Tuesday, 20 April 2010

Mariella Frostrup: The Women Who Changed My Life




I read this article last weekend and enjoyed the way in which it was written. It has a pace that is African and a rhythm that echoes slightly. For anybody who has been touched by the Continent you can hear or see in Mariella Frostrup's writing a sense of honesty about what she is writing about. Please read:


Source: Times Online: http://women.timesonline.co.uk/tol/life_and_style/women/article7095281.ece?token=null&offset=0&page=1













Photo by Nick Aldridge








It’s only a two-hour drive from Mozambique’s capital, Maputo, to Manica Province, but it feels like travelling back centuries. Children in third-generation hand-me-downs run barefoot between the mud-based, corrugated iron-topped huts. But it’s when I hear more about the lives of the village women that I realise the extent to which time has stood still.
Under the shade of a large tree in 40-degree heat, Rabeca, a tall, broad-shouldered widow in her mid-forties, reveals how hard her life has been. She was in her twenties when her husband died. On the day of his death, her in-laws evicted her and her four children, forcing her off the land she had farmed by hand to feed them. Homeless and uneducated, with no rights to an inheritance and only the 100 meticais (about £2) that her in-laws begrudgingly gave her, she was forced to start again.
Rabeca’s experience is echoed by the 12 women gathered around me. Margarita and Maria confide that they have been violently abused by their husbands, who regularly steal money “to spend on drink and other women”. I ask how many have been victims of domestic violence and it feels as if the world has momentarily stopped turning when every single woman raises her hand. “Men here think women are slaves,” says one. Another describes her husband as behaving like “a king in the middle of his wives”. “Surely one of you has had a good experience of a man?” I ask. “I heard about a good man once,” says the oldest member of the group, holding my gaze, “but I never saw him with my own eyes.” It’s a joke that crosses continents and it feels good to laugh together.
But I’m not here to dwell on the misery that exists for many women in Africa; I’ve come to celebrate their escalating achievements. All those present are signed-up members of the Rural Women’s Forum of Manica Province, a coalition of women farmers supported by Graça Machel (Mrs Nelson Mandela) and Oxfam.
And as the women continue, it becomes clear that they are determined things should change, that the next generation should not endure the same lives they have.
Rabeca, for example, not only survived being cast out by her in-laws, but scraped enough money together to educate her children, supporting them through higher education from the sale of crops cultivated with bare hands and hoe. Then she set about educating herself. The pivotal moment in a story defined by hardship and abuse came in 2004 when, at the age of 41, she went back to school to learn to read and write. Now Rabeca is an activist fighting for the rights of Mozambique’s rural women, among whom illiteracy runs at between 70 and 80 per cent and domestic violence is commonplace.
Maria also ensured her daughters were educated. One has since moved to Maputo, she says proudly. “While I’m down there digging,” she says, pointing to the cultivated land that lies in the valley below the plateau where we sit, “I like to imagine her, sitting in a café, having a coffee.” The other women chuckle in delight at the unimaginable indulgence of such an experience.
Women like those assembled around me telling their tales make up the largest unpaid workforce in Mozambique. Looking at their gnarled hands, scarred feet and prematurely aged faces, the price they’ve paid is all too clear. Having never had an education or the confidence to speak out individually, the Rural Women’s Forum is now their passion. Membership gives them strength in numbers, the wherewithal to register their ownership of land and, by extension, the opportunity to lobby politicians. More importantly, it offers them hope for the future, not merely for themselves, but for their daughters.
They proudly invite me to examine the fruits of their labour, and in single file we descend the narrow mud path that leads to their crops. It’s a tranquil scene of lovingly tended tropical plants, predominantly cassava and banana, separated by a series of long, lily-strewn ponds. These ponds, it transpires, are the brainchild of a neighbouring Rural Women’s Forum further north, who started farming fish to provide much needed protein for their children.
There are 46 women working the 60 hectares of land in the sun-baked valley. They set 5 per cent of the crops aside to fund the association, and the rest feeds the village. Margarita describes her husband as “retired”, and explains how working within the organisation has increased her profits.
This season she had money spare to hire her husband’s “vehicle” to take her produce to market. “Surely he could have just lent it to you?” I ask aghast. “I insisted on paying,” she replies. “He had been undermining my work in the forum but now, since I was able to pay him, he treats me with respect.”
It may be 40 years since Germaine Greer’s The Female Eunuch, but look beyond our borders at the lives of women and it’s clear that many have been left untouched by emancipation. The rumour is that as we mature we mellow, but if that’s the case something’s badly wrong with my hard-wiring. I think it was a report from the Congo that finally got to me. A woman who’d been raped at gunpoint then had to watch soldiers doing likewise to her 11-year-old daughter.
Or at least I think it was then. It might have been a few months earlier, visiting Goz Beida IDP camp in Chad and hearing the stories of women terrorised and displaced by the civil war in Sudan: babies decapitated in their arms; kept as sex slaves by units of Janjawid militia; and even now, in the “relative safety” of the camps, the simple act of gathering firewood making rape an everyday danger. It’s a crime that in Sudan goes unpunished, it being more likely that they’ll find the victim guilty of adultery than the perpetrator guilty of a criminal offence.
