Shailja Patel. patterned sari border
 About/Press KitWorkMigritudeBlogNews/AwardsCalendar ShopContact Shailja
decorative pattern
         
 

















Be a part of Migritude's journey.
No contribution is too small - or too large. $2 buys coffee for a volunteer. $15 rents a rehearsal studio for an hour. $100 covers 2 hours of lighting / tech / set design. $500 helps fly Shailja to international festivals!!


You can also make a tax-deductible donation by check. Please email shailja@shailja.com for details.
 

Saturday, November 29, 2008

Visual Artist Sought for Exciting Collaboration

I'm seeking a Kenyan visual artist to collaborate with me on a very exciting project for Art for Humanity, a non-profit organization based in South Africa.

AFH works with human rights advocacy through art. Their latest project: Dialogue among Civilizations, aims to to dispel xenophobia and raise awareness on refugee rights.

AFH has invited artists and poets from approximately 40 countries to contribute original work for this project, based on the themes:

Identity. Land. Object. Belief.


The art and poetry will be assembled into a print portfolio, which will be exhibited throughout South Africa, and eventually worldwide. The art and poetry will also be included in a public advocacy campaign to include billboards, banners, posters, etc. The campaign will roll out in 2009 - 2010, offering tremendous global exposure during the 2010 World Cup in South Africa.

What AFH envisages is a poet-artist collaboration from each country. They have invited me to participate, and to propose a Kenyan visual artist that I would like to collaborate with.

So this is a call to all Kenyan artists who are interested (based in Kenya or outside) to send me a CV and work samples ASAP. Art For Humanity would like to finalize artist contracts by mid-December.

Contributors to previous Art for Humanity projects include Kara Walker (youngest-ever recipient of a MacArthur Fellowship) and other major international artists.

Please email CVs and work samples (jpg or ppt files, or link to online portfolio) to shailjapatel@gmail.com

Put "Art For Humanity - Visual Artist - Your Name" in the subject box.

Full details of the project in the ARTIST BRIEF below.

Please distribute widely to all your visual artist friends, contacts, networks.

Many thanks!

___________________________________________________________
ART FOR HUMANITY: DIALOGUE AMONG CIVILIZATIONS - ARTIST BRIEF

Art for Humanity is committed to an anti discrimination policy in all its projects.

Art created today will influence the social values of future generations


1. Brief to the Artist/Poet:

a. Volunteer: Artist/poet is hereby invited by Art for Humanity, (AFH), to participate in the project 'Dialogue among Civilisations' (project). (See attached project description). By accepting this invitation you volunteer your creative work as an artist/poet to the project and undertake to abide to the letter and the spirit contained in this agreement.

By participating in this initiative, the artists/poets are given the opportunity to express their solidarity with the objectives of the organisers and the partner organisations:

- DIAKONIA Council of Churches,
- StreetNet,
- Durban University of Technology,
- UMCEBO Trust,
- Durban Art Gallery,
- Kirkcudbright International Arts Festival Scotland,
- Shackles of Memory,
- Nantes

b. Gratuity: Artists/Poets as volunteers are awarded a gratuity towards covering any material expense related to their contribution to the project.

Poets; R2500 gratuity is to be paid on receipt of poem plus invoice from poet to Art for Humanity.
Artist; R7000 gratuity payable to artist as above:

c. As the professional empowerment of particularly the developing artist and poet is important to AFH, we ensure that the art is at all times treated in a professional manner. That all publications resulting from the project reflect each art and poetry collaboration and the project to the best of our ability, and that the subsequent advocacy material, including billboards and posters etc always respect the integrity of the artworks and acknowledge the authorship of the artist/poet.

d. This portfolio project is unique in that the images/poems created will be translated into billboards, posters, educational material targeting schools and communities, primarily in South Africa but also internationally with the intention to inspire a sense of 'moral ownership' of the values and messages embedded in the art and poetry.

e. The artists are asked to present the proof print or preliminary work (in any 2D-medium, size A2 -- 420 x 594 mm -- 16.5 x 23.4 in) on which the print for the billboards will be based. Thereafter the artist to submit an edition of 25 prints plus 5 artist's proofs, (all essentially alike) and signed and titled and dated by the artist.

f. The edition of prints can be produced by any means and in any no. of colours including black and white whichever the artist feels is appropriate and essentially alike. The proviso that in all cases archival paper is employed, ink must be of an acceptable quality. The artists are further requested to please adhere to the paper size A2 as requested. Digital prints are acceptable. The prints with the collaborative poems also printed on A2 size archival paper, will be collated into 30 handmade portfolio boxes by AFH.

