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Omah Diegu: artist, and filmmaker of the iconic L.A. Rebellion film movement
Nigerian-born, Ijeoma Iloputaife, artist name Omah Diegu, was among the first generation of U.S.-trained African filmmakers. She studied filmmaking at the University of California Los Angeles (UCLA) during the "L.A. Rebellion", a film movement whose objective was to legitimised African, African American and Native experiences and visual representation by confronting Eurocentric aesthetics and questioning western culture as the point of reference in film language and elements of style. Omah Diegu, who lives and works in the United States, talks about her experiences during this historic period and her evolution as artist and cultural producer.
Omah, when looking at your cinematic trajectory, it parallels the first generation of Africa women filmmakers emerging in the 1970s and 80s, who went abroad to study filmmaking, though your path took you to the United States rather than Europe, which was the general tendency at the time. What motivated you to study in the United States and to pursue filmmaking at UCLA (University of California Los Angeles)? Perhaps before answering that question you could talk a bit about your background in Nigeria, what was it like growing up in relationship with cinema and the moving image?
Growing up in Nigeria, Tarzan, Hercules, Zorro and such films were the type of fictional movies that were on television then; otherwise there were documentaries (mainly British) that dealt with serious topics such as the World War II. As a child, among other questions, I always wondered how the filmmakers were able to follow the characters in the movies throughout their exploits. More so intriguing was when a character was shown from childhood to adulthood . . . how in a couple of hours, year after year passed by. At secondary boarding school (high school), where there were no movies, I read all kinds of books. In the classroom when I was supposed to be listening to my teacher, I read; during siesta, I read; when I was supposed to engage the physical world, I hid in a corner and read mystery and science fiction books. I enjoyed the pictures I painted for myself in my mind, of situations that were described in words. I wrote short stories and plays, and did some sketches and paintings here and there. I entered some of them in Art Festival competitions in Nigeria and won awards. As a college undergraduate in the mid 1970's, I studied fine arts at the University of Nigeria Nsukka (UNN), but worked as a newsreel correspondent with Radio Nigeria Lagos during the vacations.
On graduation, I worked as a reporter with Nigerian Television Authority (NTA) Lagos. I thought I could truthfully report the events I covered, but the newsroom gave its own version of my reports as dictated by the politics of the day. When a colleague of mine was fired for investigating and revealing the disappearance of eight billion dollars from the national coffer, I decided it was time to look for another medium of expression. I chose to study how to tell a story that would allow intelligent and imaginative persons to get the true picture, without exposing myself to hostilities. I had visited England and the United States during a couple of summer breaks from the University of Nigeria; and thought I would be better off exploring new ideas in the United States. University of California Los Angeles (UCLA) film school offered me that chance. I had read somewhere that not only was it not Hollywood oriented (that is: independent film-making was encouraged), but it was one of the top film and television schools in the world. I guess I was drawn more towards the current affairs type of storytelling because my father had been killed as a result of the political situation in Nigeria of the late 1960s. Influential was also the surreal experiences I had during the pogrom and consequent civil war. My journey through all kinds of literature and real life experiences has taught me that there is no demarcation between true-life events and perceived fiction.
The political climate of the 1970s in the United States played an important role in the intellectual and creative development of a generation of artists, and specific to UCLA, it was the catalyst for the emergence of what has come to be known as the "L.A. Rebellion". Please talk about the cultural climate during that time and the impact of the "L.A. Rebellion" on your development as a filmmaker? What was your relationship with the other African American and "third world" film students in this context?
"Until the lion - king of his jungle - tells his side of the story, the narrative of the hunt will always glorify the hunter-man." - African proverb.
It was of the utmost importance to a whole lot of us blacks at UCLA then, that we learn to use the language of film to tell our stories our own way. For me, as a fine-artist and story teller, my own way was encumbered with the way the African artisan and the Griot broached his subject – as an abstract representation of an innermost spiritual vision of trueness. The late 1960s with its black pride championed from UCLA by political activists, such as Angela Davis, had concluded in an open ended way. So there was this thing in the air for me that – given the deceit of the Nigerian public first by the British colonialists, then by the indigenous politicians and press - I had lots of things in common with the black Americans I met at the film school. I too wanted to make a positive impact in the lives of my people without being shut up. However quality of production is always controlled by the financial producer or lack thereof . . . for as the saying goes: "He, who pays the piper, calls the tune."
There was no African student at the film school in my 1st year. I learnt that a Nigerian lady by the name of Grace had been there, but left a year before my arrival. My first film project was a super 8 short of an Ibo folk tale "Obaledo". The young girl, Obaledo, was disobedient to her parents by switching the priorities, which she was enjoined with. This led her to venture alone outside of her home, in spite of their warnings. Consequently she exchanged her beauty for the ugliness of a spirit who accosted her from another world by imitating the spirits' alien incantations. This simple folktale mirrored my creative mind set. However, my quest was for a more adult way to impart such subtle teachable moments to a sophisticated audience.
During that time the presence of African film students was indeed rare, what were your experiences, and in particular as a woman? It also appears that two of your fellow filmmaking students were also from Africa, Ruby Bellgam and Anne Ngu, did you work with them at all?
Yes indeed there were few Africans at school in California – period. Most were in the East coast. However, in the Black American / Caribbean film students at UCLA, I saw Africa; not necessarily because they were black like me (a couple of them were actually light skinned and of multiple race). There was this sense that they longed to inculcate and interpret the Africa embedded in their very being. I worked with Melvana Ballenger who came in the same year as I; also with Ben Caldwell, Pamela Jones and Bernard Nicholas among others who were earlier. There were also a couple of white American film students who were working on films they shot in Africa. I was at home with all of them and worked in any projects to which I was invited. So when Ruby Bellgam came to the film school - I believe that was in my 3rd year - she was like any other black student to me. However had she arrived earlier I probably would have sought to cast her as the African woman in my short movie African Woman-USA because of her physique and accent. The Nigerian Segun Oyekunle, like Ms. Bellgam, might also have been invited to participate in my projects.
This movement appears to have galvanized a pan-African, Third World-ism among the students of colour. In what ways did this shared cultural ideology manifest itself among the students as it relates to filmmaking?
There was Professor Teshome Gabriel of UCLA History of African Cinema Studies who literally nudged us along the path of finding our own cinematic identity, which would be relevant to our unique sensitivities as children of British neo-colonialism and post American racial-segregation. However, we were all practically handicapped by an inadequate film production budget that limited our ability to fully exploit our creativity and experiment with enough materials for our "masterpieces". We saved money and gathered experience by working on each other's film and television projects in whatever capacity was needed: be it as cameraman, sound engineer or actor.
What is your relationship to Nigeria and the film industry there, which by the way has imposed itself on the global cinematic landscape!
None! Of course I am with the filmmakers in spirit and laud them for bulldozing their way into the global cinematic landscape in spite of meager budgets and lack of movie theater distribution. I am first and foremost a fine-artist – that is my very being. For the life of me, I am not able to create without trepidation, anything that does not come from my very core… i.e. Just as I cannot come up with any finished oil paintings except those that sought my canvas of their own volition, I cannot make a film for the mere purpose of entertaining an audience and making a buck. Of course if I were to be inspired to produce something in which an audience is also entertained, that would be a bonus.
You made several films during the 1980s and 1990s that reflect the themes of the "L. A. Rebellion" as well as working within the theoretical framework of Third Cinema, such as African Woman U.S.A., Atilogwu: The Story of a Wrestling Match, The Snake in My Bed. Could you talk about the films within this context, and especially the latter, The Snake in My Bed for which you are best known?
African Woman U.S.A. tried to address challenges that black women generally face in the US: be it from the white man (institutionalized racism) or black man (black-on-black violence). It underscored the animosity that exists between black people who came to the US of their own free will (usually for educational purpose) and those Americans whose African ancestors were forcibly transplanted. However it fell short of fully addressing the issues due to budget constraints. This made the film rely on dialogue to make a quick point where more visuals and lengthier film would have made a more memorable impact.
Atilogwu: The Story of a Wrestling Match is the film of a dance by a Nigerian Igbo dance group known as "Nkpokiti". The dance interprets the story of a wrestling match during which a hero endowed with mystical powers was victorious. One must know the Igbo culture; understand the meaning of the various dance steps, visual and audio expressions, as well as the role played by each music instrument, to fully follow the story line. Otherwise "Nkpokiti" is just another visually pleasing acrobatic dance. My intent in filming the dance was to eventually add a narrative study enhancing the symbolism of various aspects of the content expressions, so that a greater audience of non-Igbo-culture-savvy will appreciate the depth of the performance. Chinese martial arts is widely enjoyed today because at one time, the codified systems of movement was explained to the audience: i.e. the deeper meaning of poses imitating the snake, praying mantis etc. Ballet such as Swan Lake Op. 20 by Tchaikovsky is enjoyed, not just because of the music and beautiful dances, but because it tells the story of Odette, a princess turned into a swan by the curse of an evil sorcerer.
My film The Snake in My Bed is as is. Addressed to my son, it is a personal recount of a clash between two distinct cultures, two races, spanning two countries and two continents; and finally reconciling at a common ground. However it is a human story that is played out time and time again, in all variations, everywhere between any given cultures and race, be it without or within national borders. It is a story lived and told in such a way that one concedes inferiority to no one, no people and no place. It is such an earnest tale that anyone who appreciates what went down will comprehend a connection to his/her own life. Will I go out of my way to garner broader interest in the film, especially in Nigeria? Once upon a time I might have. I refrained when at the time in 1995, of the initial release of the film at The Pan-African Film and Television Festival of Ouagadougou (FESPACO), my brother Bishop Iloputaife who spoke up against the ills of the ruling Government of Nigeria was gunned down by assassins. His efforts to make a difference to the lives of others in Nigeria only landed him a bullet to the head; and for what? Conditions in Nigeria today are worse than they were in his own time. To make matters worse, my film got badly scratched-up and bled magnetic sound strip caused by a malfunctioned projector at the festival. I was thrown into such a depressive quagmire that I elected not to send my film to any other festival or even consider making another. Suffice it that about 20 years later I was persuaded by Jan-Christopher Horak to include The Snake in My Bed as part of the "L.A. Rebellion" collection. Of this I am well pleased. The film is bound to still do someone somewhere some good someday. And I might yet finish a script and make another film.
According to Jan-Christopher Horak, The Snake in My Bed reflects the tenets found in many of the films of the "L.A. Rebellion" such as the focus on institutionalized racism, colonialism and issues relating to women of colour. Could you talk about the making of the film in terms of your motivation, the form and content and also its reception? That it has the German title Die Schlange in meinem Bett indicates that it was released in Germany, which of course is not surprising as the film focuses on your own personal experiences with Germany. What role did Germany play in the production of the film and what was its reception there?
Dr. Jan-Christopher Horak wrote such knowledge-filled and telling exposé of The Snake in my Bed that I marvel at the extent to which even the most subtle nuances in my film was picked up. I made The Snake in my Bed as I would any of my paintings: an abstract vomit from the very depth of my soul. Just like with all paintings, one either gets it, or does not. However it helps to have knowledge of art appreciation in order to fully comprehend the depth of a true work of art. Nevertheless every grown individual has sets of life experience from which can be found communion with something in another's. My motivation in making the film is shrouded in my earlier quote: "Until the lion - king of the jungle - tells his side of the story, the narrative of the hunt will always glorify the hunter-man." - African proverb. My film is in the form of what I would call "Abstract Documentary". Unlike a regular documentary or docudrama, my story is a juxtaposition of the narrated recount of past events (the "historic"), with the present scenic reality (the "now"). The "now" is enhanced by select activities undertaken by the narrator (Griot) and the sole character (audience) to which the narration is addressed in the film. Some of these activities involve visiting the actual venues, but not reenacting the events, highlighted in the narration. Other film locations hold abstract symbolic ties to the narration; likewise the actions of the characters therein: be they human, animals or projected imaginary. These elements are punctuated by earnest discussions between the narrator and various characters who were actual witnesses to the recollected episodes.
I also said: "He, who pays the Piper, calls the tune." The film "The Snake in my Bed" was bankrolled by the German companies: Die Kuratorium Junger Deutscher Film and ZDF (Zweites Deutsches Fernsehen). There were aspects of my odyssey in Germany that had I included them in my script, my film might never have been produced there. These were not complimentary maneuverings by some higher authorities of the German government. Their actions were mitigated, at some time though, by an elected German politician of a minority liberal party, and at another by the Nigerian Embassy in Bonn. All these intrigues and counteractions were going on outside of the judicial system that was still trying to sort out the German officials' mess-up with my son's birth certificate and legal status. Then there was the German activist organization - of which my diligent attorney Marion Tamura Ikeda was a member - that publicized my son's dilemma in a German newspaper. This had precipitated expert legal opinion being advanced, pro bono by a concerned German citizen, to the relevant court. So in spite of not blatantly telling all in the film (and probably all the better so), I could still make my case to an empathetic German audience; especially those within the lawmakers, bureaucrats and interracial community. My film aired a couple of times on German television and theater. It is of great consolation to think that my story played a part in the enactment of a law in Germany - soon after the debut of my film there. This law recognized the German citizenship of an interracial child born to an unwed German man, as an earlier one had done for the child born of an unwed German woman. This meant equal right of German citizenship to every child born of a German parent! For even though I married his German father in Nigeria, some German bureaucrats, hell bent on throwing my biracial baby to the dogs, were able to feign ignorance of the legality of my marriage. This way, they could camouflage their racism under the umbrella of the absence of a specific law protecting the biracial "illegitimate" child of a German man.
On another level, the drive to make The Snake in My Bed at that very time in space was the chance to preemptively tell my son the story of his birth and ancestry in the event of my precipitous demise. That would help him never to let anyone else define him. As his Griot, my son is my primary target audience hence I addressed him directly. I could not have asked for any one more appreciative.
What cultural and film activities have you been involved in during the past several decades and what are your thoughts on the renewed interest in the "L. A. Rebellion"?
Well in terms of filmmaking I am working on a novel/script that encompasses different perspectives of deities and elements. While at the University of Nigeria (UNN), I wrote an Igbo language play: "Iwe na Onuma" on this very theme. I lost this play in the hands of a renowned Nigerian playwright who was a professor on campus, but relocated to London before I could retrieve it.
The necessity to pursue a reliable sustenance income as a single parent tampered with my artistic spirit. When I finally have time on my hands, I am hard pressed to find the same zest of my youth to make a difference in society. I enjoy my creativity in home décor, renovations, multimedia designs, paintings etc… to find peace with myself. I welcome any who gets joy from what I create. Do I go out of my way to look for who will appreciate my work? No. Not I.
In terms of the L.A. Rebellion, those who are interested in the films showcased there will learn things that will add to their cultural intelligence. Any one of the films is a projection of the creator's soul in all its unpretentiousness. The way we were.
Interview with Omah Diegu by Beti Ellerson, July 2014.
History of the L.A. Rebellion: http://www.cinema.ucla.edu/la-rebellion/story-la-rebellion
Labels: Ijeoma Iloputaife, Omah Diegu, USA-Nigeria
Festival International de Films de Femmes de Créteil | International Women's Film Festival of Créteil - 2015 - Inscription | Registration
Festival International de Films de Femmes de Créteil | International Women's Film Festival of Créteil - 2015
REGISTRATION FOR THE 37TH FESTIVAL IS OPEN UNTIL 15 DECEMBER 2014
The next festival will take place 13 to 22 March 2015!
You may send your films beginning today until 15 December 2014 for the 37th edition.
Information and registration form: http://www.filmsdefemmes.com
LES INSCRIPTIONS AU 37e FESTIVAL SONT OUVERTES JUSQU'AU 15 DECEMBRE 2014
Le prochain festival aura lieu du 13 au 22 mars 2015 !
Vous pouvez nous envoyer vos films à partir d'aujourd'hui et jusqu'au 15 décembre 2014 pour la 37ème édition.
Infos et formulaire d'inscription : http://www.filmsdefemmes.com
Labels: FIFF Creteil
Homage to Andrée Davanture (1933-2014) grande dame and passionate supporter of African cinema
Homage to Andrée Davanture (1933-2014), grande dame and passionate supporter of African cinema
I met Andrée Davanture while doing research in Paris for my African women in cinema project. Atria, the structure that she founded in 1980 and that closed in 1998, was a hub for African film professionals, bustling with activity, a site for professional encounters, cinematic discourse, film editing, and research. A homage to the grande dame of film editing, passionate, eager to listen and assist, who left us on 1 July 2014.
Nicknamed Dédée, Andrée Davanture's passion as editor spans some 50 years. Chief editor of the stunning Mossane (1996) by Safi Faye and the haunting The Night of Truth (2004) by Fanta Nacro, her sensitive hand is visible in a host of African films, notably of the renowned Souleymane Cissé (for which she was editor of all of his feature films). Her African film work dates as early as 1974 with Sous le signe du Vaudou by Pascale Abikanlou, and in 1975 with Cissé's Den Muso and Muna Moto by Jean-Pierre Dikongue, spanning the decades with Oumarou Ganda's L'Exile (1980), Wend Kuuni (1982) by Gaston Kaboré, and the illustrious list continues.
Rest in Peace, chère Dédée.
(Beti Ellerson)
Tributes to Andrée Davanture:
Souleymane Cissé: We have just lost a sister, a friend, a mother, who has contributed enormously to African cinema in general, especially Malian cinema…the enduring memory of a warrior who has always supported our cinema and always had the right words that pushed you to go beyond yourself in the cinematic process. (Maliactu.net)
FESPACO: For her indefatigable technical, artistic and pedagogical contribution to African cinema, FESPACO gives a spirited tribute to Andrée Davanture. She has contributed to the formation of the history of African cinema. She leaves us with weapon in hand, on the work in progress of film director Souleymane Cissé. (Fespaco)
Michel Amarger (Afrimages / RFI / Médias France): The influence of Andrée Davanture for the generation of filmmakers of African independences is considerable. She supported them, gave them contacts, and encouraged them on their scripts. Today this impetus leaves an imprint on a new generation that knew her and benefited from her advice. (Africiné)
Olivier Barlet (Africultures): "I saw Borrom Sarret [Ousmane Sembene, 1963] and I remember crying." For Andrée Davanture, also, there was a click, which was an emotion. "It is a cinema that deeply moves me, a vital cinema." This is the key that motivates these "fous d'Afrique", those passionate about Africa* who dedicate their lives to the service of contemporary African cultural production.
"In the profession, continues Andrée, many do not understand the choice I made." Indeed, against all odds, she fought for a certain relationship to filmmakers whose difference baffled many. "I am completely idealistic. Time passes and I remain. Life is so short!! If there is no interest in growing every day, what force does one have to fight against death if not the solidity and the importance of what we feel? "
After her death on 1 July 2014 at the age of 81 years, this interview from 1995 resonates even louder. (1) Already, when I was preparing my first book on African cinemas, Andrée's warm welcome and her way of telling me with the right words what I felt myself, gave me a wonderful energy. (Africultures)
(1) Interview by Olivier Barlet with Andrée Davanture, Paris, octobre 1995
*Olivier Barlet refers to the book "Fous d'Afrique" by Jean de la Guérivière, about those generations of French who have a passion for Africa.
Labels: Andrée Davanture
"I am not interested in denouncing polygamy: my film goes beyond that". Interview with Angèle Diabang by Olivier Barlet about "So Long a Letter"
Source: Africultures.com. Photo © Olivier Barlet, Cannes, mai 2014. Translation from French by Beti Ellerson
Senegalese director Angèle Diabang was selected to participate in La Fabrique des cinémas du monde during the 2014 Cannes Film Festival professional program that contributes to the emergence of young artists of the South on the international market. Designed by the French Institute, the annual program invites with their producers, ten directors to Cannes who are developing their first or second feature film. Angèle Diabang's project in development is the adaptation of the celebrated novel by Mariama Bâ, So Long a Letter.