With no hope of improving their lives, overburdened with children and at the mercy of a misogynistic culture in which basic human rights are denied them, the lives of these women were almost unimaginable to an emancipated, Western woman like myself. Mitigating my sense of helpless rage was the company I found myself in there: a group of extraordinary African women leaders and activists who had gathered in Chad to bear witness to the atrocities still being perpetrated. It was the presence of these leading women – including the managing director of the World Bank, Ngozi Okonjo-Iweala, internationally renowned singer Angelique Kidjo and the general secretary of the World YWCA at the time, Dr Musimbi Kanyoro – and the fact that they represent a new force in African society, that offered hope as I wept through another refugee’s story, recounted while she breastfed her rapist’s daughter.
Feminist scholar Isabel Casimiro, a former member of parliament in Mozambique, has been fighting for women’s rights since the days when, she says, they were regarded as “silly women, without men, frustrated, badly dressed and with their bras on fire”. She grew up under the presidency of the Marxist rebel-turned-President Samora Machel, a supporter of women who said, “Without the liberation of women there can be no liberation of the society.” After an hour in the company of this inspirational ex-revolutionary, even Nick, our robust photographer, is a paid-up member of the sisterhood. I imagine this firebrand beauty, now in her late fifties and looking like a cross between Patti Smith and Ulrike Meinhof, striding the countryside in her combats with rifle slung over her shoulder. No wonder Mozambique’s current President, Casimiro’s one-time Frelimo party comrade and Marxist guerrilla fighter Armando E. Guebuza, has been swayed by many of her initiatives.
The President may not be everyone’s darling, but he has clearly recognised the benefits of putting women at the forefront of new policies. Since he took office, constitutional changes have taken place to encourage the involvement of women in all areas of political, economical, social and cultural life. Mozambique has achieved more than 30 per cent representation of women in parliament (an embarrassing 10 per cent higher than in the UK), introduced a Family Law that gives men and women equal rights of inheritance, and is in the process of ratifying legislation that makes domestic violence a crime. In a further attempt to reduce epidemic levels of violence against women, especially staffed gender-specific units have been set up in almost every police station to deal in particular with domestic violence and rape. Another progression that leaves us lagging behind. It’s such initiatives that prompted Geneva-based NGO Femmes Africa Solidarité to award Guebuza the African Gender Award last year, an honour created to make the improvement of women’s status on the African continent a covetable goal rather than a reluctant obligation on behalf of political leaders.
Certainly, under Guebuza’s presidency signs of progress are clearly visible in Mozambique’s capital. What felt like a ghost town when I visited just six years, after the civil war ended in 1992, is now a bustling city with new buildings springing up and gated communities for “professionals” dotting the promenade.
Down one of the main thoroughfares, in a first-floor conference room, I meet the five members of the Women-Led Business (WLB) initiative. Our host, Natividade Bule, an energetic fortysomething with close-cropped hair and a pale mixed-race complexion, recently expanded her conference and wedding planning business to include a restaurant below her office, where we go for lunch. Lanterna is clearly a favourite with local businessmen, who make up the lunchtime crowd that surrounds our solitary table of women. Over a local dish of crab, peanuts, cassava leaves and coconut milk we share frustrations and triumphs.
I’m asked by the ebullient Amelia Zambezi, who runs her own bag factory, whether it’s true that successful businesswomen in the West are unmarried and miserable. She’s delighted to learn that it’s not a compulsory qualification, but the question proves how far a negative stereotype can travel. This group recently took part in a training exercise sponsored by the Spanish government and organised by Femmes Africa Solidarité. During a week in Spain they learnt how to write a business plan and are now waiting to discover which one will be singled out for specific funding. That these women already employ more than 100 staff without having trained in such basic skills is a credit to their confidence and spirit of enterprise.
It’s a salutary example of how rudimentary the requirements are to improve opportunities, and how easily businessmen and women in the developed world could contribute in sharing knowledge and participating in online mentoring schemes. Negating the notion that women in business are competitive rivals, this group have become firm friends, exchanging business tips and opportunities with women from other African countries who are also part of the WLB initiative. Two groups from Botswana and Sierra Leone are already trading in ingredients for beauty products as a direct result of the scheme. Along with improving their career prospects, the WLB group aims to provide young women with role models in a society where positive examples of female achievement are often hard to come by.
Education of girls is top of the list of priorities here. At the Rural Women’s Forum I asked the group each to choose between a fantastically fertile piece of land, an end to the violence at home or an education for their daughters. They were unanimous in their vote for the latter, Rabeca speaking for them all when she said, “Our girls will only face lives of suffering like ours unless we can give them an education. The friends I had who went on to high school have become teachers and doctors. They lead lives it’s hard for me to imagine. That’s what we want for our daughters.” It’s no coincidence that the entrepreneurs of the WLB had all been sent to school, but they are exceptions. Post-primary school attendance for girls in Mozambique lies below the 40 per cent mark, so educating girls remains a challenge.
My next visit is to the offices of the Forum for African Women Educationalists (FAWE), a pan-African organisation committed to the education of girls. There, three enthusiastic young women from Namaacha High School, which Rabeca dreamt of attending as a teenager, enlighten me on their ambitions. In contrast to the farmland women, these schoolgirls are striking in how much younger than their years they look.
