sean-jacobs

508 Articles by:

Sean Jacobs

Sean Jacobs, Founder-Editor of Africa is a Country, is on the faculty of The New School.

Website

Music Break. Jolly Boys

http://www.youtube.com/watch?v=VZoImzA5iO4 These guys remind me of Sunday afternoons at my great aunt's house in Parkwood. This is from last year. Jamaica's Jolly Boys gives Amy Winehouse's "Rehab" the mento treatment.  Here's a recent interview with them in New York City by Large Up TV.

'Soccer movies about poor, brown people'

[youtube=http://www.youtube.com/watch?v=wKyxDm_lCFQ&w=600&h=369] This semester I co-teach (with journalist Tony Karon) a media politics class on Global Soccer, Global Politics at The New School. It is turning out to be the best thing I've done in a while. It also means watching lots of football-themed films. Some good ones and not all of these are good films. The latter includes a number of films with depressing themes. Don't get me wrong, I am not against films that focus on the ugly side of football. Like Current TV's 30 minute "Soccer's Lost Boys" (this is a link to the film; that's the trailer above) about football factories in Ghana. Instead it is part of a pattern when it comes to African football: It's mostly gloom and doom.  When European football appears on film, at worst it will get the hooligan treatment, otherwise it is all about greatest hits and childhood wonder. (Recent examples include "A Night in Turin" about the England team--with Paul Gascoigne at its heart--that crashed out in the semi-finals of the 1990 World Cup; or just check the trailer for the new film about Liverpool's 2005 European Champions League final triumph.) Which is I could recognize The Offside Rules' anger in a recent post on his blog:

I'm sure someone will find a way to twist the following statement to make me look like a prick or self-hating negro but here it is anyway: I'm tired of seeing soccer movies about poor, brown people.

Documentary makers, you know we're not a monolith right? There are well-to-do brown folks that play soccer as well. Bring your cameras down to a youth game in [Prince George County, Maryland], MD or Cascade Heights, [Georgia] if you don't believe me. Also there are disadvantaged Europeans and Asians who play soccer as well, give them some shine from time to time.

I'm not saying there shouldn't be films about underprivileged brown kids and the uplifting power of soccer. Not at all. But the frequency with which these things have dropped over the last few years is just ridiculous and extremely disproportionate. Here's a list of the titles that I can think of without Googling:

Chasing the Mad Lion

The Anderson Monarchs project.

Dreamtown

The Day Brazil Was Here

Africa 10

Bush League

And that's just in the past year.

Seriously y'all we're dangerously close to "Magical Negro" territory with these types of films. Why do they keep getting made? At this point it is certainly not original and I've yet to see a follow up film where it shows some drastic improvement in the lives of the subjects since the original film. Come on y'all, we can do better.

'Julius Malema sets the cultural agenda'

[youtube=http://www.youtube.com/watch?v=f-kUhrBGVS8&w=600&h=369] The third season of "90 Plein Street," a scripted series about the travails of a ruling party MP, starts on South African public television tonight. The season's big topic:  nationalization of mines.  That's the trailer above. The season is directed by the talented Johannesburg director Khalo Mathabane. Definitely a case of "art" following "life" even if some elites may pretend economic apartheid is just a slogan dreamed up by Julius Malema. Anybody down south watching it tonight (Dylan?). We'd like to get a sense of it. H/T: Ntone.

Occupy Africa

http://youtu.be/FnCV2tlsDqU How do Africans--ground zero for resource extraction by the world's 1%--feel about the now global 'Occupy' movement? Thus far it's mostly restricted to South Africa (according to OWS's own data collection) and to small once-off protests by mostly white, middle class South Africans.*  But now they're joined by Senegalese musician Baaba Maal. That's Maal above--in the video sound bite--talking about 99% with Okayafrica's Allison Swank. BTW, Maal could have added that Africans have been going on about global Apartheid for a while. If you take the anti-privatization social movements of the early 2000s in South Africa, the role of activists like Dennis Brutus, the various World Social Forum meetings held in Dakar last year and Nairobi before that, the AIDS movement, the films of Abdourahmane Sissako ('Bamako') or the protests against Shell in Nigeria, etcetera. * Note: Race and class is as usual at the heart of protests in South Africa. It is useful to watch the video taken at a protest in Johannesburg and read the Malala.co.za post about whites and OWS. My two cents: In South Africa when black people protest about the effects of capitalism and their government going along with Wall Street dictats (when it comes to policy prescriptions around transforming the most unequal country in the world), it is usually dismissed as in the service of power struggles between the ruling party and its allies, between ruling party politicians or as "service delivery protests." (Just last week a few thousand, young black protesters marched to protest economic Apartheid in South Africa; the march was led by Julius Malema. Predictably his presence became the only lens through which to view their very real grievances.) We've rambled on about that here countless times. Anyway, for now, let's enjoy Baaba Maal especially since Africa is not just South Africa.

