Sean Jacobs's Blog, page 362

Fresh eyes: Yannis Guibinga’s photos of Gabon

Beyond providing boundary-pushing media critique, Africa is a Country is interested in sharing the work of young artists who are changing the nature of African representation. This means experiencing people and places through fresher eyes and perspectives than the Western media landscape has traditionally offered.

In this post we feature Yannis Guibinga, a photographer from Gabon mages document Libreville’s vibrant beach culture. In his own words:

I feel like Gabon and Central Africa in general are sometimes left out of the conversation when it comes to African creatives. Most of the people we see come from places such as Nigeria or Ghana, which is a good thing for them, but I think it would also be great to show to the world that Africa does not stop at these few countries and that there are way more talents on the continent.

The beach in Libreville, Gabon’s capital, plays a very important part in the daily entertainment of Gabonese people. Because it’s free for all and easily accessible, going to the beach is sometimes the only thing people can afford which is why so many of us go there after school or on weekends. The beach is a very important place economically, but also socially. It’s a nice place to relax and just hang out for teenagers. I thought it would be interesting to show it because whenever the media talks about Africa it is more often than not because of serious circumstances. So I think it’s important to show that as Africans, we also have ways to entertain ourselves and have fun.

Check out his images below, visit his website and find him on instagram as @yannisdavy.

 

President Obiang and the Samba School

Last week, the countries formerly under the reign of the Catholic Kings celebrated their annual week of debaucherous revelry in the lead up to Lent. Yes, it was Carnival time again, my favorite time to catch up on all the music and cultural trends in the greater Atlantic world!

Being my second time at Rio de Janeiro’s month long celebration, I laid a bit low this year, staying away from the crowds at the block parties. However, that gave me more time to pay closer attention to the popular Sambódromo competition between Rio’s biggest samba schools. I’ve become more excited about the whole competition once I learned how important they were to visibility of both favela communities, and especially of Afro-Cariocas. So I thought it would be nice to point to some of the great Afro-themed processions from the parade this year.

This years Samba schools didn’t disappoint, as many themes of African pride came out. There was Viladouro with their tribute to the contributions of people of African descent to Brazilian culture and society (cause we raised your kids!):

There was Imperatriz Leopoldinense with their tribute to Nelson Mandela:

Second place Salgueiro, my favorite school last year, dedicated their parade to the mixed cultural heritage of Minas Gerais state, and the manner which three influences, European, African, and Native American are blended through food:

And Beija Flor of Nilópolis with their impressive homage (full with animatronics) to … Guinea Equitorial!?:

Now when I first noticed the lyrics of the song, it was in passing on one of the many TVs that were displaying the parade the day after the competition. I initially thought it was just using Guinea as a generic signifier for the Atlantic coast of Africa–keeping in line with the celebration of African heritage many of the schools engage in. However, if I didn’t get it immediately, that jersey from the National football team of Guinea Equatorial being worn by the percussionist in the video is a tip off that this Samba is in fact a full on dedication to the tiny Central African Coast country. And surprise surprise, it was none other than Teodoro Obiang who allegedly sent millions of Reais to the school as a sponsorship!

Now, again I’m new to this whole Sambódromo thing, so this is quite strange to me. Besides a corruption of my beloved Sambodrómo Afro-centrism (one of the only times you see it in mainstream Brazilian media), why is Obiang spending money in Brazil in order to secure patronage from a Samba school from the suburbs of Rio de Janeiro? Well to speculate on answers, I only had to think back a week to the African Cup of Nations tournament which was broadcast on cable network SportTV.

In watching the Brazilian broadcast of that tournament, the announcers were enthusiastic, and seemingly excited to share new facts about the countries that were competing in the contest. They proudly displayed facts about chief exports of competing countries, the location of their capitals, and the principle languages or ethnic groups. But they had a particular curiosity with Guinea Equitorial, a country who’s principal governmental language is Spanish, and who just last year had joined Brazil in the Comunidade dos Países de Língua Portuguesa (CPLP), or the Community of Portuguese-speaking Countries.