Adapt a celebrated book; this is an impressive and risky project! Why this choice?
I made the choice to adapt it into a film because I think the debate on polygamy but also on the situation of women vis-à-vis society, family and love is as important today as ever. At the present we are in an era where the image has a great impact, many young people no longer read. We look at more and more images, films, either on the Internet or television, even if there are no more cinema houses in Dakar. I thought it would be great to take an emblematic work of African literature, and adapt it for the screen.
Is polygamy still practiced in urban areas?
I think so, even in the urban environment and though our country has evolved and modernized, polygamy is still there.
It is true that the topic is dealt with in recent films, such as 5x5 by Moussa Touré.
Exactly, the debate is on going.
You come from the documentary genre; you have directed and produced many, why this passage to fiction. What desire is manifested in this?
It is true that so far I have produced and directed documentaries, and also a short fiction, but I have never made strict boundaries between fiction and documentary. I always knew that one day I would also do fiction because there are stories I want to tell that are impossible to do with a documentary: it would be too sensitive and not sufficiently subtle. I prefer to relate it through fiction. In the case of Mariama Bâ, it is an adaptation and so I can only do it in fiction. But I would never set limits with respect to these two genres. Rather, the documentary is a learning experience for me, allowing me to grow and develop into fiction.
While it is a fiction, it is still quite documentarised, since it is her own story...
Exactly. This novel is, so to speak, a "semi" autobiography and I'm sure there will be a documentary aspect in my film.
The literary adaptation is relatively rare in black African cinemas. It is an approach that has not shown real results. I remember the workshop "Etonnants scénarios" that I introduced a while ago in Bamako, whose objective was to bring together writers and filmmakers. However no concrete projects emerged from it. How did you go about your process?
It came about when producer Eric Neve from La Chauve-Souris and I agreed to work together on the novel. It took us several months to find out who had the rights and how to obtain them to make the film. When we got the rights, I knew that since I am not a screenwriter and having made documentaries, I did not want to write the film adaptation, but rather have someone else do so. Because Eric Neve believes strongly in me, and my talents, he pushed me to do it. He told me: "Begin, and when you know where you want to go, you take on an author," and now, I'll begin the third version of the script by myself! So far it's going well, people who read it are quite surprised and happy with the results. After this writing phase, I think there will be a screenwriter or a second writer.
Were the rights difficult to obtain?
Not really. There have been discussions with the rights holders for Mariama Bâ, but there were no difficulties.
Eric Neve has worked with Moussa Touré for the film La Pirogue, which is also loosely adapted from a literary work. How is your rapport with someone who is known to be an efficient producer, with his expectations and his constraints?
For me it is easy and pleasant to work with Eric Neve who I have known for a long time. We have had a very human relationship, pleasant and friendly. For the fiction, he was the one who pushed me to direct it, since for the last several years I have only worked as producer. He believes in my talent as a director and really propelled me, encouraging me to resume directing. He is in tune with what I want to do but he knows also how to read and make constructive criticism.
With a producer of his weight, the funding issue may be easier?
We are still in development. I'm at the Moulin d'Ande, which allows me to isolate myself, insulated from everything, and concentrate on writing. When Eric makes films, he does not say: "This is an African film, we will try to mend it." No, he simply says: "we will have the budget required for the film," regardless of the cost. He does not fix the budget according to the origin of the project.
Is he aware of the importance of the topic to contemporary African society?
Yes, I think he is aware. He has a house in Gorée, he comes to Senegal often and is steeped in Senegalese culture. We are on the same wavelength.
Can one imagine that the film once completed could be used for educational purposes, in schools for example, bringing the classroom to cinema?
I'd love to do that in fact. Since I finished Fémis, I have thought about a cine-school project or image education in Senegal. For this film, it will be imperative that I make the rounds of the schools to present it to students since it is a novel that is in the curriculum. If a student told me that after seeing the film that she/he revisited the novel to read, I would have succeeded because I have participated in reuniting this student with the literature!
As a woman I suppose this is a topic that touches you?
Yes, but with this film I am not interested in denouncing polygamy. Neither my producer nor I come with an anti-polygamy approach. There is merely the desire to show how the sociocultural rules of Senegalese society evolve and how we as women are a bit torn between a certain modernity—we are well educated, we travel, we want more freedom—it is a position specifically female, and that wants to respect tradition. How to manage this split between a strong tradition that is worn with pride and the desire for more freedom? It is in this sense that the project interests me, and less in the direction of pushing to abolish polygamy, because I am for freedom of choice: whether homosexuality, polygamy, the freedom to practice religion, everyone is free to choose. If someone feels good being in a polygamous relationship it is her right, after which she deals with the consequences. It is not for me to say whether polygamy is right or not.
I remember an anthropology book, "The Woman of My Husband" by Sylvie Fainzang and Odile Journet, which showed that polygamy in rural areas had an important function for women as it facilitated the sharing of heavy workloads, including childcare. But the book concluded that nonetheless polygamy was still negative for the status of women.
It is true that it is rather difficult. I could not be in a polygamous marriage, but that is me. I think it is difficult for women as for men because you have to manage two families, and today, financially, with the economic crisis, polygamy is not particularly useful to those involved. If a woman arrives at a certain age and is not yet married, she is not very well regarded by society. So when she reaches her forties, she resigns herself to be a second or third wife. Perhaps the evolution of sociocultural rules will bring about attitudes that will accept that a woman can live, be free, be someone socially respected without being married. It is not because a woman is married that her moral values are superior to those of others. I hope that we can one day see these attitudes come to fruition, thereby preventing the practice of women having to marry because of social pressure. I think that there are still many marriages that take place because of social pressure, both by women and men. I would like the adaptation of So Long a Letter to participate in moving things in that direction. I have friends who are in a polygamous marriage and who are happy with their situation, so who am I to say to them that it is not good. I would like the debate to evolve beyond "is polygamy right or not?".
This goes against a number of stereotypes about African women.
Exactly. As Eric Neve has often said, modernity does not mean Westernization. I think this way of condemning polygamy means that if you are not like us, you're not modern enough. But we can be modern without copying Westerners!
Does La Fabrique des cinémas du monde allow you to make significant developments? What have been some of the results?
Actually there have been important developments, as the project has already gained visibility. Before then, I had been developing it by myself underground. Today I can dare to talk about it, people know about it, are waiting for it. We met the artistic directors of the Critics' Week, and so they know us and are interested in our work. Apart from that, we met German, Norwegian and Brazilian producers, which has enabled us within this professional framework to discuss our project concretely with co-producers with whom we could finalize it. Having our project selected at La Fabrique makes it better received: having already been among the ten chosen out of more than one hundred candidates. And when looking at the percentage of projects completed at La Fabrique, one recognizes its quality.
Will there be a follow-up that continues throughout the next year?
Exactly. One already comes to Cannes with an established schedule of activities and meetings. We have the opportunity to indicate whom we would like to meet during the festival; it is a luxury! I was able to see the director of the CNC Brazil, for example. If I need contacts later, they will help me advance in this new phase. We were fortunate to have Walter Salles as a sponsor: a generous person with a great artistic sensibility. It was really a great opportunity; it was wonderful!
Last year with Raoul Peck, the participants said the same thing: in other words, sponsors really do participate!
Yes, Walter had read all projects before coming. I, myself was lucky because he had read So Long a Letter well before knowing about my project and when he saw that I had adapted it, he was enthusiastic. But he really had a genuine sensitivity regarding all the directors and producers who were there. He was interested in all the projects.
Last personal question: how do we combine family life with cinema when you have a young child?
It is not evident! For the last two years I have not really worked because I was taking care of my child, my work was a bit on hold. But I'm glad to restart with projects such as So Long a Letter and my documentary about Dr. Mukwege of DRC, as well as working with the Société des gestions collectives (League of collective management) in Senegal. Now that my child has grown a little older, I can balance my work and family life, one just needs to find a balance. It is not easy I'll admit, but I am trying to find it!
ALSO SEE: Angèle Diabang adapts "So Long a Letter" to film - Interview by Agnès Chitou
http://africanwomenincinema.blogspot.com/2014/07/angele-diabang-adapts-so-long-letter-to.html
Links to other translated works of Olivier Barlet on the African Women in Cinema Blog
Aya Cissoko : Danbé, head held high | la tête haute – film by/de Bourlem Guerdjou, analysis/analyse, Olivier Barlet
Raja Amari: "Tunisian Spring" | « Printemps Tunisien », critique: Olivier Barlet
Beyond clichés/Au-delà des clichés - Olivier Barlet : analysis /analyse, "Girlhood" | « Bande de filles » - Céline Sciamma
Femmes, entièrement femmes [Women, Completely Women], - Olivier Barlet
Mille soleils (A Thousand Suns) by Mati Diop, the heritage of Touki Bouki an analysis by Olivier Barlet
A critique of Yasmina Adi's César-nominated "Here, We Drown Algerians" by Olivier Barlet
Nadia El Fani: "In politics it's alright to lose". Interview by Olivier Barlet
A critique of Leila Kilani's film On the plan by Olivier Barlet
Labels: Africultures, Angele Diabang, Senegal
"Je n'ai aucune envie de condamner la polygamie : mon film va au-delà" entretien d'Olivier Barlet avec Angèle Diabang à propos d'Une si longue lettre
Source: Africultures.com
Photo © Olivier Barlet, Cannes, mai 2014
La réalisatrice sénégalaise Angèle Diabang a été sélectionnée pour participer à La Fabrique des cinémas du monde durant le festival de Cannes 2014, programme professionnel qui contribue à l'émergence de la jeune création des pays du Sud sur le marché international. Conçu par l'Institut français, ce programme invite chaque année à Cannes une dizaine de réalisateurs, accompagnés de leurs producteurs, qui développent leur premier ou deuxième long-métrage. Le projet en développement d'Angèle Diabang est de l'adaptation du célèbre livre de Mariama Bâ Une si longue lettre.
Adapter un livre aussi célèbre, voilà un projet impressionnant et risqué ! Pourquoi ce choix ?
J'ai fait ce choix de l'adapter en film car je pense que le débat sur la polygamie mais aussi sur le rapport de la femme à la société, à la famille et à l'amour est toujours d'actualité. Aujourd'hui, nous sommes dans une période où l'image compte beaucoup, les jeunes ne lisent plus. On regarde plus d'images, de films avec internet ou bien la télévision, même si nous n'avons plus de cinéma à Dakar. J'ai pensé que cela serait bien de prendre un monument de la littérature africaine, et pas seulement sénégalaise, et de l'adapter à l'écran.
À lire dans son intégralité : http://www.africultures.com/php/index.php?nav=article&no=12298
TRANSLATION TO ENGLISH
Labels: Angele Diabang, Senegal
Angèle Diabang, adapts "So Long a Letter" to film | adaptera "Une si longue lettre" au cinéma - Interview by/de Agnès Chitou - Afrik.com
Angèle Diabang adapts "So Long a Letter" to film
Source et Photo: Afrik.com. 19 June 2014 / by Agnès Chitou. Translation from French by Beti Ellerson
Filmmaker Angèle Diabang tackles for her first step in fiction So Long a Letter*, a classic of the African literary tradition. Her project is one of ten selected by La Fabrique des cinémas du monde at the French Institute, and presented in May 2014 during the Cannes Film Festival.
Senegalese filmmaker Angèle Diabang trained in her country, as well as in Germany and France, notably at the Femis. She directed her first short documentary, Mon beau sourire (My beautiful smile) in 2005. Having learned her lesson from her difficulties with a producer, for her next projects she decided to create her own production company Karoninka. "There is a certain tenuousness, as a filmmaker. I feel safer in production," she explains. Next she directs two documentaries: Senegalese and Islam in 2007 and Yandé Codou, the griotte of Senghor in 2008. Her company has produced a dozen projects. So Long a Letter, adapted from the novel of her celebrated compatriot Mariama Bâ, will be her first fiction. It is one of ten projects selected this year at La Fabrique des cinémas du monde, a program designed by the French Institute and the International Organization of the Francophonie (OIF), the Cannes Film Festival and the Film Market. Through the program, the filmmakers, who are working on a first or second feature, are invited on the Croisette (Cannes) with their producers.
Afrik.com: "So Long a Letter" (1979) by the Senegalese writer Mariama Bâ is a classic of African literature. Why the desire to adapt it to screen?
Angèle Diabang: The debate, which is at the heart of the book, is still relevant. Mariama Bâ wrote the novel over 30 years ago during a time when the issue of the struggle for women's liberation was already happening and our country became independent two decades before then. In Senegal, there had never been a woman writer before then. Women began to distinguish themselves. It was therefore important that this novel existed during the 80s. We are now in 2014. We have evolved quite a bit. The world is more modern, we are in the full stage of globalization, but I think the debate on the place of women in society and within the family is still current. I revisited the book that I studied at school and I decided to make a film because we are also in the era of the image. In Senegal, for example, our young people do not read. Bringing to the screen a novel that has marked our literature is another way to speak to the younger generation, to guide them indirectly through the image to reading.
Afrik.com: How did you work on this adaptation, the scenario of your future film?
Angèle Diabang: I propose a contemporary adaptation. The film will be set in in a Senegal of the last ten years. I am on the third draft of the script. My producer Eric Neve has really encouraged me; he is very involved in the writing process of the films. He is not just about finding the money. He really helps with the startup and development of a project. He secured the writing residency at Moulin d'Ande (a cultural center in Normandy, France). This is where I am currently developing the film project and it is wonderful to be able to be secluded in this paradisiacal place to focus on my thoughts and writing. We will later decide whether to procure the services of a second author to finalise the text, or at least a screenwriter to make the dialogue more dynamic, or to get another perspective. It is sometimes easier to work with another person.
Afrik.com: It is a well-known novel in West Africa and beyond and therefore a challenge to adapt. What do you see as the essential elements that will best render the ambiance of the novel to the screen adaptation?
Angèle Diabang: For me, So Long a Letter is not limited only to a story of polygamy. When talking about the novel, one often thinks of nothing else. What concerns me is the strength of women, all women. What stands out is this great story of friendship between Rama and Ada, but also between Rama and her husband Modou. Although he took a second wife, Buchi, the friendship between the two partners is maintained. Although Rama was disappointed in love, stabbed in the back, and held a deadly grudge against Modou, the strength of their friendship remains and it is the singularity of their relationship. Modou may well come home and Rama may continue to discuss certain issues with him. I would like to highlight the strength of all these women in my film and that there is the realisation that polygamy has consequences for everyone involved. Modou, who has a family that everyone dreams of having, suddenly overnight cannot see his children, spends twice as much, and is therefore obliged to borrow in order to meet his financial commitments.
Afrik. com: Polygamy is still a current practice in Senegal. Though the Senegalese are very modern, they remain very attached to this aspect of their tradition, including the younger generation. How do you explain this?
Angèle Diabang: I do not know how to explain why polygamy still exists. But at the same time, I would like to say that all men are polygamous. If they do not take a second or third wife officially, they all have a second or third "office" (one mistress or more). Including Westerners who criticize the practice and express indignation at polygamy among Africans. They, too, are polygamous since they also have mistresses. Their situation is tantamount to maintaining two relationships simultaneously and to having their two women believe that they are the only one. This is what the polygamist does. Yet he has the guts to take responsibility for what he practices, contrary to he who has a mistress. Hence the importance of knowing what to keep in the story. That is why I said that the question is still a valid one. How to be both as modern as we are today and to be in touch with our traditions, our cultural heritage, which sometimes is not always easy to carry, although we are proud? Me, I'm very proud! The strength of my films comes from the fact that I am Senegalese, open to the world, and I know how to enjoy what it has to offer me.
Afrik.com: Women, it seems, is one of your preferred subjects. In one of your documentaries, you raised the issue of the veil, which has become increasingly common with the rise of radical Islam. The film Timbuktu by Abderrahmane Sissako (in competition at the last Cannes Film Festival) also refers to the theme. In African capitals, in fact, we see more and more women wearing the full veil...
Angèle Diabang: This was not seen in Senegal when I was growing up. This is contradictory to living in a more modern and liberated world, to see so many women in full veil: all in black, eyes hidden and gloved hands. For me, this is something else! I have friends in Senegal who wear the veil, but they are more coquettish than me. They are adorned with colorful outfits. I do not see them at all as being confined. If someone wears the veil voluntarily, that is her choice. But when it's something that imprisons and that is imposed, that is different. I don't accept this!
* As its title suggests, the novel by Mariama Bâ is a long letter from Ramatoulaye, the heroine of the novel, addressed to her friend Ada who moved to the United States. The woman has just lost her husband Modou, an event that takes her back to her marriage, devastated by polygamy.
Angèle Diabang adaptera "Une si longue lettre" au cinéma. Jeudi 19 juin 2014 / par Agnès Chitou. Source & Photo : Afrik.com
C'est à un classique du patrimoine littéraire africain que la cinéaste Angèle Diabang a décidé de s'attaquer, pour ses premiers pas dans la fiction. Son projet est l'un des dix projets sélectionnés par la Fabrique Les cinémas du monde de l'Institut français, et présenté en mai dernier durant le Festival de Cannes.
Elle voulait être ambassadrice « comme (la cantatrice américaine) Barbara Hendricks. « Quand j'ai quitté le droit pour aller faire du cinéma, je me suis dit que je pouvais toujours être ambassadrice... grâce à l'art », confie la cinéaste sénégalaise Angèle Diabang. Elle se formera dans son pays, en Allemagne et en France, notamment à la Femis. Elle réalise son premier court métrage documentaire, "Mon beau sourire", en 2005. Pour ses projets suivants, elle décide de créer sa propre maison de production Karoninka, échaudée par ses déboires avec un producteur. « Quand on réalise, on est fragile. Je me sens plus en sécurité dans la production », explique la cinéaste. Elle réalisera ainsi deux autres documentaires : "Sénégalaises et islam" en 2007 et "Yandé Codou, la griotte de Senghor" en 2008. Sa maison a produit une dizaine de projets. "Un si longue lettre", adapté du livre éponyme de sa célèbre compatriote Mariama Bâ, sera sa première fiction. Il est l'un des 10 projets sélectionnés cette année à La Fabrique Les cinémas du Monde, programme conçu par l'Institut français avec l'Organisation internationale de la Francophonie (OIF), le Festival de Cannes et Le Marché du film. Le programme invite sur la Croisette des cinéastes et leurs producteurs qui travaillent sur un premier ou deuxième long métrage afin de les aider à le concrétiser.
À lire dans son intégralité: http://www.afrik.com/angele-diabang-adaptera-une-si-longue-lettre-au-cinema
Afronauts by Frances Bodomo (Ghana)
July 1969. It's the night of the moon landing. And a ragtag group of Zambian exiles are trying to beat America to the moon.
In 1964, immediately following Zambia's independence, grade school science teacher Edward Makuka Nkoloso set up the Zambia National Academy of Science, Space Research, and Astronomical Research in an old farmhouse 7 miles outside of Lusaka. Without resources (the £7,000,000 grant he applied to from UNESCO never came through), he hoped to launch a spacegirl (17-year-old Matha) and two cats into space before America or Russia could. To prepare his astronauts, Nkoloso rolled them down hills in 44-gallon oil drums or cut the rope of a swing at its highest point to simulate weightlessness. We do not know what became of them, other than that Matha became pregnant and was taken away by her parents.
Source: https://www.kickstarter.com/projects/1036306318/afronauts
AFRONAUTS from Sloan Science & Film on Vimeo.
Labels: Frances Bodomo, Ghana
Por um cinema africano no feminino (III): "um foco sobre as mulheres burkinabês no cinema"
Source: FICINE http://ficine.org/?p=1044
Dando seqüência às publicações que visam divulgar a produção e a participação de mulheres africanas no cinema, o FICINE traz este post escrito pela diretora e pesquisadora Beti Ellerson. O texto foi publicado originalmente em African Women in Cinema Blog, um espaço criado para a discussão de diversos assuntos relacionados à participação das mulheres africanas no cinema que faz parte do Centre for the Study and Research of African Women in Cinema. Boa leitura!
* Texto publicado originalmente em http://africanwomenincinema.blogspot.com.br/2009/06/focus-on-burkinabe-women-in-cinema.html
Tradução de Janaína Oliveira
Labels: Por um cinema africano no feminino
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"I am not interested in denouncing polygamy: my fi...
"Je n'ai aucune envie de condamner la polygamie : ...
Angèle Diabang, adapts "So Long a Letter" to film ...
Por um cinema africano no feminino (III): "um foco...