Not only are they slight, but they display a refreshing naivety and innocence unrecognisable from my experience of A-level students in the UK. Their career choices speak volumes for the ambitions of this new generation. Drofe, 18, is intent on becoming an electronics engineer; 15-year-old Edite a campaigning lawyer; and the youngest, 13-year-old Jessica, burns to be an accountant. She explains with great seriousness that control of finances is very important for a woman. All three cite “studying” as their favourite activity and it’s shaming to see the elevated position education holds in their lives. Back home, where we take such rights for granted, a similar gathering would no doubt be gossiping about the latest X Factor result and elaborating on their ambitions to be the next Cheryl Cole.
In Mozambique, life for women is slowly improving, albeit from a lowly start point. Thankfully it’s not the only country where things are on the move. Femmes Africa Solidarité singled out Rwanda’s President Paul Kagame for the African Gender Award in 2007, and women now make up an unbelievable 54 per cent of the Rwandan Parliament. It’s no coincidence that this significant progress should occur in a country where women were also heavily involved in negotiating the peace process.
The Mano River Women’s Peace Network (MORWPN), awarded the United Nations Prize in the Field of Human Rights, is a tangible example of women uniting to overcome conflict. A heart-warming documentary, Pray the Devil Back to Hell, charts their remarkable story: how a small group of Liberian women banded together in 2003 to protest peacefully against the civil war and the bloodthirsty regime of Liberia’s former dictator Charles Taylor. A brave cross-religious group of Christians and Muslims, they eventually forced the President and the rebel leaders to the negotiating table. Taylor finally stood down, and in 2005 Liberia elected the first female African president, Ellen Johnson-Sirleaf.
My companion on my trip to Mozambique was inspirational South African lawyer Thandi Orleyn. A diminutive powerhouse, Orleyn balances a business career at the helm of an all-female investment company with being the wife of a tribal chief. She points out that, despite huge advances in her own country post-apartheid, millions of women across Africa remain all but invisible, denied the basic rights that Mandela and the ANC fought for. Over dinner in Maputo’s latest restaurant, Zambezi, where prices for a meal run higher than the rural women’s annual salary, I ask her what she feels would most improve the lives of African women. She’s unequivocal: “To be educated, economically empowered and independent.” Orleyn is a perfect example. She was the first black female law graduate from Port Elizabeth University, an achievement she puts down to her first school, set up in 1869 to offer graduates of a local boys’ school “wives who could understand them”. When I ask how she balances being the wife of a tribal leader with her independent career, she shrugs off the accomplishment, saying, “I told him from the beginning how it would be. He accepted.” They now have grown-up children: material evidence of the success of that compromise.
Bob Dylan immortalised the “pretty girls in Mozambique” in his song celebrating the pleasures of the country, but it’s his anthemThe Times They Are a-Changin’ that best sums up the revolution that is taking shape across Africa right now. Under the banner of “Gender Is My Agenda”, small and large lobby groups, NGOs and women’s organisations have joined together. The African Union has declared 2010 to 2020 “The African Women’s Decade”. Politicians and Western NGOs are slowly waking up to the potential of gender initiatives, with women having proved themselves the most reliable creditors and energetic business partners.
Yet despite the many examples of women’s power to facilitate positive change, the reticence of the international community to link women’s rights issues with the handing out of development aid remains puzzling. Dying children appeal to our sense of guilt, but empowering women so that they can take responsibility for their children’s wellbeing has less of a hold on our heartstrings, even though it is arguably the only successful way to secure their futures.
The continuing denial of basic human rights to entire female populations is as important an issue in our time as the fight against apartheid once was. Yet there’s no mention of boycotts and sanctions to help the cause of these women. They are as much prisoners of an unjust system as Mandela was when he languished on Robben Island, but because their incarceration is in the benign-sounding confines of “home”, their appalling conditions go largely unchampioned. From Sudan to the Democratic Republic of Congo, Kenya to Mozambique, a considerable proportion of the female population is still living as we were in the Middle Ages. It’s to our shame that, in all the fixation in our media with “having it all”, the plight of the majority of the world’s women, still untouched by such covetable dilemmas, barely merits a mention.
There’s an African saying that goes, “Give a woman £1 and she’ll turn it into £10.” On a continent so dependent on aid, it’s ironic that an asset as valuable as the female population continues to be squandered. These women know what they need and how to achieve it, but that doesn’t mean they should be left in isolation. In recognition of how global support matters, both in offering solidarity and lobbying politicians to do more, I’ve played a part in establishing a support organisation, the Femmes Africa Solidarité Trust. Our ambition is to bring the FAS African Gender Award to a worldwide audience, help fundraising for gender specific initiatives, and celebrate enthusiastically those leaders, such as Guebuza, who are blazing a pioneering trail by supporting the human rights of their female population. Patrons include men and women, from Bono and Damon Albarn to Ellen Johnson-Sirleaf and Glenys Kinnock, Annie Lennox to Graça Machel and Angelique Kidjo, who understand and appreciate the potential of African women.
We can all play an indispensable role in ensuring that the networks women are forging across Africa have global reach. The energetic, ambitious, enthusiastic women I met on my trip were tangible examples of that potential. As my tour of the women of Manica’s farmland ended, I asked them what message I should take back home with me. Rabeca was again spokeswoman. “Tell your friends how we live, tell them how we suffer, not just us here in Manica, but across the country, then surely our sisters will hold out their hands to us.” Then these extraordinary, resilient women, with their calloused hands, ragged clothes and faces lined with strife, kneeled down and sang to show their gratitude. I sank to my knees with them in shame for how little we’ve done and cried all over again.
For further information on how you can help to support the initiatives mentioned, contact fast-foundation.org; fasngo.org;oxfam.org