Now Portuguese and Spanish are closely related, but no matter how hard I try with my Portuñol, I know that they’re not close enough to submerge one within the other. The TV announcers made their best crack at an explanation, saying there was some Portuguese influence in Equatorial Guinea’s Spanish. I’ll only take that as a possible explanation since Angola is a large and dominant regional influence. However, when Guinea Equitorial entered the Lusophone union earlier in 2014, other Portuguese-language media weren’t so readily convinced by the new addition:

As Portuguese artist Luis Alfonso’s cartoon points out, through some surface exploration on the subject one can find that the CPLP, “the fourth largest producer of oil in the world,” would be interested in including not only Guinea Equatorial, but a “growing number of larger nations [are] attempting to enter the organization, such as Turkey and Indonesia.”

I’m sure most Africa is a Country readers already know what philosophy Mr. Obiang subscribes to. However, I wasn’t so sure about my SportTV announcers. It wasn’t until after the end of the tournament that they made clear their opinion on the leader of the country that had hosted them for the past month. As Obiang graced the awards stage to hand the trophy to winner’s Cote d’Ivoire, the announcers laughingly admitted that Obiang is a leader who, “leve toda a riqueza do pais para ele!” (He keeps all the country’s wealth for himself!) Not a brilliant first impression for the newest member of a partnership founded on the “defense of peace and human rights”:

So, was this my answer then for why Obiang had helped fund the Beija Flor Samba School? Was this Teodoro’s attempt to win the hearts and minds of the citizens of Brazil? Did he think by bankrolling a popular Samba School, and having them sing your praises (over, and over, and over, and over) to a rapt national audience at the biggest Carnival parade in the world, he would convert the masses to his side?

Of course once word got out that Obiang was involved, there was a bit of backlash in both the Brazilian and international media. The school denies that his sponsorship bought the tribute, or the win. And, as composer of the song rightly points out, there is a bit of hypocrisy in the critiques of the Samba school accepting the money. “Agora, nós vamos falar do país negro e de um ditador… na Europa, naquela época que maltratavam o negro, era pior que a ditadura (Now, we talk about a black country, and about a dictator… in Europe, and that period that they mistreated black people, it was worse than a dictator.)

Neguinho is pulling a bit of a Robert Mugabe bait and switch in his defense of African dictators. In order to get his point across, he should have just pointed out the neo-liberal onslaught of Rio de Janeiro over the past couple of years, and the international “investments” in the city (officials’ pockets) by corporations like FIFA, the IOC, and their various sponsors and corporate partners. With the kind of money that’s been flowing (up) in Rio in recent years, what’s wrong if a Samba school from a poor suburb takes a little cash to supplement their run at 2015 Carnival champions?

Regardless of your position on the matter, what is evident is that Obiang’s PR campaign to the Brazilian people has made an impact. And if he ever eventually does get chased out of Guinea Equatorial, there is a small community just north of Rio de Janeiro that I’m sure would love to take him in.

Image via Globo News

 

5 Questions for a Filmmaker–Djo Munga

Born in Kinshasa, left the Democratic Republic of Congo for Belgium at the age of nine. After completing his studies at the National Film School of Belgium, INSAS, he returned to Kinshasa where he worked as producer and assistant director for various international TV productions.

In 2006, Djo established Suka! Productions – the first production company in the DR Congo.  In collaboration with South African producer Steven Markovitz, he produced the highly praised collaborative project Congo in Four Acts 2010 and was named the African Trailblazer for MIPTV the same year.  His debut feature, Viva Riva! – also made in 2010! – was the first Congolese feature film production in twenty-three years. The film screened to much acclaim, at the Toronto International Film Festival and the Berlin International Film Festival and has sold widely internationally (and can still be bought on iTunes). Djo Tunda wa Munga has since founded the first film school in DR Congo, Les Ateliers Actions de Kinshasa, which is currently in its fourth year of operations, and continues to shoot documentaries, a drama-series for TV and to write scripts.

What is your first film memory?

I remember the place but not a specific movie. We watched a lot of films in those days, in Kinshasa, mostly martial arts, and Godzilla (the Japanese 70s version).

Why did you decide to become a filmmaker?

I became a filmmaker by accident – my training is in Fine Arts. My brother suggested that I attend this 8mm-workshop during a period of crisis in my life. I was worrying a lot about my work, creativity and the future. I felt dried out and didn’t know what to do. The workshop teacher , who was a filmmaker and a radical independent thinker, thought I ought to go to film school. I was not convinced, but he inspired me to give it a shot. I did and I got in, but it wasn’t until many years and many films later, that I had the confidence to tell myself that I actually wanted to be a filmmaker.

Which film do you wish you had made and why?