Recently, we told you about how your entire online identity is up for grabs on the Dark Web for cheap.
The assortment of stolen data that was discovered is sobering - Netflix, Uber, Spotify and Airbnb logins (all yours for the low price of $10 each), email accounts like Gmail and Yahoo (as low as $1) and social media accounts (around $2 each).
The high ticket items seem to be personal finance information like PayPal and credit card data. Asking price? Around $250 each.
And check this out, for ultimate savings, cybercriminals also sell entire packages (known on the Dark Web as "fullz") filled with vital sensitive information like your name, billing address, mother's maiden name, Social Security number, date of birth and other personal data.
That's more than enough to do irreparable damage to anyone's life!
Based on the average prices of each kind of stolen account that are for sale on the Dark Web, if someone is going to purchase all the available items for a single person, the checkout price is just $1,170. Yep, one person's entire online identity is cheaper than a refurbished MacBook Pro.
It's such a lucrative Dark Web trade that stolen data outfits are adopting legitimate marketing practices. Buying a set of multiple "fullz" is cheaper and I won't be surprised if they started selling specific bundles soon.
Want to save? Do an entertainment bundle (Netflix, iTunes, Spotify)! How about an online shopping bundle (Amazon, eBay, Walmart, Costco) with free shipping! Maybe they'll start having Dark Friday sales too. It's a scary thought but it's just a matter of time.
How do you stop this smorgasbord of data?
Sadly, your data may already be floating on the Dark Web without you knowing it. There's a website called HaveIBeenPwned that tracks emails and usernames that are known to have been stolen in data breaches. Run your email through the site's search and it will alert you your email and associated accounts are already out there.
Keep changing your account passwords regularly and always create strong ones to replace your old ones. Never ever reuse your passwords or have the same password for different accounts. We recommend having a good password manager and whenever available, turn on two-factor authentication for an extra layer of protection.
Constantly check your accounts for unauthorized activity - movies on your Netflix profile that you don't remember streaming, mystery purchases that you haven't made, songs on your Spotify that you didn't listen to, credit card charges that came from nowhere - if something's amiss, report it immediately.
If you think you are already compromised, put a credit freeze on your accounts as soon as you can.
How do you prevent your data from being stolen in the first place?
Well, phishing is still the most popular method hackers are using to steal personal information. Beware of sketchy emails with unknown links and never ever click on attachments. Be vigilant even against legitimate-looking emails, always check the URLs and always go to a service's official site to log in.
Also, don't let your unused accounts go stagnant. Track down any old accounts that you no longer need and close them all out.
Click here for detailed tips on how to improve your online security.
It's tax season! And as usual, hackers are sending out tax phishing scams. Click here to see what these security researchers are finding out about this new wave of attacks.