2. Copyright and Authorship:

The artist/poet retains authorship of their work, while copyright will be shared with Art for Humanity for the purposes of advocacy, education, promotion and fundraising. No profit to AFH will accrue from the donations received but portfolios can be awarded to major donors in acknowledgement of their support for the project.

Theme: 'Dialogue among Civilisations' refers to project brief attached.

Distribution of Portfolios featuring art and poetry collaborations: In line with AFH policy the portfolios are employed as follow:
a. Exhibited as part of the exhibitions advocacy program;
b. In lieu of donations received from relevant institutions and museums towards the advocacy campaign;
c. Form part of the report back to major donors;
d. Promoting the participating artists/poets.

Send to:

Art for Humanity,
c/o Dept. of Fine Art,
Room 107.
Durban University of Technology,
City Campus.
Smith Street & Warwick Ave.
Durban. 4001


Postage: The poem and other required documents can be faxed or emailed to the above details. It can also be sent by mail. It must be clearly marked on the envelope as Printed matter and non–profit /not for commercial gain. Cost related to postage, insurance and packaging to be covered by the gratuity.

Time line; The deadline for the submissions to the project portfolio is March 31st, 2009. Along with the poem the following information is also due on this date:
Signed agreement received from poet sent by fax or e-mail (where appropriate), including;
a) Photograph of the participant
b) Participant's biography and contact details (id no., address, telephone, fax, e-mail etc).
c) Participant's written response to the concerns as per the project brief and in reference to the work submitted, (to be included in the catalogue).
d) Extract from poem to be displayed with the artwork on billboards/posters/banners, limited to 14 lines.

Note: It would be appreciated if the above can be submitted to AFH as soon as possible as we would want to post this material on the relevant webpage.

Friday, November 28, 2008

Obama-nomics For Africa

It's not looking good, people.

This cogent breakdown, by a leading political economist on the African continent, ran in the Durban Mercury on Wednesday.

Hangover From The Past

by Patrick Bond, Director, Centre for Civil Society, University of KwaZulu-Natal


A week and a half ago, United States president-elect Barack Obama declined to meet the Group of 20: the leaders of the world's 20 most advanced financial economies, including South Africa's.

Apparently wet-behind-the-ears South African President Kgalema Motlanthe, made no discernible impact at the Washington summit. A year ago, South African Finance minister Trevor Manuel could not persuade this elite club to reform the World Bank and International Monetary Fund, when he and former president Thabo Mbeki hosted the G20's annual gathering near Cape Town.

Nor is Obama likely to support the United Nations financing-for-development meeting in Doha on Saturday. 192 nations will be represented, and Manuel is a special UN envoy, as he was at the initial 2002 UN financial summit in Monterrey.

Two months ago, at a preparatory conference, Manuel observed that last year aid flows fell 8.4% (to $104 billion) while military spending was up 6% (to $1.3 trillion):

These cold facts suggest that since Monterrey we have done the opposite of what we said we would do, that we have chosen war instead of peace. The food and fuel shocks and global financial turmoil are a bellwether of the consequences of broken promises. They are a sign of our failure.


Absolutely true. Leading Africa economically, Motlanthe and Manuel appear weak at a time when the world crisis is suffocating the continent:

- crashing commodity prices,
- retracted investments,
- overall global stagnation,
- the freezing up of trade finance and project credit, and
- even sharper cuts in north-south aid flows.

Whereas African civil society, business and politicians alike, wildly celebrated Obama's November 4 victory, his announcement of new US economic managers on Monday was like a painful hangover.