Sunday, 18 April 2010

A WALK IN THE HOLY LAND






BILI BIDJOCKA (Cameroon), Enigma #1, 2009

Collective Diary, exhibition. Curators Simon Njami and Mikaela Zyss, Herzliya Museum of Contemporary Art, Tel Aviv, Israel, January/April 2010


Every time I go back to Israel, I find myself torn between a host of complex feelings. This piece of land holds so many contradictions, so many absurdities and dreams. And God! Even the idea of God seems beholden to the contingencies of contemporary geopolitics. Just walking through the narrow streets of the old city of Jerusalem provokes an ontological unease. The omnipresence of the divine is asphyxiating. And its various manifestations, which are so frequently if not always conflicting, restore a doubt that has actually never gone away: how could a higher being with the slightest scrap of lucidity be the source of this lethal
frenzy? Isn’t this paralyzing, hysterical profusion of faith only there to cover the absence and the void? The same icy, sidereal void that came over me when I discovered the first images of Haiti in ruins? But I digress, Haiti has nothing to do with these travel notes. It invited itself without warning, imposed itself on my conscience.

And yet I have often seen Israel as a closed space, an island, not confined by the limits of water, but at the crossroads of exogenous expanses. This geography must not be interpreted in purely physical terms and naturally influences the behaviour of those who stand here at this crossroads, which by dint of being dreamed, asserted and envied has become fictional, a space that allies historical materiality to a messianic dream and where the clash between reason and passion sparks explosions that are unbearable to the human soul. The only way to break this vicious circle of myth vying with the brutal reality of history is schizophrenia. How to be 


NGRID MWANGI ROBERT HUTTER (Kenya), Dressed Like Queens, 2003, video installation 21'35


trapped in a space whose contours you defined yourself? How to be the architect of your own confinement? Or how to live outside, when fear is debilitating and omnipresent? When you are trapped in a confined space, you have speech—the intelligence of words and forms which can take us beyond the real and imaginary borders that enclose and sometimes define us. It is from the tension between inside and out, which must here be seen as both physical and psychological, that any glimmer of hope could arise.

It is from this tension, and this tension alone, that new alliances could be conceived. Cosmopolitanism is opposed to the notion of purity. The great cities and old Europe are in the throes of reflections which suddenly take on a universal tone, once they have cast off the heavy straightjacket of historicity. The debates that have surfaced in France in the past few years are a good illustration of the way the world is moving and the issue of identity, which can no longer be conceived in relation to a given territory. A state that was built on the three words of its Revolution, liberty, equality, fraternity, now resorts to asking questions about the definition of a national identity. Yet public response has followed some strange paths since the suburban riots sparked by the desperation of young French people “of immigrant origin”, who felt like rejects of the Republic with origins that would never let them achieve full citizenship. The “integration” that was the key word in the strategy is strangely reminiscent of  Stuart Hall’s warning to a Caribbean student at a conference we held in London: Beware! Every time they talk to you of integration, they will only be thinking of your disintegration; i.e., the loss of an original identity. If a nation like France finds itself caught up in these kinds of questions, how to avoid the turbulence in Israel? The problem with the political answers to these questions is the confusion that too often sneaks into the debates. In France, the Ministry of National Identity (anyone would think we were back in Vichy times) comes with the word immigration in tow. It is as though the government was making a blatant short-cut between two phenomena that cannot be systematically linked. Confusing nationality with identity necessarily harks back to conceptual dead-ends. A nationality is volatile, changeable and multiple, whereas identity is the very nature of what defines an individual. And that identity cannot be envisaged as a fixed, inert matter obeying pre-established rules. Identity has always been a fluid notion in permanent construction—even more so in the 20th century—and evolving in relation to experiences, meetings and discoveries. One can talk of a city-dweller’s identity, for example, as opposed to a rural identity: an African artist who was invited to a triennial held far off in a Japanese village thus discovered that the peasants in his home village in Cameroon had more in common with Japanese peasants than they did with him, an artist who defines himself by the urban space.



EL ANATSUI (Ghana), Area B, 2007, aluminium & copper wire, 140x236in, courtesy Collection A;D; Mirvish, Canada



The urban space is a kind of melting pot in which all particularisms, regardless of how original they may be, are cancelled out by the fact that the city is composed of nothing but particularisms. The city does not let you take root and represents the nomadic space par excellence—the space wherein the whole nation will come together and experience a neutrality that cannot be experimented in a village. Every city-dweller, to use an old expression, is a peasant who has crossed the boundary and found themselves vested with a modified identity. Israel could likewise be perceived as a huge megalopolis in which differences could fade away in favour of a common factor, a transversal and trans-ethnic recognition. If we carry the metaphor through, Israel is a complex capital: it is a fantasy in which each person is a stranger. The sole utopia which the scattered Jewish people who elected it as their home presented was that of a promised land and the dream of a territory where they would be safe from the vicissitudes of history. The identities that were forced to cohabit there presented just as many antagonisms as those found in the most far removed cultures. There were people from Eastern Europe, from North Africa, and, more recently, from Africa. Despite their blatant cultural diversities, between the pious and the atheists, the introverts and the extraverts, they had to find a modus vivendi that would enable them to live together. The Arabs—the Palestinians—represented another group with whom it was not so easy to cohabit, given that they were natives whom the migrants suddenly perceived as adversaries. The weight of history created an artificial unity on the one hand and antagonisms linked to territorial and religious claims on the other. If there is one thing, in this third millennium, which the inhabitants undoubtedly have in common, it is precisely this strangeness, which should not bring about hereditary divisions but a new whole that would not fall victim to past scars. While those who still refer to the nation as a founding element can find this new reality hard to envisage, it should be much more easily adopted by artists, who, by essence, are stateless.