Carlito’s Way, for various reasons. It is a brilliant piece of art – a great thriller and a fantastic essay about the human condition, cruising beyond time and space. As a classical gangster movie, it is one of the finest of its genre. Usually we don’t see reflective and analytical gangsters on film. Even though Carlito is aware of the mistakes he has made in life, he is still unable to change. Like in real life. is great. is at his best and is truly only one of a kind. The chase scene in the train is unbelievable. All these aspects combined, make me wish I had made the film.

Name one of the films on your top-5 list and the reason why it is there.

Ugetsu monogatari by . The film is a ghost story/period drama/fantastic love story and reflection on war. I like multilayered films that manage to capture various elements and aspects of existence. In his own way Mizoguchi was a great “social poet”. Ugetsu is certainly one of his finest achievement and pure poetry. The script, the style, the acting, the tone and the message – everything is coming together in a magnificent way.

Ask yourself any question you think I should have asked and answer it.

How many films do you wish you had made?

That would be twenty: One every single year of my career. I believe directors should continue to film, again and again until we get to these moments where we perform to the best of our potential. Unfortunately it is becoming harder to make movies, and most of the time, it takes years between having finished one film and starting to shoot the next. It is not great in terms for us as craftsmen and women, but at the same time, we usually do not remember more than four or five defining films of any great director. So maybe it is not so much about the number but about reaching a stage of maturity.

Akin Omotoso’s NBA ALL STAR WEEKEND DIARY

Friday 13th: Tonight White People Get In For Free

The snow covered the basketball courts down DeKalb Avenue giving a glimpse of playgrounds in heaven. I caught the Q to 42nd Street to fetch my accreditation and bought the latest edition of SLAM magazine for my reading pleasure. At the train station, two men walked up and down on opposite sides of each other. One was rapping, the other was yapping and it all made strange melodic sense backed up with the sound of the oncoming trains. I had made a mistake with the address so had to catch a cab. The cab driver promptly scraped another car and I had to walk four blocks down and then it happened. My body froze. I couldn’t even hear the comedian by my side or look at the flyer he gave me. Went into a Basketball Store and when they asked me: “Can we help you sir?” I simply said: “Just trying to get feeling back in my body.” They nodded in understanding and left me alone to defrost. Picked up my accreditation. The next driver was Senegalese and he was bumping Bob Marley out of his car like it was Thursday night in Joburg at The Baseline with The Admiral and Jahseed. “Bob is the best! Do you agree?” He asked me. I agreed. We drove back to Brooklyn singing along to Bob Marley. One good thing about music, when it hits you feel no pain. So brutalize me with music.

Image of Akin Omotoso by Victor Dlamini.

On media assignment with me was The Smoothness. The Smoothness had arrived a few days earlier so he was armed for the weather. I was still figuring it all out. I had double of everything on. We met at The Barclay’s Center where The Rising Star’s Challenge was taking place. The teams were divided into the USA TEAM vs. THE WORLD TEAM. Africa was represented on both teams. Victor Oladipo was playing on the US team while Giannis Antetokoumpo and Gorgui Dieng were playing on the World Team. The game was a great way to kick off the weekend. THE WORLD won the game and the boys from Africa acquitted themselves well. Victor Oladipo scored 22 points, Gorgui Dieng had 14 and Giannis had 12 points and 10 rebounds.

The Smoothness and I headed to the NBA AFRICA party after that. I dozed off in the cab, unable to deny the jet lag any longer, only to wake up and find The Smoothness had been filming me. He laughed as I lectured him on invasion of privacy and preying on jet lagged men. Like the Cab earlier, the NBA AFRICA party tore the roof off the building with the hits from the continent. I put my hands in my pocket and took out a flyer. It was from the Comedian. I then remembered what he said when advertising their performance that night and laughed. “Tonight White People Get In For Free”.

 

Saturday 14th: The Africa 540

I realized that instead of dieting the whole summer I should have been putting on weight for my body to withstand this onslaught from New York. Today everything I wear is in triplicate like old carbon paper. Everything. Food included. I chased down a cab, until the woman in front of me with her dogs said: “Behind you.” Sometimes what you are looking for is … I got in the cab headed to Baruch College to attend the first ever Basketball Without Borders Global Camp. Gorgui Dieng (himself a Basketball Without Borders alum) was on duty on Saturday morning helping the young ballers hone their skills. Giving them words of wisdom was Vice President and managing Director of NBA Africa, Amadou Gallo Fall and Toronto Raptors General Manager Masai Ujiri. Both men, from Senegal and Nigeria respectively have been an integral part of the NBA family over the last couple of years. Each spoke passionately and inspirationally to these budding superstars.