Eating Staten Island Crow

New Orleans-based historian Thomas J. Adams on Occupy Wall Street:

"We are the 99% [the slogan of OWS protesters] sounds nice and I suspect has been a catchy chant below 14th St. The problem lies in the fact that it puts a very large cart ahead of a very small horse. Through virtually all of human history where there has been oppression, there has not been resistance, at least of the variety that has a modicum of hope of actually changing the political, economic, legal, or social imperatives of the oppression. "We are the 99%" as a message assumes otherwise. It assumes, sans historical or contemporary evidence, and without an organizational mechanism to change this fact, that the rest of the 99% will, like our sanitized image of Rosa Parks and those Columbia students mistaken for revolutionary proletarians, organically throw off their yokes in service of real and substantive historical transformation.

By claiming to represent the interests of, or worse, speak for the 99%, the protesters in lower Manhattan and across the country fully replicate the deus ex machina trope of historical change. As a result of this, protest on Wall St and virtually everywhere else in modern America has become more about bearing witness and venting anger than any effective or sustained challenge to the institutions and classes that control our politics, economy, and society. Protest becomes an end in itself, not a small, if dramatic weapon in the arsenal of radical transformation. Furthermore, when protest takes this form, unmoored from a sustained and mass-based politics and grounded in the dreamy assumption that oppression will eventually lead the oppressed to resist, it frequently serves to encourage political demobilization. Progressive politics becomes neither about convincing the 99% of their shared interests in any meaningful way, nor about establishing mass-based organizations that can begin to have a hope of contesting economic, political, and social power. Rather, it becomes politics waiting for god and his machine to descend down from the heavens, indeed, the hope that a panty raid is a revolution.

Am I glad that a group of young people are angry at the American economic system? Absolutely. Would I happily eat the stinkiest crow in a Staten Island landfill if a sustained movement arose out of Occupy Wall St. to actually challenge neoliberalism and the ever-increasing dominance of capital over politics, society, and everyday life? Absolutely. Do I have a sliver of hope that crow is going to be on my dinner menu anytime soon? Absolutely not.

Political theater

Judith Stein in Dissent:

Despite its apparent permanence, OWS is mostly composed of part-time participants, who stay a few nights. There is a core of permanent campers, possibly those who run the general assemblies, the key OWS institution. The problem is that if they simply stay in parks, they prove their staying power but nothing else. They must move out. But where? If they continue street demonstrations, they risk conflict with the police. (And the value of street demonstrations and protests may be more limited in the United States than in countries like Egypt.) If they try to hone a message then they become one more voice among many, and a smaller voice than the labor movement or the NAACP. In short, political theater can capture the imagination at a time when politics seem bankrupt, but it cannot solve political problems or short-circuit political organizing.

Mr Balotelli

The estranged son of Ghanaian immigrants reared in Brescia wreaks havoc in Manchester:

"Why always me?" read the slogan on Mario Balotelli's vest. Because, Mario, you're clearly more than a little bit eccentric. But you do know how to score goals and, as long as that is the case, City will forgive him for whatever controversies come their way bearing his fingerprints. City's own firestarter lit the fuse, put a rocket up United, set the game ablaze and every other firework pun going. You wouldn't want to be his neighbour and it will be one hell of an autobiography one day, but that's six goals in five games. The good outweighs the bad even if it is a close-run thing at times. And maybe he is learning: the old Mario would surely have lifted his shirt for his second goal, too, and collected a second card for his troubles.

Source and Photo Credit.  See also here.

Occupy Africa

Last week on Columbus Day, Sahara Reporters, the Nigeria-focused New York City-based website, sent a crew down to Zucoti Park where anti-Wall Street protesters are camping out. There they filmed Olga El, who runs "a dance theater for social change." Topless (it's legal in New York City), she went on about representing for Africa and native people against imperialism. Her ancestors "are from all over Africa and native American." As for her outfit, it was "a fusion of things going on in my outfit." Earlier today, Ikenna of What's Up Africa, pointed to some of the craziness in the video by Sahara Reporters: http://www.youtube.com/watch?v=xMuPFvNjjjE Stop when Ikenna goes for Judge Hatchet. (BTW, we did here. ) Back to Olga.