The solar energy industry is utilising strong and light-weight aluminium extrusions for the frames, rails and supports that ensure precision positioning and stability of their solar panel products.
The improved stability required to locate and position solar panels has come through innovations in aluminium extrusion technology. The panel power output can be affected by positional shifts of only a few degrees which results in reduced efficiency.
Aluminium Extrusions are widely used in photovoltaic (PV) mounting systems and frames, with innovative designs continuing to provide enhanced performance and reduced costs over earlier designs and certainly versus other materials, such as steel.
When properly designed extruded aluminium solutions provide long-term exceptional performance in a cost-effective manner in the most demanding environments.
The extruded systems yield exceptional performance, the lowest "total installed cost" (material acquisition, extrusion, fabrication, transportation, subassembly and final field assembly) and an end-of-life value three times that of comparable steel systems.
Working with ABL's one-stop-shop provides cost-saving opportunities including dealing with a single supply source, experienced design advice, lead time, purchased items, packing, quality, engineering assistance, logistics and delivery direct to customer.
ABL's capabilities, which are all based under one roof, allow companies to benefit from single fabrication stops, shorter lead times, reduced supply chain, reduced shipping costs and a single point of quality control avoiding the scenario where different sub-contractors disagree about where any defects have been caused or where any parts have been lost.
ABL's one stop shop ensures a consistent and reliable source that delivers high quality, on-time extruded components and assemblies for solar panels.
Contact us today to learn more about how ABL Components can assist you with your solar panel project.
This entry was posted in Aluminium Extrusions news by John Mills. Bookmark the permalink.


