Credit: Sanjit Pariyar/NurPhoto via AFP

By Andrew Firmin
LONDON, Mar 25 2026 (IPS)

Less than six months after Nepal’s Generation Z rose up in protest, the country has a new prime minister. A 35-year-old former rapper who soundtracked the protests swept to power in a landslide in the 5 March election.

Balendra Shah defeated former prime minister KP Sharma Oli, whose third stint as prime minister was cut short by the protests, beating him in his own turf. After years of fragile coalition governments, in which Sharma Oli and two other men of advancing age repeatedly swapped the role of prime minister, Nepal has chosen to change direction.

Gen Z-led protests

The September 2025 protests were triggered by the government’s banning of 26 social media platforms in an evident response to the ‘nepokids’ trend, in which people used social media to satirise the ostentatiously wealthy lifestyles of politicians’ family members, while most young people experienced daily economic struggles amid high inflation and youth unemployment. In a country where the median age is just 25, the ban was the final straw, activating long-simmering anger about corruption, poor public services and a political system that refused to listen to young people.

When young people took to the streets, the state unleashed violence. The deadliest day was 8 September, when some protesters broke into the parliamentary complex and police fired live military-grade ammunition, shooting many victims in the head. Nineteen people died that day, and overall at least 76 people died in the protests.

Rather than silence the protests, the state’s lethal crackdown swelled them, making clear this was about more than the social media ban; it was a struggle for Nepal’s future. Even more people took to the streets. On 9 September, Sharma Oli resigned. Some protesters turned to violence, while the army took over security and imposed a nationwide curfew. But events soon took a decisive turn. Chief Justice Sushila Karki was sworn in as interim prime minister on 12 September, kickstarting a process that led to the election. The interim government agreed to establish a Gen Z Council, a formal body designed to bridge the gap between the government and young people and enable them to hold it accountable and monitor implementation of reforms.

As the latest State of Civil Society Report sets out, Nepal’s movement inspired many of the year’s other Gen Z-led mobilisations. Nepali activists used the gaming platform Discord, including for a radical exercise in democracy that saw 10,000 people take part in online discussions that put forward Karki as interim prime minister. Morocco’s protesters also used Discord to coordinate their actions, while the Gen Z movement in Madagascar, where the army ultimately forced the government to quit, connected with Nepal’s Discord communities to learn from their organising. Movements in several countries adopted Nepal’s protest symbol, the skull-and-straw-hat flag from the One Piece manga, identifying themselves as part of the same global movement.

Around the world, Gen Z-led protests have commonly faced violent state repression but have forced real concessions: Bulgaria’s government quit, while politicians dropped unpopular policies in Indonesia and Timor-Leste. In Bangladesh, where a Gen Z-led protest movement ousted an authoritarian government in 2024, the country recently held its first credible election in almost two decades.

Time for change

The new energy unleashed by Nepal’s Gen Z-led protests was reflected in the registration of over 800,000 new voters, more parties standing than ever before, a profusion of younger candidates and an election campaign focused on corruption and good governance.

The result was a shock. Coalition governments are the norm in Nepal, but the centrist Rastriya Swatantra Party (RSP) won an outright majority, taking 182 of 275 House of Representatives seats after a campaign that made intensive use of social media. The three established parties all sustained heavy losses.

Shah used his music to attack corruption and inequality, resonating with the Gen Z movement during the protests, when one of his songs was viewed over 10 million times on YouTube. But he isn’t a completely new political figure, having become mayor of the capital, Kathmandu, in a surprise result when he ran as an independent in 2022. His track record there suggests grounds for concern. He’s rarely made himself available for media questioning, preferring to communicate directly via social media, where he’s known for making controversial outbursts. He also received criticism for deploying police against street vendors and launching ‘demolition drives’ to clear illegally built structures with minimal notice, leading to clashes between police and locals.

Shah now has a mandate to deliver change, and expectations are high. But he faces the challenge of reforming a typically resistant bureaucracy while delivering on his economic promises amid difficult global conditions worsened by the Israeli-US war on Iran, which threatens the remittances sent by the many Nepali workers based in Gulf countries, which constitute one quarter of the country’s GDP. He’ll need to navigate the difficult foreign policy balance between Nepal’s two powerful and often antagonistic neighbours, China and India. The new government must also ensure accountability for human rights violations during the 2025 protests, starting with releasing the report of a commission set up to investigate protest deaths, which hasn’t yet been made public.

The obvious danger, given these challenges and an outsized mandate, is that the government will adopt a heavy-handed approach, pushing through change while failing to listen. This is precisely when civil society is needed, to step in to hold the new government to account and ensure it respects human rights, including the right to keep expressing dissent.

Nepal’s Gen Z movement must guard against co-option by the new administration. The new government must acknowledge the vital role of Nepal’s outspoken young generation by moving quickly to form and resource the Gen Z Council and fully respecting its autonomy. The movement that helped bring Shah to power must stay engaged.

Andrew Firmin is CIVICUS Editor-in-Chief, co-director and writer for CIVICUS Lens and co-author of the State of Civil Society Report.

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In Japan, the youth group donated the proceeds from their recycling to single-mother families with hospitalized children through the NPO Keep Mama Smiling. Credit: Karuta Yamamoto.

By Karuta Yamamoto
TOKYO, Japan, Mar 6 2026 (IPS)

From the beginning, this project was a collaboration between student teams in Japan and Korea. Although we live in different countries, we shared one common question: How can young people reduce waste while supporting families facing food insecurities?
Our journey began with a problem we could see clearly in our communities.

In Japan, food insecurity often hides behind quiet dignity. According to a recent survey by Save the Children Japan, over 90 percent of low-income households with children reported struggling to afford enough food, with many families forced to cut back on even basic staples such as rice due to rising prices.

The Japan and Korean team of all 11 students presented ‘The Co-creation of Youth from Waste to Hope’ at the 9th Tokyo International Conference on African Development (TICAD 9) Thematic Event. Credit: Ticad 9

The Japanese team leader, Karuta Yamamoto, and the Korean team presented ‘What we want in Africa for the future’ at the Seoul National University, Seoul, Korea, during TICAD 9.

Japan and Korea Team Leader, Karuta Yamamoto and Emma Shin, in an interview with UNFPA Seoul. Credit: Karuta Yamamoto

The Korean team set up a shop at a bazaar at Arumjigi, Seoul, Korea. Credit: Karuta Yamamoto

Single-parent households—most led by mothers—face especially high levels of food hardship and are often compelled to make painful decisions about how limited budgets are spent. For some families, this means choosing between symbolic moments of celebration and everyday nutrition. A ¥3,000 Christmas cake may represent joy for one household, but for another, that same amount must stretch to five kilograms of rice—enough to feed a family for several days.

At the same time, vast amounts of edible food are wasted in Japan. Official statistics show that millions of tons of food are discarded annually in Japan, much of it still edible. Seasonal items such as Christmas cakes, which cannot be sold after December 25, are frequently thrown away. This contrast—waste on one side and hunger on the other—reflects the global challenge addressed by SDG 12: Responsible Consumption and Production.

As students in Japan and Korea, we asked ourselves, “What role can we play in closing this gap?”

We knew that awareness alone would not change habits. enough. Instead of telling people to feel guilty about food waste, we decided to take action together.

We began locally, but with shared purpose.

In Japan, students at Dalton Tokyo Senior High School noticed that mandarin oranges—one of the country’s most common fruits—often go uneaten, with peels and seeds discarded. In Korea, students identified a different issue: more than 150,000 tons of used coffee grounds are discarded each year, contributing to landfill emissions and greenhouse gas emissions.

Different materials.

One shared goal.

Rather than seeing waste as the end of a product’s life, we saw it as a beginning.

Research shows that citrus peels contain essential oils that can be used in soaps and cleaning products. Studies in Korea also demonstrate that spent coffee grounds can be processed into sustainable biomaterials suitable for eco-friendly design and 3D printing. Plantable seed paper—made from recycled paper embedded with seeds—is another example of how waste can be transformed into something regenerative.

Inspired by these ideas, our student teams turned theory into action.

Japanese students created handmade soaps using discarded citrus peels.

Handmade soaps using discarded citrus peels. Credit: Karuta Yamamoto

The soaps ready for sale. Credit: Karuta Yamamoto

Korean students developed 3D-printed clip-on vases incorporating recycled coffee grounds, encouraging people to reuse empty bottles and cups instead of discarding them.

The Korean students developed 3D-printed clip-on vases incorporating recycled coffee grounds. Credit: Karuta Yamamoto

They also produced plantable seed paper from recycled materials, allowing waste to literally grow into flowers and herbs.

Korean students produced plantable seed paper from recycled materials. Credit: Karuta Yamamoto.

These products were not sold as charity goods. Instead, they were shared as examples of responsible consumption—showing that waste can have a second life through our design. Through this work, we directly supported SDG 12: Responsible Consumption and Production, which calls for reducing waste through recycling and reuse, and SDG 13: Climate Action, by lowering emissions through upcycling.

At the same time, the funds raised had a clear purpose.

The profits were used to support families facing food insecurity. In Japan, we donated to single-mother families with hospitalized children through the NPO Keep Mama Smiling (see main photo for the opinion piece).

They also provided essential cooking ingredients to the Karuizawa Food Bank. By connecting environmental action with helping families in need, our project also supported SDG 2: Zero Hunger.

The group provided cooking ingredients to the Karuizawa Food Bank. Credit: Karuta Yamamoto

Through this experience, we learned that caring for the planet and caring for people are not separate goals. Waste reduction and hunger relief became connected in one youth-led effort—turning environmental responsibility into community solidarity.

But our collaboration did not stop in Japan and Korea.

Through a partnership with the OneSmile Foundation—an organization that transforms digital smiles into donations—we connected our local initiatives to a global challenge. During workshops, we learned that school meal donations in Lesotho had stopped the previous year. Without reliable meals, many students were struggling to focus in class.

Together, our Japanese and Korean teams raised over 300,000 Japanese yen.

The Japanese and Korean teams celebrate their fundraising efforts. Credit: Karuta Yamamoto

Working with local partners in Lesotho, we organized a community-based food support initiative at Rasetimela High School, which serves 863 students. School feeding programs play a critical role in Lesotho, and recent disruptions have left many students more vulnerable to hunger.

Students at Rasetimela High School in Lesotho receive donations of food. Courtesy: Rasetimela High School

Ninety-one of the most vulnerable students were selected through transparent criteria, including those supported by social welfare programs and those who had previously relied on international assistance. Each selected family received staple foods such as rice and corn flour to make a local staple called pap. Distribution was organized near the school to ensure safety and allow parents to collect the supplies securely.

This cross-border effort—connecting students, NGOs, local leaders, and communities—reflects the spirit of SDG 17: Partnerships for the Goals.

Although we live in different countries, climates, and cultures, this experience reshaped how we understand global cooperation. The students in Lesotho were not distant beneficiaries. We became peers in a shared world.

They became peers in a shared world. Courtesy: Rasetimela High School

As young people, we often believe our impact is limited because we do not control large resources. This project challenged that belief. We learned that we can create change by designing solutions, raising awareness, and working together.

We even tried to measure what we called a “Happiness Index” by counting the smiles of students who received support. Those smiles reminded us that sustainability is not only environmental or economic—it is human.

Our experience shows that youth are not just future leaders. We are active contributors today. When creativity meets collaboration, waste can become opportunity, and local action can grow into global solidarity.

Turning waste into hope is not an abstract idea.
It is a choice—and young people are already making it.

Edited by Dr Hanna Yoon

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By SWAN
Jan 13 2026 (IPS)

Nomadic Jamaican-American writer Claude McKay probably never dreamed that 21^st-century readers would be delving into his private correspondence some 77 years after his death. But that’s probably part of the professional hazard (luck?) of being a literary luminary, or, as Yale University Press describes him, “one of the Harlem Renaissance’s brightest and most radical voices”.

The Press recently released Letters in Exile: Transnational Journeys of a Harlem Renaissance Writer, edited by Brooks E. Hefner and Gary Edward Holcomb.

This is a comprehensive collection of “never-before-published dispatches from the road” with correspondents who have equally become cultural icons: Langston Hughes, W. E. B. Du Bois, Marcus Garvey, Pauline Nardal, Arturo Alfonso Schomburg, Max Eastman and a gamut of other writers, editors, activists, and benefactors. The letters cover the years 1916 to 1934 and were written from various cities, as McKay travelled extensively.

While he’s considered a central figure in the Harlem Renaissance, McKay was a cosmopolitan intellectual - an author ahead of his time, writing about race, inequality, the legacy of slavery, queerness, and a range of other topics

His daughter Ruth Hope McKay, whom the writer apparently never met in life (perhaps because British authorities at the time prevented him from returning to Jamaica), sold and donated his papers to Yale University from 1964 on.

The papers include his letters to her as well, and cast a light on this “singular figure of displacement, this critically productive internationalist, this Black Atlantic wanderer”, as a French translator has called him. But reading another’s correspondence, even that of a long-dead scribe, can feel like an intrusion. It’s a sensation some readers will need to overcome.

Born in 1890 (or 1889) in Clarendon, Jamaica, McKay left the Caribbean island for the United States in 1912, and his wanderings would later take him to countries such as Russia, England, France and Morocco, among others.

His acclaimed work includes the poem “If We Must Die” (written in reaction to the racial violence in the United States against people of African descent in mid-1919), the poetry collections Songs of Jamaica and Harlem Shadows, and the novels Home to Harlem, Banjo, and Banana Bottom.

Years after his death in 1948, scholars discovered manuscripts that would be posthumously published: Amiable with Big Teeth (written in 1941 and published in 2017) and Romance in Marseille (written in 1933 and published in 2020). McKay also authored a memoir titled A Long Way from Home (1937).

While he’s considered a central figure in the Harlem Renaissance, McKay was a cosmopolitan intellectual – an author ahead of his time, writing about race, inequality, the legacy of slavery, queerness, and a range of other topics.

He wrote in a sharp, striking, often ironic or satirical way, and Letters in Exile reflects these same qualities. The collection “reveals McKay gossiping, cajoling, and confiding as he engages in spirited debates and challenges the political and artistic questions of the day,” according to the editors.

Some of the most interesting letters deal with France, the setting of a significant part of McKay’s oeuvre and a place where his literary stature has been rising over the past decade, through a rush of new translations, colloquia, and even a film devoted to his life: Claude McKay, From Harlem to Marseille (or in French, Claude McKay, de Harlem à Marseille), directed by Matthieu Verdeil and released in 2021.

The cover of Letters in Exile

McKay was the “first twentieth-century Black author associated with the United States to be widely celebrated in France,” write editors Hefner and Holcomb in their introduction. They say the letters show that France shaped McKay’s world view, and that he considered himself a Francophile as well as a perpetual étranger.

Through the selected correspondence, we see McKay experiencing France in a variety of ways – dealing with winter insufficiently dressed, participating in the community of multi-ethnic outsiders in Marseille, rubbing shoulders with various personalities during the Années folles, or observing French colonialism in Morocco. And nearly always short of funds.

In Paris in January 1924, after a bout of sickness, he wrote to New York-based social worker and activist Grace Campbell that he’d had the “bummest holiday” of his life: “I was down with the grippe for 10 days and only forced myself to get up on New Year’s day. I suffer because I’m not properly clothed to stand the winter. I’m wondering if anything can be done over there to raise a little money to tide me over these bad times.”

A month later, he wrote to another correspondent about the “cold wave” numbing his fingers and of having to sleep with his “old overcoat” next to his skin, while still not being able to keep warm. He also found the “French trading class” to be “terrible”, complaining that “they cheat me going and coming”.

During his early time in France, he called Marseilles a “nasty, repulsive city”. But a few years later, writing to teacher and arts patron Harold Jackman in 1927, McKay stated: “I am doing a book on Marseille. It’s a tough, picturesque old city and I would love to show it to you some day.”

Apart from references to his work, McKay discussed global events in his correspondence, made his opinions known, and described relationships. His letters, say Hefner and Holcomb, are at the very least “an essential companion to his most revolutionary writings, from the groundbreaking poetry he produced after he left Jamaica through his trailblazing novels and short fiction and into his extraordinary memoirs and journalism.”

While this may well be true, and as insightful as the correspondence proves, many readers will still have to reckon with the uncomfortable sensation of being a literary voyeur. – AM/SWAN

Indigenous People’s Celebration in Canada. Photo courtesy of Chrystal Tabobandung

By Randa El Ozeir
TORONTO, Sep 2 2025 (IPS)

If European colonialism had never happened in Canada, matriarchy would still have been strong in Indigenous culture. Matriarchy was the backbone of society’s structure and line of dominance in Turtle Island (North America) before the arrival of Westerners.

In practice, Indigenous women in Canada have been victims of violence and discrimination. In theory, they were supposed, along with children, to enjoy full protection, as the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) states in article 22.

“Traditional knowledge would be whole and complete. Our languages, ceremonies, governance systems, planet health, communities, cosmologies, land practices, water preservation, and harvesting practices would be alive and well,” says Anishinaabe Ancestral Knowledge Keeper Kim Wheatley, “Head/Leader of the Fireflower,” the Spirit name she carries.

The female role and influence in traditional Native American culture were powerful and pivotal. Wheatley cites how women’s main duty, “like all community members, was to live in harmony with creation, a life of committed purpose and passion based on the gifts they arrived with from the spirit world. Women were hunters, foragers, medicine folks, healers, educators, leaders, artists, fishers, ceremonialists, singers, dancers, artists, and governance holders—really the societal glue on how to provide for the greater good. They were the ones who made the big long-term decisions for the communities they were responsible for.”

Anishinaabe Ancestral Knowledge Keeper Kim Wheatley.

The story of Indigenous women in Canada is considerably incompatible with what Disney World tried to twist and distort in its popular animation “Pocahontas.” Chrystal Tabobandung, Founder of RAISE Indigenous cultural awareness and competence training with Ojibwe roots, sees the “hatred of white women towards us, as if we were less. We have been kicked out of our homes. We are suffering today and being sexualized by men and social media. Historically, white women envied us because of the roles we held in our communities and our traditional ways.”

This is where the impact of colonialism has come in, right from earlier contact, and changed over time. Women in Europe were not to be seen, not to be heard. They were in the background, and they were very resentful at the fact that, here, Indigenous women had a voice, a seat at the table to make decisions regarding safety, child rearing, politics, and even where to camp.”

Socio-Economic Inequality

The effect of the forced Western social and business model has shattered too many Indigenous communities, and the shift to a Western male-dominant lifestyle has altered the whole picture.

Wheatley believes that over the last 150 years, “The foundation of species became a risk. The destruction of lands and waters through endless resource extraction, racism, misogyny, the vulgarity of political decision-making on women’s bodies, the ever-rising violence against women and girls, and the list goes on and on. We see a dramatic disparity in the socio-economic realities. Our People have vast, complex political systems, governance structures, balanced leadership models, extraordinary, vibrant trade practices, endless creativity, and intimate relationships to lands and waters. Deep moral teachings that contribute to the greater good based on long-standing visioning practices.”

While women can and do run for leadership roles, the colonial system does not support traditional governance and practices. The Indian Act is still law in Canada and is one of the recognized leading racist legal documents in the world. This Act oversees how and what a First Nation community can do within reserve confines and what happens when you leave.”

Chrystal Tabobandung, Founder of RAISE Indigenous cultural awareness.

The differences among Indigenous women vary according to their distinct nations. In Canada, there are over 630 recognized First Nations communities.

“Our nations’ women do things differently based on nation-to-nation teachings that are tied to tradition and culture as opposed to roles,” explains Tabobandung. “There are so many divergent oppressive systems that disconnect them.

They do not necessarily work together, but regarding huge social issues, like murdered and missing Indigenous women and sex trafficking, they do come together. They are active in marches and rallies. They stand up against injustices and reconnect with their tradition and their culture. The more voices that are coming out, the more people feel courageous, strong, and able to come forth with their personal experiences.”

How does lack of access to safe drinking water affect Indigenous women? According to Wheatley, “The water crisis in First Nations communities is under-recognized as a continuous assault on a basic human right. Women who live off-reserve have greater opportunities for employment, housing, and other socio-economic possibilities that simply are not available on many reserves for a wide variety of reasons. Educational facilities are far more accessible, along with social services that are integral to supporting families.”

“The proximity of travel to/from work, social gatherings, support spaces, cultural activities, educational options, and greater social interactions are much more accessible in urban areas,” continues Wheatley. “This contributes to a greater sense of well-being. In small towns, racism may not support greater opportunities, but in cities with larger populations, the odds increase in a woman’s favor.”

Reconciliation and Preserving People’s Culture

In her opinion, Wheatley sees that the Truth and Reconciliation Report was a gift to Canadians, challenging their comfort in historic amnesia and continued ignorance of cultural genocide committed by the highest leadership in this country.

“Anytime we have a voice from ‘our people’ to say how we need to look at restitution and restoration of our sovereignty, it is the right path. We do not need to be told how to heal… We need to tell the country how to support our healing. This is what the report does beautifully. It is as comprehensive as the country can digest at this time and yet… few of the ‘calls to action’ have been addressed meaningfully to date.”

Ten years have passed, yet not much has changed, Wheatley adds.

“This country has continuously operated under the fallacy of the Doctrine of Discovery and theft of land that was never theirs to take.”

The Western Eurocentric perspective has been imposed even on terminology and on what an Indigenous person uses. Tabobandung says, “Only in the past couple of generations have we empowered our children to have voices and ask questions. I grew up in a smaller town where colonialism impacted us, but we were still able to carry down our teachings and our stories. People who have been removed from their culture or have become disconnected in any way wouldn’t know these teachings.”

In British Columbia, Indigenous people are knowledgeable about their culture.

“They really project the importance of their Indigenous women,” says Wheatley. “If there is any movement for any Indigenous or Aboriginal rights to change in the court system, it will take place in precedence in British Columbia and will set that precedent for all other nations across Canada.”

Is There a Way Out?

Wheatley believes the solution between the government and Indigenous people has not been prioritized. “

Hence, Third World conditions exist as a norm in many [Indigenous] communities. To reconcile the crimes of the past in Canada, the perpetrators need to take responsibility, but that continues to be a threat to colonial intrusion and imposition on lands that are rightfully ours!”

Everyone takes Reconciliation differently.

Tabobandung heard different voices; some people are more extreme than others. On the ground, the fait accompli is that Indigenous people, Westerners, and other immigrants are practically sharing their lives on Turtle Island.

Tabobandung finds herself in the middle

“You have this Western business, social, and political model, and your model. How would you balance this? Many First Nations people have had this difficulty, especially those who come from Northern rural, remote communities. You have to know who you are and have deep roots. It is really hard to make that transition, especially in the Western Eurocentric system, where they want to get rid of us; they want to integrate us into the Westernized society so that we don’t exist anymore. Some get to a point where they find peace and balance.”

“I am Anishinaabe. I am Ojibwe. I refuse to acknowledge myself as Indigenous, First Nation, or Aboriginal,” says Tabobandung. “Our people are older than the terminologies the federal government imposed upon us. I walk softly and gently upon the earth. Culture has saved me, knowing that I am First Peoples to this land, in this territory, and knowing that a system is trying to annihilate my people, and knowing that I am still here thriving and surviving.”

This is what motivates her.

“It is why I walk with my head held high. It is why I educate myself as much as I can on anything. I paint indigenous paintings and do indigenous art to pass that knowledge down.”

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“Plastic Ocean” by Alejandro Duràn, one of the artworks previously on display in the UN lobby. Credit: Jennifer Levine/IPS

By Jennifer Xin-Tsu Lin Levine
UNITED NATIONS, Jul 14 2025 (IPS)

The United Nations’ HOMO SARGASSUM exhibition served as a public immersion into the marine world and called upon viewers to take action in the face of the climate crisis, specifically regarding invasive species and water pollution.

For the past month, an art exhibition entitled HOMO SARGASSUM took up residence in the New York headquarters lobby in connection to World Ocean Month and the 2025 UN Ocean Conference. Organized by the Tout-Monde Art Foundation. In its final week on display, visitors walked through the various projected films, sculptures and photographs. The exhibit closed on July 11.