Kareem Abdul Jabbar, Bill Bradley and Michael Dyson led a session on Race And Sports. On the plane to New York I had watched the excellent documentary I AM ALI and of course it spoke of a time of politically conscious athletes. Recently there seems to be a return to Athletes speaking out. Starting with the NBA players threatening to strike if Donald Sterling wasn’t removed for his racist comments (a good friend of mine mentioned that he would have given anything to see that boycott carried out) to wearing the T-Shirts with Eric Garner’s last words: I Can’t Breathe. Recently the murder of three Muslims on Chapel Hill to the 57-year old Indian grandfather who was partly paralyzed by police in Alabama when neighbors reported a suspicious man walking, around are all cause for concern. So any discussion on race was welcome. ESPN columnist J.A Adande’s article is an excellent summation of the event.

The first All Star Game I watched on TV was the 1992 NBA All Star Game. The game is famous for the return of Magic Johnson who came out of retirement to play.

I remember it for being the first time watching Hakeem ‘The Dream’ Olajuwon play. Hakeem is Nigeria’s pride and joy, and we were never more proud than this moment, in the video below, in the Western Conference Finals with Houston playing San Antonio. As one reporter said: “Hakeem beat David Robinson like a drum.”

The Continent’s other ambassador also featured in that 1992 All Star Game. Then a rookie, Dikembe Mutombo (the only rookie selected that year to play in an All Star Game) slammed the ball two fisted style on a fast break. And of course, one cannot forget the iconic image of Dikembe clutching the ball after the Nuggets upset the Sonics.

I met Dikembe night before at the Rising Challenge Game and congratulated him for being a nominee to the Basketball Hall of Fame this year.

Hakeem Olajuwon was also on hand for the NBA Africa and Corporate Council On Africa Luncheon. Amadou Gallo and his team are working on not only developing the game on the continent but also pushing for the first NBA game played on the continent. The tentative date is Johannesburg August 1st, 2015.

The Smoothness and I met up at NBA Commissioner Adam Silver’s press conference later that evening at the Barclays Center. We were talking to J.A Adande after the press conference and then the Gods appeared. These warriors of the court happened upon us. James Harden, Steph Curry, Kyrie Irving, Wesley Matthews, J J Reddick, Klay Thompson, Marco Belinelli and Kyle Korver. All participants for one of the most anticipated 3-point competitions in recent years. The Smoothness and I got a chance to shake their hand and speak briefly to them. That group went out and shattered every 3-point record ever. To have been there to see them warming up was a privilege. The competition was electric and Steph Curry came out tops. Knowing what he had written on his shoe that evening highlighting his political activism makes that victory even sweeter.

The Dunk Contest has been lackluster for the last couple of years but on this night being in that arena, there was excitement in the air. Two Africans were competing in the event: Giannis Antetokounmpo and Victor Oladipo. The Smoothness called it correctly – he picked eventual winner Zach Levine. I thought Giannis was going to take it. Of all the players competing, I find his story the most intriguing.

They may call him The Greek Freak and even though he came on stage with the ladies in toga and Greek flag on full display, I still call him The African Wonder. He has come a long way from being a trader on the streets of Sepolia. Victor Oladipo came out belting New York New York. Amadou had spoken earlier about spreading a wave of Afropositivism in relation to Basketball and Africa. Victor’s mother is a big fan of Hakeem Olajuwon and before he went for his second dunk he got Hakeem to sign an autograph for his mother. The past met the present and the future looked bright. A subtle tribute from Oladipo. Oladipo’s first dunk was a 560. The Barclay’s Center levitated. Women screamed. The lady seated next to me said: “The sound you heard was the sound of panties hitting the floor.” And to be honest – I couldn’t say I disagreed with her.

Sunday 15th: New York State of Mind

Yesterday I had escalated my clothing to Def. Con 1, only to realize that the temperature was going to drop even more. Everything- in quadruplet! Tonight was the grand finale. The All Star Game itself taking place at The World’s Most Famous Arena: Madison Square Garden. There is something to be said about a place that knows how to throw a party. MSG threw a party.