A few of the unique services can include things like the set up, fix, and routine maintenance of refrigeration, heating, and air con programs home air conditioning service . The individual which offers these services is termed an HVAC technician (Heating, Ventilation, and Air con). These are exclusively properly trained to install, diagnose, retain, and maintenance the mechanical and electrical elements of those people units. They can be also familiar together with the refrigerant and gas that these methods require. A company may well deliver heat and air-con service to industrial or residential clients or combination.
A HVAC provider they provide is the installation of air conditioning or central heating methods. For the duration of installation it not simply requires the link of the equipment but could also include things like installing the ductwork. This includes the tubing and piping that operates to and within the method. They may also have to accomplish any wiring that's needed. As soon as the technique is installed the provider firm will check out the efficiency from the process employing certain applications. Some of the first technique checks could involve making guaranteed the device controls and equipment are appropriately operating. They may also be certain that there may be the absence of fuel or air leaks anyplace in the new technique.
A different service that is certainly available could be the annually upkeep on the heating and cooling methods that normally involves the examining of your various parts in the procedure. The technician could check out the voltage from the unit's electrical elements and tighten connections. They could also set the devices via a doing the job cycle for making positive many of the factors are working safely and properly.
When doing a warmth and air conditioning services just on the heating process there may be distinct servicing that is definitely finished. This tends to include examining the oil or gasoline connections for health or fire dangers. The technician will use exclusive devices to examine whether the fuel enters the furnace on the accurate tension amount. They will also visually evaluate the warmth exchanger and burner combustion for just about any signs of destruction and filth. If that is so, they can discourage the system from functioning safely and securely and competently.