The work is described as an immersive multisensorial art and science exhibition intended to bring together various experts in science, scholarship and creativity from the Caribbean to share their perspectives on the prevalent environmental and social issue. The exhibit is primarily an introspective study of sargassum, a type of seaweed or algae commonly found on the coast of the Americas and in the Caribbean.

Sargassum, which has proliferated significantly in recent years due to pollution and chemical fertilizer, releases toxic gases that harm nearby residents in water and on land. Animals struggle to survive, and humans experience respiratory failures and burns. This algae has inspired fear since Christopher Columbus recorded his crew’s sighting of the plant. Sargassum has also become a symbol recently for climate change in the Caribbean as well as the coexisting nature of marine and human life.

Co-curator and executive and artistic director of the Tout-Monde Art Foundation Vanessa Selk described the exhibit as a journey rather than a singular experience. She said, “Much like sargassum migrating through the Atlantic Ocean, we encounter natural and human-made challenges such as pandemics, pollutants and hurricanes. This narrative of the global ecological crisis, reflected in silent floating algae, warns us to change our existing paradigms and consider ourselves as one with our environment.”

Billy Gerard Frank, one of the featured artists in HOMO SARGASSUM, echoes this sentiment.

Frank created a mixed-media piece entitled “Poetics of Relation and Entanglement” with a painting featuring Columbus’ archival notes and sargassum pigment, as well as a film he shot on the island of Carriacou. The film centered on a large metal tank surrounded by sargassum, which had washed on shore and rusted onto the massive object. He specifically shot the film around the sargassum and the tank, an eyesore for the locals who used the beach and a barrier to boats trying to leave. Growing up in Grenada, Frank recalls sargassum as a mild inconvenience but explained how it has become more prevalent due to climate change.

However, only in recent years has conversation around sargassum shifted towards the impact of climate change and geographical inequities, like, as Frank noted, how smaller islands that produce significantly lower levels of pollution are the worst affected by climate change through natural disasters.

He referenced the recent Hurricane Beryl, a Category 5 storm that “completely devastated” islands like Carriacou. His inclusion of Columbus’ notes brings a decolonial perspective: the threats Caribbean islands face from mounting climate change are exacerbated by their history of occupation, mostly from European colonial powers. In a global organization like the UN where historical, geographical and environmental context is key to making any decision, such an interdisciplinary perspective is key.

From countless gifts from member states to various donations, the UN has been an artistic hub since its inception. As both a tourist attraction and space of work for international diplomats, the UN is a particularly ripe space for more radical, political art—notably Guernica, a tapestry based on a Picasso painting portraying the Spanish Civil War—due to its broad audience.

Speaking to IPS, Frank shared how influential art has been in political, social and intellectual movements, saying, “historically…creators, writers, and artists have been able to forge ahead and create new spaces…it gives us some hope that our work and the calling are even more important.”

Frank also told IPS how important it was for him to have the work featured at the UN.

“Because the UN is also a site of consternation right now, specifically with everything that’s happening globally. And in fact, that’s the space where this type of work should be, where there should be more conversation, and a space in which it could create a critical dialogue amongst people who work there, but also the public facing that too.”

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Jacinta Maslai using her solar-powered spinning machine at her home in Warsawsaw village in Ri Bhoi district. Credit: Sanskrita Bharadwaj/IPS

By Sanskrita Bharadwaj
WARMAWSAW, Meghalaya, India, Apr 3 2025 (IPS)

As light enters through the small window of a modestly constructed tin-roofed house, Philim Makri sits on a chair deftly spinning cocoons of eri silk with the help of a solar-powered spinning machine in Warmawsaw village in Ri Bhoi district of Meghalaya in northeast India.

Makri belongs to the indigenous Khasi tribe of Meghalaya and is one of the several women from the region who has benefitted from solar-powered spinning machines.

In India’s northeastern states like Assam and Meghalaya, silkworm rearing and weaving are common among several rural and tribal communities. Ri-Bhoi district of Meghalaya, where Makri is from, is among the regions where eri culture is deeply rooted in tradition and is often passed on from one generation to the other.

The process of spinning and weaving eri is mainly carried out by women. Before switching to the solar-powered spinning machines in 2018, Makri used a traditional hand-held ‘takli’ or spindle. She would open the empty eri cocoons, draft the fibers by hand, and spin them onto the spindle to create yarn. This process was extremely laborious, 60-year-old Makri said. It would leave her feeling tired with constant pain in her hand, back, neck, and eyes.

Process of spinning eri yarn

Eri derives its name from castor leaves—locally known as ‘Rynda’ in the Khasi language. Castor leaves are the primary food source for the eri silkworms. As the production process is considered to be non-violent, eco-friendly, and sustainable, eri silk has earned itself the title of ‘peace silk.’

Thirty-eight-year-old Jacinta Maslai from Patharkhmah village in Ri Bhoi district, who has been spinning eri cocoons into yarn for years, explained how an eri moth lays hundreds of eggs and after 10 days or so, these eggs hatch, producing silkworms, which are then reared indoors and fed castor leaves until they mature over a period of 30 days.

When the silkworm matures to its full size, they are placed on cocoonage—devices that help silkworms spin their cocoons. The moth evolves, breaking out from the open end of the cocoon to start a new life cycle. Thus, in this process, no moths are killed. The empty cocoons are boiled to remove the gums left behind by the worms; they are then rinsed and left out in the sun to dry.

According to Maslai, the best season to carry out this process is from May till October. “When the weather is too cold or too hot, the worms don’t grow properly because they eat less. If they don’t eat well, they don’t make the cocoon well enough,” Maslai said.

Switching to solar-powered spinning machines

Women artisans have for years used their traditional spindles or ‘taklis,’ to spin eri cocoons into yarn. However, many of them, like Maslai and Makri, have now switched to the solar-powered spinning machines, which they claim have made their lives “easier.”

Since Maslai started using the solar-powered machines, she says she can weave up to 500 grams in a week. “Sometimes even a kilo is possible in a week but many of us have children and farms to look after so we can manage up to 500 grams in a week,” Maslai said, adding that before they wouldn’t get a kilo even if they spun for an entire month with the ‘takli.’

“The machines help a lot—with our hands, we couldn’t do much.”

In the nearby Patharkhmah market, Maslai sells one kilo of yarm for Rs 2500.

Makri, who is considered an expert at spinning eri yarn, said she has sold 1 kg of yarn for up to Rs 3000. “The lowest quality of one kilo of eri yarn is about Rs 1200-1500. The quality also differs in terms of the smoothness of the yarn sometimes,” Makri said.

The machines have also made our lives better because their villages are usually without electricity for an entire day, Maslai said. In the mornings they usually go out for farming; evenings are the time when they find adequate time to spin.

“The machines provide backup solar batteries so we can work at night. It is helpful during the rainy season too when it’s too cloudy for the solar panels to be used as a direct energy source,” Maslai said, adding, “I spin a lot in the evenings after cooking dinner. That’s when my kids are asleep.”

The machines have been distributed by MOSONiE Socio Economic Foundation, a not-for-profit led entirely by a group of women based in Pillangkata of Ri Bhoi district in Meghalaya.

“Our vision is to increase the productivity of eri silk spinners by providing solar-powered spinning machines to them. We also want to provide them financial options to afford a spinning machine by connecting them with rural banks. The idea is to give them training to use these machines and promote entrepreneurship among the women artisans,” said Salome Savitri, one of the co-founders of MOSONiE.

Many women in rural areas, Savitri said, cannot afford to buy the machines or do not have the money to pay direct cash; this is where she said MOSONiE steps in and bridges the gap between Meghalaya Rural Bank (MRB) and the women artisans. For instance, Maslai took a loan from MRB to buy the spinning machine, which she paid off after a year.

Maslai recalls how, with training from MOSONiE, it took her about three days to make the switch from a handheld spindle to the machine. “We use the machine now and no longer use the traditional method,” Maslai said.

Makri, who is one of the more experienced ones, also teaches others from her village to use the solar-powered spinning machines. Individually, people give her Rs 50-100 per day for the training they receive from her. She has won awards for her work from India’s ministry of textiles, central silk board, and the national handloom awards.

Upasna Jain, chief of staff at Resham Sutra, a Delhi-based social enterprise that has been manufacturing the solar-powered spinning machines, said not-for-profit organizations like MOSONiE, which is an on-ground partner of Resham Sutra in Meghalaya, help them establish rural experience centers. “We have our on-ground partners, who enable us to mobilize, create awareness, outreach, and demonstrations. In the rural experience centers, we have machines for spinning but we also have machines for quality certification. The on-ground partners impart 3 to 5 days of training, and we also have community champions because even after training, a lot of handholding is required,” Jain explained.

Out of 28 states, currently, Resham Sutra has managed to reach 16 states of India. “We work with eri, mulberry, tussar, and muga silk,” Jain said. Started in 2015, the Resham Sutra initiative has more than 25,000 installations across India.

“Our founder, Kunal Vaid, was an exporter of silk and home linen, and he would source his silk fabric from Jharkhand, where he saw the traditional thigh reeling process to make tussar yarn…he being a mechanical engineer who specialized in industrial design, out of a hobby innovated a spinning wheel, which has now become a full-time business enterprise.”

Jain added, “He also transitioned from being an exporter to a full-time social entrepreneur.” Apart from the spinning wheels, Resham Sutra also manufactures solar looms.

Through the use of solar, Jain said, their aim is to also take the silk industry towards carbon neutrality. She said, “As our machines are solar-powered, we save a lot of carbon dioxide, our machines run on low voltage and they are energy efficient. So, wherever there is ample sunlight, these machines are a great solution, especially in remote villages where electricity can be erratic.”

While both Makri and Maslai like using their machines, they said that an extra space to expand their spinning avenues would help them greatly. Makri wants to build another room where she can keep both her spinning machines and teach others too. Maslai, who lives in a two-room house, said there is barely any space for her to teach anyone else but she still tries to pass on the craft to young girls as well as boys who are interested in learning. “When I am teaching, they look after my kids as a token of goodwill.”

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Excerpt:

A poster on the outside wall of the MEP. Credit: AM / SWAN.

By SWAN
PARIS, Mar 28 2025 (IPS)

Reggae fans may be initially drawn just by the iconic image of Bob Marley on the Music + Life poster, but once inside this exhibition, they will find themselves immersed in a world of extraordinary photographs.

Music + Life is the first retrospective of work by Jamaican-born British photographer Dennis Morris, and it has been pulling in visitors at the Maison Européenne de la Photographie (MEP) in Paris, where it runs until May 18th.

A banner on the wall of the museum – located in the bustling, historic Marais area of Paris – shows reggae legend Marley in a relaxed pose, his locks streaming out from under his tam and a playful smile directed at someone the viewer cannot see.

Inside, a vast space is devoted to Marley, with a range of depictions: playing football, performing on stage, laughing in his tour bus, posing with accompanying singers the I-Threes (including wife Rita), sitting solemnly alone with his guitar shortly before his death from cancer in 1981.

But this is only one segment of the exhibition. Music + Life is a look at Morris’ overall career photographing ordinary people in London communities, as well as later portraying Marley, the controversial punk group the Sex Pistols and a gamut of other artists – exploring the “intersection of punk and reggae,” as the curators put it. It’s also about the arc of his own life.

Morris arrived in London from Jamaica at age four in the early 1960s, part of the post-World War II “Windrush generation” of Caribbean immigrants to Britain. He says he developed an interest in photography early, as a choirboy at a church in London’s East End, which had a photo club.

“The director of the club was a man called Donald Patterson, and he saw my enthusiasm and my potential, and he took me under his wing and basically taught me more or less everything I know,” Morris told SWAN. “He took me to museums, he took me to galleries, and that’s how things started.”

Morris says he began taking pictures in his teens, documenting life in Hackney in the 1970s. Then, one day, he heard that Marley would be performing nearby, and he headed to the venue with his camera, waiting for hours before getting to meet the Jamaican singer, who subsequently invited him to tour with the band. That crucial meeting would lead Morris into the music world, where his photographs would be published by magazines such as Time Out and NME, providing up-close portrayals of Marley, and many others over time.

A major theme of Music + Life is “story-telling”, according to Laurie Hurwitz, who curated the show with MEP’s director Simon Baker (a huge reggae fan and the force behind developing the retrospective in Paris). The aim, Hurwitz said, was to recount Morris’s journey as a young photographer, moving on to his wide-ranging music portrayals, and then his later activity as an art director in the recording industry.

The exhibition begins with three series Morris photographed as a teenager: Growing up Black, which depicts life in Hackney and its rich Caribbean culture; Southall – documenting London’s Sikh community through an intimate lens; and This Happy Breed – a “blend of humour and resilience that illustrates the spirit of the British working class”.

Morris told SWAN that despite some of the hardships shown in the series, he wanted to focus on the dignity of the communities portrayed, and to give insight into people’s daily lives.

“What I’m trying to show is that with all the hardships, we had dignity and we had pride,” Morris said. “That’s how we made our way through. It’s like in some ways Nelson Mandela. Despite all the things he went through, he was never bitter and he showed people that no matter what they do to you, you have to hold yourself together, you have to keep your dignity, you have to keep believing in yourself, keep moving forward.”

Leaving this section, visitors can progress to the portrayals of Marley, with both recognizable images and unfamiliar shots, in black and white as well as vibrant colour. The museum has covered two walls with massive enlargements of portraits of the singer, but equally striking are the smaller framed portraits, where Marley’s aura shines through.

“Bob Marley didn’t need artificial lighting to be photographed,” Morris says. “He had an inner light and you can see that.”

Asked whether he thinks Marley’s legacy is currently being diluted with rampant marketing of his image and work, Morris said he would agree but explained that he tries to ensure his photographs are used in a way that respects the singer’s art.

After the Marley rooms, the exhibition continues with Morris’ photographs of the Sex Pistols, documenting their “turbulent rise to fame”, and their “anarchic image”, to use the show’s description.

Over the course of a year, Morris covered “their chaotic performances as well as their life behind the scenes,” according to the curators. This includes “seminal moments” such as the controversial release of the album Never Mind The Bollocks in 1977 and their cruise down the Thames for the single God Save the Queen during the royal Silver Jubilee that year.

The “in-your-face” atmosphere of this section was intentional because that was the band’s persona, Morris told SWAN. Viewers will find themselves immersed in the stormy energy of the group through the photographs of Syd Vicious and Johnny Rotten, and of their concerts and “energised” fans.

“Bob represented the new youth of Jamaica, and the Sex Pistols represented the new young white generation of Britain,” Morris says. “It’s the ying and the yang. From Bob, I learned spirituality, how to hold my head high, and from the Sex Pistols, I learned how to kick the door down in the face of obstacles.”

The exhibition ends with a section showing the “breadth” of Morris’ career, with photographs of artists such as Patti Smith, Marianne Faithful, Oasis, Grace Jones, French group Les Rita Mitsouko, dub poet Linton Kwesi Johnson, and many others. His work designing album covers and his stint in a band called Basement 5 are also featured.

Before leaving the show, visitors can enjoy a diverse playlist including Marley songs, booming from a huge sound system that the MEP’s own engineers have constructed. The temptation to dance will be hard to resist. – AM / SWAN

The Giant Plastic Tap installation by Canadian artist Benjamin Von Wong.

By Diwash Gahatraj
NEW DELHI, Mar 28 2025 (IPS)

“The size of the faucet highlights the magnitude of the problem. It makes the problem impossible to ignore. We’re used to throwing things ‘away’—but when we’re confronted with what happens when ‘away’ is not an option, I think it creates an emotional wake-up call,” says Benjamin Von Wong.

The 39-year-old Canadian artist and activist is referring to his inspiration behind The Giant Plastic Tap installation, which created a buzz in the art world, highlighting the problem of plastic pollution.

Wong, known for his environmental art installations and hyper-realist art style, created the Giant Plastic Tap that features an oversized faucet seemingly floating in mid-air while spewing plastic waste, serving as a striking metaphor for the world’s urgent need to address plastic production at its source.

He explains, “I wanted to bring the phrase ‘Turn off the plastic tap’ to life in a tangible way. I adapted the concept of the ‘floating fountain’ but distorted it with plastic—to emphasize the urgency of tackling the problem at its source by reducing plastic production, rather than relying solely on downstream solutions like recycling and beach cleanups.”

Reportedly, the global effects of plastic pollution are becoming more evident, highlighting the urgent need for collective action. Scientific studies and policy changes are essential but it is also crucial to acknowledge the influence of art in raising awareness and inspiring people to act.

Art has a unique power to evoke emotions, ignite conversations, and build a deep connection between individuals and the environment.

In the fight against plastic pollution, one art installation has become a powerful symbol of change, with Wong playing an important role.

Plastic pollution is one of the biggest crises of this generation.

The latest study, by charity EA Earth Action and released last year, revealed that more than a third of plastic waste will be improperly handled at the end of its lifecycle. This equates to 68.6 million tonnes of plastic, translating to an average of 28kg of plastic waste per person worldwide. In 2024, approximately 220 million tonnes of plastic waste were generated, marking a 7.11 percent increase since 2021.

Canadian artist Benjamin Von Wong.

Art installed so far

Von Wong, who shifted from mining engineering to environmental activism through art, has created four large-scale faucet installations, showcased at venues including Art Basel, the United Nations Environment Assembly 5.2 in Nairobi (2022), and the United Nations Ocean Conference.

“We’ve installed them in over a dozen locations—but even more exciting is that hundreds of cardboard replicas have been made worldwide,” Wong says.

Wong reflects, “I’m not sure how you measure the impact of art, but I think the fact that this installation has become a symbol for the importance of a global plastic treaty is probably the biggest achievement.”

The Giant Plastic Tap has been featured at previous INC (Intergovernmental Negotiating Committee for the plastic treaty) sessions. However, its absence was notably felt during the INC-5 conference in Busan, South Korea.

Wong says, “I did my best to have the tap installation placed in Busan, but it wasn’t allowed. Instead, the ‘beached whale’ was placed on the lawns of BEXCO, the exhibition center that hosted the event last year.” He adds, “Despite reaching out over six months in advance to the operations team, the delegation, and securing local partners with independent funding, we were met with silence.”

Interestingly, INC-5 failed to reach a consensus on the global plastic treaty due to disagreements over national interests, industry influence, financial and technical support, and enforcement mechanisms.

Despite current challenges in global plastic treaty negotiations, including the presence of fossil fuel lobbyists and the constraints of consensus-based decision-making, Artist Wong remains optimistic about the future. “I’m certain we will find a way forward,” he asserts, pointing to the numerous dedicated individuals and organizations working to advance the treaty.

Meanwhile, after the Intergovernmental Negotiating Committee decided to postpone the fifth session, the second part of the fifth session (INC-5.2) is scheduled to take place from 5 to 14 August 2025 at the Palais des Nations in Geneva, Switzerland.

Involving locals

Wong involved the local communities to complete the installation at UNEA 5.2 in Nairobi. The project collaborated with the Human Needs Project to collect three tons of plastic from the Kibera slums. The initiative employed over 80 local women to clean and organize the plastic, ensuring their voices were heard by world leaders. “We also fundraised to support the creation of a more local waste management system,” he adds.

The installation has achieved significant success in its mission to influence public perception. Viewers consistently grasp the fundamental message about the need to stop plastic pollution, and the installation’s visual impact helps transform an intellectual discussion into an emotional experience. Its symbolism has become particularly significant in the context of the global plastic treaty discussions.

Lastly, can art play a pivotal role in driving real-world change? To this Wong draws a compelling parallel: “What is the value of a monument like the Statue of Liberty? How would you measure it?”

The success of The Giant Plastic Tap suggests that art remains a powerful catalyst for environmental awareness and social change, particularly when it transforms complex global issues into visceral, emotional experiences that resonate across cultural and linguistic barriers.

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Francks Deceus’ Carib-Olympics at The Stories of Us exhibition at the United Nations Headquarters. Credit: Oritro Karim/IPS

By Oritro Karim
UNITED NATIONS, Mar 26 2025 (IPS)

Ahead of the International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade on March 24, the United Nations (UN) unveiled a new exhibition examining the themes of equality and transformative solidarity in the context of the African diaspora.

The Stories of Us, curated by the organization of the same name and the UN Outreach Programme on the Transatlantic Slave Trade and Slavery, features a series of sculptures by the artists Alanis Forde, Francks Deceus, Láolú, Leasho Johnson and Marryam Moma.
The objective of the exhibition was to showcase the importance of inclusivity, culture, progress, and freedom from the perspective of Afro-descendent artists. The history of the transatlantic slave trade, its ramifications, as well as the enduring racism and discrimination that stifles an inclusive future are some of the essential themes in this collection. The sculpture exhibition is open to all visitors in UN Headquarters in New York City until 25 April.

Nigerian artist Láolú explores the origins of the African diaspora, particularly the Yoruba culture, in the sculpture Afromations. This monochromatic piece depicts a series of figures stylized to resemble traditional Yoruba paintings alongside various symbols including eyes, hearts, and a drum.

Additionally, phrases such as “talented”, “beautiful”, “not like us”, “purpose” and “courage” are incorporated in this piece to describe the African diaspora. According to Láolú, this piece is not only a celebration of the Black identity and its origins, but also a response to the loss of culture as a result of racism.

Afromations by Láolú. Credit: Oritro Karim/IPS

“This has become a very important part of my consciousness since I started living outside of West Africa, where I had never experienced the everyday prejudice that exists elsewhere. The memories of those who have become ancestors too soon call on us to stand for and with one another to demand and work for change. In many ways, this sculpture is inspired by our ancestors,” said Láolú

Tanzanian-Nigerian artist Marryam Moma’s sculpture Melanin Machina focuses on themes of technological advancement and community. Several images of people of African descent who have occupied culturally significant roles throughout history can be seen in the piece, including John Lewis, Lauren Tate Baeza, and sisters Zoey and Nola Jones.

These figures are depicted in robotic suits, along a circuit board backdrop and additional computerized elements. It is apparent that the figures are inextricable from the suits, which is a metaphor for the advancement of technology being permanently ingrained in humanity. A multitude of golden symbols can be seen throughout the piece, symbolizing prosperity.

Ashley Shaw Scott Adjaye, the co-founder of The Stories of Us, opined that the piece showcases the hope and uncertainty that technological advancement brings. Adjaye and our IPS correspondent agreed that Melanin Machina shows the dangers of over-reliance on technology as well as an endless array of possibilities for progress.

“The subjects are presented as hybrid forms that embrace technological advances, while prioritising our health, well-being and security. There is often a lot of fear when it comes to technology and how rapidly it is changing the world. In this moment of transformation, we have to embrace and direct technology so that it serves us. Technology is not our master, but we must master it as a tool of human advancement,” said Moma.

Leasho Johnson’s sculpture, Man Standing in a Cane Field, explores the theme of emancipation, with a specific focus on the abolition of slavery in the Americas. The piece features three different abstract portraits, all depicting the different experiences of enslaved Black people.

The first of these portraits depicts the silhouette of a man standing in a thicket of sugar canes. “It is a man, but not quite belonging to himself-the body is a property of industry”, Johnson explained. This portrait shows the exploitation of Black bodies, as well as his lack of autonomy. Additionally, this portion of the sculpture emphasizes the importance of the remembrance of slavery and the decades of strife among people of African descent.

The second portrait shows a man emerging from a cane field, yet finding it difficult to fully disconnect. This symbolizes the difficulty of processing generational trauma and advancing in life. “Even in looking back, he’s still carrying that history with him. It speaks to the journey of transformation that is never immediate- it is an emergence. It is processing and facing the past, in order to move forward”, said Johnson.

The third portrait in this sculpture was inspired by the dancehall artist King Yellowman, depicting a man struggling with health issues, poverty, and discrimination surrounding his albinism. Adjaye remarked to our IPS correspondent that the depiction of the man’s jaw was particularly jarring as it contrasted with the rest of the sculpture and was an immediate point of attention.