JOEL ANDRIANOMEARISOA (Madagascar), Untitled, 2008, cigarette paper pasted on canvas, 46x38cm

The notion of bastardisation which thinkers on Creolity favour is closely linked to that of cosmopolitanism. The purity that some have long claimed has well-known consequences and can no longer represent a contemporary paradigm. In a world where it is getting harder and harder to discern influences, it would be foolish to keep our eyes trained on a futile ideal. It would be better to take memory as a dynamic and fictional element. Black Americans have not managed to pass themselves off as Africans and have had to rebuild a new history on the ruins of a failing memory, now confirmed in the perpetual ebb and flow that joins Africa to its distant diaspora. The cosmopolitanism that was still recently considered bad taste has thus become the prerogative of all. The human stain, to use the title of one of Philip Roth’s novels, has become the distinctive sign of a new mankind that uses a consciously or unconsciously reconstructed memory to attain other forms of narration. Going on the principle that all reality is nothing but a mental and cultural construction, the artist only has to lean on this virtual reality to give meaning to that which has none, i.e., add confusion to confusion.

It is this message that the twelve African artists in the exhibition “A Collective Diary” brought to the holy land. Some baffled journalists did not understand a simple fact to which they had to be initiated: Africa is a diasporic continent, a culture fluid, an objective virtuality. It is not defined by its physical form and its geography is even less capable of defining its inhabitants or its artists. For they do not live their “identity” as an imposition or a fatality, but as a mystery with which they maintain a very intimate relationship. The Israelis who viewed all these more or less dark or light negroes with the distance of alterity (they who represent the quintessence of alterity themselves) were thus surprised to discover  their own reflection in works whose conception they were a far cry from imagining as close to their own preoccupations. Twelve artists, twelve at once similar and different voices to remind all those who might have forgotten that magic lies in mankind and nowhere else.


MOSHEKWA LANGA (South Africa), You Will Find Us Mixed, 2008, mixed media on paper, 106x75,5cm

It lies in the personal fictions which we reinvent over time and which miraculously find their place in the great theatre of collective fictions. But let there be no mistake. All fiction, whether it stems from the collective or, on the contrary, is inspired by the intimate, contains a gaze. And at the end of the day, only this gaze can give the illusion of a community. One should never die for a fiction, however close to reality it may be.


Simon Njami, January 2010
English translation by Gail de Courcy-Ireland

Saturday, 17 April 2010

Will ElBaradei Run for President of Egypt?

        I thought this article interesting and wanted to bring to your attention as President Hosni Mubarak has been in power for 28 years in Egypt and wants to pass the Presidency down to his son, Gamal. The Democratic Republic wants to become more of a Monarchy and this trend is being repeated throughout North Africa with other Leaders such as President Ben Ali of Tunisia and Colonel al-Gaddafi in Libya but the people of Egypt are calling for change and using the Internet to call for the President of choice - Mohamed ElBaradei to take office instead. This is Internet Power at it's best....let us see what happens next. I am interested to see how the elections go after the article written by  Saad Eddin Ibrahim in The Wall Street Journal on 17th August 2009 about President Obama and how it was high time America turned their back on tyrants.

         