Ask five different people on the street what "cybersecurity" means to them, and you will likely get five different answers. In a general, you might get answers about setting up a technology infrastructure with protection against hackers or leveraging AI to protect a computer from malware.
In our latest newsletter, Continuous CEO Jason Silverglate and CTO Ross Brouse wrote a little about the importance of training employees on information security best practices. (You're already subscribed, right?) In addition to outlining some of the risks that come with inattentive or outright malicious employees, they also offered a few tips for onboarding new staff and retraining current team members.
Late last March, the infrastructure of Atlanta was brought to its knees. More than a third of 424 programs used nearly every day by city officials of all types, including everyone from police officers to trash collectors to water management employees, were knocked out of commission.


Today, HONOR Malaysia have launched their latest addition to the midrange Lite family, with the HONOR 20 Lite with some impressive upgrades and tech specs might I add. These features include a triple rear camera setup and a cool 32MP selfie camera. Also known as the HONOR 10i or 20i elsewhere, the device retails for RM949 and will be available from 24 April 2019, 9 AM onwards on their online store.
Speaking of online sales, the brand will be in collaboration with Shopee together for Super Brand Day starting from 22 – 26 April 2019. While there's no special deal for the RM949 HONOR 20 Lite during that period, the HONOR View 10, HONOR 9 Lite, HONOR 10 and HONOR Band 4 will be on a discount sale for RM1049, RM539, RM999 and RM125 respectively. Also in coincide with the HONOR 20 Lite launch day sales, the first 1000 will be entitled for a gift box and Shopee coins worth RM30.
Phantom Red and Phantom Blue!
Tech specs for the device include the Kirin 710, 4GB of RAM, 128GB of internal storage, 3100mAh battery capacity and a 6.21 inch dewdrop display achieves a 90% screen to body ratio, giving you more to see on the HD+ screen which is quite a step up from its predecessor. Both Phantom Blue and Phantom Red are equally gorgeous, especially when the light hits, giving it an interesting parallel sort of shine.
In addition, the device comes with AI Super Night Scene which enhances your night time photography, AI stabilization (AIS) and AI identification. These features are pretty cool which I'm sure you've seen on phones such as the Huawei Mate 20 series. On top of that, it also enhances phone calls via AI enhance to make calls less laggy and more clear with noise reduction.
So will you be grabbing yourself a device? Check out our first impressions and hands on video to know what we liked and didn't like about the device. For the latest midrange releases in Malaysia, stay tuned to TechNave.com!


Traditionally, the last game of the season at home is considered Senior Night where the fans get to celebrate the careers of the seniors. Thursday night was that night for the Bears as they celebrated the careers of Shaylise Fernander and Savannah Smith. Smith has been a starter all season and Fernander would get her first start of the season. As the fans celebrated off court, the Bears went to work on court to celebrate in their own way.
The Bears took out fast on the Thunderbirds from Southern Utah from the start and never looked back, leading from wire to wire and coming away with a 88 to 71 victory to gather their 20th victory of the season. That 20th win is the third season in a row for the Bears as they look to go into the Big Sky tournament playing some of their best ball.
It was a great night on the court for the Bears, especially for the two seniors. Shaylise Fernander set a new career high in scoring, putting 14 points on the board to go with her 8 rebounds. She seemed to be everywhere and was the recipient of many great passes as she played in front of the home crowd for the last time. For Savannah Smith it was a different kind of night for her. She shot just 3 of 12 from behind the arc but was 12 of 25 from the floor and only got to the free throw line one time. It was a quiet 28 points for Savvy, as she led the Bears in scoring. She finished the night with 28 points, 3 rebounds, 8 assists, and 5 steals. Like I said, a quiet night for Savannah.
The Bears finished the night with 4 players in double-digits. The 28 from Smith, 14 from Fernander, and adding in her own 10 was Ali Meyer, and 23 from Alexis Chapman. Chapman would finish the night shooting 6 of 7 from behind the three-point line and 8 of 15 from the floor to score her career tying 23. For Meyer, she finished one rebound shy of another double-double, coming away with 9 boards and 3 assists. As a team, the Bears shot 58% from the floor and 50% from behind the three-point line while allowing the Thunderbirds to shoot 45% from the floor.
The Bears wrap up their regular season campaign on the road against Northern Arizona on Saturday before they head to Boise for the tournament. As of now, the Bears have wrapped up the #2 spot at worst, but with a win on Saturday and an Idaho loss to Idaho State the Bears would jump into the #1 spot and take a share of the Big Sky regular season championship as they would split it with Idaho. Read more about this game at uncbears.com.


As the debt ceiling deadline looms, veteran Republican leaders reportedly are telling Tea Party members not to mess with America's full faith and credit. But some 40 House members say they won't vote to increase the ceiling, so Democrats will be needed, and their price is new revenues to save entitlements. Three different options have been proposed to break the deadlock. Republicans call their option "Cut, Cap and Balance." Democratic and Republican Senate leaders have a compromise that would let President Obama increase the ceiling while Congress says "no." The President is trying to split the difference, proposing cuts that will take domestic spending to historic lows and repealing tax breaks for the wealthy. On Friday, this "Grand Bargain" seemed the most likely but today, ABC News reported that it might be back on the table. We hear about an upcoming week of political theater with each side trying to avoid another recession while developing issues for next year's elections.


Compressing the images and graphics on your website makes your website load faster for all visitors, in turn this increases your search rankings – it really is a win-win situation. Our LiteSpeed Cache plugin can do this for you, for free.
Assuming you've already followed the guide to installing the plugin, login to your WordPress admin interface, hover over the 'LiteSpeed Cache' menu and click 'Image Optimisation'.
Then click to initialise optimisation.
This will complete and you'll be redirected to the interface.
Click to send your first optimisation request. The first batch of your images are then sent to the server, and it gets to work on them. When they are ready, it sends a notification back to your website so that it can automatically retrieve them. As you compress more images, your number of credits increases, allowing you to compress more at a time. You may need to revisit this page a number of times to submit all of your images.
The information to the right of the screen shows your progress and how much reduction has been achieved.
By visiting the 'Media' menu on your WordPress site, you can see the effect on each of your images.
As you can see, the changes are fairly significant and with a large number of images on your site will improve load times immensely.
You can increase the effect further by enabling WebP images. To do this, go to your LiteSpeed Cache settings menu, and select 'Show Advanced Options' then click on menu  Media. There are two options to enable – as shown below.
Once your credit limit has reached 1200 you can also enable automatic image compression in this menu, so any future images are compressed automatically, without needing to do anything.


When we work with Buyers, we're often asked, "Why are they selling?" There are many reasons why Sellers are Selling Their Homes. First, we usually don't have insider information such as why a seller is selling. In our area, there could be anywhere from 15,000 to 20,000 homes available for sale at any given moment. A listing agent will protect their clients and not disclose why a seller is selling unless it is helpful to the seller to disclose that information and the seller gives their approval.
There are many Reasons Why a Seller is selling their Home. Once of these reasons may be due to unfortunate circumstances such as divorce or break up. We don't always have this privileged information and the listing agent most likely will not disclose this information. When someone experiences a divorce or break up, they are often required to sell their home in order to split the proceeds among the parties. Sometimes, it is because the individual person awarded the home cannot keep it up or afford the payments. I may be that it's just more home than they need. Or, it is possible that it is just too painful. We hate to see situations like this but, they do exist. It's important to remember there are people on the other end and proceed with care.
So, what does this mean for you the buyer? It's always important when making an offer; all parties on the deed are on the sales contract. There have been instances where a divorce or break up has occurred but, proper deeds haven't been executed or recorded. If this is the case, the seller will need to have all parties from the deed signing on the contract or have a new deed executed and recorded in the owner's name.
There may be times when an offer has to be approved by a judge prior to closing. As long as all parties are aware and the sale of the property is handled correctly, there shouldn't be any issues. It's important you have an experience Real Estate Professional assist you with the transaction so they can look out for red flags such as these and know how to guide you through the process successfully.
However, most buyers don't even think about potential problems a divorce or break-up may cause, most buyers want to know how good of a deal they can get as a result of sellers needing to get rid of a property quickly. As a Real Estate professional, all we can say is "Make an Offer!" Most sellers want to sell and want offers regardless of their reason to sell. First, consider how much you want the house and are you at risk of losing it to someone else. In the end, what's most important is you get a great house you'll be happy with for a fair price.
Clayton, NC: 84 Lee Forest Ct.
Loan officers, bankers and brokers - how are they different?