Victor might have warmed the crowd up yesterday with his rendition of New York New York, Christina sang it again tonight and by the end of the night the whole audience took part in a sing a long of the song. Let’s just say I now know all the words to the song – am a part of it. Queen Latifah sung the national anthem; Nas blessed the gathering with his classic N.Y State Of Mind. Nicki Minaj performed with Ariana Grande lifting the crowd higher. MSG was cooking with gas. The night of course belonged to the Lords Of The Court. These men at the peak of their powers, these men dazzling on the court, so nice in the city one has to say twice. These men dazzling on the court, so nice in the city one has to say twice.

The Art and Activism of Gabriel Teodros

This past weekend I had the immense pleasure to sit alongside Gabriel Teodros, Bocafloja, and Linda Guyse at a series of panels in (very cold) Wooster, Ohio, for Wooster College’s Africa Week. During the day we discussed with students everything from African identity in the US, the failures of the international non-profit industrial complex, the continuation of American slavery in the form of the US prison-industrial complex, and trying to stay independent amidst the Silicone-Valley dominated corporate music-industrial complex. Many industrial complexes were discussed, and amongst the wide range of topics Gabriel’s sincerity, and the drive with which he pursues both his art and his social activism stood out.

How he is able intertwine these dual pursuits is nicely illustrated in his latest video for Greeny Jungle, a marimba-sampling, classic boom bap rap tune featuring Shakiah and SoulChef. The video was shot during a recent #BlackLivesMatter protest amongst the streets of (neo-liberalizing) Seattle, and features both live performance footage, and Teodros and Shakiah marching alongside their fellow community members. Look out for a heart-warming handshake with a young fan towards the end!

The Art and Activism of Gabriel Teodoros

This past weekend I had the immense pleasure to sit alongside Gabriel Teodoros, Bocafloja, and Linda Guyse at a series of panels in (very cold) Wooster, Ohio, for Wooster College’s Africa Week. During the day we discussed with students everything from African identity in the US, the failures of the international non-profit industrial complex, the continuation of American slavery in the form of the US prison-industrial complex, and trying to stay independent amidst the Silicone-Valley dominated corporate music-industrial complex. Many industrial complexes were discussed, and amongst the wide range of topics Gabriel’s sincerity, and the drive with which he pursues both his art and his social activism stood out.

How he is able intertwine these dual pursuits is nicely illustrated in his latest video for Greeny Jungle, a marimba-sampling, classic boom bap rap tune featuring Shakiah and SoulChef. The video was shot during a recent #BlackLivesMatter protest amongst the streets of (neo-liberalizing) Seattle, and features both live performance footage, and Teodoros and Shakiah marching alongside their fellow community members. Look out for a heart-warming handshake with a young fan towards the end!

Ritmos Negros del Perú – a Documentary on Afro-Peruvian Music

Ritmos Negros del Perú is a documentary by filmmakers Florent Wattelier, Sonia Barousse and Hugo Massa. In it, they explore the often overlooked influence of people of African descent in the history of Peruvian music. In particular, they focus on some Afro-Peruvian instruments, among them the cajita (or “little box” which is, indeed, a small wooden box), the quijada (which is a donkey’s jawbone), the checo (an instrument made from a dried pumpkin) and, perhaps the most important of them, the cajón (a wooden box that is played by sitting on top of it and banging the front of it with your hands).

The filmmakers decided to let their subjects tell their own stories, a decision that pays off very well. In the film, you learn, from the same respected musicians (such as Juan “Cotito” Medrano, or the now deceased Rafael Santa Cruz) that have mastered these instruments, the story of struggle, resistance and culture which they inherited from their families, a long line of generations that has played and thought about these instruments and their role (and, by extension, the role of black people) in Peruvian society.

The film takes you to the provinces of Perú, such as El Carmen and Zaña, where Afro-Peruvian culture is prevalent, and tries to makes sense of its relationships with the rest of the country and its contemporary folklore.

It is a highly recommended film and it will be available online soon. But, for now, if you are in New York, you can catch a special screening of it in New York City next Wednesday 4th in Barbès, in Park Slope, Brooklyn. Also, you can follow the documentary’s Facebook page.