Consider three whom Jubilee Africa debt activists, for example, already passionately distrust:

(1) Treasury secretary-designate Tim Geithner, a central figure in the present crisis because of his deregulatory yet pro-bail-out posture as New York Federal Reserve Bank president;

(2) National Economic Council director Lawrence Summers, the central figure in the previous world financial crisis a decade ago, when as treasury secretary he arm-twisted huge concessions from Asian countries suffering rapid decline; and

(3) Top Obama economic adviser Paul Volcker, who in the previous global crash, from 1980-82, imposed the infamous Volcker Shock, causing the Third World debt crisis.

My Centre for Civil Society colleague, Dennis Brutus, calls these men economic criminals, and for very good reasons.

Geithner served in Henry Kissinger's consulting firm during the mid-1980s, joined the Reagan-Bush administration in 1988, and then worked for Summers and Robert Rubin in the Clinton treasury department during the 1990s.

As New York Fed president, Geithner was implicated in both deregulation and the first round of ineffectual Wall Street bail-outs in 2008, in which he bailed out J P Morgan one day, and failed to foresee the devastating impact of the Lehman Brothers investment bank's demise on world finance the next.

A speech by Leithner in March last year is instructive about the United State's laissez-faire attitude to financial gambling:

Credit market innovation should help to make markets both more efficient and more resilient, and better able to absorb stress.


Hah. The opposite happened. But Geithner remained wilfully blind:

We cannot turn back the clock on innovation or reverse the increase in complexity around risk management. We do not have the capacity to monitor or control concentrations of leverage or risk outside the banking system. We cannot identify the likely sources of future stress to the system, and act pre-emptively to diffuse them.


Then why did both Bush and Obama give him such important jobs?

Summers, too, proved incompetent through consistent advocacy of financial deregulation. Although in US political circles, he is best known for the crude sexism controversy that cost him the presidency of Harvard in 2006 (he wrote that women cannot do maths or sciences), after extreme conflict with his university's leading African-American scholars.

Fifteen years earlier, Summers gained infamy as an advocate of African genocide and environmental racism, thanks to a confidential memo he signed as World Bank chief economist:

I think the economic logic behind dumping a load of toxic waste in the lowest-wage country is impeccable and we should face up to that. I've always thought that underpopulated countries in Africa are vastly underpolluted, their air quality is vastly inefficiently low.


And Obama's most esteemed adviser, the 82-year-old Volcker, has done more damage to Africa, its economies and its people than anyone in recent history. As described by the Wall Street Journal:

The cigar-chomping central banker from 1979 to 1987, he received blame for driving up interest rates and tipping the US into the deepest recession since the Great Depression.


Even the International Monetary Fund's official history cannot avoid using the famous phrase most associated with the Federal Reserve chairman's name:

The origins of the debt crisis of the 1980s may be traced back to and through the lurching efforts of the world's governments to cope with the economic instabilities of the 1970s (including the) monetary contraction in the US (the Volcker Shock) that brought a sharp rise in world interest rates and a sustained appreciation of the dollar.


Debts


Owing to the Volcker Shock, remarks journalist Naomi Klein in her book The Shock Doctrine, Africa was squeezed nearly to death:

On their own, the debts would have been an enormous burden on the new democracies, but that burden was about to get much heavier. Nigeria's debt in the short time period (during Volcker's reign) went from $9 billion to $29 billion.


Volcker's reaction? As he told interviewers:

Africa was not even on my radar screen.


Why did the then-president Jimmy Carter choose this man in 1979 to chair the Fed, which sets US (and by extension world) interest rates?

Carter's domestic policy adviser Stuart Eizenstat explained:

Volcker was selected because he was the candidate of Wall Street. This was their price, in effect.


Although he retired in 1987, Volcker is back at Obama's side, and according to the Wall Street Journal:

Conference calls and meetings of the Obama economic team are often reorganised to accommodate his schedule. When the team discusses the financial crisis, the most important question to Obama is: what does Paul Volcker think?


Geithner, Summers, Volcker and similar economists whisper for a resurgent US based on national self-interest, including a restored financial system again capable of colonizing world markets. (And to make that possible, Obama's main Africa adviser, Witney Schneidman, is on record as promoting military imperialism in the form of the Africa Command.)

Instead of this crew, there were plenty of other top economists with proven Africa sympathies available:

- Nobel laureates Joseph Stiglitz and Paul Krugman,
- Jeffrey Sachs (who advocates African debt repudiation), or,
- on the left, James Galbreath, Mark Weisbrot and Dean Baker.