This portion shows the repercussions of slavery and the innate value of a person despite immense hardship. Johnson hopes for viewers to take the time to look beyond the surface when looking at themselves and others. “And yet I see (King Yellowman) as someone that erupts with inner value and strength that you experience in how his music creates space for joy, irreverence and the awakening of our bodies – for people to become something more than they are. For me, he is the embodiment of our ability as people to transcend what the stereotypes and current realities expect of us, rooted in our dignity and self-worth,” Johnson said.

Alanis Forde’s sculpture Infinite Journey focuses on themes of personal growth in relation to transformative solidarity. This piece depicts a self-portrait of Forde in which she is lying down and staring at her phone, illustrating the positive aspects of technology and digitization.

Forde is drawn to have several sets of arms and several flowers erupting from her hair. According to Forde, the flowers are representative of her home country, Barbados. Additionally, Forde’s use of pointillism for the subject’s skin and hair establishes the subject as organic and intertwined with both nature and technology. Forde added that this was done to represent “cellular changes” that occur within us all.

“For me the blue dots and transformations have meant both self realisation and the use of an organic armour, of scales, that help me thrive in different settings – speaking to the transformation I also experience as I leave and come back to Barbados. Sometimes we are one thing in one space and something else in another. How can we be our authentic, best selves in all spaces? The digital world allows us to explore that,” said Forde.

Infinite Journey by Alanis Forde. Credit: Oritro Karim/IPS

The final piece in this exhibition is from Haitian artist Francks Deceus, titled Carib-Olympics. This sculpture examines the concept of “Good Trouble”, which “honors global efforts to assert humanity”. It depicts a group of swimmers participating in an Olympics-style swimming race, with a Haitian swimmer at the lead. Swimmers from other nations follow behind.

This represents both the Haitian revolution and the desire for nations with a primarily Black population to achieve economic and social progress. A significant portion of the sculpture depicts several yellow lifesavers, which Adjaye interprets as a representation of international humanitarian aid, which is often unsuccessful in truly advancing development for nations, and rather act as obstacles. Deceus, although open to this interpretation, stated that the yellow lifesavers are representative of the international pressure that unbalanced power dynamics put on people of color.

Deceus told our IPS correspondent that the pool water in this sculpture is “definitely rough ocean water”, representing the struggle for these nations to not only stay afloat but to thrive. Additionally, this acts as a nod to the transatlantic slave trade and the generations that descended from enslaved populations that were brought to colonized lands.

“Haiti has repeatedly been dealt a difficult hand. The historic enslavement of its people left the new independent nation unbearably poor. But this painting reminds us that anything is achievable if we pull together and come together, under one banner,” Deceus explained. “The swimming pool shows that when the barriers of segregation come down and there is opportunity, breakthrough success follows…And even as we have shared direction, we have our shared journeys, and it is through the learning of those different experiences that we discover empathy and solidarity”.

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Lingadbael homestay dining hall with its doorway decorated with an illustration of crawling ants, which are ground to make the traditional “saavli” chutney. Credit: Rina Mukheerji/IPS

By Rina Mukherji
LINGADBAEL VILLAGE, Karnataka, India, Mar 10 2025 (IPS)

The Siddi community, descendants of slaves from Africa, is now becoming more involved with mainstream enterprises, including a forest homestay venture—which is changing their fortunes after years of discrimination on the Indian subcontinent where they were originally enslaved.

In the 15^th century, when the Portuguese arrived on the western coast of India, they brought with them several thousand slaves from the southeastern coast of Africa. These slaves, possibly hailing from African language-speaking tribes, were initially brought to the Portuguese colonies of Goa, Daman and Diu and were then sold to local Indian rulers at a profit.

Much later, around the early 19^th century, once slavery was declared illegal, the slaves were released by the Portuguese. Some, as per local lore, also managed to escape the clutches of their cruel masters. But even when released, such was the fear of the barbarity they had been subjected to that they feared recapture. Hence, they fled into the forested tracts of the present-day Indian state of Karnataka, bordering Goa. Other African slaves settled down in the forested tracts of Gir, near Junagadh in Gujarat, after the Portuguese had sold them to nawabs in the western Indian state of Gujarat.

The Portuguese were not the first to introduce African slaves into India. The first African slaves were brought from Abyssinia (present-day Ethiopia) by the Turco-Afghan Muslim invaders in the 11^th century when they conquered India. Hence, African slaves came to be called Habshi (from the Urdu term Habsh—meaning Abyssinia). Known to be excellent soldiers, some rose to become generals and petty officers—this gave rise to the term Siddi (African governor). Nevertheless, the majority of these slaves remained poor and exploited, looking forward to freedom.

Distinctly different in their looks, the Siddis of Karnataka continued to live in fear for centuries, despite escaping enslavement from their erstwhile Portuguese masters. Hence, they confined themselves to dwellings in the dense forests, living as hunter-gatherers. This was where they were ‘discovered’ by Gowdas (and revenue officials of the local rulers). Impressed by their physical strength, local officials employed Siddis as farm labor. The skills Siddis acquired in agriculture made them give up hunting and start farming small patches in the forest. But limited familiarity with the outside world and lack of literacy often saw them cheated of their wages or wrested off their farms by upper-caste landowners.

Siddi-run homestay at Lingadbael using mud-brick architecture. Credit: Rina Mukherji/IPS

Although Indian independence brought government schools to nearly every village, Siddi children would often be forced out of schools due to racist slurs and ridicule. Socially, they were placed below the lowest untouchables in India’s caste hierarchy, resulting in the community shying from interaction. Things started looking up for the Siddis only after 2003, when they were given the status of a scheduled tribe, entitling them to several benefits, including quotas in education and employment. India’s 2006 Forest Rights Act, too, empowered them as a forest-dwelling tribe to gather and sell non-timber forest produce, such as honey, wax, and cane. During the monsoon months, when farm employment is lacking, the Department of Social Welfare gives every Siddi family dry food hampers.

Siddi Culture, Religious Beliefs and Skills

The Siddis have no memories of their original African homeland. However, they are talented musicians and dancers and have a great sense of rhythm. Gagged and bound and dumped into sailing vessels, the only object from their homeland that the Siddis carried along was the Dammami, which they continue to play to this day. The Dammami is a drum made out of a log of wood, covered with animal skin. Originally fashioned out of wood and the skin of wild animals, the Dammami is now made out of wood from the Nandi (Spathodea or African tulip tree) or Rumda (cluster fig tree), with one end covered with a patch of sheep skin and the other with goat skin. The Dammami is a necessary accompaniment to the songs sung at every Siddi feast.

Whichever part of India the Siddis settled in, they assimilated and adopted local customs and religious beliefs. Gujarat Siddis have adopted clothing styles prevalent in Gujarat, while the Siddis of Karnataka are dressed like the people of Karnataka. The Siddis of Junagadh in Gujarat, who used to serve Muslim rulers, are Muslim, while those in Karnataka are generally Hindus, with a few Christians and a smaller number of Muslims. However, all Siddis, irrespective of religion, revere Siddi Baba. The shrine of Siddi Baba, in Ankola, attracts Siddis from all parts of Karnataka during an annual feast dedicated to the deity. Worship of the deity is conducted by a mirashi, or priest, who follows rituals modeled on Hindu practices and is a local patriarch. Sanu Siddi, who works as a forest guard in Lindabael, for instance, is a mirashi, who is an expert in Siddi oral history, despite being unlettered.

Siddis in Karnataka use Siddi bhasha (Siddi language—a mix of the local Goan Konkani, Marathi, and Urdu, with a few Kannada words). The influence of Goan food and language is strongly evident in their cuisine, with a typical Siddi meal comprising rice, amti (a sweet-sour syrup using a local fruit), cocum and coconut-flavored curries, meat, bananas, and mango. Drinks like kashayam (a warm milk-based drink) and cocum sherbet, common to coastal Maharashtra and Goa, are part of Siddi cuisine and are indicative of Siddi history. Remnants of their erstwhile hunter-gatherer skills define the Siddis; they are skilled at gathering honey and wax and are good at beekeeping. Several species of plants and their leaves are used to make fritters, cooling drinks, and heal afflictions.

Siddi community that runs the Damami homestay. Credit: Damami.in

In the ‘80s, a nationwide talent hunt by the Sports Authority of India (SAI) in remote regions of the country picked up and nurtured some talents from the community and got them trained to represent India in athletics, given their naturally athletic strength and build.

Notwithstanding the community continuing to depend on farm labor, literacy levels have risen with government schools being set up all over Idagundi gram panchayat and Yellapur taluka—this has enabled some Siddis to progress into more remunerative professions, such as acting in movies, teaching, and business, notwithstanding the discrimination they face.

Homestay Venture: A New Beginning

Of late, the National Rural Livelihoods Mission (NRLM) has set up homestays in Lingadbael village, owned and managed by Siddi women through their Nisarga Sparsha Self-Help Group (SHG). The venture was long in the making, though, as NRLM District Officer Nagraj Kalmane revealed to me.

“We were working among the Siddis, organizing them into self-help groups, and preparing them for livelihoods over the last decade.” To start this venture, NRLM joined hands with Suyatri, a Bangalore-based social enterprise, and Nirmiti Kendra, a government organization, to build the homestay cottages.

The venture was named Damami, after the unique drum whose notes spell the last vestige and only link of the Siddis to their lost African homeland. Even so, persuading the Siddis to take the idea up was not easy.

“The Siddis feared that running this homestay would undermine their culture,” Uttara Kanara Zilla Parishad’s Chief Executive Officer (CEO) Ishwar Prasad Kandoo tells IPS.

This meant interacting with the Siddi community using the offices of the Gram Panchayat (Village Self-Governing Body) and the local Siddi Member of the Legislative Assembly (MLA), meeting and reaching out to Siddis in the Gram Sabha (Village Council) for months, before the community saw the advantages of the project.

“Since they work at the grassroots level, Suyatri was particularly useful as a bridge between the administration and the community,” Kandoo tells me. But once they were convinced, things were easy. Manjunath Siddi, who now works as a local guide to visitors at the homestay, came forth to part with some family land for the cottages to be built on and was instrumental in getting other members of his community to collaborate in the venture.

To start with, the Siddis were trained in basic housekeeping, carpentry, and electrical work to maintain the homestays by Suyatri. “We took them to Wynad in Kerala, where we run a homestay with women from the local community. They were taught the basics of hygiene and how to serve food to visitors,” Sumesh Mangalassery of Suyatri tells IPS. Of course, some were more receptive than others. For instance, Hema Hari Siddi, who served in Bengaluru and Mumbai in restaurants, took to the training effortlessly, unlike many of her counterparts.

The homestays, which opened to the public in May 2024, use traditional mud-brick architecture that the Siddis specialize in and comprise spacious rooms with tiled roofs and modern amenities. The cottages were hand-illustrated with Siddi folklore by Siddi women using limestone chalk.

Jevan Mane (dining hall in Siddi Bhasha) has its doorway decorated with an illustration of crawling ants, which are ground to make the traditional “saavli” chutney, a sauce made of crushed ants, ginger, onions, and garlic.

“It protects us from colds and builds our immunity,” say Hema Hari Siddi and compatriot Savita Ravi Siddi. The women are happy earning Rs 600 (USD 6.89) per day at the homestay, which is around twice the amount they made as farm labor.

Being a forest village in the interior and off the highway, Lingadbael is an attractive retreat away from the bustle of city life. NRLM’s collaborative tie-up with the Forest Department to conduct hikes along forest trails and marketing through Suyatri has already ensured a warm response from research scholars and students keen to study the Siddi community.

But being tucked away from urban centers has its disadvantages too. For one, electricity is erratic, and there is no mobile network. Every time the electricity goes off, the Wi-Fi connection is gone too. Neither is there any reliable transport to Lingadbael. Hence, visitors must rely on private transport to and from Hubli or Yellapur towns.

“We are planning to explore using solar power for uninterrupted electricity,” Rajmane tells me. There are also plans to build a modest platform to serve as a stage for the Siddi music and dance performances visitors enjoy here.

The Zilla Parishad (District Administration) is already in talks with Karnataka Tourism to include Lingadbael homestay as part of a tourist circuit. Talks are also on with private players to obtain tourist vehicles under their Corporate Social Responsibility (CSR) initiatives.

“We are in talks with forest officials and the Eco-tourism Development Board to promote Lingadbael as an ideal site for birdwatching and star-gazing, given its greenery, clear skies, and tranquil environs,” says Kandoo. Once the homestay catches on, the Zilla Parishad plans to open a Sanjeevani Mart counter wherein woodcraft, pickles, and handicrafts can be sold to visitors to help the Siddi community earn some additional income.

For a community that has remained in the margins for so long, the homestay venture in picturesque Lingadbael, with its gushing waterfalls and gurgling streams, holds the promise of opening up a window to the wider world.

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Mexican artist Pedro Reyes (second right) at the ‘Artists Against the Bomb’ event, held in the United Nations Trusteeship Council. Credit: Oritro Karim/IPS

By Oritro Karim
UNITED NATIONS, Mar 6 2025 (IPS)

This week countries and communities converge in New York for the 3rd Meeting of State Parties on the Treaty for the Prohibition of Nuclear Weapons (TPNW), with multiple side events to address the social, political and cultural impact of nuclear abolition across different sectors.

On March 5, the Permanent Mission of Mexico to the United Nations held an event called Fábulas Atómicas – Artists Against the Bomb in collaboration with Mexican artist Pedro Reyes, in which the relationship between the arts and the use of nuclear weapons was discussed. Throughout the last century, the arts have been used to provide cultural commentary on the threats that nuclear weapons pose to humanity.

“Using art for disarmament can take many different forms. I started by transforming gun parts into musical instruments, for instance taking a rifle and transforming it into a flute…What is the principle of a nuclear weapon? I thought it was possible to make a chain reaction that could be a creative force rather than a destructive force. That is how Artists Against the Bomb was born,” said Reyes.

Since 1952, the United Nations Disarmament Commission (UNDC) has continuously stressed the importance of international peace and disarmament. With geopolitical tensions on the rise and world superpowers such as Russia, North Korea, and the United States wielding more atomic weapons than ever before, the threat of nuclear proliferation is the highest it has been in decades.

“The bilateral and regional security arrangements that underwrote global peace and stability for decades are unravelling before our eyes. Trust is sinking, while uncertainty, insecurity, impunity and military spending are all rising. Others are expanding their inventories of nuclear weapons and materials. Some continue to rattle the nuclear sabre as a means of coercion. We see signs of new arms races including in outer space,” said United Nations (UN) Secretary-General António Guterres at the UN Conference on Disarmament in Geneva.

Despite this, conversations surrounding nuclear weapons have been largely absent from the cultural zeitgeist. The Atomic Age, also known as the period of time between the detonation of the first atomic bombs in 1945 and the end of the Cold War in 1991, was saturated with pop culture that dealt heavily with themes of nuclear fallout.

Since the late 1980s, projects began to shift away from these themes. Reyes highlighted the importance of art in relation to cultural commentary surrounding nuclear weapons by saying, “The end of the 80s made it seem like the cold war was over. To a certain extent, people born after 1989 had not been exposed to cultural materials…With the nuclear testing ban, there haven’t been any nuclear detonations since around 1999. There’s a saying called ‘out of sight out of mind’. The threat became somewhat invisible. It is our job to use culture to bring awareness to this issue through culture by provoking rage and fear.”

Reyes adds that the current undersaturation of the nuclear weapons issue in pop culture helps to facilitate conversations as the public has become wary of discussing issues that dominate culture today. “There is no fatigue about the subject. There’s a certain fatigue surrounding projects that have been strongly discussed in the past twenty years. Nuclear weapons are an issue that we have not spoken out about enough in recent times. We need to take advantage of this lack of fatigue,” he said.

The Nuclear Art movement rose in 1945, shortly after the United States’ detonation of two atomic bombs in Hiroshima and Nagasaki, Japan. At this time, the majority of the American public were unaware of the scale of destruction that had occurred in Japan.

Japanese photographers that had survived the attacks such as Yoshito Masushige (Hiroshima) and Yosuke Yamahata (Nagasaki), as well as American photographers such as Wayne Miller and Joe O’Donnell, published photos of the aftermath, which were classified by the United States government for decades. Much of the world instead relied on artwork that visualized the devastation.

Contemporary artists and corporations alike began incorporating themes of atomic weapons and nuclear fallout in their work shortly after the bombings in Japan. This movement grew more prominent after the 1962 Cuban Missile Crisis, which is considered to be the closest the world has ever come to nuclear warfare.

Western art pieces, such as Charles Bittinger’s 1946 painting, Atomic Bomb Atomic Bomb Mushroom Cloud, brought the now well-known mushroom cloud imagery into public consciousness in the United States. Other examples include U.S. military artist Standish Brackus’s pieces Still Life (1946) and At the Red Cross Hospital (1945), which depicted the wide scale destruction that nuclear weapons inflict on civilian infrastructure and the human body, respectively.

Additionally, Nuclear Art also became a fixture in Western propaganda. In 1957, the Walt Disney Company released an episode of Disneyland titled Our Friend the Atom, which highlighted the ways atomic weapons can be used for peace, falling in line with the themes of Dwight D. Eisenhower’s Atoms for Peace speech at the UN General Assembly in 1953.

In the early 1950s, blockbuster films from both American and Japanese studios led to a widening public consciousness surrounding nuclear weapons. Science-fiction films such as The Beast from 20,000 Fathoms (1953) and Godzilla (1959) highlighted the unintended biological consequences of nuclear fallout.

However, On the Beach (1959) marked a pivotal shift in the depiction of nuclear fallout by explicitly marking humans as responsible for a deliberate detonation that led to a societal collapse. Stanley Kubrick’s Dr. Strangelove (1964) expanded on these themes by using absurdism to emphasize humanity’s role in nuclear proliferation.

Most recently, Christopher Nolan’s Oppenheimer (2023) brought nuclear weapons into the public consciousness once more, particularly in the West, There have been critiques on if modern artists are depicting these themes effectively. Reyes told an IPS correspondent that the arts have the ability to sway audiences in either direction. Certain representations of nuclear weapons in pop culture can be classified as either “above the cloud” or “under the cloud”.

“Films like Oppenheimer show the overwhelming power of science and the moral conflict of atomic bombs but never show the victims or consequences. Films like that are almost pro-bomb because they fail to humanize these conflicts. Other films show what’s really at stake. It’s important to be able to identify which side cultural productions are on,” said Reyes.

It is crucial for contemporary artists to depict the correct messages in their work to achieve any substantial cultural progress in nuclear disarmament. Pop culture must continue to show the true extent of the dangers that nuclear weapons pose.

“We have to be very clear in arguing that nobody can win a nuclear war,” said Reyes. “And that’s why it’s very important to show the consequences. It has been normalized through video games and other mediums that make them seem not as problematic as they are. It’s our job to do a lot of explaining and find entertaining ways for people to understand.”

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Esiri Erheriene-Essi and her painting The Birthday Party. Photo credit: AM/SWAN

By SWAN / A.D. McKenzie
BRUSSELS, Mar 4 2025 (IPS)

It’s like walking through several psychedelic halls of history, where bold colours, electrifying compositions and contagious rhythms hit the senses all at once.

This is When We See Us: A Century of Black Figuration in Painting – a momentous exhibition running at the Bozar Centre for Fine Arts in Brussels, Belgium, until Aug. 10, 2025.

“One of the most enduring features of the human condition is the inexhaustible desire to see oneself through visual culture and storytelling,” said Koyo Kouoh, co-curator of the exhibition with Tandazani Dhlakama, and executive director and chief curator of Cape Town’s Zeitz Museum of Contemporary Art Africa (MOCAA) – which conceived and organized the exhibition.

“Whether living on the continent or within the vast, impressive African diaspora, Black artists have invested in a spectrum of narratives that encompass the experience of blackness, intentionally rejecting limiting tropes of representation,” Kouoh told journalists as the exhibition opened in February.

According to Zoë Gray, Bozar’s director of exhibitions, When We See Us demonstrates how art history is “plural, diverse, and always intertwined”. She said that when she first saw the exhibition in South Africa, she immediately wanted Bozar to host it as well. (The show has now travelled from MOCAA to Basel, to Brussels. It will move on to Stockholm in October for a 10-month stint in the Swedish capital.)

The paintings – from a timely “insider” perspective – are grouped into sections titled “The Everyday”, “Repose”, “Triumph and Emancipation”, “Sensuality”, “Spirituality”, and “Joy and Revelry”. As visitors wander through these sections, they stroll to an accompaniment of global rhythms (arranged by musician and sound artist Neo Muyanga); and the overall effect is of a lively, panoptic world.

An Evening in Mazowe by Kudzanai-Violet Hwami. Photo credit: AM/SWAN

But this is just one noteworthy element. When We See Us can be viewed as an historic art journey, a parade of artistry, a different way of seeing, an explosion of joy.

The curators say the show’s title is “inspired and derived” from the 2019 miniseries directed by US filmmaker Ava DuVernay, When They See Us, which depicts systemic racial prejudice and violence.

“I like shifting things and flipping things … as a way to continue the conversation,” Kouoh said. “So, flipping ‘they’ to ‘we’ allows for a dialectical shift that centres the conversation in a comparative perspective of self-writing, as theorized by Cameroonian political scientist, Professor Achille Mbembe.”

She said it was important for the organizers to show a plurality of experiences and to avoid “reductive” and “myopic” narratives. Pain and injustice are not at the forefront of this exhibition, as black experiences can also be seen “through the lens of joy”.

As for the choice of figurative painting, this reflects the history of the genre throughout the world and especially amid Black artistic practice, she remarked.

Many of the artists have lived in different places and reflect an array of influences or associations; Cuban-born Wifredo Lam, for example, was a long-term resident of Paris, and died there in 1982. He was friends with Spanish artist Pablo Picasso, associated with other European artists including Henri Matisse and Joan Miró, and knew Mexican artists Diego Rivera and Frida Kahlo. In the exhibition, visitors get to see Lam’s striking 1938 work “Femme Violette” up close.

Meanwhile, works by the “kings of Kinshasha” – Congolese artists Chéri Samba and Moké – stand out for their audacious, animated canvases, as well as their satirical themes.

“They were both pivotal protagonists in the political provocative Zaire School of Popular Painting, a style that developed in Kiinshasha in the 1970s, a decade after Congo’s independence from Belgium in 1960,” state the curators. “The work of both artists was focused on the daily life in Kinshasa, the capital of the Democratic Republic of Congo.”

(For a profile of Chéri Samba see:  Congolese ‘Kings’ of Art on Exhibition in Paris)

In the section “Joy and Revelry”, Netherlands-based British-Nigerian artist Esiri Erherienne-Essi said she wanted to show a different side of anti-apartheid activist Steve Biko. Her painting “The Birthday Party” depicts a group posing for a photograph at a joyful event. Here, she centres a happy-looking Biko, celebrating his niece’s birthday.

In her work, Erherienne-Essi uses photographs from historical archives as a starting point to create her paintings, according to the curators. She brings to the fore “archives and moments from Black people’s lives with vibrant depth, colour and detail, countering the flatness of the Black figures in the Western art historical narratives,” they added.

This idea of reversing the gaze is central to When We See Us – especially in the section “Sensuality”, where artists explore “various levels of pleasure, leisure and desire” with works in a variety of media. Among these, the remarkable “Never Change Lovers in the Middle of the Night”, by American artist Mickalene Thomas, employs acrylic paint, enamel and rhinestones to depict sexuality.

All the artworks are arranged in such a way as to make visitors feel fully connected to the paintings, said Ilze Wolff, of Cape Town design firm Wolff Architects, responsible for the exhibition’s scenography. Visitors can sit in some sections and become immersed in a particular set of paintings.

Visitors can freely browse some 80 books, loaned by Belgian institutions including the Vrije Universiteit Brussel (VUB), local library Muntpunt, and art galleries.

“The books on display give a glimpse of the history of research into Black art, as well as of Black literary writing, philosophy, and political thought,” said Eva Ulrike Pirker, VUB professor of English and comparative literature. “While the exhibition is temporary, the books, including the beautiful catalogue, which offers reproductions of all the artworks, are in Brussels to stay and available at the partner libraries free of charge.”

