the years, including RTS News Channel of the Year 2012, Freesat Best News Channel, the Columbia Journalism Award, a DuPont award, and a George Polk award. Al Jazeera is one of the world’s leading media corporations, encompassing news, documentary and sport channels.
It was the first independent news channel in the Arab world dedicated to covering and uncovering stories in the region. It is now a media network consisting of over 20 channels – Al Jazeera English, Al Jazeera Arabic, Al Jazeera Balkans, Al Jazeera Sport, Al Jazeera Mubasher, Al Jazeera Documentary, the Al Jazeera Media Training and Development Center, and the Al Jazeera Center for Studies.
THE PANEL
Dominique Young
A senior producer based in Al Jazeera English’s bureau in London, Young commissions a wide range of documentaries on African and Middle Eastern subject matter, for broadcast in the channel’s flagship observational documentary strand, Witness, as well as other documentary seasons. Witness broadcasts one 25’ film and one 48’ film each week.
Witness films are character-led, first-person stories which set the context to the daily news agenda and provide an insight into key events of the day as they impact on the lives of ordinary people. Witness documentaries are inspirational and provocative with a global resonance and appeal. As far as possible, Witness stories are told by local filmmakers, as Witness aims to showcase the work of established and emerging documentary talent from around the world.
Diarmuid Jeffreys
An award-winning journalist and television producer with 30 years’ experience in the media industry, Jeffreys has been an executive producer at Al Jazeera English since 2008. Now based in Doha, he is responsible for its People & Power investigative current affairs programme and a range of other documentaries across the network. In 2011, that output also included several films as part of AJE’s much praised coverage of the Arab Awakening.
In the last three years his programmes have won an Amnesty Award for Best Television Documentary 2010, the Rory Peck Best Features Award 2011, Best Documentary 2011 from the Human Trafficking Foundation, and a 2013 Silver Medal for Best Investigative Documentary at the New York Film Festival. They have twice been commended in the Best Investigative Documentary category by the Association of International Broadcasters. In May 2012, another series, Africa Investigates (in which African journalists target corruption and human rights abuses across their continent), won a One World Media Award.
With a new half-hour edition every week and broadcast throughout the year, People & Power pursues stories from all over the world; combining hard-hitting, revelatory and incisive television journalism with high quality filmmaking, probing deep into stories of global significance and investigating everything from political and corporate wrongdoing, human rights abuses and the origins of conflict to the plight of the world’s most vulnerable peoples.
Over the last four years it has filmed everywhere – from Pakistan to Peru, from the USA to Afghanistan, from South Africa to Brazil, and especially across the Middle East as it has produce award-winning coverage of dramatic events in Egypt, Libya, Yemen, Bahrain, Syria, Algeria and elsewhere.
Earlier this year, the History Channel released ‘Miracle Rising’ - a documentary that looks at the painful transitional period in South Africa’s history, from a violently racially segregated nation to a country that, through the sociopolitical structures offered by democracy, established a crucial vehicle to obtaining peace and documenting important historical voids: The Truth and Reconciliation Committee.
Through personal accounts from South African and international figureheads, ‘Miracle Rising’ retraces the dismantling of the Apartheid regime in South Africa, and the unique and complex years that followed.
TW: violence, mentions of torture, skeletal remains, racism.
Nigeria’s commercial nerve center, Lagos is set to become the continent’s 13th biggest economy, similar to the size of West African nation, Ghana, investment research and advisory firm, Renaissance Capital has revealed. In its latest report titled, “Nigeria Unveiled: Thirty Six Shades of Nigeria,” the company stated that with a per capita income of about $2,900 which is currently double amount of the national average of $1,700, Lagos is at par with countries such as Morocco and Sri Lanka.
Lagos’ economy is significant to that of Ghana and is the heart of Nigeria’s $284 billion GDP economy.
“We base our analysis on states’ internally generated revenue, which make up 15 per cent of state government revenue, and consumption data, as proxies for state income.
“Lagos State produces about 12 per cent of Nigeria’s GDP, which is equivalent to $32 billion by 2013 ending. Post rebasing, which we now expect in early 2014, we estimate a 40 per cent upward revision in the country’s national income.
“By our estimates, the Lagos State economy will become Africa’s 13th biggest economy in 2014 at approximately $45 billion – equivalent to that of Ghana,” said RenCap.
You know it’s serious when they start comparing a city to countries. And we manage all this without stable electricity, easy access to basic resources, and the necessary infrastructure to accommodate life in a commercial urban landscape.
Just think about what Lagos would be if all the above-mentioned factors were appropriately set up and maintained.
Damn.