        Will ElBaradei Run for President of Egypt by Abigail Hauslohner | Cairo

        Egyptian activists, most of them young, were out in force in the midday sun on Friday, Feb. 19, their flags and posters raised high, their chants rippling across the pavement at the arrival terminal of Cairo International Airport. They had come out in a startling show of support for a candidate who has yet to declare his candidacy for the presidency of Egypt.
        Indeed, Mohamed ElBaradei, who until recently held the top position at the International Atomic Energy Agency (IAEA), hasn't yet decided to run in Egypt's upcoming presidential election. But a campaign on his behalf has started anyway. And on Friday, hundreds of Egyptians — rallied by Facebook and opposition newspapers — filled the street in front of the airport's arrival hall, awaiting the Egyptian diplomat's first return to his home country since his retirement from the IAEA last year, and chanted, "We will not accept inheritance. Raise your voice — ElBaradei will be President." (See the soft Islamic revolution being led by Egypt's women.)
        Egypt has what appear to be democratic processes, but it's hardly a democracy. President Hosni Mubarak has held on to power for 28 years and has been subject to only one multicandidate election, held in 2005, which international monitors say was marred by fraud. Mubarak, 81, has not yet said whether he will run in the next election, slated for 2011. But it is widely believed that he is grooming his son Gamal to take the reins if he doesn't. The prospect of a monarchical transition of power riles many in the country of 80 million, where the President is unpopular but opposition groups are routinely stifled. (See the debate over President Mubarak's son Gamal.)
        But if ElBaradei runs, this may be the first election in which the opposition groups can present a viable alternative candidate. ElBaradei has broad appeal as a well-established and respected public figure whose career flourished far from the bounds of corrupt regime politics. "We are not just liberal people coming here," said Baha' Ahmed, a pharmacist standing in the crowd with his elderly mother. "People from all over are coming. Not only liberals, but people from all over Egypt, as ElBaradei is very independent politically."
        Indeed, the roars of the crowd oscillated throughout the afternoon between chants for ElBaradei and condemnations of Mubarak. Some admitted that their support for the returning diplomat was rooted entirely in their opposition to the current President. "We love Egypt, but we hate the government. Believe me, all Egyptians hate Hosni Mubarak," said Ayman Helman, a clothing-store manager who was draped in an Egyptian flag. Behind him, a crowd chanted, "Egypt has 1,000 alternatives. And ElBaradei is the evidence ... Hey ElBaradei, there's no going back."
        In a country where political demonstrations require official permission and signs of popular unrest are regularly greeted with swarms of riot police, the ElBaradei reception was remarkable. Crowds gathered, chanted, called for an end to Mubarak and even entered the airport. And there were no riot shields in sight. "Mohamed ElBaradei is an international figure," says Samer Shehata, an assistant professor of Arab politics at Georgetown University. "Although I wouldn't put it past the regime, it would be a media blunder to greet him with scores of riot police trying to block supporters from showing their appreciation and welcoming him back to Egypt." 
        ElBaradei is unusual by Egyptian political standards. He's an outsider to regime politics — a fact that the state-sponsored press has been quick to use against him. But it's a quality that also works in his favor. ElBaradei served in Vienna as chief of the international nuclear watchdog for 12 years, during which time he gained international recognition for challenging the Bush Administration's claims that Iraq had nuclear weapons ahead of the U.S.'s 2003 invasion. In 2005, ElBaradei was awarded the Nobel Peace Prize for his work to curb nuclear proliferation. Politically, his supporters say, he has a clean record.
        Even so, ElBaradei's potential political campaign will face an intimidating stack of obstacles. The next election is unlikely to be any less controversial than the last; the regime has already launched a crackdown on Egypt's largest opposition group, the Muslim Brotherhood, and two ElBaradei supporters were arrested and then released earlier in the week for spray-painting anti-Mubarak graffiti.
        The Egyptian constitution, as it stands, makes it nearly impossible for ElBaradei to run. Article 76 requires that a candidate be the head of an officially sanctioned political party for at least a year before entering the race. And ElBaradei himself has said that he would run only if the election promised to be free and fair and would be supervised by the judiciary and the international community. "I don't think the real problem for ElBaradei or for us is to get him to power. I think the real challenge for us is to achieve real democracy in Egypt," says Alaa al-Aswany, a best-selling novelist and the most famous public figure behind the ElBaradei campaign. "The constitution we have now is specially made just to keep President Mubarak in power. What we need is a real constitution, real democracy, and then after that, anyone who is chosen by Egyptian voters for President is going to be most welcomed."
        An equally daunting problem may be a legacy of poor political participation. The government reported 23% voter turnout in the last presidential race, but analysts say that statistic is likely to be inflated. Many Egyptians are apathetic about participating in elections because they don't believe they can effect change in a corrupt system. Others say they simply have other things to worry about. The U.N. says 23% of the Egyptian population lives below the poverty line.
        "Who is Mohamed ElBaradei? I don't know him — only that he's a candidate, like Amr Moussa [the Egyptian current head of the Arab League] and Gamal," said 25-year-old Mohamed Abbas as he drove his taxi through downtown Cairo earlier that morning. "Most of them are criminals anyway. The people are more concerned with making a living and finding a way to get married."
        By nightfall on Friday, the airport crowd had swelled, and the chanting had become louder and more unified. ElBaradei was reportedly unable to make a grand exit because the crowds were too intense. When he finally did emerge, it was in a black SUV, driven through the crowd as press and supporters — now having reached a state of hysteria — flung themselves like paparazzi at his windshield. He didn't stop.
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    Ramses Wissa Wassef | Egyptian Contemporary Weavers

    In writing about contemporary Egypt I would like to initially highlight one of the success stories of contemporary Egyptian art. Egypt Contemporary Art was instigated by the architect, Ramses Wissa Wassef.




    Ramses Wissa Wassef Art Centre

    The Ramses Wissa Wassef Art Centre is the home of a unique experiment in tapestry weaving that has produced extraordinary works admired and collected by museums and galleries around the world. The life work of its founder Ramses Wissa Wassef 1911-1974 was dedicated to releasing the innate creativity of young Egyptian villagers freed from the constraints of a formal education.

    He wrote:

    I had this vague conviction that every human being was born an artist, but that his or her gifts could be brought out only if artistic activity was encouraged from early childhood by way of practising a craft... The creative energy of the average person is being sapped by a conformist system of education and the extension of industrial technology to every sphere of modern life.

    Since 1952 two generations of weavers have developed in the Art Centre Ramses Wissa Wassef established with his wife Sophie at Harrania, near Giza. Nine of the original group of children who began working around the age of twelve, many of them now grandparents, are still weaving under the guidance of Sophie Wissa Wassef. A second generation of weavers guided by the Wissa Wassef`s daughters Suzanne and Yoanna, continue to produce wool and cotton tapestries that are remarkable and unique works
    of art.