Pirker said she liked the idea that the exhibition will have a “concrete, lasting impact” on the collections of libraries that have partnered with the show, as it prompted librarians to look into their holdings and acquire new books to fill existing gaps.

Showing the richness of African diasporic art, the documentation section may even spur viewers to seek out more information, as well as related artwork.

“When We See Us is about a historical continuum of Black expression, Black consciousness and joy, and we hope (audiences) will enjoy it,” said co-curator Dhlakama. – AM/SWAN

Dr Velma Pollard at her Kingston home. Credit:AM/SWAN

By SWAN
KINGSTON, Feb 24 2025 (IPS)

Jamaican writer Velma Pollard provided a special kind of sunlight in the Caribbean literary space. Known across the region for her warm personality and welcoming nature, she also defied simple classification as she shone beyond genre. The work she has left behind encompasses short stories, poetry, academic writing, and novellas. She was also a keen naturalist photographer.

An early poem, “A Case for Pause”, reflects on the interconnections between all the forms she used: “Arrest the sense / and let the fancy flow / Without design / collecting cloud and air / petal and leaf … Rein in the fancy now / unleash the sense … constructs and theories not yet pursued / rush in perfected, whole,” she wrote.

Her sudden death earlier this month, on Feb. 1, has created a huge gap in the lives of those who loved and admired her as a person and poet and who must now draw solace from reading or revisiting her work. Her generosity to other writers, scholars, and artists was legendary in the Caribbean and internationally. In the days and weeks before her passing, and despite her incapacity from a fall and subsequent operation, she took pains to read and comment on work that young writers sent her, carefully and unsparingly collating her responses.

As fellow Jamaican author and academic Earl McKenzie said after her funeral service on Feb. 21: Dr Pollard “was a friend and supporter of her fellow writers, and we all miss her”. Her long-time friend and colleague, Dr. Elizabeth “Betty” Wilson, added that the service was “an outpouring of love”.

Born in 1937, in the parish of St. Mary on the north-eastern Jamaican coast, Dr Pollard spent her early years in a rural setting along with siblings that include her equally renowned sister Erna Brodber.

She later attended Excelsior High School in the capital Kingston, where she won several elocution contests, and she gained a scholarship to continue her studies at the University College of the West Indies, focusing on languages.

Afterward, she earned a Master’s degree in English at New York’s Columbia University, and another Master’s – in education – from McGill in Canada, followed by a PhD in language education at the University of the West Indies (UWI). She would go on to become dean of the education faculty at UWI, inspiring numerous students, while also raising her three children – one of whom has said she was the strongest woman he knew, with the largest circle of faithful friends.

Dr Pollard lent her presence and expertise to important scholarly and literary conferences around the world, often writing about her experiences. She once joked that a self-important critic had remarked that every time she attended a conference, she “just had to write a poem”. But that talent for acute observation and for recording the places she visited and the people she met forms part of the richness of her work. In the poem “Bridgetown”, she writes for instance: Because the sea / walks here / this city / hands you heaven.

She addressed myriad issues in her work: family relationships, gender, colonialism (and its legacies), history, love, injustice. Many of her poems are tributes to the everyday struggles of ordinary women, the unlettered makers of “hot lunches and hot clothes / cooking and stitching miracles / with equal hand”.

Her landmark scholarly publication Dread Talk: The Language of Rastafari remains a must-read for linguists and others, while her distinctive fiction – including Considering Woman I & II – places her among the Caribbean’s best short story writers. In 1992, she won the Casa de las Americas Prize for Karl and Other Stories (which is being relaunched this year as a Caribbean Modern Classic by a British-based publisher); and, with Jean D’Costa, she also edited anthologies for young readers, including the essential Over Our Way.

Her poetry stands out for its imagery, symbolism and use of Jamaican Creole, or nation language, with collections such as Crown Point and Other Poems, Shame Trees Don’t Grow Here, The Best Philosophers I Know Can’t Read and Write, and Leaving Traces.

Her work has likewise appeared in a range of international anthologies, including Give the Ball to the Poet, which sought to “represent the past, the present and the future of Caribbean poetry”, as Morag Styles, Professor of Children’s Poetry at Cambridge University and one of the editors of the anthology, said when it was published in 2014.

Years before that, Dr Pollard’s writing was included in the ground-breaking 1989 collection Her True-True Name: An Anthology of Women’s Writing from the Caribbean, edited by Wilson and her sister Pamela Mordecai, and including other acclaimed authors such as Maryse Condé and Merle Hodge.

Then in 2018, one of her stories was translated into Chinese and included in the compilation Queen’s Case: A Collection of Contemporary Jamaican Short Stories / 女王案 当代牙买加短篇小说集, among the first such publications in China.
Dr Pollard was perhaps foremost a poet, but she was equally a scholar, editor, educator… an overall literary star. When she contracted meningitis several years ago, messages flowed in from all over the globe (as tributes are now doing upon her passing).

Following her recovery from that bout with meningitis, she told friends she felt the need to do “something worthwhile every day”, as a way of giving thanks for her survival. Part of this naturally included writing, but it also involved taking care of her extended family and being there for her friends and community.

As her sister Erna said at the farewell service, Dr Pollard got “10 out of 10 out of 10 out of 10” for following the commandment: love thy neighbour as thyself. The work she has left behind may be considered a testament of that love, and light, too – A. McKenzie and S. Scafe

Pavitra Nandagiri—one of the highest-ranking transgender spiritual leaders at Maha Kumbh, the largest religious gathering on earth in Prayagraj, India. Credit: Stella Paul/IPS

By Stella Paul
PRAYAGRAJ, India, Feb 18 2025 (IPS)

Despite a blazing sun and growing heat, Pavitra Nandagiri sits on a cot smiling. Clad in a saffron robe and headgear with her forehead painted with turmeric and vermillion, Nandagiri is a Mahamandaleshwar—one of the highest-ranking monks of the Kinnar Akhada (Transgender Arena) at the Maha Kumbh, the world’s largest religious gathering currently underway in northern India.

As a steady stream of visitors pours in to touch her feet, Nandagiri raises her right hand and touches their heads in a gesture of accepting their respect and blesses them.

Just a few hours ago, she had taken part in the special, ceremonial snan (bathing) in the Sangam—a place with mythological significance where three holy rivers—Ganga, Jamuna and Saraswati—are believed to have met. Taking a dip in the confluence of these rivers is considered by Hindus as the most sacred act of one’s lifetime.

The ceremonial bathing is led by the most important of the living Hindu saints and godmen who follow a strict order of hierarchy. On Wednesday morning (February 12), the fourth ceremonial bathing of the 45-day Maha Kumbh was held. Fifteen transgender spiritual leaders, including Nandagiri, marched along with the Naga Sadhus and Aghoris—the legendary saints with ash-covered bodies, matted hair, and minimalistic clothing. Together, they bathed in the river with the holy chant of “Har har Mahadev” (Hail Shiva) while saints of other sects waited for their turn.

A devotee prays at the Maha Kumbh Sangam, where three rivers are believed to have converged. While two of the rivers—Ganges and Yamuna—are visible, the third river, Saraswati, is said to be hidden underneath. Credit: Stella Paul/IPS

Later, inside the Kinnar Akhada, trans gurus receive visitors while some are seen performing some rituals and meditating along with Aghori ascetics. Asked how the partnership between the third highest order of the religious saints and the trans leaders came to be, Nandagiri says that it had been in the making since 2015 and culminated in a functioning collaboration during this year’s Maha Kumbh, which happens once every 12 years. She, however, does not share other details except that perhaps what brought together the two sects is their shared denouncement of worldly pleasure and embracing of a life free from its wealth and other complexities.

Transgender-Inclusive Kumbh: Conditions Apply

At the Kumbh, Akharas are organized into various sects, primarily categorized based on their philosophical orientation and the deity they worship. The two main sects are Shaiva Akharas, dedicated to Lord Shiva, and Vaishnava Akharas, devoted to Lord Vishnu. Each Akhara operates under a hierarchical structure, typically led by a Mahant (chief) or Acharya (spiritual leader) who oversees the spiritual and administrative functions.

The inclusion of the transgender Acharyas in the Kumbh, especially as a part of the highly revered Juna Akhada of the group of the Naga Sadhus, however, has not been completely free of controversies. Some have disputed their claim of embracing a minimalistic life and accused them of indulging in a game of power and authority considered unbefitting for true sainthood.

On January 24, the community ushered in a former film actress called Mamta Kulkarni as one of its top leaders, which led to protests by many both from within the trans community and leaders of other Hindu sects, who described it as a public relations stunt. Baba Ramdev—a well-known yoga guru—called it a violation of the Hindu religious ethos. Some gurus went as far as threatening to boycott the next Kumbh—to be held in 2037—if the Kinnar Akhada is not excluded from the ritual bathing.

Kalyani Nandagiri—another top-ranking trans guru who opposed the actress’s inclusion—was physically attacked by unidentified assailants on February 12.

A monk at the Transgender Arena within the Maha Kumbh. Credit: Stella Paul/IPS

Despite these deep divisions and acts of violence, Pavitra Nanndgiri remains hopeful of the community’s future.

“People say a lot of things; some wrongs also happen. But such small issues should not be highlighted much. We are here today, and we will be here then (in the next Kumbh),” she says, sounding more like a peace advocate.

A Different Picture

While inside the Kinnar Akhada, trans gurus are busy receiving and blessing visitors; outside, on the street, a small crowd of men is seen surrounding a young trans man dancing to the fast beats of music.

“This is Launda Naach,” says Ajeet Bahadur—a local theater artist. “It’s a common form of rural entertainment here, performed typically by cross-dressing trans men.”

The audience of Launda Naach is typically male. It is said to have started at a time when women were not allowed to dance in public because of orthodox social norms. However, today the moves of a Launda Naach performer are often sleazy and according to Ajeet Bahadur, the dancers are often sexually exploited, and their performance is rarely seen as art.

“Their lives are unbelievably miserable; there is little respect for their art, all eyes are on their bodies and exploitation and poverty are a constant part of their lives,” says Bahadur, who has studied the lives of Launda Naach performers for some time.

Aside from Launda Naach performers, thousands of other trans men and women in India struggle to earn a living. They are usually seen begging on the street and inside public transport, while many are also often accused of extorting money from small businesses such as shopkeepers in local markets. Not surprisingly, the presence of a trans person in India usually evokes a mix of fear and contempt instead of the deep respect that is on display in the Kinnar Akhada of the Kumbh. Will the elevated status of the gurus here lead to any change in the social status of the common trans people?

Priyanka Nandagiri, a transgender monk, says that it cannot be guaranteed. “Broadly, the transgender community in India is divided into two groups: the Sanatani and the Deredaar. We are the members of the Sanatani group who have always been immersed in religious activities, while the Deredaar are the ones who have chosen a different lifestyle, such as performing dances on the street and at social events like weddings, etc. So, we have always been following separate paths,” she explains.

Dwita Acharya and Mohini Acharya—two other trans monks—nod in agreement: “It will depend on what life they choose,” they say in unison.

”If they want to follow our path (the Sanatani), they will get that recognition but if they want to continue with their usual Deredaar lifestyle, then people will continue to view them accordingly.”

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Siddipet cotton fabric being woven. Credit: Rina Mukherji/IPS

By Rina Mukherji
SIDDIPET, POCHAMPALLY & KOYALAGUDDEM, India, Jan 8 2025 (IPS)

The southern Indian state of Telangana has always been home to exquisite cotton and silk weaves. But in recent years, lack of market access, expensive inputs, and government apathy have taken their toll on the weaving community. As a result, the younger generation is refraining from pursuing this traditional occupation and opting for more lucrative pursuits.

This is evident when one visits the weaving towns of the state. Take Siddipet, which is about 100 km from the metropolitan city of Hyderabad. Siddipet has always been known for its exquisite cotton saris and stoles. But today, only about a hundred wizened individuals, spread over seven handloom cooperatives, still weave.

Srivikailasam is a renowned middle-aged weaver who was honoured by the Chief Minister with the Konda Laxman Bapuji Award. His saris, dupattas and stoles are prized items in the export market. Yet none of his children—a son and two daughters—want to inherit his craft.

Another weaver, known as Ilaiyah, has been weaving for the past 60 years, since he turned 15. Yet his children have turned their backs to weaving.

Yadagiri has also been weaving for the past 60 years, like his fellow weavers. But neither his son nor daughter are interested in learning to weave.

Master weaver Mallikarjun Siddi, who also owns a marketing outlet in Siddipet, followed his father, renowned weaver Buchaiah Siddi, into the profession. But his children have opted out of this traditional occupation.

However, Siddi defends the youngsters.

“Why would youngsters want to adopt a profession that pays so little? A weaver earns Rs 1000 (USD 11.82) a day here, and it takes three full days to weave a sari. A job in the IT hub of HiTech City in Hyderabad fetches a lot more.”

Worse, the Telangana government does not subsidize electricity; this has resulted in the Siddipet weavers continuing to use handlooms instead of switching to powerlooms, making their work even more tedious and hard. Electricity is Rs 10 (USD 0.12) a unit. If subsidized, the cost comes down to Rs 1 (US$ 0.012) per unit. Power loom machinery is expensive, ranging from Rs 1.5 lakh to 6 lakh (USD 1773.5 to USD 7101). With electricity subsidy, a weaver can bear the burden. Otherwise, it is not possible. Hence, even today, you see only handlooms here,” explains Siddi.

Master weaver Laxman Tadaka prepares his materials. Credit: Rina Mukherji/IPS

Marketing the product is also tough. The government buys the product at higher rates but does so lackadaisically. “Their representatives come only once a year, and although the payment is higher, it is not immediate. Private parties come regularly, and often, pay immediately,” say weavers.

The story is hardly any different in Pochampally, world-renowned for its ikat silk weaves. Ikat here can be either single ikat or double ikat, with the second being even more expensive. The yarn has to be initially soaked and then dyed before weaving. Since ikat weaves require every thread of the yarn to be dyed separately, a power loom can never be used. Thus, ikat weaves, whether cotton or silk, must be woven on a handloom, as master weaver Laxman Tadaka points out. The silk yarn comes from Bengaluru and is priced at Rs 4500 (USD 53.20) per kilogram. A weaver needs an average of 6 kg of yarn to weave seven saris a month. To bear the cost of inputs and the effort, a weaver must make enough sales. “The 15 percent subsidy extended by the government can hardly suffice,” Tadaka points out.

Rudra Anjanelu, manager of the Pochampally Handloom Weavers Cooperative Society, says they are dependent on subsidies.

“Our silk saris are expensive. But we cannot afford to give discounts unless the government supports us. A major problem is the 5 percent Goods and Services Tax (GST) that has now been imposed by the central government. It makes saris and other silk products even more expensive.”

In the past, the state government used to render marketing support through its outlets, offering the products to customers at discounted prices, especially during the festive season, while subsidizing weavers. This is not forthcoming anymore, making it tough for weavers.

Most weavers have to rely on the Telangana State Handloom Weavers Cooperative Society Limited (TSCO), their apex cooperative, to sell their product.

“We had suggested a method to jack up our sales. The Telangana government has a Kalyanalakshmi scheme, wherein parents of girls are given Rs 1 lakh (USD 1182.32) for their daughter’s wedding. Along with the money, the government could easily provide a sari worth Rs 10,000 (USD 118.23) for the bride. This will help us weavers too, while helping the parents with the bridal trousseau,” Anjanelu says.

Besides, most weavers are not happy with the quality of the subsidized yarn provided by the government through the National Handloom Development Corporation.

Muralikrishnan, a weaver from Koyalaguddem, a village renowned for its cotton ikat, laments, “The yarn provided by the government is of inferior quality and this, in turn, can affect the quality of our end product. It is unlike what we get from private traders.”

Moreover, as Anjanelu points out, “Yarn has to be paid for. When sales are down, how can weavers buy any yarn?”

A big challenge for handloom weavers remains the flooding of markets by printed duplicates, which sell at a fraction of the price of handloom fabric.

On hindsight, though, it is not as if nothing was done for weavers by the Telangana government. However, if weavers have not experienced long-term benefits, could this be attributed to the outcome of the ballot?

The previous Chandrashekhar Reddy (state) government, for instance, introduced a 36-month savings-cum-insurance scheme for weavers termed the Thrift Scheme, wherein the government contributed an amount matching the investment made by an individual.

In Pochampally, land was also sanctioned for a handloom institute, and a handloom park was set up on the outskirts of the town. However, with a new Chief Minister getting elected, the plans came to naught. The Handloom Park too suffered from bad planning. Weavers who had set up shop at the park now have to market their products from their homes.

It is ironical that the weavers of Pochampally, Koyalaguddem and Siddipet find it tough to sell their exquisite weaves, despite being located in the vicinity of metropolitan Hyderabad, which boasts of an upwardly mobile population with high disposable income.

Notwithstanding the problems faced, there are a few who have found a solution. Dudyala Shankar and Muralikrishnan of Koyalaguddem have diversified their range of products to include ikat fabric and bedsheets, alongside traditional saris, dupattas, and stoles. Muralikrishnan has been accessing markets all over India through the internet, from his dusty little village.

“It is the only way out,” he tells me.

Indeed, the World Wide Web can certainly fill in where humans cannot. Product diversification and market access translating into sales may ultimately wean back the younger generation to keep the weaving tradition alive in Telangana and prevent it from dying out.

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In 2021, the Senegalese novelist Mohamed Mbougar Sarr became the first writer from sub-Saharan Africa to be awarded the Prix Goncourt, France’s oldest and most prestigious literary prize.

Literature

His novel, La plus secrète mémoire des hommes, The most Secret Memory of Men, tells the story of a young Senegalese writer living in Paris, who by chance stumbles across a novel published in 1938 by an elusive Senegalese author named T.C. Elimane. This author had once been hailed by an ecstatic Paris press, but had then disappeared from view. Elimane had before every trace of him had vanished, been accused of plagiarism. After losing a legal process connected with the plagiarism charge, Elimane’s publisher had been forced to withdraw and destroy all available copies of The Labyrinth of Inhumanity. However, a few extremely rare copies of the novel remained, profoundly affecting anyone who happened to read them. The novel’s main protagonist (there are several others) eventually became involved in a desperate search for the illusive Elimane, who had left some rare imprints in France, Senegal and Argentina.

A reader of Sarr’s multifaceted, exquisitely written novel is confronted with a choir of different voices mixing, harmonizing and/or contradicting each other. The story turns into a labyrinth, where boundaries between fiction and reality become blurred and lose ends remain unravelled. Sarr moves in an ocean of world literature. It seems as if he has read everything worth reading and allusions are either in plain sight, or remain invisible. Ultimately, the novel investigates the limits between myth and reality, memory and presence, and above all the question – what is storytelling? What is literature? Does it concern the “truth”, or is it constructing a parallel version of reality?

A disturbing issue shimmers below the surface of the intriguing story. Why were two excellent West-African authors before Sarr severely scrutinized and condemned for plagiarism? Why were they accused of not being “African” enough? Are African writers doomed to linger within a shadowy existence as exotic curiosities, judged from the outside by a prejudiced literary establishment, which persistently consider African authors, except white Nobel laureates like Gordimer and Coetze, either as being exotic natives, or epigons of European literature?

The most Secret Memory of Men has a disturbing prehistory, echoing real-life experiences of the Guinean writer Camara Laye and the likewise unfortunate Malian Yambo Ouologuem.

At the age of 15, Camara Laye came to Conakry, the French colonial capital of Guinea, to attended vocational studies in motor mechanics. In 1947, he travelled to Paris to continue his studies in mechanics. In 1956, Camara Laye returned to Africa, first to Dahomey, then to the Gold Coast and finally to newly independent Guinea, where he held several government posts. In 1965, after being subject to political persecution, he left Guinea for Senegal and never returned to his home country.

In 1954, Camara Laye’s novel Le regard de Roi, The Radiance of the King, was published in Paris and at the time described as “one of the finest works of fiction to come out of Africa”. The novel was quite odd, and remains so, particular since its main protagonist is a white man and the story develops from his point of view. Clarence has, after in his home country having failed at most things, recently arrived in Africa to seek his fortune there. After gambling all his money away, he is thrown out of his hotel and in desperation decides to pursue a legend stating that somewhere in the inner depths of Africa a wealthy king can be found. Clarence hopes that this king might provide for him, maybe give him a job, and a purpose in life.

Laye’s novel becomes an allegory for man’s search for God. Clarence’s journey develops into a road to self-realisation and he obtains wisdom through a series of dreamlike and humiliating experiences; often harrowing, sometimes lunatically nightmarish, though the story is occasionally lightened by an absurd and alluring humour.

However, some critics asked if this really was an African novel. The language was beguilingly simple, but the allegorical mode of telling the story made critics assume that it was tinged with Christianity, that the African lore was “superficial”, and the narrative style “kafkaesque”. Even African authors considered that Laye “mimicked” European literary role models. The Nigerian author Wole Soyinka characterized Le regard de Roi as a feeble imitation of Kafka’s novel The Castle, implanted on African soil and within France suspicions soon arose that a young African car mechanic could not have been able to write such a strange and multifaceted novel as Le regard de Roi.

This unkind and even mean criticism became increasingly vociferous, deprecating what was actually an intriguing work of genius. The harassment continued until a final blow was delivered by an American professor. Adele King’s comprehensive study The Writing of Camara Laye did in 1981 “prove” that Le regard de Roi actually had been written by Francis Soulé, a renegade Belgian intellectual who in Brussels had been involved in Nazi- and Anti-Semitic propaganda and after World War II had been forced to establish himself in France. According to Adele King, Soulé had together with Robert Poulet, editor at Plon, the publisher that issued Le regard de Roi, concocted a story that his novel actually had been written by a young African, thus securing its success. To support her theory, Adele King presented an exhaustive account of Camara Laye’s life in France, tracing his various acquaintances and coming to the conclusion that Laye had been paid by Plon to act as the author of Le regard de Roi.

Among other observations Adele King stated that Laye’s novel was of an “un-African nature, with a European sense of literary form”, thus indicating Francis Soulé’s handiwork. This in spite of Soulé’s very meagre literary output (King mentions that he had in his ”youth dabbled in exotic writing”) and the fact that Laye wrote several other, very good novels.

Among other indications that Laye could not have written Le regard de Roi, King argued that the novel’s “Messianic message” sounded false, originating as it did from an African Muslim. She thus ignored that Laye came from a Sufi tradition where similar notions abounded and when it came to the “kafkaesque” flavour of the novel, which is far from being overwhelming – why could not a young African author living in France, like so many others, have been inspired by Franz Kafka’s writing?

Notwithstanding, through these and many other shaky assumptions King concluded that Le regard de Roi had been written by the otherwise almost unknown Francis Soulé and her verdict became almost unanimously accepted. It did for example in 2018 prominently appear in Christoffer Miller’s popular and otherwise quiet good book Impostors: Literary Hoaxes and Cultural Authenticity.

Another resounding condemnation of an excellent West-African author occurred in 1968 when the groundbreaking and original novel Le devoir de violence, Bound to Violence, after a short time of praise was smashed due to accusations of plagiarism. Le devoir de violence dealt with seven centuries of violent history of an African, fictious kingdom (actually quite akin to present-day Mali). In a feverish first-rate, free flowing language the novel does not shy away from depicting extreme violence, royal oppression, religious superstition, murder, corruption, slavery, female genital mutilation, rape, misogyny, and abuse of power. All intermingled with episodes of real love and harmony, but there is no doubt about Yambo Ouologuem’s opinion that a powerful, age-old and corrupt African elite enriched itself and prospered through its collaboration with an equally corrupt and brutal colonial power, all done for their respective gain.

Quite expectedly, Ouologuem arose violent reactions from authors adhering to the concept of négritude, denoting a framework of critique and literary theory developed by francophone intellectuals, who stressed the strength of African solidarity and notions about a unique African culture. Ouologuem provided the négritude movement with his own denigrating term – negraille, accusing négritude authors of ingraining servility and an inferiority complex in Africa’s black population. He accused such authors of depicting Africa as a ridiculous Paradise, when the continent in fact had been, and was, just as corrupt and violent as its European counterpart. Ouologuem also wondered why an African writer could not be allowed to be as critical, outspoken and politically improper as, for example, the French authors Rimbaud and Céline.