APH Aloe Vera Shampoo is great for daily cleansing and moisturizing as it contains the goodness of aloe vera and sweet almond oil. The blended combination of both aloe vera and sweet almond oil help to rejuvenate and detangle the hair, also stimulating the scalp and remove flakes which will help promote healthy hair growth. Luxurious shampoo that will leave your hair feeling stronger and softer.
For maximum results, use with Always Perfect Hair Conditioners.


This article is about the force-sensitive child. You may be looking for other uses.
Lo was a male child who lived on an unknown world and was to be taken to Coruscant by Jedi Master Yoda to begin his Jedi training. Before the Jedi could collect him, Lo was imprisoned by the Flesh Mongers pirate group led by Alorg in their lair on the planet Botor. After arriving on Botor, Yoda briefly skirmished with the pirates whilst collecting the child. Shortly after Qui-Gon Jinn and his padawan Obi-Wan Kenobi arrived on the planet and were tasked by Yoda with taking Lo to Coruscant.


Trying to find out news from the RSA? Visit the top five links below or click on "Association News" above.
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This ordinance is effective as of February 13th, 2019 but it is not retroactive.
DORAL, FL – Builders that want to develop new projects in Doral must now present a Construction Parking and Traffic Management Plan in which they establish the space available for the parking of the vehicles of their workers and employees before their permits are approved.
This comes after Ordinance #2019-03 was approved unanimously by the City of Doral Council. This ordinance takes into consideration that there are areas in our city with a heavy concentration of construction projects and that the activity and the vehicles of the employees that are related to these projects are creating problems with traffic.
Communications and Protocol Manager, Maggie Santos, explained to us that this ordinance states that those builders that are willing to develop a project that is for more than a million dollars, must present a Construction Parking and Traffic Management Plan to the Public Works Department for review and approval before their building permits being approved.
The Construction Parking and Traffic Management Plan presented by the developers must ensure that there is adequate parking space for the employees, contractors and subcontractors working for the project and it must identify an appropriate location where all the deliveries will be done, this to avoid any impact to the right of way.
"This requirement is now in effect, but it is not retroactive to those projects that had their construction permits approved before the approval of the ordinance. Ordinance #2019-03 is effective as of the date of its second reading on February 13th, 2019. As of today, there are no new projects approved," stated Santos.
While providing more details about this ordinance, Maggie Santos indicated that this is based on the City of Doral Code, Chapter 44 – "Traffic and Vehicles" which is the chapter dedicated to the regulation of all aspects of traffic and vehicles within our city and which objective is to improve the flow of traffic.
The need for the new construction projects within the City of Doral to present their Construction Project and Parking Management Plan is also supported on the fact that this vehicular traffic congestion worsens due to the deliveries to the construction site during traffic peak hours, and this generates inconveniences to the adjacent commercial areas and delays in the traffic flow to the nearby areas.
One main factor of this ordinance is to safeguard the safety of the children and pedestrians. "Construction sites always carry several risk factors, but if we get them to have their areas pre-assigned, especially for parking and deliveries related to the project, I believe that we can significantly reduce these risks," states Santos.
This ordinance is a benefit for everyone involved. Parking is limited in our city, and it will be much more comfortable and efficient for the workers in a project to have a pre-assigned parking area. This ordinance applies to all the projects above one million dollars, but if the project is a single-family residence, this will be excluded from this regulation.
Santos also stated that both the construction permit and the Construction Parking and Traffic management plan must be displayed in the construction site. It is important to clarify that this plan means that they need to have a written plan that establishes uniform policies and procedures that will be used by construction management personnel to manage the traffic and parking.
It is essential to take into consideration that to obtain a construction permit, the Construction Parking and Traffic Management Plan presented by the developer or contractor must show that it minimizes the traffic nuisance around the site and the impact of the project in the commercial and residential areas.
It should also show that the parking area is contained within the project site. It should provide the distinction between the employees, contractors and subcontractor areas, include routes and schedules for the reception and delivery of construction products and materials and the vehicles that are approved.
According to this ordinance, the total number of potential workers, the number of phases of the project and timeline of the project must be documented. The contractor must schedule a pre-construction meeting with the City of Doral staff after the permit has been approved but before the starting date of the job, to review the implementation of the Construction Parking and Traffic Management Plan.
As established by this ordinance, contractors, subcontractors, and employees of the construction project must register their vehicles, provide the corresponding make, model, year, color and tag to the Public Works Department of the City of Doral. If these vehicles are found in a location that is not what the Construction Parking and Traffic Management Plan established, this will carry a violation of the ordinance.
Violations to this ordinance will be considered civil infractions and each infraction will constitute a different offense. These types of offenses will carry fines from one thousand dollars for the first offense up to five thousand dollars for the third offense. For each additional offense, there will be an order to stop the job for one day.
← Issuance of First Bond Series for Doral Parks is in Progress.


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BRIEFS: MCMURRAY TO JOIN ROUSH RACING IN 2007
Jamie McMurray will leave Chip Ganassi Racing after his contract expires to drive the No. 6 car for Roush Racing in 2007.
Roush did not say Thursday who will drive the No. 6 next season while they wait for McMurray. Mark Martin is retiring from Nextel Cup racing at the end of this season and his seat is one of the most coveted in NASCAR.
McMurray has long been a rumored candidate for several top rides, but Ganassi has held him to the contract he signed in 2002. When his name was mentioned for other jobs last season, Ganassi picked up the option for this season.
Since then, McMurray has told the team owner he planned to leave at the end of his deal.
The 29-year-old McMurray was a relative unknown when Ganassi plucked him out of the Busch Series to drive for him in 2003. He ended up replacing Sterling Marlin for the final seven races of the 2002 season after Marlin broke his neck.
He set a NASCAR record by winning at Lowe's Motor Speedway in his second Cup start, but the 2003 rookie of the year hasn't won a Cup race since.
Hampton University will participate in the 2005 Preseason Women's National Invitation Basketball Tournament. The Lady Pirates will play Nov. 11 at Richmond in the first round. ... North Carolina's victory over Illinois in the NCAA championship game attracted a record crowd. The title game in St. Louis was played before 47,262 fans, a record 98.4 percent capacity at the Edward Jones Dome.
Three former Old Domion field hockey players are members of the U.S. national field hockey team that will compete in the Rabobank Champions Challenge today through July 16 at the Sportsplex in Virginia Beach. Tiffany Snow, former Colonial Athletic Association player of the year Angie Loy and former CAA defender of the year Melissa Leonetti are members of the team.
Mitch Jones had three hits, including a home run, and drove in two runs Thursday, leading Columbus past Norfolk 6-2 at Harbor Park.
Tim Redding (1-0) allowed five hits and two runs in five innings. He walked none and struck out four. Three relievers combined to finish off the nine-hitter.
No. 2 seed Vince Spadea jumped to an early lead and overcame unusually windy conditions to advance to the semifinals of the Hall of Fame Tennis Championships, beating DusanVemic, 6-3, 6-4 on Thursday in Newport, R.I.(Spadea broke Vemic's first two service games en route to an easy first-set win.) ... Frantisek Cermak upset third-seeded Radek Stepanek 6- 7 (7-5), 6-4, 6-4, in cold, wet conditions to reach the quarter- finals of the Swiss Open.
Cheryl Ford matched her season high with 18 rebounds and scored 14 points as the visiting Detroit Shock defeated the Washington Mystics 76-62. ... Allison Feaster scored 19 points, including five 3- pointers, to help the Charlotte Sting to a 66-58 victory over the visiting Minnesota Lynx. ... Shameka Christon scored eight straight points and the homestanding New York Liberty closed with a 26-9 run to beat the first-place Connecticut Sun 89-79.
Kicker/punter Paul Ernster, Denver's seventh-round draft choice, signed Thursday with the Broncos.
Ernster was picked 239th overall out of Northern Arizona, where he finished his four-year career with 221 points to rank third in school history while recording a 47.5-yard average on 60 punts.
He set a single-season school scoring record for kickers in 2003, compiling 101 points.(after converting 18 of 30 field-goal attempts went 47 of 49 on extra-point tries.)

redpajama_set_name: RedPajamaCommonCrawl


The average age for women to become mothers no longer increases. In 2006, women were on average 31.1 years old when their child was born. First-time mothers averaged 29.4 years in age, the same as in 2004 and 2005.
In 1970, first-time mothers were on average somewhat over the age of 24. Until the mid-1990s, the average age increased rapidly, because many women postponed motherhood. Women attended school longer, their participation in higher education increased and more women entered employment. In the past decade, the age of first-time mothers continued to increase. The postponement process appears to have ended two years ago.