None of them got even a look-in.

Obama himself has said his "fundamental objective" for his father's people is:

To accelerate Africa's integration into the global economy.


No matter the vast damage that strategy has done and is now doing.

Which Africans can stop Obama from tearing up his roots?

Patrick Bond is the director of the UKZN Centre for Civil Society.

Monday, November 24, 2008

Defending Our Futures



This portrait of me was done at the AWID Forum in Capetown by South African artist Gabrielle Le Roux. It's a part of Defending Our Futures, a project to capture images and words of feminist movement leaders and changemakers. The final project will include these portraits, our written statements, and audio interviews with each of us.

I first met Gabrielle in Nairobi, at the World Social Forum in 2007. She asked if I would sit for a portrait then, but I was overcommitted, she was staying a long way outside town, and the logistics just didn't come together. When I walked into her in the main hallway, on my first day at AWID, it was clearly serendipity.

I sat for the portrait that afternoon. It took 3 hours. For the first 90 minutes, I was semi-dozing, catching up on my sleep deficit from the 48 hours of travel. It was hard for her to draw me that way:

It's like your face is disintegrating!

So I stretched, yawned, shook myself out. Did pranayama and exercises to warm up and energize my face and body. Then the portrait came alive under Gabrielle's magic pencil.

I like the sense of purpose she's captured in the lines of my face. A kind of confident determination, which I don't always feel, but certainly reach for in my work.

I like the flashes of colour against the black and white. The pink scarf, one of thousands handed out by the Young Feminists At AWID, worn to display a commitment to intergenerational organizing. Turquoise earrings from Migritude's coastal run last year. Silver bindi between my eyebrows - just slightly visible in this image - which Gabrielle asked me to take off my own forehead and "donate" to the portrait.

I love being among this brave company of extraordinary women.

For more on Defending Our Futures, contact:

Gabrielle Le Roux livingancestors@gmail.com
Sipho Mthathi siphomthathi@hotmail.com

You can see other projects by Gabrielle here, and here.

Sunday, November 23, 2008

Capetown to Trieste

....by way of Udine and Duino.

Less than ten days.

Enough images, stories, experiences, encounters, to fill a lifetime.

In Capetown, I was on a plenary panel at AWID with Pregs Govender. Whose story of her decades in the ANC and the struggle for justice in South Africa: Love And Courage, should be compulsory reading on every high-school curriculum in Africa. When I approached her, like a nervous groupie, stumbling over my words of admiration and appreciation, she told me she had heard of me.

The audience response to my performance was phenomenal.

Many of us were in tears, said International Museum of Women curator, Masum Momaya, in her liveblog from AWID.

Driving in from the airport, the day I arrived, I saw a rainbow, fragile, shimmering, over Table Mountain. The next day, clouds were piled on the mountain's flat top, like whipped cream. They spilled and flowed over the sides.

The air along the shoreline was fragrant with something I couldn't identify. I sniffed so hard I got dizzy.

In Udine, I experienced groundbreaking genuine partnership between academia and the arts, in the 3 days of Azania Speaks. The first academic conference I've ever attended that gave artists equal speaking time in the main schedule, instead of scheduling them as "evening entertainment."

The first conference I've ever attended that made space for the actual voices of artists. As opposed to academics talking about artists and their work, with the artists themselves silent or absent.

The first conference that acknowledged art as knowledge, as scholarship, in its own right. As opposed to the false dichotomy of traditional academia, which separates the making of creative work from "arts scholarship" i.e. writing and thinking about creative work.

In Duino, I slept in the castle where Rilke stayed. Walked the Rilke Path along the cliffs, looked out at the unutterable beauty of the Adriatic sea under an endless sky. Inhaled joy and exhilaration when the students and faculty of the United World College rocked the auditorium with a prolonged standing ovation for my performance.

In Trieste, I took five bows for my Iperporti Festival reading. Watched a sunrise over the city's rooftops from the skylight of the oak-beam-ceiling baroque attic I was housed in. Laughed aloud at the sheer improbability of where my work takes me. The outrageous wonder of the riches it lays at my feet.
 
         
Shailja Patel. patterned sari border
©Shailja Patel