The final judgment that befell Ouologuem was delivered by the generally admired Graham Greene, who launched a lawsuit against Ouologuem’s publisher accusing the African author of plagiarizing parts of Greene’s novel It’s a Battlefield. Greene won the lawsuit and Ouologuem’s novel was banned in France and the publisher had to see to the destruction of all available copies of it. Ouologuem did not write another novel, he returned to Mali where he in a small town directed a youth centre, until he withdrew in a secluded Muslim life as a marabout (spiritual advisor).

Considering the framework of Ouologuem’s entire and quite mindboggling novel, Graham Greene’s reaction appears to be petty, if not outright ridiculous. The plagiarism was limited to a few sentences describing a French mansion, which in itself was quite absurd within its African setting, and the description is clearly quoted with a satirical intention (in his novel Greene described a slightly ridiculously decorated apartment of an English communist).

The condemnation of Laye’s, and in particular Ouologuem’s novels may be discerned as an inspiration to Mohamed Sarr’s novel. Sarr writes about a young African author finding himself in a limbo between two very different worlds, Senegal and France, while he has found home and solace in literature, a world within which he has discovered a real gem, his talisman – Elimane’s novel. However, the bewildered young man’s pursuit of the man behind the book turns out to be in vain, and so is probably also his search for himself in this labyrinth that constitutes our life and the world we live in.

Sarr’s novel reminds us of the fate of two other West-African authors before him, who were accused of not being “genuine”, of being “plagiarists”, thus Sarr also succeeds in asking us what is genuine in a floating globalized world?

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A piece from Emo de Medeiros’s series Vodunaut in the “Revelation! Contemporary art from Benin” exhibit in La Conciergerie in Paris, France. The smartphones within the cowry shell-decorated helmets feature videos taken on four different continents. Credit: Megan Fahrney/IPS

By Megan Fahrney
COTONOU, Benin, Dec 20 2024 (IPS)

Construction of the new Museum of Modern Art is underway in Cotonou, Benin’s largest city. The museum, along with three others being built throughout the country, are part of the Beninese government’s extensive plan to ramp up the nation’s tourism industry and preserve its culture. It is expected to open at the end of 2026.

A traveling exhibition entitled “Revelation! Contemporary art from Benin” serves as the precursor to the new modern art museum. Originally, the exhibition launched in Cotonou in 2022 under the name “Art of Benin From Yesterday and Today: From Restitution to Revelation.” It then traveled to Morocco, Martinique, and it is now in Paris.

At the heart of the initiatives is the repatriation of 26 pieces of stolen art to Benin from France in 2021. The returned royal artefacts were showcased alongside the contemporary art in the original exhibition in Cotonou, and they have remained in the nation’s reserves since.

The exhibition brings together over one hundred pieces of art by 42 artists from Benin and the Beninese diaspora.

Yassine Lassissi, director of visual arts at the Agency for the Development of the Arts and Culture (ADAC), said the exhibit unites works from both distinguished, well-known Beninese artists and emerging young creators.

The featured pieces represent a range of different forms and artistic mediums, Lassissi said.

“There is really a diversity of techniques,” said Lassissi. “We have paintings, sculptures, installations, multimedia techniques, drawings, and photography.”

Artist Emo de Medeiros showcases two works in the exhibition: a series of fixtures entitled Vodunaut and a short film by the name “Tigritude I.”

De Medeiros said “Tigritude I” was inspired by a quote by Nigerian activist and author Wole Soyinka, who said, “A tiger doesn’t proclaim his tigritude, he pounces.” De Medeiros explores the role of the African diaspora in uniting technology and spirituality through the piece.

“It features an alternative past,” said de Medeiros. “An alternative futurism that is very dystopic with the intervention of futuristic tigers.”

Upon the return of the exhibition to Cotonou from Paris this January, Lassissi said she hopes the artwork can continue to travel to new destinations until the opening of the museum in 2026, including potentially to the United States.

While in Cotonou, the exhibition drew more than 220,000 visitors in just sixty days of opening.

“It was really a historic event,” Lassissi said.

In addition to the Museum of Modern Art in Cotonou, Benin is constructing the International Museum of Memory and Slavery in Ouidah, the Museum of the Epic of the Amazons and Kings of Dahomey in Abomey, and the International Museum of Arts and Civilizations of Vodun in Porto-Novo.

The majority of contemporary art pieces from the traveling exhibition will be housed in the Museum of Modern Art in Cotonou. The 26 returned royal artefacts will be displayed in the new museum in Abomey.

The government plans to situate the Museum of Modern Art within an entirely new Cultural and Creative Neighborhood, which would also consist of the Franco-Beninese Institute, coworking spaces, the Art Gallery, the artisanal village, and artists’ residences.

The nation hopes the museums will strengthen its culture and tourism industry, which it projects to be the second pillar of its economy after agriculture.

De Medeiros said he believes Cotonou had been “sorely missing” a contemporary art museum.

“This was something that was necessary,” said de Medeiros. “I think this definitely should be a platform [where] Beninese artists can showcase their work to the world.”

Note: Megan Fahrney is a U.S. Fulbright fellow. The views expressed are solely the author’s and do not represent the views of the United States government.

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Brad Wilson is an American photographer specializing in classical portraits of animals. Credit: Umar Manzoor Shah/IPS

By Umar Manzoor Shah
BAKU, Nov 20 2024 (IPS)

As delegates at COP29 stroll through the venue in Baku, Azerbaijan, many pause to marvel at the stunning portraits of animals and birds adorning the pavilion walls. These 16 captivating images, showcasing Azerbaijan’s rich biodiversity, are more than just art—they’re a call to action.

Visitors, from diplomats to environmental activists, can often be seen snapping selfies with these majestic portraits, drawn to their lifelike intensity. Behind this collection is Brad Wilson, an American photographer whose mission is to “bridge the gap between humans and the natural world.” 

Wilson spoke to the IPS on his artistic journey and the philosophy underpinning his work.

“My name is Brad Wilson,” he begins. “I’m an American photographer specializing in classical portraits of animals.”

Classical portraits—usually a domain of human subjects—take on a unique depth when applied to animals.

“I aim to elevate animals to a higher level, presenting them as equals to humans—different but equal. Looking into their eyes through these photographs should invoke a sense of responsibility for their lives because we all share the same planet.”

For Wilson, animals represent a poignant connection to the natural world. “They are our closest relatives living in the wild,” he says. “They serve as a bridge, reminding us of our roots in nature.”

Brad Wilson photographic portraits were commissioned for the Haydar Aliyev Centre in Baku and are on display at the COP29 venue. Credit: Umar Manzoor Shah/IPS

Process: A Dance of Patience and Precision

Creating these portraits is no simple task. Wilson describes the meticulous setup required for his work.

“All the portraits are done in a studio. I set up the studio close to where the animals live—often in sanctuaries or ranches. Then we bring them in for two or three hours,” he says. But those hours yield just fleeting moments of magic.

“I’m lucky if I get two or three good seconds with each animal. But that’s all I need—a single moment of connection that resonates.”

“My photo shoots are like meditations amidst organized chaos,” he says. Amid bustling activity, Wilson remains quiet and still, waiting for the animal to relax. “What I aim to capture is something uncommon—a glimpse of the animal’s soul, if you will. That’s what I hope viewers experience—a moment of connection.”

“I want people to understand that we are part of this planet’s biodiversity. We’re not separate from these creatures. It’s only been about 12,000 years—since the advent of farming and permanent settlements—that we began seeing ourselves as separate from the natural world. That’s a mistake. These animals remind us of our place in the web of life.”

“When we talk about climate action, it’s not just about saving the earth—it’s about saving humanity and the animals that share this planet with us. The earth will endure, but we might not.”

Behind the Scenes at COP29

Wilson’s collection at COP29 was commissioned by the Haydar Aliyev Centre in Baku.

“They brought me here in August to photograph animals in Baku and Shamaki,” he says. The project celebrates Azerbaijan’s biodiversity, showcasing species native to the region while promoting conservation awareness.

The portraits have been a hit among COP29 attendees, sparking conversations about the intersection of art, biodiversity, and climate action. Wilson hopes the images inspire policymakers and the public alike to take meaningful action.

“Climate change is already a massive problem, and it’s only going to worsen. We need to get serious about tackling it.”

Advice for Aspiring Photographers

For those inspired to follow in Wilson’s footsteps, he offers this advice: “Start with humans. I spent 15 years photographing people in New York City before transitioning to animals. That experience taught me about connection and emotion—skills that translate well to wildlife photography.”

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Three-Michelin-starred chef Mauro Colagreco, the flag bearer of circular gastronomy, which aims to align food and nature. Credit: Mirazur

By Busani Bafana
CALI, Columbia & BULAWAYO, Zimbabwe, Oct 28 2024 (IPS)

“How we prepare and eat food should not be at the expense of our biodiversity,” says 3-Michelin-starred chef Mauro Colagreco, who is on a mission to change our relationship with food and what we choose to eat.

Colagreco, the owner of Mirazur, an award-winning restaurant in Menton, France, is a tribute to gastronomy. Among other world rankings, Mirazur’s fine food and service have earned it first place in the World’s 50 Best Restaurants. In the 2020 edition of the “100 Chefs” world ranking, Colagreco’s peers named him the Best Chef in the World and Chef of the Year in 2019. 

A passion for cooking and the love of nature shaped Colagreco’s philosophy on gastronomy.

“Feeding others, for me, is the first act of love,” Colagreco told IPS in an interview. “You know, when I was looking at my son being born, the first thing my wife did after giving birth was to feed the baby. For me, it was super strong to see that, and I always think about that, and that, for me, is the first act of love.”

Eating Without Eating the Planet

For over two decades, Colagreco has been the flag bearer of circular gastronomy, a culinary movement he initiated when he opened Mirazur in 2006.

Circular gastronomy aims to reconnect with nature while reconciling the perfect mastery of the techniques of cuisine with a genuine commitment to society’s wellbeing.

The principles of Colagreco’s circular gastronomy are captured in a manifesto that brings together food, nature and sustainability. It proposes a profound change in our relationship with food by making food choices that respect nature. Some of the principles call for the consumption of fresh, local, seasonal, organically or biodynamically grown produce. There is also a particular focus on the restoration of the soil and cooking that preserves plant and animal biodiversity.

In 2022, Colagreco was named the first ever Chef Goodwill Ambassador for Biodiversity by the United Nations Educational and Scientific Organization (UNESCO) in recognition of his promotion and protection of biodiversity. At the onset of COP16 in Cali, Colombia, which is discussing global biodiversity, IPS spoke with Colagreco about sustainable food and nature-positive eating.

UNESCO Director General Audrey Azoulay with Mauro Colagreco when he was announced as the first Chef Goodwill Ambassador. Credit: UNESCO

Here are excerpts from the interview:

IPS: You were appointed the first ever Goodwill Ambassador for Biodiversity? Why would a 3-Michelin-starred chef accept a role like this and what do you see yourself bringing to the role of a global ambassador for biodiversity?

Mauro Colagreco: Well, first of all, it is with deep gratitude and pride. I was super happy to accept this because I am very involved in the implementation of sustainability practices in my restaurant, Mirazur. I am involved with regenerative agriculture, the fight against plastic use, waste management, and all kinds of things we can do to make our footprint more sustainable. This role gives a lot of power to our message and our practices. It is an opportunity for bigger action to democratize a necessary vision for gastronomy—a more circular gastronomy. I believe that, as chefs, if we can act together, we will have a real impact.

This new role of ambassador recognizes that our responsibility as chefs is bigger than our kitchens. It shows that from the soil to the plate, everything is connected, and that we can lead a paradigm shift.

I am a day-to-day peaceful activist, and I’m a campaigner; we can’t be silent anymore. We must take action!

So, that’s why I accepted this role of goodwill ambassador, and what can I bring? I think first of all, I can bring my knowledge of the food industry. I know how it works now, and I know how it can be reshaped to work better. I can bring my experience because we have spent years testing and learning about several topics where we can have a real influence in our industry, in our region, and on our planet. My mission is to save biodiversity, save our food traditions, and make our food more sustainable. For me, the plan to follow is to educate everyone. The key is education.

With my fellow chefs through the Relais & Châteaux Association, of which I am the vice president, we regularly educate chefs about the challenge of biodiversity. For example, we are now continuing a major campaign to stop serving endangered species like eel in all the 800 restaurants of the network. Also, I have initiated a big program that will turn the chefs of Relais & Châteaux into local biodiversity ambassadors on a daily basis. This is a huge program with UNESCO, which we will announce in the coming weeks.

IPS: What motivated your commitment to sustainable food in the first place? What are your personal convictions? Can you explain more about this?

Colagreco: Yes, my personal conviction is that by choosing what we eat and what we cook, we choose the world we want to live in and that is really my motto.

To me, everything is interdependent and interconnected. We cannot isolate one aspect of life from another. If we change the way we grow food, we change our actual food;  we change the way our society works; we change our values. That is my life vision and mission.

What motivates me even more is to propose a real alternative to resolve the alarming situation we are facing. I understood that when I opened Mirazur in 2006. I had a bit of land at the restaurant, and I started gardening on a very small plot.

At that moment, I started to read a lot about agriculture, many books, and one especially, The One-Straw Revolution by Masanobu Fukuoka, really influenced me. This book changed my mind.

That is when I began to understand the profound link between gastronomy and the environment. I understood the importance of biodiversity for our cuisine, for cuisine in general, and, of course, for our planet. And then the small land where I started turned into five hectares of permaculture and biodynamic gardens, where I grew more than 1,500 species and varieties of vegetables. We produce nearly 70 percent of what we serve at the restaurant. So, what we propose, in the end, is a seed-to-plate gastronomy, because we take care of the whole process

IPS: What does it mean to reconcile the environmental impact of the world’s most exclusive fine dining with concerns about sustainability and better stewardship of nature?

Colagreco: That means that making food can no longer be at the expense of the planet. We need to reconnect with nature and rediscover the joy of feeding people in harmony with the planet.

Again, we can no longer eat while eating the planet; that is sure, but the problem is not haute gastronomy. In high gastronomy, you touch a very small segment of the population. The problem is mass consumption. You know, it is how we will feed the 8 billion people on the planet.

That is a huge thing, but that is not a problem because we have great news: we can take the same respectful methods we use in haute gastronomy, apply them to more accessible cuisine, and scale them up. Circular gastronomy, as I say, is not just for the rich elite but for everyone. We’ve tested it, and it works.

Mauro Colagreco believes feeding people is a first act of love and believes food, nature and sustainability should be one. Credit: Mirazur

IPS: You are attending the big Conference of the Parties (COP16) of the Convention on Biological Diversity (CBD) in Cali, Colombia, this week. What are some of the things that you hope will be achieved by governments around the world at this meeting, and what do you personally hope to do at the COP?

Colagreco: I’m more than honored to be part of this important meeting. All the countries will be there, all the major organizations will be there, and we will all be looking at what we can do to save our biodiversity.

So, for me, in this situation of crisis, we need more ambitious policies to save where we live and our food, fundamentally change the way we live and consume, and fundamentally reorganize the way our society works.

As IPBES says, we need a common strategy because we are all in this together. My role as ambassador is to encourage change and show by example that there are solutions.

What I really want to do is make a solemn appeal to all governments, international organizations, chefs, educators, and citizens around the world to join forces and create and implement a global programme of good nutrition education for our children. I believe that this is the most important action to change the food system. Education is the key.

We need to create a generation that is aware of the importance of biodiversity and committed to making the right food choices. That’s why I really believe this appeal is important, and it is what I want to personally do at the COP.

IPS: You are clearly more than just a chef—your restaurants are exceptionally successful businesses as well. Why does sustainable food make good business sense?

Colagreco: Well, first, because I really believe it is the business of the future. To continue with our current paradigm is like a crime against humanity. The choice of circular gastronomy is a choice of awareness—it’s a choice of values. It means something to everyone. I’m delighted to see the younger generation becoming more aware of that. When I see my children, my sons, I tell myself that we are doing this for them to pass on the right message.

It is a real choice to work for sustainable food—it is usually more demanding—let’s face it. But what I find interesting is that it is like a sport. At first, it is hard to run a mile because you have not built up the muscles, but once you are trained, you can easily run for an hour or even more. So, it is the same for sustainable food and sustainable business; we need to start and be more physically ready.

To change habits is a choice. We must change habits. Of course, it is an effort; it is not easy to go out of your comfort zone. But we must. It is an obligation. Sustainable food is good business.

IPS: You are from Argentina—a country of the Global South—but you have restaurants in France, China, Thailand, and Japan. What role should the developing countries and the hospitality industries in the Global South play in sustainable food and biodiversity conservation?

Colagreco: We have to be careful because my role as ambassador is to lead by example and amplify the voice of biodiversity. We have about 30 restaurants worldwide, and it’s very interesting because the more I travel, the more I realize that the challenges are different everywhere. Situations vary so much that, of course, there is no one way.

It is not the same situation in Asia, South America, the United States, Europe, or Africa. Even in every area, you have very different situations

My first priority when settling in a new country is to identify the local committed producer, with whom I can work to implement our circular gastronomy. My aim is always the same: to cook as much local, fresh and well-grown produce as possible. It is a question of respect for our clients and for the communities that work hard to offer a better food alternative. It’s a question of respecting our planet.

Everyone needs to contribute, and my role is not to point fingers. The role of governments is to support their sustainable agriculture, their sustainable fishing industry, to protect their waste management, to regulate it and to fight against all unsustainable practices.

And the role of hospitality leaders is to have the courage to let circular gastronomy define their food and beverage offers.

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The Vijayanagar rulers constructed an earth-fill dam in 1530 AD to create Dhamapur Lake. There is now a campaign to save it. Credit: Rina Mukherji/IPS

By Rina Mukherji
PUNE, India, Oct 2 2024 (IPS)

Dhamapur is a small village in Malvan taluka of west Sindhudurg district, housing the famous Dhamapur Lake. The Vijayanagar kings constructed an earthfill dam in 1530 A.D., creating a man-made lake surrounded by hills on three sides. Canals connect it to the Karli river, irrigating lush paddies and farms that grow the red Sorti and Walay rice varieties typical to the region.

A Bhagwati temple constructed in the typical Konkan style stands on its banks. Small shrines to anthills flank this temple, which is devoted to Goddess Bhagwati. This is because all over the Konkan region, anthills are considered manifestations of the Earth Goddess and worshipped as Goddess Sateri. These are monuments to biodiversity and well-being; white ants or termites that build anthills are known to aerate the soil, help seed dispersal, and improve soil fertility. The worship of anthills is an old Vedic practice that continues to survive in and around the Konkan region of Maharashtra, Goa, and its neighborhood to this day.

The construction of the earthfill dam on Dhamapur Lake too spells of local ingenuity. Made up of porous laterite stone that is locally found here, every layer of stone is alternated with a layer of biomass made of twigs and branches.

This freshwater reservoir, used for irrigation and drinking water purposes, is one of Maharashtra’s oldest engineering marvels. Its waters and the Kalse-Dhamapur forests that flank it nurture a wide variety of unique floral and faunal species, making it a popular tourist destination.

But beauty apart, this man-made lake, which is geographically on higher ground as compared to the surrounding countryside, plays an important role in recharging the groundwater, acting as a sponge during the monsoons.  Apart from serving as an important source of drinking water and irrigation, Dhamapur Lake nurtures an entire ecosystem. Its waters and surrounding forests harbour a wide variety of flora and fauna, some of which are endangered species. Its significance can be gauged from the fact that it was given the Word Heritage Irrigation Structure (WHIS) Award by the International Commission of Irrigation and Drainage (ICID) in 2020.

But in recent times, several encroachments have affected this extensive waterbody. Guest houses, wells, and walkways built in its floodplains to boost tourism have been eating into its extensive area, in scant regard to the flora and fauna that thrive in its pristine waters.

Fighting for Dhamapur Lake

In recent years, though, Dhamapur Lake has found a savior in Sachin Desai and his organisation, Syamantak Trust. Incidentally, Sachin Desai and his wife, Meenal, have an interesting background that illustrates their love for the natural world and India’s time-honored traditions.

Believers in home schooling, the Desais fought out with the authorities to home-school their daughter. Abandoning high-paying corporate jobs, these two professionals set up the University of Life on their ancestral property to familiarize youngsters with traditional bricklaying, carpentry and farming skills in 2007. To stem the migration from the region, they sought to inculcate love and respect for traditional practices, foods, and cuisine among youngsters. This was how the Syamantak Trust came into being.

In the years that followed, learners and youngsters who spent time at the University of Life went to use the knowledge they acquired to specialize in respective fields or venture into entrepreneurship, selling local products to tourists frequenting Dhamapur. Rohit Ajgaonkar, once a student at the University of Life, has become an active volunteer with Syamantak and runs a small eco-café in Dhamapur.  Remarkable in its use of local materials, the eco-café has an array of local delicacies such as kashayam and jackfruit, wood apple, and mango ice creams.

Rohit and his mother, Rupali Ajgaonkar, also run a shop adjoining their eco-café, wherein they sell hand-pounded local masalas, mango and jackfruit toffee, local pickles, cashew butter, kokum syrups and kokum butter.  Prathamesh Kalsekar, another student of the University of Life who is the son of a local farmer, is now doing his B.Sc. (Agriculture) at the Konkan Krishi Vidyapeeth. He has raised a private forest on his family land in Dhamapur, and now grows many local fruit and vegetable trees, bushes, and plants, particularly focusing on nutrient-rich wild varieties. He has also set up a nursery of saplings for distribution among local farmers.

The Bhagwati temple is on the banks of Dhamapur Lake. The temple is built in the typical Konkan style, wherein the deity is placed at one end in the sanctum sanctorum. The main section of the temple is reserved for the assembly of elders who meet and discuss matters related to the village. The temple is reminiscent of a bygone era when a place of worship also served as a place for the community to assemble and parley. Credit: Rina Mukherji/IPS

The Ongoing Battle to Save Dhamapur

These skills and respect for nature came in handy when Syamantak embarked on its mission to save Dhamapur and other waterbodies in Sindhudurg district through a community-led movement, following the construction of a skywalk undertaken by the authorities in 2014, and the running of diesel-run boats for tourists by the panchayat (village self-governing body). But this was easier said than done, notwithstanding the public zeal.

Desai and his volunteers realized that “Sindhudurg district has several wetlands and waterbodies. However, the authorities haven’t notified or demarcated any of them. This permits encroachments, a lot of them by government bodies.” In the case of Dhamapur Lake, the high flood line was ignored, and private parties encroached upon the peripheral areas of the lake. Even the state government’s Department of Agriculture had built a nursery and sunk a well on the floodplains of the lake.

Making use of the National Wetland Atlas prepared by the Space Applications Centre of the Indian Space Research Organization (ISRO) and the Maharashtra Remote Sensing Applications Centre in 2010, during the tenure of Minister of Environment & Forests Jairam Ramesh, Syamantak Trust approached the Western Zonal bench of the National Green Tribunal. Some residents of Sindhudurg district also filed an Environment Interest Litigation (EIL) to save the lake. At that time, the phytoplankton population had already decreased due to the construction of 35 pillars and the 500-meter-long cement concrete skywalk.

An Interim Order in 2018 by the Tribunal not only halted all further construction but saw every bit of concrete broken down and removed from the precincts of the lake. It also stopped the use of diesel boats on the lake . Furthermore, the state Public Works Department (PWD) was ordered to shell out Rs 1.5 crore for mitigation measures to be undertaken to reverse the damages caused by the construction of the 2.5 km skywalk and the use of diesel boats.

Meanwhile, following the formation of a 32-member Wetland Brief Documentation Committee as per an Order by the District Collector, the Syamantak Trust organized the local citizenry to document the flora and fauna of Dhamapur lake. They were soon joined by students from the local college of architecture, academicians, botanists, zoologists, and geographers from Mumbai and other parts of India, besides Dr Balkrishna Gavade and Dr Yogesh Koli, who lent their expertise for the study.  Mapping Dhamapur helped the volunteers learn about the kind of biodiversity hotspot the Western Ghats region is, especially in the forested tracts around Dhamapur Lake.