Latest national news from the Land Registry shows our average house price is £158,377 only 5% down year on year (albeit based on an appalling 2008!). The East Midlands average house price is £125,185 and down by nearly 6% while Nottingham's average house price is now £120,000, but still nearly 10% down year on year, so double the fall of the national average. This isn't really a surprise as most of the 'good news' is coming from 'down south' in London and due to prices being so high, it can quickly skew the average.
However, be happy you are not in 'Neath, Port Talbot' in Wales, they were the worst performing region and average prices are down by 19%!
Sellers are receiving offers at around 93% of asking price, on average selling after 11 viewings and taking approximately 8-9 weeks to sell.
It's often difficult comparing property prices from one region to another, so we thought we'd concentrate on a popular property type to compare different Nottinghamshire areas: 1930s semis and detached!
Cheapest sold in Retford at Auction for around £87,000, most expensive was £217,000 in Loughborough.
For detached, probably looking at around £250k in places such as Beeston and Radcliffe on Trent.
Very much still finance. Lenders requiring large deposits and now seeing problems for buyers who are self employed. Case with one buyer, very small mortgage but was self employed in construction market, no real risk at all to a lender, can't get a mortgage even with a massive deposit!
Have been picking up problems with lenders coming back with offers ten thousand less than the buyer/seller have agreed. However this is only happening sporadically now, whereas it seemed 'rife' earlier in the year. However, it is still an issue if the buyer offers more than the property was originally marketed for, lenders aren't keen to offer the 'extra' money in these cases.
Come on lenders, you have no reason to be so mean, it's essential that 5-10% deposits come back into play to move the market forward. You've overreacted to the market situation, inter-bank lending is starting to settle, HSBC and Barclays made huge profits, so no excuses!
Finally, still a shortage a properties on the market, so if you really do need to move but are holding back, it might be worth chatting to your local agent to see if they have buyers on their books that would be interested in your home. However, don't be greedy, latest reports of 'house prices' going up have led sellers back into bad habits of wanting to sell their home for more than the agent recommends – don't do it, especially in this market, it will back fire and you are likely to sell for less than you could have done if you'd priced it fairly.
Who's top of the property pops when it comes to selling a property? Generally offers going through within a month which is fast, normally 6-8 weeks.
Retford, offer within 48 hours and completed in a mere 5 weeks, similar for a property sale secured in Loughborough.
However prize goes to Southwell who received an offer within 24 hours and actually secured a completion within 1 week and 4 days – astonishing!
Most agents are expecting a slowdown, although some think that if the Stamp Duty goes back down to £125,000 at 1% instead of £175,000 ceiling, then the market will continue to be buoyant until Xmas, so they need the stock.
This is a key area where they are short of four bed homes because of families wanting to move there for the Minster School. However, you need to bear in mind the Government are cracking down on people 'cheating' by putting the grandparent's address down etc., so it's essential to be honest!
There is another way around this problem, it is a little known fact that apparently you can secure a place at the local schools if you live in Farnsfield, but you would need to check this out with the school as catchment areas can vary, but could be worth thinking about it if you can't afford Southwell or find something that you want. You may want to consider it as an interim measure and you can still shop and dine out in Southwell. So always consider 'nearby' areas, often they grow in value more than areas that already command a high price.
Who'd be a seller in this market?
If you are selling it's important to be aware that buyers are a) quite sensitive and b) quite fickle, especially at the moment as they are convinced the perfect property is within their reach!
In the current market, it could take up to 20 viewings to purchase your home. Don't be surprised if someone who looked at your property three months ago comes back and makes an offer – they are the ones that have viewed everything else on the market, appreciate there is nothing 'better' out there and are likely to be more serious buyers.
If you receive an 'insulting' offer, don't be offended, you are likely to try it on too when you make your offer! Any offer is good news. Politely say 'no' and let them know the minimum you would accept. On the other hand if you can get an equal discount on the property you are looking to buy, then don't be proud, accept it and move on!
Don't give buyers any reason to hate your property (ie leave it in a tip or have garish colours on the wall!). Make sure there are no cracks or wires showing – they are sensitive and will declare it will need rebuilding or re-wiring! Every room MUST have a purpose 'this is for storage' or 'we don't really use this room for anything' does not encourage buyers to buy.
Forget the coffee and baking, unless you are doing it anyway, buyers are likely to think you are hiding something these days, they have all watched the property programmes and are quite savvy, so don't try to fool them!
Self Build – Now is the TIME!
The RICS report an increase in house prices and highlighted what we are seeing in Nottingham, that a lack of supply is holding back the market as currently the number of buyers far outweighs the number of houses for sale, and although we are still selling only half the number of homes we were selling last year, the ones that are selling are doing so at a small increase (versus 2008, NOT 2007 peak prices).
However, the market for plots of land is looking much different. Since the start of the year, almost 6,000 new building opportunities have been added to the PlotSearch website, over 13% of which came onto the market last month, the highest number in a month since last October. The database has also recorded the highest number of available plots recently, with over 9,000 homebuilding opportunities currently available; a 45% increase on the years before the credit crunch. And whilst a Government property survey said house prices have risen 6% since May, plot prices have fallen by 7% in the last six months.
And it's not just extra land that is good news, at the moment 63% of Plotsearch land opportunities are priced below £175,000. This falls to 47% when stamp duty is paid at £125,000.
Nottinghamshire - currently has 112 plots!
Mansfield – plot for a two bed semi only £39,995!
Cropwell Bishop – plot for a four bed home £240,000, this is quite high though.
A great way of building the home that you want to live in. In the Vale of Belvoir it is very difficult to get land, so is a great opportunity, just on the edge of the village, lovely plot!


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Michelle Obama Honors Chance the Rapper as He Makes History at the BET Awards
Chance the Rapper's Speech at the 2017 BET Awards
June 26, 2017 by Monica Sisavat
Michelle Obama message to Chance The Rapper #BETAwards pic.twitter.com/C5bhr5TVYr
— HipHopDX (@HipHopDX) June 26, 2017
Chance the Rapper became the youngest recipient of BET's humanitarian award at just 24 years old on Sunday night. Chance was honored for his recent philanthropic efforts, and as if that wasn't exciting enough, Chance got another special honor when he received a personal message from Michelle Obama. Before making his way to the stage, a prerecorded message from the former first lady played. "We are so incredibly proud of you, Chance," Michelle said. "Chance, you are an outstanding role model and an inspiration to all of us who care about our next generation. Because of you, countless young people will grow up believing in themselves."
Chance the Rapper Brought a Special Date to the BET Awards — His Mom, Lisa
Chance then made his way to the stage to accept his award and delivered one of the most inspiring speeches of the night. "I'm 24 . . . and to be receiving something like this at my age, it feels, uh, a little bit . . . it feels good as hell," he said. "It feels a little early to get something like this, but my god doesn't make mistakes." His speech then took a political turn when he spoke out against police brutality, the education system, and unwarranted prison sentences. "Let everyone out of jail for selling weed before ya'll start making it legal. . . . We gotta work on ourselves before we can work on the world, so I want to be a better father." Well said, Chance.
Chance the Rapper just gave the best award acceptance speech, ever. #BETAwards pic.twitter.com/mVZzZUmI5E
— Pop Culture Polls (@PopPoIls) June 26, 2017
Chance The RapperAward SeasonBET Awards
Watch Nicole Kidman Get Starstruck by the Cast of Schitt's Creek
ICYMI, These Were the Most Stunning Hair and Makeup Looks From the 2020 Critics' Choice Awards
by Lauren Harano 3 days ago


When finding out someone was recently diagnosed with ovarian cancer, don't respond by telling them the disease is lethal and has no symptoms.
After being told I had stage 3 ovarian cancer in 2009, I felt all those emotions and more. But I also wanted to be hopeful that I would find a treatment plan that would put me back on a better track. More unexpected situations arise, however when people hear that a woman has ovarian cancer and make comments that her disease is serious, bad, terrible, deadly, horrible and, worst of all, lethal.
These words are said by friends, relatives, acquaintances and folks in general. I've heard them, just as others in my situation have heard them, too. There is never a positive reaction for anyone who has cancer. Stating that ovarian cancer is the "disease with no symptoms" is another one I often hear. This is not helpful and clearly not always true.
Ovarian cancer has gotten a pretty bad reputation over the years, but many aspects have changed, and inroads have been made. Over the last several years came more drugs and more research on the disease itself. There is genetic testing to sort out a woman's likelihood of having any family-related genetic factors, which can steer doctors to the most beneficial course of action. There are new clinical trials coming out for many types of cancer, including ovarian. There is more awareness, more spoken word, more seminars and more outreach centered around the signs and symptoms. And still, more can be done.
Most importantly, there is more hope and no need to continue the dreary message that ovarian cancer is a "terribly lethal" disease with no symptoms. Any woman, whatever her age, who experiences abdominal distress or symptoms needs to talk her concerns over with her doctor. Ovarian cancer, like so many other cancers, is better treated at an earlier stage.
Above all, please don't spread the notion that we're all in terrible shape. We're working with our oncologists and medical team to handle ovarian cancer. And we're getting some positive results, so let's concentrate on that!


Fotenn's annual client party was held on October 25th. Thank you to all of our dedicated clients that came out and helped make the evening such a success. A BIG thank you to Dominion City Brewing for helping keep everyone's thirst quenched!