Here is a brief preview for now:

Exclusive: Arnaud Contreras photographs Abderrahmane Sissako’s Oscar nominated Timbuktu

In January 2014,I spent more than 3 weeks in the southeast of Mauritania on the set of Abderrahmane Sissako’s Timbuktu (which is nominated for an Oscar tonight). I was not there to do a “Making of”. My aim was to continue my Sahara Rocks! photo series, and to produce a radio documentary for Radio France – France Culture. Abderrahmane’s decision to shoot his film in such a dangerous area was a challenge, but good for the Sahel region. I wanted to bear testimony about this project and to meet the cast and crew. Many of them are refugees from the North Mali crisis still living in M’Berra refugee camp. During the shooting, the crew from the north and the south of Mali talked a lot about the war. Tuaregs, Bambaras, Arabs, Songhoys were discovering each other, exchanging their views on the situation and on their favorite football teams. Some of them were in Timbuktu during the jihadist occupation, and that film, the moments between two sequences, gave them the opportunity to share their stories with Malians from the south and with me. All of them want the film to be seen all around the world, and many told me the same thing : “We want that film to enlighten our people’s situation, we, the real hostages of that crisis.”

Teca #3: Complete your life with the music of Santiago

Welcome back to Teca, Latin America is a Country’s own jukebox, where we’ll try to introduce you to some of the coolest, hippest, most recent music from cities around Latin America. So let’s get to it.

Santiago, the capital city of Chile, will be hosting the final of Copa América in a few months, so we haven’t stopped thinking about it. But it is also a very prolific place, music-wise. In 2011, El País, Spain’s biggest newspaper, dubbed the country “The new paradise of pop.” Chilean musicians argued there that their feeling of isolation (trapped in a country between the Andes and the Pacific ocean), combined with a higher than average internet penetration (the second highest in Latin America–after Uruguay) helped create and foster a local “scene.” This bred a host of netlabels and a movement of musicians posting their works online, which allowed some artists to be heard abroad and become international sensations.

One of the biggest successes has been Javiera Mena (whom we covered elsewhere). But there are many great bands and artists coming from Chile (and not just from Santiago, but we have to focus), which made us debate for maybe too long about who should be included here.

So maybe we left out some important stuff, maybe we got some things wrong, but after all of the dancing and headbanging, and the thoughtful consideration of melodies and lyrics you will experience in brief, you won’t care much about that.

So let’s start.

Ana Tijoux

The other big music success story from Chile is the one of this French-Chilean rapper. She was born and grew up in France because her parents were fleeing from the dictatorship of Augusto Pinochet. But in the early 90’s she moved to Santiago and there sparked a career in hip-hop that, at least for now, has peaked with her 2014 album Vengo (which, as we mentioned, was nominated for a Grammy). Probably the most solid Latin American album from last year, Vengo raps against colonialism, against patriarchy, in favor of the unity of people, and goes around the world to find some of its very fine samplings. Here you have “Somos Sur,” a track that features British Palestinian “First lady of Arabic hip-hop” Shadia Mansour rapping in Arabic.

Gepe

Another success story is Daniel Alejandro Riveros, better known as Gepe, whose 2010 album Audiovisión blew up around the Spanish-speaking world. OK, the Spanish-speaking indie world. But still, impressive. His mix of Chilean folk with pop has proved massively popular. It also helps that his songs come full of heart. Check it out for yourself in the single “Bomba Chaya” from his 2012 album GP.

Dënver

Yet another band that has been able to reach out beyond Chile’s borders is this electropop duo who, yes, were formed in another city, San Felipe, but they have made a career in Santiago. They also found the spotlight in 2010, with their (heavily danceable) album Música, gramática, gimnasia, which, by the way, included an homage to Jurassic Park (in “Lo que quieras”). In 2013 they released Fuera de campo, an album with more orchestration, more detail to melodies and much funkier tunes. That’s where “Revista de gimnasia,” the song below, comes from. Also, they are named after a cartoon dinosaur. Cool.

Javier Barría

Barría made a name for himself putting his music on MySpace and contacting other musicians around Latin America through the internet. Thus, he has been able to tour a few countries outside of Chile. He eventually moved to Facebook, YouTube and BandCamp, but his music continued to be well-crafted storytelling accompanied by beautiful loops and guitar sounds. Here you can find all of his discography, for free, online. And below, you can listen to “Geometría,” one of his songs that has stuck with us.