Five months spent documenting the various wetland flora and fauna showed 35 species of birds belonging to 18 families to frequent the lake, such as the Eurasian Marsh Harrier, Indian Pond Heron, Lapwing, Kingfisher,  and Small Bee-Eater. The lake was found to be particularly lush with phytoplankton and zooplankton species, which are the building blocks of a wetland ecosystem. The volunteers would also learn about how the Wax Dart butterfly was reported for the first time in Maharashtra, on the banks of Dhamapur lake.

Once Dhamapur was mapped, the volunteers went on to document a total of 57 wetlands and waterbodies in Sindhudurg district, including those as yet unlisted by the authorities. These included Vimleshwar in Devgad, Pat Lake in Kudal, and Jedgyachikond in Chaukul, among others.

The Uphill Struggle to Save Dhamapur Lake

The mapping and summary of violations were to come in handy when fighting to conserve Dhamapur Lake at the NGT.  However, the community’s fight to have Dhamapur Lake recognized as a wetland has not borne fruit so far. “Our case was dismissed by the NGT in 2023 on the grounds that the lake does not qualify to be a wetland in keeping with the Wetlands (Conservation and Management) Rules 2017, since it was constructed for drinking water and agricultural purposes,” Desai tells IPS.

However, the Trust and its community volunteers have not given up yet. They have now approached the Supreme Court to demand

1) Demarcation of the Lake’s buffer zone and high flood line; and

2) Notification of the Lake by the state government in its gazette.

Once notified, the Lake, they feel, would be protected against further encroachment from public and private bodies alike.

Meanwhile, Syamantak Trust, along with members of the local community, continue to familiarize visiting students and persons from other parts of India with this unique water-body and its flora and fauna through eco-trails. As of this year, Syamantak Trust has begun hosting classical music concerts with the theme “Connect to Nature,” allowing music lovers to explore the vast repertoire of Hindustani classical music and its connection to the seasons and nature’s clock.

Currently, the Desais and their volunteers in the local community sincerely hope that once people in Dhamapur and beyond learn to appreciate and love nature, it will help them connect better with the lake and its entire ecosystem. This can be the best and only bulwark against the destructive march of climate change.

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Tara Phillips in Paris. Credit: AM/SWAN.

By SWAN
PARIS, Aug 21 2024 (IPS)

For the centenary of James Baldwin’s birth, an international array of literature fans are coming together in Paris at a festival that will honour the life and work of the iconic American author and civil rights activist.

The James Baldwin Centennial Festival, scheduled for Sept. 9 to 13, aims to be a “celebration” that will take place at multiple venues in the French capital, according to Tara Phillips, executive director of La Maison Baldwin, the organizers.

The non-profit group (founded in 2016 in Saint Paul de Vence, where Baldwin spent the last 17 years of his life) essentially wishes to preserve and promote the writer’s legacy by “nurturing creativity, fostering intellectual exchange, and championing diverse voices through conferences and residencies,” according to its stated objectives.

In the eight years since it was formed, however, La Maison Baldwin hasn’t always had smooth sailing, as some of its activities ran counter to the vision of Baldwin’s family on how to honour his uncompromising work and long-lasting influence. But now, with new direction, the organization has the family’s support, including for the festival, Phillips says.

Baldwin – the author of stirring books such as The Fire Next Time, Go Tell It on the Mountain and Giovanni’s Room – remains one of the most revered (and quoted) writers today, decades after his death in 1987. Born on Aug. 2, 1924, he would have turned 100 this year, and the festival might have been held in his birth month were it not for the recent Paris Olympic Games.

According to Phillips, the event will comprise panel discussions, writing workshops, an art exhibition, student participation and an open-mic segment, among the various features.

In the following edited interview, conducted in person in Paris, Phillips discusses the overall goals and the far-reaching power of Baldwin’s works and words.

SWAN: Let’s start with the centenary and why this festival, why it’s taking place in France.

Tara Phillips: La Maison Baldwin was founded in the south of France, and it was intended to provide both writers’ residencies and writers’ conferences. Then the founder moved to Paris in 2022 and left the organization. So, the centennial seems like the perfect opportunity to reclaim the organization and reintroduce it on new footing.

And so that’s why we thought it was important to do a centennial event, and we also wanted to be aligned with the family who had already been thinking about the centennial in early 2023. We were trying to build a relationship with them, and it just made sense that we were all thinking about this as a way to collectively honour his legacy.

(Note: Baldwin’s family held a centennial celebration at the Lincoln Center in New York on Aug. 7, at which Phillips spoke.)

SWAN: How will the family be involved in the Paris festival?

TP: Well, on the first day, there’s a welcoming reception, and I will invite Trevor Baldwin, James Baldwin’s nephew, to say a few words. But then on the following day, we’ll have the very first panel, called “La Maison Baldwin”, and it’s about the idea of home, both literally and also as in the Black literary tradition. Trevor will participate on that panel as somebody who knew his Uncle Jimmy, and can give some insight into the idea of home for James Baldwin. He was a Harlem man, but he lived all over the world, and his idea of home is pretty complex. And what I’m discovering as I get to know more and more members of the family is that a lot of them have this wanderlust and live in different parts of the world. So, that will be a way to engage a familial voice on that issue, particularly for Black people.

SWAN: Is the festival open to the general public?

TP: There’s a festival fee, but anybody can attend. James Baldwin’s followers and admirers are so diverse: you have the Black community, the literary community, the activist community, the LGBTQ+ community, you have students, academics, artists. The idea was to create an experience that would appeal to all those types of people, but always with the idea of centering James Baldwin.

SWAN: What are some of the other aspects of the event?

TP: We’ll have a welcome reception, and that’s going to be sponsored by the US Embassy. It will be just a moment to come together and celebrate the fact that we’re in Paris and to kick things off. Then we will start the next day with a keynote speaker (author Robert Jones, Jr.) and multiple panel discussions where we’ll be thinking about Baldwin and reflecting on the theme of the festival: Baldwin and Black Legacy, Truth, Liberation, Activism.

SWAN: How did the theme come about?

TP: It came about as the centennial committee brainstormed words that came to mind when we thought about Baldwin and his work and his impact. You know, he spoke truth, also in his writing. And for many people, it liberated them. He gave us the language to liberate us from conceptions of ourselves, or our perceptions of the world, and perceptions of our humanity. And that liberation motivates activism for many of us. That’s how we came to that theme.

SWAN: And continuing with the various elements of the festival, there will be an art exhibition?

TP: Yes, we’ll have an exhibition that will be running during the week. It’s called Frontline Prophet. Those works are by Sabrina Nelson, curated by Ashara Ekundayo and Omo Misha. It’s this brilliant collection of art sketches that Sabrina initially did in 2016 at the James Baldwin conference (held at the American University of Paris), and it’s returning, coming full circle.

SWAN: The festival will also have writing workshops (for an additional fee). Please tell us about those.

TP: We will have a fiction track and a creative nonfiction track. These are separate as not all festival participants will be joining.

But if you’re a writer and you want to have a curated experience with some successful writers, we have Deesha Philyaw (author of The Secret Lives of Church Ladies) doing the fiction workshop, and Brian Broome (author of the memoir Punch Me Up to the Gods) is doing the creative nonfiction. And that will be happening for folks who want to have that experience.

SWAN: In addition, there’s a big move to engage students, youth…

TP: Yes, there will be a student activism workshop. We want to engage young people with Baldwin’s work and tap into their own sense of activism. You know, these are such interesting times to be young, right? There have always been things happening in history, in our world, but because of social media, because we have access to see everything all the time, I think young people are engaged in a a very different way than they probably would have been without these mediums. And they’ve been the ones to kind of reinvigorate Baldwin’s language and works in a lot of ways.

So, we wanted to give them a space where they could explore the idea of activism through leadership, through creativity and through community. For those three days, they will have their own space together to look at some of Baldwin’s works, to engage with each other and talk with each other. We’re partnering with the Collectif Baldwin (a local organization) on that. I actually think this is the most important part of the festival.

SWAN: Where will the students be coming from?

TP: We basically would like to see students from everywhere who have the time or interest to attend. But we also think it’s very important that there’s a presence of French students as well because what I’m discovering, particularly as a I make more connections here in Paris, is that there is so much to be learned from Baldwin in the context of France and their relations around racism and cultural identity. So, to be able to engage French students in this conversation would be to discuss their own activism. After the workshop, they will also do a presentation – on what they learned and on how they can take Baldwin into the future.

SWAN: Let’s talk about your background coming into this. What is your personal relationship with Baldwin’s work?

TP: It’s interesting because I don’t remember the first time I ever really read James Baldwin. I know I don’t remember reading him when I was in high school – I remember reading Richard Wright and Lorraine Hansberry. But I was in high school in the Eighties before there really was an infusion of black literature, so it was hard to come by.

Then, I ended up reading The Evidence of Things Not Seen, which was interesting to read because it wasn’t the ones he’s known for. It was about the Atlanta Child Murders, which were happening around the same time that I was a kid. There’s something about being immersed in that specific topic and getting it from his perspective that was really interesting for me.

Then he would pop up in my psyche over the years, and now he kind of haunts me because I’m constantly doing this work. And the connection for me, with respect to taking on this work, is that I have moved to Paris as a Black American (in 2018), and I started writing then, and I could just really connect to his sense of freedom coming here. I mean, being in the United States as a Black American and then also as the mother of a Black son, there’s just a weight that you carry, and people who don’t have our experience, they don’t understand what it’s like, and they don’t understand how persistent it is: how you can try to live a life of joy, and of peace, and of intellectual curiosity and all of these things as a Black American, but there’s always a moment when you’re kind of smacked back to the reality of, like, our positioning in society and our history. His words became so important to me, especially after George Floyd’s murder. Baldwin just understood. He had the language.

Another connection for me, and I’ve written about this, is that my father’s name is James and my father was born in Harlem and grew up there, like Baldwin. Turns out that they both went to the same high school but 20 years apart. I think about my dad’s connection to Harlem, his Harlem pride, and how he left because things got so bad in the Sixties and Seventies. He moved my whole family out because he wanted something better for us. And in some ways, I feel that that was James Baldwin’s understanding: another black Jimmy from Harlem saying: “I’ve got to get out of here if I’m going to be true to my own humanity and live the life that I need to live.”

SWAN: In light of all this, what are your hopes for the festival overall?

TP: My hopes for the festival are that it’s really seen and viewed as a celebration of James Baldwin. That’s why I’ve been really keen on calling it a “festival” and not a “conference” because a conference tends to suggest an academic event, with people sitting and providing an analysis of his work, and what I’m hoping is: let’s just celebrate Uncle Jimmy and what he has given us.

Let it just be a party of writers and artists and creatives and scholars, just experiencing one another and Paris, and why this place was important for him and his own experience and development as a human. And let’s just celebrate young people, and their potential and their possibilities, which I think Baldwin really cared about. He had a word for everybody, you know. And it’s funny because Duke University Press has donated 300 copies of Little Man, Little Man, which Baldwin wrote for his nephew, and I love that this is a children’s book… this is what it’s really about – passing on the word for another generation. – AM / SWAN

Living on 37 hectares of land, the people of Anuta in Solomon Islands depend entirely on their marine resources for survival. To adapt to climate change, they build sea walls that stop the incoming waves during cyclones or high swell, protecting their homes and outrigger fishing canoes, which are the most important asset on Anuta island. Credit: Zahiyd Namo/Solomon Islands

By IPS Correspondent
PACIFIC ISLANDS, Aug 8 2024 (IPS)

The Pacific Community’s photographic competition winners reflect the devastating climate impacts on beautiful and sensitive environments, documenting the most pressing issues the communities who live on the islands face today.

The images will be used to illustrate the soon-to-be published book: Climate change implications for fisheries and aquaculture in the Pacific Islands region. The governments of Australia and New Zealand supported the international team of experts who chose the work in collaboration with SPC.

IPS today publishes a selection of these winning photographs.

Sinking Islands of Kove. For thousands of people, the islands of the Kove region have been a place to call home. As populations increase, more homes are built above the water. However, due to poor infrastructure and decreasing land mass, their homes are now threatened by rising sea levels and unpredictable weather patterns. Credit: Tiana Reimann/Papua New Guinea

At low tide, an i-Taukei fisherwoman gathers cockles along the Nasese sea wall, a tradition weathered by time and tide. Her resilience mirrors the struggle of Pacific communities against rising seas and shifting ecosystems, illustrating the intimate connection between climate change and traditional fisheries. Credit: Josh Kuilamu/Fiji

A fisherman casts his net over a muddy, silt-laden reef, highlighting the stark effects of climate change in Yuru Harbour, East Kwaio, Malaita Province, Solomon Islands. Rising temperatures and altered rainfall patterns have led to increased siltation and disrupted fisheries and aquaculture, threatening marine ecosystems and traditional livelihoods dependent on fishing. Credit:  Zorik Olangi/Solomon Islands

Water floods in, showing how nature and people are at risk. Trees can’t grow because of salt, leaving no protection. This photo warns about climate change’s effect on our islands and atolls. It’s a clear sign we need to act to keep our world safe. Credit: Gitty Keziah Yee/Tuvalu

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Cover of the Cultural Olympiad programme

By SWAN
PARIS, Jul 31 2024 (IPS)

As cheers from beach-volleyball fans fill the air at the Eiffel Tower Stadium on a steamy, sunny day, pedestrians just down the road are enjoying another kind of show: an outdoor exhibition of huge photographs gleaming on the metal railings of UNESCO headquarters.

Titled Cultures at the Games, the exhibition is among hundreds of artistic and cultural events taking place across France during the 2024 Olympic Games (hosted by the French capital July 26 to Aug. 11), and they’re being staged alongside the numerous athletic contests.

The events even have an umbrella name – the Cultural Olympiad – and include photography, painting, sculpture, fashion, and a host of attractions linking art and sport. Most are scheduled to run beyond the closing ceremony of the Games.

UNESCO (the United Nations Educational, Scientific and Cultural Organization) is a “partner” in the Cultural Olympiad, arranging not only the usual meetings where bureaucrats give lofty speeches, but also showcasing a series of works to highlight diversity and inclusion.

Cultures at the Games, for instance, comprises some 140 photographs portraying memorable aspects of the opening and closing ceremonies of the Olympics since 1924 and is presented in association with the Olympic Museum of Lausanne.

Images show how national delegations have transmitted their culture during these extravaganzas, and the pictures depict athletes such as Jamaica’s Usain Bolt, whose “lightning bolt” pose has become part of the Games’ folklore even as he has helped to make the green, gold and black colours of his country’s flag more recognizable.

Inside UNESCO’s Y-shaped building, meanwhile, a collection of panels focuses on how sport can “Change the Game”, a theme running across all of the organization’s “Olympiad” events. (At the “World Ministerial Meeting” that UNESCO hosted on July 24, just ahead of the Olympics, officials discussed gender equality, inclusion of people with disabilities, and protection of athletes, for example.)

A notable section of the indoor exhibition features historic photographs that pay tribute to athletes who sparked change through their achievements or activism. Here, one can view an iconic picture of American athlete Jesse Owens, the “spanner in the works that completely disrupted the Nazi propaganda machine set up during the 1936 Berlin Olympics,” according to the curators.

Owens won four medals at the Games, but “received no immediate (official) recognition from his own country” despite being welcomed as a hero by the public, as the exhibition notes. The racism in the United States meant that President Franklyn D. Roosevelt refused to congratulate him “for fear of losing votes in the Southern states.” The photo shows him standing on the podium in Berlin, while behind him another competitor gives a “Hitler salute”.

Jesse Owens at the Berlin Olympics, in Athletes who changed the world at UNESCO;

Athletes who changed the world equally features boxer Mohammad Ali, who in 1967 refused to fight in Vietnam and was stripped of his world championship title and banned from the ring for three years.

Perhaps the most famous image, however, is that of athletes Tommie Smith and John Carlos at the 1968 games in Mexico City. They “removed their shoes and walked forward in socks to protest against the extreme poverty faced by African Americans,” as the caption reminds viewers. “With solemn faces, Smith and Carlos bowed their heads and raised their gloved black fists, aiming to raise global awareness about racial segregation in their country.”

A photo of Tommie Smith, in Athletes who changed the world at UNESCO

The exhibition outlines the long battles faced by women athletes as well, and it highlights the work of Alice Milliat who, as president of the French Women’s Sports Federation, “campaigned for women’s inclusion in Olympic sports”. She organized the first Women’s Olympic Games in Paris in 1922, bringing together five countries and 77 athletes.

Although Milliat “died in obscurity” in 1957, her “legacy endures today, with the Paris 2024 Games highlighting gender equality in sports, largely thanks to her visionary efforts,” says the photo caption.

Similarly, the exhibition spotlights the contributions of disabled athletes such as Ryadh Sallem, who was born without arms or legs, a victim of the Thalidomide medication that was prescribed to pregnant women in the 1950s and Sixties and caused deformities in children.

Sallem won 15 French championship titles in swimming and later turned to team sports such as wheelchair basketball and rugby. At UNESCO, his photograph is prominently displayed, along with the story of his hopes for the 2024 Paralympics and his mission to “promote a positive vision of disability”.

Elsewhere in the city, artists and museums are also paying tribute to Paralympic competitors, ahead of the Paralympic Games from Aug. 28 to Sept. 8 in Paris.

On the fencing around the imposing Gare de l’Est (train station), colourful works by artist Lorenzo Mattoti show disabled athletes competing in a variety of sports, while the Panthéon is presenting the “Paralympic Stories: From Sporting Integration to Social Inclusion (1948-2024)”. This exposition relates the “history of Paralympism and the challenges of equality,” according to curators Anne Marcellini and Sylvain Ferez.

For fans of sculpture, Paris has a range of “Olympiad” works on view for free. In June, the city unveiled its official “sculpture olympique” or Olympic Statue, created by Los Angeles-based African-American artist Alison Saar, who cites inspiration from Africa, the Caribbean and Latin America.

The sculpture, located near the famed Champs Elysées avenue, depicts a seated African woman holding a flame in front of the Olympic rings, and it “embodies Olympic values of inclusivity and peace,” according to the office of Paris mayor Anne Hidalgo.

When it was inaugurated on June 23, however, it sparked a flurry of hostile remarks from some far-right commentators on social media, who apparently felt threatened by the work.

Another statue of a woman, that of Venus de Milo or the mythical goddess Aphrodite, has been “reinterpreted” in six versions by artistic director Laurent Perbos to symbolise “feminine” sporting disciplines, including boxing, archery and surfing. The statues stand in front of the National Assembly, and the irony won’t be lost on most viewers: French women secured the right to vote only in 1944.

Of course, Paris wouldn’t be Paris without another particular artform. As the much-discussed Opening Ceremony of the Olympics showed, fashion is an integral part of these Games, and those who didn’t get enough of the array of sometimes questionable costumes can head for another dose with “La Mode en movement #2” (Fashion in Motion #2).

This exhibition at the Palais Galliera / Fashion Museum looks at the history of sports clothing from the 18^th century, with a special focus on beachwear. Among the 250 pieces on display, viewers will surely gain tips on what to wear for beach volleyball.

For more information, see: Olympiade Culturelle (paris2024.org)

Amanda Hernández and Nicole Cecilia Delgado, co-directors of La Impresora. Credit: courtesy of La Impresora

By SWAN
SAN JUAN / PARIS, Jun 19 2024 (IPS)

On meeting Amanda Hernández, one is immediately struck by her infectious energy and her generous sharing of information about Puerto Rican writers and books. At a recent literary festival in the Caribbean – the BVI Lit Fest in the British Virgin Islands – she urged participants for instance to check out the works of several emerging authors from her home territory.

A poet and publisher, Hernández is carving out a place not just for Puerto Rican poetry but also for independent publishing on the island, producing attractive volumes through specialist methods.

She and fellow poet Nicole Cecilia Delgado run La Impresora, which they describe as an “artist-led studio dedicated to small-scale editorial work and allocating resources to support independent publishing.”

Based in the north-western Puerto Rican town Isabela, La Impresora specializes in Risograph printing, a mechanized technique that is also referred to as digital screen printing. Risograph uses “environmentally friendly” paper, ink and other materials, and is becoming increasingly popular among independent graphic artists and publishers worldwide.

Along with this, Hernández and Delgado state that one of their main objectives is the “learning, use and improvement of traditional publishing, printing, and hand-made book-binding techniques.”

“We acknowledge that English is not our mother tongue and represents complicated colonial power relationships in Puerto Rican history. However, we also know it works as a lingua franca that allows for communicating with people from all over the globe, enabling alliances and collaborations”

Another important objective is the translation of poetry and other genres by Puerto Rican writers, especially underrepresented authors. Such translations are published in bilingual, handcrafted books, as La Impresora seeks to “strengthen the link between literature and the visual arts”, and to reach readers both within and beyond Puerto Rico, the directors say.

“Our poetry reflects on our shared context of resisting injustices and finding new ways of creating revolutionary practices and dynamics, battling the austerity measures and violence imposed upon us,” Hernández and Delgado explain on La Impresora’s website.

Regarding language, the poets say that this is essential “when creating content and thinking about accessibility, distribution, outreach, and possible networks.” Although they have mostly edited and published Spanish literature written by Puerto Rican authors from the island and the diaspora, they have been “integrating more bilingual (Spanish/English) publications” and translation projects.

“We acknowledge that English is not our mother tongue and represents complicated colonial power relationships in Puerto Rican history. However, we also know it works as a lingua franca that allows for communicating with people from all over the globe, enabling alliances and collaborations,” they explain.

Hernández expands on different aspects of the poets’ work in the following interview, conducted by fellow writer and editor Alecia McKenzie, SWAN’s founder. The discussion forms part of an on-going series about translators of Caribbean literature and is done in collaboration with the Caribbean Translation Project, which has been highlighting the translation of writing from and about the region since 2017.

SWAN: How important is translation for your mission of editing and producing “contemporary literature in Puerto Rico, with particular emphasis on Puerto Rican poetry written by underrepresented authors”?

Amanda Hernández: We recognize the importance of translation as an overall way of tending to accessibility; reinforcing the distribution of our titles outside of Spanish-speaking countries; as a means of establishing new collaborations and possible co-editions, and as a way of growing our network of readers and collaborators.

We started publishing mostly in Spanish, and we still do, but we’ve been acknowledging how translation projects (Spanish/English) have helped us widen our scope as an independent editorial project, throughout and outside of the Caribbean, at the same time helping us carry out our mission of publishing and sharing the work of contemporary Puerto Rican underrepresented authors.

SWAN: You’ve stated that “language is essential when creating content and thinking about accessibility, distribution, outreach, and possible networks.” But you acknowledge that English is not your mother tongue and “represents complicated colonial power relationships in Puerto Rican history”. Can you tell us how you navigate these issues when La Impresora publishes bilingual / translated work?

AH: The nature of our written and graphic content, the poetry we publish, the artists, writers, and projects with whom we collaborate, including our personal views, politics, and editorial methodology, are based upon alternative and subversive practices that challenge precisely these complicated colonial power relationships that have forcefully tried to shape our Puerto Rican history and literature.

We decide to use the colonizing language as a weapon, as a vehicle to suggest new and politically committed ways of writing, publishing, and thinking about our context and geography.

SWAN: You both speak several languages, including Spanish and English. Where and how did you begin learning languages?

AH: We are both fully bilingual (Spanish and English). In Puerto Rico, currently, the education system teaches English as a second language. It started in 1898, when we became a colony of the U.S. territory, having been a Spanish (Spain) colony before that since 1493.

During the 1900s, English was forced upon the Puerto Rican education system in an attempt to assimilate the population, but failed to be stated as the primary language. In 1949 Spanish was again reinstated as the official speaking and learning language all through primary and secondary school, and English became a “preferred subject” that has been officially taught in schools until the present time. So, we both grew up learning to read and write in English in school, also through television and movies.