    Egyptian Landscapes | 50 years of Tapestry Weaving at the Ramses Wissa Wassef Art Centre

    Written by Hilary Weir, Suzanne Wissa Wassef and Yoanna Wissa Wassef
    Photographs by Werner Forman, Ikram Nosshi, Melad Moawad

    An Experiment in Creativity

    In 1941 an Egyptian architect, Ramses Wissa Wassef, was commissioned to design a school in the poor but historic district of Egypt’s capital known as Old Cairo. When the building was finished, he obtained permission for some of the pupils to learn to weave at the end of the school day. Wissa Wassef first mastered the rudiments of this ancient craft himself, then had some primitive looms constructed, engaged a local weaver to teach the children the technique and encouraged them to weave whatever they liked and so began the “experiment in creativity”.

    Ramses Wissa Wassef was born and educated in Cairo and completed his architectural training in Paris in the 1930’s. During his time in France he was struck by the ugliness of many contemporary buildings, especially when compared with the beauty of older towns and villages. Back in Egypt, he realised that foreign styles and principles in art and architecture were stifling indigenous forms of expression. This prompted him to immerse himself in periods of history when craftsmen were respected and prosperous members of society and “an astonishing profusion of expessive shapes and objects was created in every sector of life”. He made an exhaustive study of medieval Cairo, then turned to museums of folk art, in order to learn about the activities of craftsmen and analyse the relationship between technique and art.

    These studies led Ramses Wissa Wassef to conclude that the distinction between an artist as someone who creates and a craftsman as someone who merely reproduces is prejudicial to creativity. He similarly condemned classifications into major and minor, fine, decorative, and applied arts. Craft, he believed, should be defined as “the individual working of materials to produce a useful and beautiful object”, whether the author earns fame in so doing or remains unknown.

    The outcome of Wissa Wassef’s investigations into the role of craft and craftsmen in society was a deepening conviction that “every human being is born an artist but that his gifts could be brought out only if artistic activity was encouraged from early childhood by way of practising a craft.” The architectural commission in Old Cairo gave him an opportunity to test his conviction by enabling children wholly unacquainted with art, craft, or any notion of a distinction between them to express themselves freely through a craft medium.

    Ramses Wissa Wassef has described how the children’s technical skills and artistry developed:

    At the start the images are very rudimentary; a bird, an animal or a plant are a collection of horizontal,vertical or oblique bars. The body is a single bulk, with a head at one end and a tail at the other. Then a few distinctive features are added, horns and an udder to show that it is a cow, for instance, mere clues to identify it.

    The next stage is to repeat and juxtapose the images. The idea now is to fill up the surface…Animals, birds, plants, houses and people appear, and the whole thing begins to turn into a scene.

    Very soon, the young weavers began to link images together, to repeat and juxtapose them so that they formed a scene. Some early compositions were in banks and tiers, reminiscent of ancient Egyptian reliefs. Gradually the details became richer and the shapes more fluid, with obliques and curves.

    To ensure that every child’s inspiration sprang entirely from within, fuelled by contact with her or his own environment rather than filtered through an adult’s sensibilities, Wissa Wassef imposed three rules: no preliminary sketches or cartoons, no external aesthetic influences and no critical interference from adults.

    Wissa Wassef attached importance to the fact that it took some time to produce an image: this allowed ideas to ripen in the mind and guide the fingers, without loss of spontaneity. He was also confident that experience, gained gradually day by day, would continually give birth to new images.

    The Art Centre at Harrania

    So promising was the “experiment” in Old Cairo that in 1952, when the original children had left the school, Ramses Wissa Wassef decided to take it further. He and his wife Sophie bought land in the rural village of Harrania, 10 miles from the centre of Cairo. It stands on the edge of a canal, between a cultivated area – alas now largely submerged by urban sprawl – and the western desert, with the pyramids of Giza visible to the north, those of the Old Kingdom necropolis of Saqqara to the south. They built a workshop, made friends with local children and invited any who wished to do so – and whose parents consented – to come once a week and learn to weave. Two of the Old Cairo weavers, Fayek Nicolas and Maryam Hermina, were employed to teach them the rudiments of the craft – and to continue to weave themselves.



    The environment within which the experiment took place embodied its fundamental principles. As in Old Cairo, Ramses Wissa Wassef built the first workshop in vernacular materials. It was large and airy, surmounted by a dome, naturally lit and ventilated. Around it the Wissa Wassefs created a garden, planting oleander, prickly pears, date palms and other ornamental and useful plants – including those needed to produce the dyes used by the weavers.


    Over the years, Ramses Wissa Wassef built galleries, houses and additional workshops. He and Sophie lived at the Art Centre from 1964-1967; later, Sophie Wissa Wassef and her two daughters and their families made Harrania their permanent home.

    Within this setting, dozens of children from the village learned the craft of tapestry weaving and from it drew much of their thematic material.

    About 50 individuals work at the Art Centre today – as high-warp weavers, cotton weavers and batik artists. Six, who started with Ramses back in 1953 and have been guided since his death by Sophie, are known as “the first generation”. All the others work with Suzanne and Yoanne Wissa Wassef and are known as “the second generation”.




    Impact and Legacy

    In the 50 years since Ramses Wissa Wassef opened the first workshop at Harrania, some 100 children have mastered craft techniques and used them with extraordinary creativity. They have inspired countless imitators, both within Egypt and abroad: some motivated purely by a wish to make money, some to give skills and employment to others, some to release their own or others’ creativity. In Britain alone, the 1985-1986 exhibition caused a number of artists to change direction, abandoning their former medium and work practice in favour of “spontaneous” weaving.