Tunacola

Are you like us and are you suffering from the Northern hemisphere winter? Well, it’s summer down south, and the electropop group Tunacola might have the tune of the summer with “Danky” (from their second album Todos los veranos del mundo), an homage to the absurd name of an ice cream sold in Chile. By the way, had you ever been so jealous of a music video?

That’s it for now. But also check out Ases Falsos, Fother Muckers, Astro, Nano Stern, Camila Moreno, R.E.S and Los Búnkers.

Did we miss something? Do you have any other suggestions? Leave them on the comments below, or send them to our  twitter or .

Also, see the rest of Teca here.

 

Digital Archive No. 13 – Social History of the Gambia

Full text available online now through Open Book Publishers.

Earlier this week, the Arts Beat of the New York Times ran a story announcing the British Library’s expansion of the Endangered Archives Programme (EAP).  This announcement coincides with the ten year anniversary of EAP, which the British Library has used as an opportunity to reinvigorate the initiative.  Funded by Arcadia in 2004, a foundation that “support[s] charities and scholarly institutions that preserve cultural heritage and the environment“, EAP aims to “contribute to the preservation of archival material that is danger of destruction, neglect, or physical deterioration world-wide.”  These efforts have resulted in the sponsorship of digitization and preservation projects throughout the Americas, Asia, Europe, Oceania, and (most importantly for our purposes) Africa.  In total, the files preserved through the many projects sponsored by EAP now total over four million images.  As Lisbet Rausing and Peter Baldwin note in the introduction to From Dust to Digital: Ten Years of the Endangered Archives Programme (available here):

The digitised collections contain a wealth of knowledge.  They may not be part of school curricula or learned canons, but it is not for us to decide whether they do or do not become part of them in the future.  Simply put: if this is the memory of the world, the world needs to be able to access it.  We are proud that ten years from its inception, the Endangered Archives Programme has made nearly four million files available through its website.  These are nearly four million individual windows into the human past that might otherwise have remained inaccessible or could even have closed forever. (xxxviii)

One of these projects that preserved a “window into the human past that might otherwise have remained inaccessible or could have even closed forever” is Social History of the Gambia: Rescuing an Endangered Archive, Police, and Court Records.  I am choosing to focus on this project mainly because it is based at Michigan State University where I am currently pursuing a PhD in History, but also due to the fact that I could not possibly do justice to each of the 30+ individual African archives that this program supports.  So it is my hope that this one example will be a jumping off post for some readers to delve into the rich offerings of EAP.

In 2010, the Court Records Collection of the Department of State for Justice in Banjul, the Gambia were singled out as in urgent need of preservation.  These records were literally deteriorating, exposed to mice, insects, and moisture.  Stretching from 1820 to 1960, these civil, police, and criminal records not only represented an important historical source due to their chronological span, but also, as the pilot project application pointed out, based on their deep historiographical significance:

The collections are valuable given recent historiographical trends in which scholars have turned their attention to court records to seek a deeper understanding of how colonial agents and local communities engaged one another. Court records reveal struggles between men and women, elders and youths, and elites and commoners. Since African women could visit colonial courts to seek divorce, court transcripts are one of the few places where historians hear African women’s voices – how women articulated their discontent in male dominated societies. They, too, reveal disputes over land, other forms of property, child custody and many other things. Most often common people – not elites -visited the courts, making the records rare treasures for social historians.

Historians Walter Hawthorne and Bala Saho, along with archivist Elizabeth Bahouma, (in collaboration with MATRIX: Center for Digital Humanities and Social Science at Michigan State University) applied to preserve these documents.  Their application also focused intently on training Gambian scholars in digitization and archival procedures, ensuring that the investment of time and resources in digitizing the Court Records Collection would pay off well beyond this single project.  This speaks to the goals of the EAP more broadly; in their mission statement, they point to their desire “to enhance local capabilities to manage and preserve archival collections in the future.”  This means that, in addition to the over 7,000 documents preserved in this digital archive, the impact of this project will be felt for a long time to come.

Check out this video below to hear from the participants in the project, as well as to get a better sense of the work that was done to preserve this archive.

http://www2.matrix.msu.edu/wp-content/uploads/2013/11/Gambia_broadcast.mp4

 

If you know of an archive that would benefit from this initiative, visit EAP’s Grants page for more information.  You can keep up with the Endangered Archives Programme on Facebook, Twitter and through their blog.  And, as always, feel free to make suggestions for future Digital Archives via Twitter or in the comments!