SWAN: How did your interest in translation begin?

AH: My interest in translation has developed alongside my desire to work on and publish my poetry, and the poetry of other writers and colleagues. The possibility of being able to participate in a broader network of readers, writers, publishers, literary festivals, and so on, has proved to be a gratifying and important formative experience.

Recognizing the value of translation as a practice that considers the importance of broadening the scope and circulation of the literature and books we create has been a realization I have assumed both as a poet and editor.

Producing Las horas extra by writer Mara Pastor; Image courtesy of La Impresora

SWAN: You’ve translated and published works by several writers. Can you tell us about the particular challenges of bilingual publishing?

AH: We have published translations of our work, either translated by us or by other colleague writers. In some cases, we’ve worked with and published writers who also self-translate their work, like the Puerto Rican poets Ana Portnoy Brimmer and Roque Raquel Salas Rivera. We greatly admire their work.

We’ve also published bilingüal broadsides including poetry from the Cuban writer Jamila Medina and the Puerto Rican poet Aurora Levins Morales, alongside others. One of the first bilingüal projects we worked on (2018) was a reedition of a book by the Peruvian poet José Cerna Bazán titled Ruda, originally published in Spanish in 2002.

Our edition included a translation and notes made by the North American Hispanic Studies professor Anne Lambright. This project was funded by Trinity College, Connecticut. More recently we published Calima, by the Puerto Rican literary critic and professor Luis Othoniel Rosa.

This bilingüal publication includes two experimental historic-science-fiction narratives, an interactive graphic intervention by the Puerto Rican artist Guillermo Rodríguez, and was translated to English by Katie Marya and Martina Barinova.

Some of the challenges we’ve faced working with bilingüal publishing, aside from the aforementioned complicated relationship we Puerto Ricans have with the English language, have had to do, mostly, with our approach to design and with the complexity that comes with poetry translation.

Poetry requires the translator, and editor, to pay attention to many more details aside from the literal meaning of the written word. There is also what is suggested but not literally stated, idioms, the flow and rhythm of the poem, the versification, its metric structure, tone and style, and these all have to be simultaneously translated.

Regarding the design of bilingüal poetry publications, finding new and well-thought-out ways of addressing format, aesthetics and the overall reading experience and fluidity of the books we publish has given us the chance to experiment and challenge our editorial approach.

We don’t have a standardized composition and/or design for the books we publish, so each one involves an original conceptualization process that takes into account the weight of their content in relation to their physical materialization.

SWAN: How important is translation for today’s world, especially for underrepresented communities?

AH: As publishers we mostly work on the editing, designing, printing, and distribution of contemporary Puerto Rican poetry, focusing on content that represents our true motivations, struggles, and rights as Puerto Ricans.

We recognize the power and autonomy poetry provides as a shared practice and cultural legacy, as a way of reflecting upon and passing down to younger generations a critical and compromised poetic that intends a genuine portrayal of the underrepresented history of our archipelago. Translation becomes a way of widening our reach and sharing our true experiences as Caribbean islanders with the world.

SWAN: In the Caribbean, as in other regions, it sometimes feels as if countries are divided by language. How can people in the literary / arts / educational spheres help to bridge these linguistic “borders”?

AH: Including translation practices in the work we do and publish as a Caribbean community is a great step towards bridging these linguistic gaps or borders.

Publishing bilingüal editions; including interpreters in the work we do and the events we organize, not only for the written or spoken language, but also considering sign language and braille; allocating resources intended for the discussion, research, and workshopping of translation as a way of strengthening our creative networks are achievable ways of connecting the geographically disperse and linguistically diverse Caribbean we live in.

SWAN: How do you see literary translation evolving to reach more readers?

AH: New technologies and editorial practices are constantly reshaping our views and the ways in which we circulate our content and share our literary resources with a worldwide network of readers and writers.

The possibility of developing new readers, writers and literary communities and coalitions gains strength as we consider the importance of accessibility, representation and circulation. Translation is a key factor to consider when assuming strategies to achieve these goals.

SWAN: La Impresora combines graphic art, handicraft, poetry, and translation in its overall production. Can you tell us more about the significance of this combination?

AH: Our practice revolves around the sharing and learning of skills that combine poetry, graphic art, book art, translating, editing, editorial design and risograph printing. We edit, design, print, bind by hand and distribute the books La Impresora publishes.

This combination of practices helps us sustain an autonomous and independent operation where we can envision, decide upon and construct the type of books we enjoy and the content we consider relevant in our Puerto Rican context.

The artisanal approach to our publications is of great significance to the work we do, since all of the content we publish is handmade, and we celebrate the ways in which this has shaped the relationship we have with independent editorial work.

SWAN: What are your next projects?

AH: Regarding bilingüal and/or translation projects, we just recently printed and published La Medalla / The medal by Marion Bolander, under a grant awarded by the National Association of Latino Arts and Culture (NALAC) and the Fondo Flamboyán para las Artes.

Bolander is a Vietnam veteran and this book includes poems written by him during his time in service, poems written later on in his life and a compelling interview that contextualizes the author’s relationship to military service, the United States, Puerto Rico and to poetry.

We have been working with the poet and self-translator Urayoán Noel on the publication of his next book titled Cuaderno de Isabela / Isabela Notebook, which includes texts written by the poet during his visits to our workshop in the coastal town of Isabela, in the span of three consecutive years, as part of a residency program for writers we recently established.

We are also starting to work on two publications by Central American women poets. In collaboration with the curator Vanessa Hernández, who runs a local art gallery called El Lobi, we invited the Guatemalan poet Rosa Chávez to Puerto Rico as part of a collaborative residency program between El Lobi and La Impresora.

The possibility of a bilingüal poetry publication is currently being discussed regarding her residency and visit. The Salvadoran poet Elena Salamanca will also be visiting us in Puerto Rico, accompanied by her translator, the North American independent publisher Ryan Greene, and we will be working on the publication of a bilingüal edition of her latest book Incognita Flora Cuscatlanica.

SWAN: the Decade of Indigenous Languages began in 2022, launched by UNESCO. What does this mean to translators?)

AH: The mobilization and resource allocation, regarding preserving and circulating the work of black, brown, and indigenous people, writers, and artists is long overdue.

The role native languages have played in our development as artistic, cultural, and political civilizations is beyond question, and this recent recognition could be seen as an opportunity to honor their worldwide importance. There is still a long way to go in the search for reparations and equal opportunities for BIPOC communities at a global scale, and concerning translators, this provides an opportunity for the consideration and visibility of translation projects that uphold these standards. – AM / SWAN

A still shot of Robert Wilson's Star and Stone: a kind of love...some say, picture by AM/SWAN

By SWAN
NORMANDY, France, May 27 2024 (IPS)

On a clear, chilly evening, the words of African American poet Maya Angelou filled the air in the centre of Rouen, as a vivid light show played across the façade of the French town’s imposing cathedral, and as a bright full moon rose in the sky.

Images of explosions, falling debris, a cheetah fleeing in the darkness – all sent a message that the world is in a precarious situation on many fronts and that urgent restorative action is needed.

Yet, along with the tangible sense of angst, the show seemed to call for hope, with the intoning of Angelou’s famous line: “But still, like dust, I’ll rise.”

The 25-minute projection, by Texas-born experimental theatre artist Robert Wilson, forms part of the massive Normandie Impressionniste festival, now in its 5^th incarnation and this year celebrating the 150^th anniversary of impressionism, the art movement that scandalized critics when it emerged in the late 1800s.

Running until Sept. 22, and with a head-spinning 150 events taking place throughout Normandy – the region most closely associated with famous impressionist artists such as Claude Monet – the festival comprises exhibitions, installations, theatre pieces, concerts, and other shows.

Running until Sept. 22, and with a head-spinning 150 events taking place throughout Normandy - the region most closely associated with famous impressionist artists such as Claude Monet - the festival comprises exhibitions, installations, theatre pieces, concerts, and other shows
It features both renowned and emerging artists, from across France as well as from countries including India, Japan, China, South Africa, the United States and Britain … all “in dialogue” with impressionism, and history, according to festival director Philippe Platel.

“We wish to show what’s happening now, to update the view of art, even as Normandy remains central,” Platel said in an interview.

The 1874 Paris exhibition that sparked the term impressionism (from the Monet painting Impression, soleil levant) was met mostly with disdain as conventional painters and critics opposed the breaking of academic rules. But the movement, with its focus on a different way of seeing and capturing light, would go on to have global impact.

Still, while the impressionists were seen as radicals, their first shows featured just one woman artist, Berthe Morisot. Now, the festival has made it a point to include almost as many contemporary women artists (47 percent) as men, said Platel – although it’s clear that the “blockbuster” exhibitions centre on male painters.

The Wilson / Angelou show, titled Star and Stone: a kind of love…some say” is presented as one of the highlights of the festival, and Platel emphasises that Angelou (who died in 2014) was an “immense feminist poet”.

Her words are transmitted in the original English and in French translation (read by French actress Isabelle Huppert), alongside music by composer Philip Glass. (Wilson and Glass have previously collaborated, most notably for the opera Einstein on the Beach.)

With its moving, intense images, Star and Stone evokes historical atrocities, including slavery and two world wars. It recalls the damage inflicted on Normandy during World War II, but it also reflects current brutal conflicts. (During the projection on May 22, a woman strode past, and, obviously angered by the visuals, or mistaking the show for a demonstration, shouted out the word “anti-Semitic” several times, to the apparent bafflement of spectators.)

Some of the projected scenes, especially against the full-moon backdrop on this particular night, conjured Monet’s iconic paintings of the Rouen Cathedral, works that themselves hang in an exhibition opening May 25 in Le Havre.

The harbour town, which saw entire neighbourhoods flattened in World War II bombardments, has over the past decades embarked on a cultural and architectural renaissance, and it hosts an impressive museum of modern art (MuMa) which is showcasing 19^th-century photography in Normandy, as part of the festival.

Photographier en Normandie: 1840-1890 juxtaposes photographs and impressionist paintings, giving an idea of the medium’s development and the concerns of artists at the time: the rapidly changing landscapes caused by the industrial revolution, for instance.

It pulls together several iconic paintings of landmarks and the sea, while the photographs too capture marine scenes, daily life, and environmental transformations brought on by the building of railway lines during the 19^th century. The show caters to both painting and photography buffs, or anyone interested in early picture-taking processes and their global impact, not least on artists.

Back in Rouen, another highlight of the festival is an exhibition by 86-year-old English artist David Hockney, who has been living and working in Normandy since the Covid-19 pandemic. His show Normandism at Rouen’s Musée des Beaux-Arts offers a different kind of impressionism, mixing pop art with the quality of light so important to his predecessors.

Here, vibrant greens, yellows and blues pull spectators into the landscapes for which rainy Normandy is famous, and the exhibition also features striking portraits as well as paintings that Hockney has created via iPads.

The latter record his individual technique and take viewers on a journey from the first line traced to the colourful completed work.

In the “dialogue” between contemporary artists and the impressionists, a main theme is water – the sea, ponds, rain – with echoes of climate change. In one standout show, Oliver Beer, a British painter and musician, reinterprets Monet’s famous Water Lilies series, transforming soundwaves into visual depiction on huge azure canvases.

In another, renowned French artist Marc Desgrandchamps incorporates human forms into his portrayal of water and landscapes, suggesting fragility as well as the need for environmental protection.

While these artists have consciously accepted the call to use impressionism in their shows, the impressionists themselves drew from others, especially from Japanese artists, whose work Monet collected. The festival highlights these international links with an exhibition set to begin June 22 in Deauville: Mondes flottants: du japonisme à l’art contemporain / Floating Worlds: from “Japonism” to Contemporary Art.

Meanwhile, Tokyo-born, France-based artist Reiji Hiramatsu will hold a solo show, Symphonie des Nymphéas / Water Lilies Symphony in Giverny, the town where Monet lived, painted and created his water gardens. The exhibition starting July 12 will comprise 14 screens, inspired by certain Monet works… which themselves were inspired by Japan.

Other international artists include Shanta Rao (Indian-French), with an exhibition titled Les yeux turbides / Turbid Eyes in the commune Grand Quevilly, where she invites viewers to see how objects change with light; and South African Bianca Bondi who uses mounds of salt to create luminous landscapes for a show in Le Havre.

With the emphasis on light and dialogue across the festival, the words of Maya Angelou almost seem to form a refrain, calling out from Rouen, to rebut oppression and exclusion: “Leaving behind nights of terror and fear / I rise / into a daybreak that’s wondrously clear“. – 

UN Live’s CEO Katja Iversen at the launch of ‘Sounds Right’. Credit: Naureen Hossain/IPS

By Naureen Hossain
NEW YORK, Apr 22 2024 (IPS)

UN Live’s CEO, Katja Iversen, says the way to engage people in the environment is through popular culture—film, music, gaming, sports, food, and fashion. She is excited about the Sounds Right project, which puts the sounds of nature—bird songs, waves, wind, and rainfall—at the center of a campaign to support those involved in climate action.

In an exclusive interview with IPS, Iversen shares the motivation behind this innovative project.

The Sounds Right initiative was officially launched on April 18. It established NATURE as an official artist, eligible to earn royalties. Music fans were invited to support nature conservation by listening to NATURE’s recordings or tracks with musicians. This initiative was developed and delivered by the Museum for the United Nations (UN Live) and a broad range of partners in the music and environmental sectors.

IPS: How was the Sounds Right initiative conceived? What is the significance of recognizing NATURE in the same way that we recognize and reward musical artists through royalties?

Katja Iversen: The “Sounds Right” initiative was conceived as a global music movement to prompt conversations about the value of nature, raise innovative financing for conservation, and inspire millions of fans to take action.

The original idea came out of a project called VozTerra in Colombia, which the Museum for the United Nations—UN Live helped initiate. The initiative, as it looks today, has been developed by UN Live in close partnership with musicians, creatives, and nature sound recordists, as well as environmental, campaigning, and global advocacy organizations and VozTerra.

The significance of the initiative is that it treats NATURE as the artist she truly is and nature’s sounds—such as bird songs, waves, wind, and rainfall—as artistic works deserving of royalty payment. It leverages the power of music to connect fans with nature by having artists feature natural sounds in new and existing tracks.

It is going to be really big. To test things out, NATURE was discretely established as an official artist two weeks ago on various streaming platforms, including with some pure nature sounds. As of today, on Spotify alone, NATURE is in the top 10 percent of artists, with over 500k monthly listeners and almost 5 million streams—even before the initiative is officially launched and a playlist with artists featuring nature tracks goes online.

IPS: How was the Museum for the UN—UN Live able to bring together artists, music executives, and environmental groups for this initiative?

Iversen: The Museum for the UN—UN Live, together with EarthPercent, has organized the collaboration between artists, music executives, and environmental groups by leveraging our unique position at the intersection of culture, sustainable development, and diplomacy. We, at UN Live, have a track record of engaging very diverse communities in innovative cultural programmes, and we were able to draw on our extensive networks and entrepreneurial skills to bring together a broad variety of groups around a great idea.

It is a truly unique coalition of partners, including EarthPercent, AKQA, Hempel Foundation, Dalberg, Count Us In, VozTerra, Axum, Music Declares Emergency, Earthrise, Eleutheria Group, The Listening Planet, Biophonica, Community Arts Network, Limbo Music, LD Communications, No. 29, and Rare.  We developed the initiative in consultation with the UN Department of Global Communications, and we’ve also joined forces with The Nature Conservancy, Wildlife Conservation Society, APCO, Riky Rick Foundation, AWorld x ActNow and others to reach the many millions of people.

Sounds Right poster.

IPS: How do you foresee artists and environmental groups from developing countries connecting with this initiative now and in the future?
Iversen: We are very serious about this not being a Global North undertaking. Recognizing that the global majority is often at the forefront of experiencing the impacts of loss of biodiversity and climate change while living in some of the world’s most important ecosystems, this is also where the solutions and the most important voices are found—both the voices of humans and nature. Of the first group of 16 artists on the first Feat Nature playlist, there are musicians from Venezuela, Colombia, Kenya, India, and Indonesia. And on future compilations, more will come.

Just imagine that as NATURE the artist grows and grows, more and more musicians will want to collaborate and feature nature in their music. We are looking forward to working with musicians from across the globe and will, in time, potentially also develop special releases focused on certain geographies, issues, or groups.

The funds raised will be distributed under the guidance of the Sounds Right Expert Advisory Panel, a group of world-leading biologists, environmental activists, representatives of Indigenous Peoples, and experts in conservation funding. The majority of the experts are from the global majority.

IPS: How does ‘Sounds Right’ go toward serving the SDGs?

Iversen: Well, we are the Museum for the United Nations, and we are here to rally the world around the work, values, and goals of the United Nations, so naturally Sounds Right is also aligned with the SDGs.

More particularly, it aligns with the goals related to life on land (SDG 15) and underwater (SDG 14) by funding conservation projects through royalties collected from nature-based recordings. Additionally, by raising awareness and fostering an appreciation for the environment through music, the initiative supports SDG 13 (climate action) and SDG 17 (partnerships for the goals) and also justice.

Importantly, Sounds Right is an example of the power of popular culture and exemplifies how creative industries and popular culture platforms can contribute to achieving the SDGs, including by merging artistic expression with environmental activism.

IPS: How does the Museum for the UN—UN Live leverage culture to promote the SDGs?

Iversen: If we could solve the world’s problems and achieve the SDGs with data, facts, figures, and reports alone, it would have been done. What we also need is to work with culture, norms, opinions, feelings, and hearts. We know that popular culture—film, music, gaming, sports, food, fashion—affects people’s opinions, norms, and actions. So if we really want to change and if we want to reach the many, we go to where the many are. It’s in their earbuds, it’s on their phones, it’s on their screens, and it’s on their sports fields. That’s where you hit both the head and the heart.

That’s what we need, in addition to the facts and the figures. U.N. Live worked with popular culture, unleashed the power of popular culture to reach many people—millions and billions of people—because they use popular culture. So we have to go where the people are with the messages they can understand and the actions they want to take.

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Maryse Condé. Credit: MEDEF

By SWAN
PARIS, Apr 12 2024 (IPS)

Maryse Condé, the acclaimed Guadeloupean author who died in France last week at the age of 90, will be bid an official farewell April 12, amidst an outpouring of tributes from across the world, and particularly from the Caribbean.

Her funeral service will take place at a famed church in Paris, and the French government has announced there will be a national homage to her April 15.

This follows the community wake organized by authorities and family members April 6 in Pointe-à-Pitre, where the public could join in communion to celebrate the life and work of a writer who “always carried Guadeloupe in her heart”.

Born in 1934 on the Caribbean Island (a French overseas department), Condé studied in mainland France, lived and taught in Africa and the United States, and wrote more than 20 books over her lifetime. She particularly addressed the history and legacies of slavery and colonialism and spoke out against racism, in Europe and elsewhere.

In 2018, she won the “alternative” Nobel Prize for her work, and she said she wished to share the honour with her family, her friends and, “above all, with the Guadeloupean people who will be so thrilled and touched by seeing me receive this award”.

(The honour replaced that year’s official Nobel Prize in Literature, which was postponed to 2019 following a scandal. Condé’s award, formally called The New Academy Prize, was set up by “a wide range of knowledgeable individuals” who accepted the nominations of authors from Sweden’s librarians.)

In its citation, the New Academy declared: “Maryse Condé is a grand storyteller. Her authorship belongs to world literature. In her work, she describes the ravages of colonialism and the postcolonial chaos in a language which is both precise and overwhelming. The magic, the dream and the terror is, as also love, constantly present.”

Paying homage after the announcement of her death April 2 at a hospital in Apt, southern France, French President Emmanuel Macron wrote on X (formerly Twitter): “A literary giant, Maryse Condé paints a picture of sorrow and hope, from Guadeloupe to Africa, from the Caribbean to Provence. In a language of struggle and splendour that is unique, universal. Free.”

Condé’s best-known books include the internationally lauded novels Ségou (Segu), Moi, Tituba sorcière (I, Tituba: Black Witch of Salem) and, her final publication, L’Évangile du Nouveau Monde (The Gospel According to the New World).

Her writing has been rendered into numerous languages, by translators including her husband Richard Philcox, and she will be remembered for work that moved readers across the world and influenced students at institutions where she taught – such as Columbia University in New York.

“Her life and writing have been an inspiration to many young scholars, students, writers – and will continue to be so,” said Madeleine Dobie, professor of French and Comparative Literature at Columbia.

(For Columbia’s full tribute to Maryse Condé, see: Tribute – Maryse Condé

Although Condé wrote in French, her work has long transcended linguistic lines in the Caribbean, where a range of Creole languages as well as English, French, Spanish and Dutch are spoken.

“Her contribution is beyond measure,” said Jamaican professor, writer and translator Elizabeth “Betty” Wilson. More than 30 years ago, Wilson and her sister Pamela Mordecai edited an anthology of Caribbean women writers titled Her True-True Name, which carried a story by Condé in English translation.

“I am so sad that she is gone,” Wilson said. “She lived life to the full.”

A model wearing a dress from the Presidential collection created by Theresa Giannuzzi, as part of South African Fashion Week. The collection was inspired by the clothes worn by former South African President Nelson Mandela.

By Joyce Chimbi
NAIROBI, Apr 1 2024 (IPS)

It is a new dawn as Africa’s high fashion industry enters an era defined and driven by young African fashion designers. As they take to the global stage, the young creatives are showcasing the continent in all its majesty through unique weaving techniques and patterns that combine their rich African heritage with contemporary styles.

The African continent has what it takes to become one of the next-generation fashion leaders. Africa is a major producer of raw materials—37 out of 54 countries produce cotton, an exporter of textiles to the value of USD 15.5 billion a year, and an importer of textiles, clothing, and footwear to the value of USD 23.1 billion a year, according to the United Nations Educational, Scientific, and Cultural Organization (UNESCO).

“When it comes to fashion, I buy Kenya to build Kenya. We have no shortage of high-quality, fabulous designs. We have done very well with the Maasai Shuka—a thick, hard cotton blanket wrap. Taking to the world a piece of clothing that was traditionally worn by the Maasai—one of our ethnic groups known for remaining true to their culture,” says Sheila Shiku, a Nairobi-based fashionista.

Buy Kenya, Build Kenya is a six-year-old government strategy to unlock the potential of the local market. Kenya is in good company, as some of Africa’s most notable cities as nexuses for fashion and design as well as hubs for finance and commerce are Nairobi, Lagos, Casablanca, and Abidjan.

UNESCO’s first-ever report on the African fashion industry launched last year laid bare the trends, successes, and challenges facing the promising sector while also detailing how the continent’s fashion sector is proving to be a powerful engine for the made-in-Africa movement, placing Africa on the world fashion map.

African fashion is booming. Fashion weeks galvanize markets and creators in 32 countries across the continent, from Casablanca to Nairobi, via Lagos and Dakar. The growth in e-commerce, which attracted 28 percent of Africans in 2021 compared to 13 percent in 2017, has led to an increase in local consumers, per the report titled The Fashion Sector in Africa: Trends, Challenges, and Opportunities for Growth.

A model wearing a suite from the Presidential collection created by Theresa Giannuzzi as part of SA Fashion Week. Nelson Mandela, a former president of South Africa, served as the inspiration for the collection.

Stressing how the fashion sector has created new opportunities for the international development of African brands, whose annual textile, clothing, and footwear exports amount to USD 15.5 billion. For Africa, fashion is a powerful driver of creativity, economic development, and innovation, creating many jobs, especially for women and young people.

UNESCO is keen to ensure that the recommendations made in the report are implemented with a view to supporting, boosting, and accelerating the growth of Africa’s fashion sector. Providing the first-ever overview of the fashion industry at the continental level, the report also outlines prospects for the industry’s future.

Made-in-Africa is gaining traction, particularly among young people under 25 years old, such as Shiku, who account for 50 percent of the continent’s total population, and among the burgeoning middle class, which already makes up more than 35 percent of the population, opening up new consumer markets.