    The artistic achievements of the Art Centre are its greatest, but by no means only, contribution to Egypt and the world. The weavers are the pride of their community. The project has transformed the lives of poor, illiterate villagers, bringing prosperity, education, self-respect and satisfaction to all and high status to the women.

    It is, however, for the remarkable results of the experiment in creativity that Ramses Wissa Wassef and the Art Centre that bears his name are and will remain principally renowned. Major exhibitions in Europe and the USA have helped bring these works of art to international attention; in so doing, they have helped the Art Centre to be self-sustaining. Suzanne and Yoanna have proved most able successors to their parents in continuing the work. Many village children are keen to join the Centre and we hope that the experiment in creativity continues to grow.

    Thursday, 15 April 2010

    Ready to be Found!

    I would like your opinion on a poem I just wrote about being found against being chosen. It's not anti-Semitic rather anti-Elitist, anti-Establishment. The idea one must prepare oneself to be found and when found we must be ready. Only when ready can we be found. When we are ready we can look for those to find us. That is the idea anyway. So to artists world wide package yourselves up rather than wait to be packaged. Groom yourselves for greatness rather than be groomed. The future should be in your hands not others. I have found some amazing artists from a glorious Continent. They have groomed themselves magnificently and I have tried to express that through this blog. The future is with you. I would gladly work, write and befriend anybody who's ready to be found.

    Amen, Awomen!

    We want to talk about the 'Found People'. The people who have found these words.
    You have found us and we have found you. And we find you delightful!
    Together we are ‘Found’. Together we will never disregard; we-were bound.

    The chosen people be-gone! Let bygones be bygones go and be-gone.
    Chosen no more! For the ‘Found’ are finding freedom and are ready to be found.
    Found all around, those that were gagged, battered, beaten are-being-found.
    Choose to leave quietly. Choose to be friendly, make the right choice. Just leave.

    You have been Chosen but you were never our choice. We would never choose you.
    For you are our nenemy. Our number one and never forgotten enemy.
    Busy sucking up, snorking cocaine, drinking champagne. Well Charlie: You’re FIRED!
    So be-gone. Be-gone, be-gone. Before you go be-gone. For goodness sake, be-gone.

    Something’s in the air. Something’s in the air that is fair. Can you smell it? Taste it.
    Something’s swirling in atmosphere. Something is turning, making us to care.
    Something’s in the air. Something’s in the air that is fair. Can you see it? Touch it.
    Something’s there, something’s fair. Sweet smelling something is in the at-most-fair.

    Relax, breathe in, breathe out, we’ve won. Take a breath of fresh air and breathe in.
    Gasp and gulp, hydrate to rejuvenate, never ere living, never air seeing before. ........
    Filling our lungs up to bursting. Basking in victory and asking for nothing at all.
    The future is ours to build. Waste not a day in constructing. Waste not and want not.

    Taste the joy of success. Taste the thrill of winning. Taste the bliss of being found.
    We have waited for this moment forever. Snort up this new clean air blowing.
    Hallelujah we have been found rather than chosen. Finally we are the 'Found People'
    sounding joyful and happy for the new unbound found, finding ourselves fantastic.


    Awomen, Amen!




    © Joe Forpope, 2010

    Tuesday, 13 April 2010

    Thoughts of NOW!

    I think Andre Gide put it best when he stated, “One does not discover new lands without consenting to lose the shore for a very long time”.

    The risk-taking part of the creative or investigative process is not for the faint hearted. All creative thought, whether by scientists, writers, philosophers or artists, puts the individual in a state of constant self-questioning and often self-loathing. Support and attack with equal measure the integrity of others. Champion fair play and justice. Serve it up tepid to those that are rejecting and intentionally failing to recognise the blatant talent from an exploited Continent. My opposition is to those that are constantly supporting inferior individuals merely to cripple the identity of Nations as they evolve. This intent is to encourage the recycled-rubbish to rise and the cream to sink. Let us hope that these factors dissolve as we join in the fight to what must be, the most important war of all, the cultural war for true African Independence. A war in which morally we should all involve ourselves in. Discard the ideas of Renaissance and Revolution and focus on the talent, focus on the individuals within the world who are consistently producing challenging works of art. Celebrate their genius and strive to gain a better understanding of the customs of our planet. Once we have achieved this we will find within ourselves that sort-after mutual respect that is so desperately needed. We are living in a time of immense change we must embrace that change and benefit from our deeper understanding and acceptance of our talents within the wider world.

    To Artists:

    The creative process needs the application of a personal methodology, formed by you, the individual. This is the structure under which work can continually be evolving. What is essential is to have constructive periods of self-reflection. This complicated and agonizing methodology is largely hidden as only the final product from that process is made public in the form of an exhibition, the Internet or an Art Fair. Instead of interrogating the artworks produced by practitioners, we should examine the diverse ways that gritty thinking can generate waves of change. Remember, failure, in this instance is an option as the true artist will inevitably have to burden the rejection in order to shape the obvious change needed. Patience, passion and a small appetite with long sightedness is what is needed. One can never be deserted forever; the success is in working through being ignored and consistently building on works previously produced creating a handsome body of work over time; only then does the true artist know he or she is working for the greater good. Integrity is not dished out in spades rather it is delivered in tiny thimbles. Waste not a drop as when that has gone the rest is like a broken arrow, pointless and back to a useless forest stick without branches or roots.

    If you like to respond to what I have written please contact me by email: africanartists@hotmail.co.uk