“They say that we are not Africa’s because we were born in Africa but because Africa was born in us. Young people communicate through their choice of clothes and music. The only challenge we have is that fashionable high-end clothing is a little bit more expensive than mitumba (second-hand clothing imported into Kenya from the U.S. and Europe),” Shiku observes.

Africa is also experiencing very rapid growth in the digital sector, facilitating intra-African trade and the emergence of young talent. As evidenced by the 32 Fashion Weeks held each year, Africa is also brimming with talent in the fields of haute couture, crafts, and clothing. A 42 percent increase in demand for African haute couture is expected over the next 10 years.

Equally important, the report underlines the economic and social opportunities created by the sector, 90 percent of which is composed of small and medium-sized enterprises, whose profits directly benefit populations. The fashion sector could be a powerful springboard for gender equality, at a time when only 17 percent of the 3.5 million cotton farmers in African least-developed countries are women.

UNESCO organized an event that brought together various designers and strategic partners in the fashion sector to explore possible opportunities and synergies for the development of the vibrant industry in Africa. But to also find solutions to some of the most pressing challenges facing the fashion industry,.

These challenges include insufficient investment and infrastructure, incomplete intellectual property legislation, and elevated fabric sourcing costs. Moreover, in Africa and elsewhere, the sector’s environmental impact—one of the biggest sources of pollution worldwide—must be taken into account.

To build a robust and virtuous fashion ecosystem, the report says governments and decision-makers need reliable data and contributions from experts and civil society, underscoring the need for public policies and practices that protect and support creators.

At the same time, it highlights the urgent need to foster the development of fashion that is both more sustainable and more equitable, not to mention respectful of local skills and knowledge. For this sector to remain a driver of innovation and creativity, it must also reflect cultural diversity, including its rich textile traditions.

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Ambassador Symone Betton Nayo at the premiere of "Bob Marley: One Love" in Brussels. Credit: A.M./SWAN

By SWAN
BRUSSELS, Feb 15 2024 (IPS)

Judging from the audience reactions at a screening of Bob Marley: One Love in Brussels, the music may touch international viewers, but the memories and some of the “insider” comments belong to Jamaicans and those closely connected with the country.

It was clear from discussions after the premiere that attendees who had lived in Jamaica understood the context of the songs, and got certain jokes, while others felt adrift, even as they appreciated the world-famous tracks such as No Woman, No Cry and, yes, One Love. This may account for some of the less-than-positive reviews that have started to emerge.

“The film was surprisingly authentic,” said Stefanie Gilbert-Roberts, a Jamaican communications and culture professional who resides in Belgium. “But perhaps so authentic that it might seem out of this world for those not connected to the culture.”

Bob Marley: One Love, directed by Reinaldo Marcus Green and coming nearly 43 years after the iconic singer’s death, focuses on the Seventies and on two concerts that Marley and his band performed in Kingston, the Jamaican capital. Both events took place amid surging political violence on the island and were aimed at unifying the population. But before the first concert, gunmen stormed Marley’s home and shot him, his wife Rita, and his manager Don Taylor – an assault that shocked Jamaicans and international fans.

The film depicts the attack quickly, without dwelling on what must have been deep trauma for Marley’s family. Watching it, one can’t help but wonder at the effects on those who have now gone on to co-produce this movie: his widow Rita, their children Ziggy and Cedella, and the other family members involved such as Stephen.

Bob and Rita performed with their wounds at the Smile Jamaica concert in December 1976, and then left the island: he eventually for London, and she with the children to the United States.

The film shows Marley’s time in England, which is perhaps the least interesting part of the story – as viewers don’t really get an idea of how he dealt again with life away from “home” (he had lived in London before, in the early Seventies, signing to Chris Blackwell’s Island label). Instead, we’re given scenes of him jogging, playing football with his bandmates, joking with record executives, and getting inspiration for the title of the album Exodus, a global hit after its release in 1977.

Marley’s “relationships” are also not dwelt upon, as a viewer remarked after the screening. The most well-known of these, with Cindy Breakspeare (Miss World 1976 and mother of Damian Marley), is shown fleetingly in a scene where she watches him perform in a studio. Breakspeare is named in the credits as a consultant to the film.

Following his self-imposed exile in England, Marley would return triumphantly to Kingston to play the One Love Peace Concert in 1978, when he brought Michael Manley and Edward Seaga, leaders of the opposing political parties, together on stage to clasp hands.

It was a message again to Jamaicans to unite. By the time of the next general election in the country, in 1980, more than 800 people had been killed, and citizens were leaving the island in droves, taking their grief with them.

In the film, Rita (played by British actress Lashana Lynch) refers to one of the most shocking incidents during this period, when attackers set fire to a charitable institution, with residents inside burned alive.

For those who experienced these turbulent years, the film brings the memories crashing back, of both the horrific incidents and the music. Marley recorded his island’s troubles in song after song: Johnny Was, Concrete Jungle, Rat Race, Ambush in the Night, Them Belly Full (But We Hungry) and others.

In addition, there were the more playful tunes such as Roots, Rock, Reggae (with the opening lyrics “Play I some music”), and then the love songs, which the film highlights as well: Turn Your Lights Down Low being among them.

In the movie, Marley is seen playing this on the guitar to Rita, and it is then that one realizes that the whole biopic might actually be a love song to her, formulated by her children.

As portrayed by Lynch, Rita is a force, an artist in her own right, who needs to be both a backing singer for Bob and a parent to their children (as well as to his “outside” ones) – a situation she angrily describes in one argument scene. Lynch’s performance is perhaps the most memorable, and the writers could have given her greater scope by including more of Rita’s story.

Playing Marley, British actor Kingsley Ben-Adir works hard to capture the intensity and charisma of the singer, and he gives a credible performance. But the script needed more substance for a complete portrayal. Not shown, for instance, is Marley’s stance on relationships.

At an early interview in Kingston, he was once asked about these views, and his response was: if a woman loved him, she would love his other women. When questioned whether this might be acceptable were the situation reversed, he replied: She don’t do that. Still, he adopted the two children Rita had with other partners.

So, yes, artists are complex people, and certain aspects of his life might have been depicted, alongside the far-reaching and undeniable impact in addressing injustice, inequality, and marginalisation. This is a minor criticism, however. The film is worth watching – for the man, the music, the memories… and the question of how far the world still has to go in solving major ills.

At the screening in Belgium, co-organized by Paramount Pictures, Sony Brussels and the Jamaican Embassy, Marley’s importance was summed up by Ambassador Symone Betton Nayo, who gave a short speech before the film began.

“His ability to connect with people through his music, transcending cultural and geographical boundaries, has made him a symbol of unity, strength and hope,” Betton Nayo said. “He was not only a prolific writer of music, and a talented performer, but an inspiring messenger. Many of his anthemic compositions such as One Love, Get Up, Stand Up, Redemption Song remain relevant as we reflect on current global realities.”

With “Reggae Month” being celebrated in February, the film’s release is timely, paying tribute to an iconic Jamaican artist whose music lives on, with the call for peace, love, hope, and justice, Betton Nayo added. – AM/SWAN

Creativity pioneers in Milan, group Photo. Credit: Luca Dimoon/Moleskine Foundation

By Elena L. Pasquini
MILAN, Italy, Oct 31 2023 (IPS)

It all fits into an off-road vehicle that can reach even the most remote parts of Southern Africa to bring cinema where the essentials are lacking, where there’s no electricity to power a projector, and where perhaps no one has ever sat in front of a screen to watch a movie. With just the sun and a solar panel, a theater can be set up in areas where people struggle to access food and water and make a decent living. But what it truly requires is the courage to not view creativity as a luxury. Sydelle and Rowand, the founders of Sunshine Cinema, a network of mobile movie theaters, are not just entertaining people; they are crossing a bridge.

Crossing a bridge. That’s what creativity leaders do, according to Lwando Xaso. She is a lawyer, writer, and storyteller from South Africa, and in mid-October, she was in Milan moderating a panel that posed a challenging question: “Can creativity change the world?” She was present at “A Creativity Revival,” an “un-conference” whose participants shape the agenda and content. They are the “Creativity Pioneers,” women and men whose work is supported by a fund from the Moleskine Foundation and who had gathered in Italy from various corners of the world. Much like Rowand and Sydelle, they answered that challenging question with a resounding “yes.” “Creativity is not just something cute. It’s not just something nice. But creativity is something relevant. That is the key element nowadays to transform society for the better,” said Adama Sanneh, CEO of the Moleskine Foundation.

Adama Sanneh, CEO of Moleskine Foundation. Credit: Luca Dimoon/Moleskine Foundation

Crossing a bridge. That’s what South Africa is doing as well. “Our starting point is a place of violence. We come from a history of inequality, injustice, indignity, and oppression … We are moving across the bridge towards freedom, human dignity, equality, and justice. We’re moving away from trauma toward healing,” Xaso said. The tool her country is employing is its democratic Constitution, its “transformative constitutionalism.” But how does creativity relate to this transformation?

According to “Assessing the Impact of Culture and Creativity in Society,” a course and publication from the Impact Research Center of Erasmus University in Rotterdam, one of the most significant challenges in effecting social change is changing people’s behavior. Or, perhaps, their “hearts,” as Xaso emphasized. “A revolution can change regimes, but for transformation, we need to change hearts.” Xaso also explained: “Creativity and art were instruments of liberation. At the core of the anti-apartheid movement lay creativity. The majority of the country was never going to win the war against the apartheid government with arms alone … It was never going to happen. So, what are the other tools that can change the world? There was music. There was poetry. The ANC built a culture and a department for culture because they saw it as an instrument that can liberate the country …Art and justice reinforce each other.”

Rowand Roydon Pybus is also in Milan, sharing his experiences in crossing bridges. His tool is a network of solar-powered theaters that screen films made in Africa for those who lack access or cannot afford it. These films spark conversations on critical issues such as land rights and gender rights, thereby fostering change. They shed light on often-overlooked subjects. It’s not about just screening; Sunshine Cinema engages young people and train them as facilitators for these discussions. They use a vast collection of African movies to address vital questions in hyper-local environments, where the impact is most significant.

Moments of the conference “A creativity revival”. Credit: Luca Dimoon/Moleskine Foundation

However, assessing the scale of creativity’s social impact remains a challenge. As Eva Langerak writes in Erasmus University’s magazine, “The assumption that the cultural and creative sector adds substantial value to society is widely debated, and the discussion on how that value takes shape is quite controversial.” The social impact of arts, culture, and creativity can be defined as “those effects that go beyond the artifacts and the enactment of the event or performance itself and have a continuing influence on people’s lives.” This definition draws from the 1993 multi-authored work “The Social Impact of the Arts: A Discussion Document.” Measuring the social impact of creativity is not a straightforward task, but the significance of the cultural dimension has been recognized to the extent that participation in cultural life is considered a human right, as outlined in Article 27 of the Universal Declaration. This participation is crucial as it underpins ‘the ability to represent oneself and exercise other rights, including freedom of expression.’

Representing oneself is closely tied to identity, which is one of the questions that “creative pioneers” in Palestine are addressing through the “Wonder Cabinet,” a project in Bethlehem. Designed by architects Elias and Yousef Anastas, the Wonder Cabinet is a space for creative communities to come together and establish a safe place for Palestinian voices to express themselves, not only with regard to creative fields but also to share, learn, and gain exposure to different experiences. As Ilaria Speri, managing director, explained, “It brings together communities that have been physically separated over decades of occupation, with 65% of the West Bank under military rule, including checkpoints and segregated roads with different access permits.” This space offers the Palestinian community machinery, tools, knowledge, and an opportunity for reflection on identity and self-representation, thereby ensuring that the regional and local versions of their story are heard.

Art and creativity have a profound impact on society, encouraging critical thinking and prompting individuals to question their own experiences as well as those of others. This perspective is championed by authors such as François Matarasso, an artist, writer, and policy advisor, as well as Pascal Gielen. These insights hold particular significance in regions affected by conflict and warfare. In the words of Olena Rosstalna, the founder and manager of the Youth Drama Theater “Ama Tea” in Chernihiv, a city in northern Ukraine near the Russian border, the impact of art transcends the physical battlefronts. She observed, “It’s not just the war on the land; it’s also the war in the minds and for the minds, because the propaganda is very big. Brainwashing has persisted for decades.” Countering propaganda is among Ama Tea’s actions devoted to engaging the youth. Olena explained the genesis of their project: “We conceived this project in the early days of April or late March 2022, when the full-scale invasion by the Russian Federation happened. We were in a bomb shelter, thinking about what we could do to help in this dire situation.” Teaching critical thinking through a “fresh perspective” on art and literature has been a central focus for her team: “We manage to show the cases of propaganda not only in Ukrainian history, but in European history, in Polish, in Germany, [and] also taken in the context of World War Two,” she said. Olena’s work is geared primarily toward the youth. She stressed the importance of nurturing “the small seeds of creativity, conscientiousness, and responsibility” in the young generation, firmly believing that by doing so, they can secure a future for their country.

Olena describes herself as a “very small fish in a very big ocean,” yet she believes that everything starts from the ground up. “That’s why I’m deeply involved in grassroots initiatives in my work. Supporting local initiatives worldwide is crucial. It all begins with small steps and grassroots efforts. If we have a world of pioneers, one by one, all these initiatives will flourish into a beautiful garden,” she said. Communities often play a pivotal role in propelling social change. Community-led art projects, unite people to brainstorm solutions for local issues, according scholars. Solutions even where it seems impossible – that’s the essence of creativity, as Adama Sanneh eloquently wrote in Folios, the Moleskine Foundation’s periodical: “Revealing and exploring what is possible in seemingly impossible contexts. It’s about radical imagination and enlightenment during times of ignorance and resignation”.

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Sharmeen Obaid-Chinoy (L) on the set of Ms Marvel, directing actor Mehwish Hayat (R). Credit: Disney/Lucasfilm

By Zofeen Ebrahim
KARACHI, Apr 25 2023 (IPS)

The announcement by Lucas film’s president, Kathleen Kennedy, about the upcoming three new live-action Star Wars films was enough for lawyer Maliha Zia to get euphoric.

But there is another reason for the excitement for many Pakistani Star Wars movie buffs like her. Among the three top-notch directors that Kennedy said her company would be helming the three films is Pakistan’s Sharmeen Obaid-Chinoy.

“This is beyond phenomenal,” said an excited Zia, associate director at the Karachi-based Legal Aid Society, who, by her own unabashed admission, is a life-long Star Wars fan, watching the films since she was four.

Now a mother of three, she religiously watches the original three every year, coercing her 8-year-old to watch with her. “I never imagined that someone from Pakistan would ever get the chance to direct a film from this iconic series,” she added.

What is even more exciting for the lawyer is that she had not even in her wildest of dreams imagined she would actually know someone who would be directing them. “Something so iconic [as Star Wars films] seemed so far away, untouchable and amazing; it’s unbelievable that it seems so much closer now!” She and Chinoy have collaborated for a long time on an animated series on women’s right to property.

The Disney-owned studio may have selected “the best and most passionate filmmakers” in the three directors, including Dave Filoni and James Mangold, but with Chinoy overseeing the final new movie, there will be many firsts.

“She is the only Pakistani, the only South Asian, the only woman, and also the only woman of colour to be helming a Star Wars movie,” said Omair Alavi, a showbiz critic, and a huge Star Wars fan, excited by the news of the three films. Although for him, “the fabulous episodes of The Mandalorian” on the TV screen kept him well appeased during this interim period.

This year’s USC Annenberg (it examines specific demographics  — gender, race/ethnicity of directors across the 100 top domestic fictional films in North America) study, titled Inclusion in the Director’s Chair, looked at the gender, race and ethnicity of directors across 1600 top films from 2007 to 2022, found a mere 5.6 percent were women, and the ratio of men to women directors across 16 years 11 to 1. In 2022, it was 9 percent — down from 12.7 percent in 2021.

“Hollywood’s image of a woman director is white,” said the study and pointed out that the “think director, think male” phenomenon disregarding the “competence and experience of women and people of color” should be done away with. In addition, instituting checks in the evaluation process of potential directors was also critical.

In a way hiring Chinoy may open the doors for the unrepresented.

She is also the only among the trio to have won two Oscars (for her documentaries denouncing violence against women). In addition, Chinoy has seven Emmys under her belt, aside from being honoured Hilal-i-Imtiaz, Pakistan’s second-highest civilian award.

“So so proud of you, my friend. May the force be with you!” global actor Priyanka Chopra congratulated Chinoy on her Instagram Stories.

Although she is a seasoned documentary filmmaker, having directed and produced the first ever Pakistani 3D computer-animated adventure film Teen Bahadur in 2015 and directing two episodes of the 2022 TV series Ms Marvel, this will be Chinoy’s first stint in Hollywood. Will she be able to handle the big project?

“Sharmeen has a knack of doing things that other people only dream of,” said her former employee, Hussain Qaizar Yunus, a film editor, who, although awestruck, was “unsurprised” to learn of Chinoy’s being selected to direct the Hollywood movie.

And with the last few films not very well received, he said, “A fresh perspective from someone like Sharmeen is exactly what the franchise needs right now.”

Nevertheless, she was an “unusual choice” to be directing a Star Wars film. But her documentary background could work to her advantage, he said. “Her experience of telling real stories of real people would perhaps ground the story with a sense of realism to what is otherwise an epic space opera,” he added and hoped Chinoy would bring South Asian representation to Star Wars, both in front of and behind the camera, “the same way that she did with Ms Marvel”.

English actress Daisy Ridley (L), Lucasfilm President Kathleen Kennedy (middle), and filmmaker Sharmeen Obaid-Chinoy (R) at Star Wars Celebration in London on April 7, 2023. Credit: Disney/Lucasfilm

Chatting with IPS over WhatsApp, Chinoy said: “As a filmmaker who has championed heroes throughout her career, I think that Star Wars fits in with that mission of a hero’s journey of overcoming against all odds.”

“The story I will be bringing into the world is about the rebuilding of the new Jedi Order, the new Jedi academy,” said the newly appointed director, who seems to be a Star Wars fan, having named her dog Chewbacca (after the fictional character in the Star Wars). Set 15 years after the end of the last movie (2019), British actor Daisy Ridley will return to her role of Rey, the heroine of the last trilogy, as she fights to revive the Jedi order.

“She’ll be able to pull it off; she knows her job!” said Alvi confidently.

Kennedy also revealed that these films will take place across vast timelines from the very early days of the Jedi to a future beyond Rise of Skywalker. “Hopefully, this new series will attract both the older and the newer generation; my generation, who watched it as kids, can watch it with their kids or grandparents can take their grandchildren; it will be worth the wait,” anticipated journalist Muna Khan, who watched the first film as a kid back in the late 70s and the memory of which is “seared in my mind”. These films are not just for folks who watched it then; they’re “timeless, and each new instalment adds to the timelessness” she pointed out. The first of the three films are slated for release in 2025.

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By SWAN
PARIS, Mar 28 2023 (IPS)

It’s a new direction for UNESCO, getting involved in movies, so to speak. The United Nations’ cultural agency and Netflix – the global streaming and production company – have partnered to “support” and “promote” Africa’s new generation of filmmakers, and the results will be revealed to the world from March 29, when six short films by young directors will be available in 190 countries via the video-on-demand platform.

The films are the winners of an “African Folktales, Reimagined” competition that was launched by both entities in 2021, attracting more than 2,000 entries, according to UNESCO.

Ernesto Ottone Ramírez, the agency’s assistant director-general for culture, said the joint initiative “pays homage to Africa’s centuries-old tradition, passing wisdom from generation to generation, from elders to the youngest”. He acknowledged that this is a departure for UNESCO whose work with streaming platforms have mostly focused on regulatory and policy issues.

Meanwhile Tendeka Matatu, Netflix’s director of film for Sub-Saharan Africa, said the company believes that “great stories are universal and that they can come from anywhere and be loved everywhere”. He said that what Netflix and UNESCO have in common is the desire to “promote the multiplicity of expression”.

The submissions to the film contest went through a first selection process, before being narrowed to 21 candidates, who presented their projects to an international jury. The judges – including film mentors – then selected six finalists: from Kenya (Voline Ogutu), Mauritania (Mohamed Echkouna), Nigeria (Korede Azeez), South Africa (Gcobisa Yako), Tanzania (Walt Mzengi Corey) and Uganda (Loukman Ali).

Each finalist won $25,000 and a production grant of $75,000 to create their short movie with a local production company, UNESCO said. The films were completed earlier this year, and their streaming (as an “anthology”) will begin with the 6th Kalasha International Film and TV Market in Kenya, a three-day trade fair taking place March 29 – 31.

Speaking at an in-house “advance” showing of the films at UNESCO headquarters in Paris, Ottone Ramírez said the agency was “particularly pleased” that the short films captured “not only the culture of Africa, but also the cultural diversity within Africa”.

Some observers privately expressed concerns, however, that any association with global streaming platforms could lead to formulaic storytelling or could undermine local film ventures – a fear that Ottone Ramírez said was unfounded.

He told SWAN that the filmmakers had complete freedom, and that the films were their own vision. What Netflix “put at their disposal”, he said, was access to an experienced film partner, as well as financial and technical support. (The “Netflix-appointed supervising producer” was Steven Markovitz from Big World Cinema, an African production company based in Cape Town, South Africa.)

UNESCO says the partnership illustrates a “shared commitment to the continent’s audiovisual industries, which generate jobs and wealth” and that the creative industries “are an asset for the sustainable development of the continent”.

The creative industries are also an opportunity for companies seeking to expand into new markets, which could be mutually beneficial, observers say. While Nigeria and a few other countries have well-established filmmaking sectors, many African directors might benefit from international support.

Anniwaa Buachie, a Ghanaian-British actress and filmmaker, told SWAN that “budget” is one of the biggest constraints for independent films. “You cannot go back and re-shoot, money is tight, which also means time is limited. You just have one chance to make sure you get the right shots, the right lighting, etc.”

Some of the industry challenges are highlighted in a report UNESCO produced in 2021 on Africa’s film sector, titled The African film Industry: trends, challenges and opportunities for growth. The report found that the sector could create some 20 million jobs and generate 20 billion dollars in annual revenue on the continent. With the survey, UNESCO could identify the need to create capacity building and to “scale up” efforts by policy makers – using Nigeria as one model, Ottone Ramírez said.

(Read here: The African film Industry: trends, challenges and opportunities for growth – UNESCO Digital Library)

It was on the completion of the report that UNESCO decided on the current project, Ottone Ramírez told SWAN. At the same time, Netflix was also seeking to launch a project in Africa, so talks began on a partnership, with “months” of discussion about the format and the call for applications, he added.

As for “priorities”, UNESCO hoped to include indigenous languages and gender equality in the project, he said. Alongside English and French, the winning films are made in a variety of languages including Hausa, KiSwahili, Runyankole, Hassaniya Arabic, and isiXhosa – reflecting the UN International Decade of Indigenous Languages (2022-2032).

Many of the stories also centre on women characters, with topics including domestic violence and the struggle for equality within patriarchal structures.

“It shows us how important this subject is for the young generation of African filmmakers,” Ottone Ramírez said. “I would say it was the main theme in each of the 21 pitches before the final selection. We’re seeing another way of storytelling.”

Part of the aim was equally to boost opportunities for women filmmakers – something that has already been happening with the long-running FESPACO film festival in Burkina Faso – and to focus on directors living in Africa, Ottone Ramírez told SWAN.

During the selection of the winning pitches, UNESCO and Netflix acted as observers, leaving the choice to the international jury, he said.

Aside from being able to produce their films, perhaps the biggest advantage to the winners is that they have access to a global platform, which Netflix said it is “proud” to provide.

“We know Africa has never lacked in talent and creativity” said Matatu, the Netflix director. “What has been in short supply, however, is opportunity. Emerging talents often struggle – they struggle finding the right resources and the visibility to fully unleash their potential and develop their creative careers.”

The winning short films will potentially reach some 230 million subscribers of the video-on-demand platform around the world, he said – an unprecedented opportunity for these young filmmakers. – SWAN

Industry mentors were Bongiwe Selane, Jenna Bass, Pape Boye, Femi Odugbemi, Leila Afua Djansi, and Tosh Gitonga.