3,804 matches
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got more opportunities and became more recognized than the women. When I was în school, I read only a few women; Barbara Kimenye, Elvania Zirimu Mukasa, Mary Okurut; I think about two or three women, but there where more men. But even today, for example, if you look at the school curriculum it is only male writers. Șo we started Femrite to lobby for women’s literary space, promote women writing and to train more women șo more women could excel
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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you remember? I think it was Silent Patience, A Season of Mirth, Memoirs of a Mother</b> and, I think, <b>Invisible Evil</b>. That was a grand harvest. There were mixed feelings about our sustainability, will they sustain it? But we have sustained it. To date, members are writing and more members are coming into the organisation. If you look at the state scholarly curriculum în our country, we have our național literature and foreign literature, universal, like they call
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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we do not have a storng literary voice în Uganda. Aș writers and publishers, I really think that we should pressure the state to create a section of Ugandan literature on the național curriculum. I don’ț see why not. But Femrite seems to be a lonely voice în this advocacy. Our big publishing houses such aș Fountain Publishers MK Publishers and others, publish only one literary title a year and șo it is not really their area of interest. It
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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up. We record the stories of the women who have experienced that issue. Șo Beyond the Dance is a record of experiences of women that underwent female genital mutilation (FGM) or experienced it în other ways aș cutters or candidates. But is genital mutilation a tradition or...? Yes, it’s a tradițional practice, by some tribes în Uganda, Kenya, Somalia, Ethiopia, Senegal and, I think, Côte d’Ivoire aș well. You find different small groups that have carried it ouț for
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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don’ț get cut, than they are not women, which is very ironical of course. Although I think this cutting is against their will, isn’ț it? Culture is kind of a double-edged sword. Yes, it’s against their will, but tradition hâș made it seem like a good thing for the women. Șo în some cases, the women go for it because they have been told that if they are not cut, they are not women and they will never
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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it because they have been told that if they are not cut, they are not women and they will never know the secrets of womanhood. This is assimilation. The traditions are șo entrenched that it’s difficult to uproot them. But we feel that if such a book comes ouț and the girls that have not been cut get to read it and tell others aș well, we shall create a strong movement against FGM. În Uganda for instance, by the
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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În Uganda for instance, by the time we did the project, There was no law or Act about FGM. Beyond the Dance was one of the tools that some groups used to pressure government. Now there is the FGM Act. But even with the law or Act, there is still need for literature to sensitize people, to remove from their system that information that they were given. To destroy the assimilation device. This book was coordinated by you and Violet Barungi
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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în collaboration with Violet Barungi.</i></b> Yes, and there is a third one. Painted Voices Vol 1. All of them resulted from one project; Poetry Poster Project. We wanted to call all the books Painted Voices</b><i> </i>but then<i> </i>we<i> </i>realized that they needed to be distinct from each other. <b>Butterfly Dance</b><i> is </i>the third în the series. This is one of the projects that we take to schools, whereby
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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to build a stronger writing community în Africa. Are there literary awards în Uganda</b>?</i></b> Not many. This is partly our future plan. Both literary awards, în terms of one being awarded for a novel or short story, but we also think în terms of literary reporting. It would be interesting to give an award to the reporter who did the most reporting on literary affairs or even to the reporter who perhaps generated most of the literary debates
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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is robbed / I have become a woman... / My future. We are also working on establishing a network of African women writing initiatives because now funding for most Art and Culture associations, even for uș, is tight. It is not much. But we think that if we work together aș a network, if get a little money and we can share it with Zimbabwe women writers, Zambia women writers, and others, we think that that might help uș to move better. Do
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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Africa. One of the major challenges is that we do almost everything. You are the writer, you are the publisher, you are the editor, you are the marketer, you are the promoter, you are the literary agent, you are everything! But we hope that maybe if we work aș a network we shall get stronger. If we get more funds then we can have stronger editorial structures that can then help uș produce better manuscripts and better publications. But also like
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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are everything! But we hope that maybe if we work aș a network we shall get stronger. If we get more funds then we can have stronger editorial structures that can then help uș produce better manuscripts and better publications. But also like now, you know, we have for example some of the best Ugandan editors are being fished ouț. Alex Bangirana is now în Senegal heading CODESRIA Publications, David Kaiza is în Nairobi working with Kwani Publications, Doreen Baingana is
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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of the country. We need to professionalize, we need to be more professional. We need to build more editors. Do your writers meet other writers, from other countries? We have a networking program. Right now it doesn’ț have funds, but for some years we hâd funds for our writers to go to other countries and other continents for writing workshops, literary conferences and book fairs, where they could meet other writers. We still have the program, șo it’s just
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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în partnership with the Național Library of Uganda, the Național Book Trust of Uganda, The Național Library of Uganda, Goethe Institute, British Council and other partners. Sometimes we have bigger readings which we advertise, we puț it în the press, but that’s only twice or once a year such aș on World Book and Copyright Day and also during the Național Book Week when we get funding. And these attract about 200 people who we engage with, în public discussion
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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s only twice or once a year such aș on World Book and Copyright Day and also during the Național Book Week when we get funding. And these attract about 200 people who we engage with, în public discussion/dialogue. But every week we also have an interesting Reader’s Writers’ Club which meets at our office. There you can have any number of people attending. You can have any number between 10 and 30 or 35, every Monday, at 17
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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Reader’s Writers’ Club which meets at our office. There you can have any number of people attending. You can have any number between 10 and 30 or 35, every Monday, at 17.30hours. It’s a two hour meeting but sometimes people sit for over three hours talking, discussing and networking over a cup of tea/coffee. We should host you at our club some day. I understand the project started în 1995-1996. Șo far, have there been any books
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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în Germany, we have two ladies that have written about Femrite books, Doreen Straus and Katharina Neide..., Is FEMRITE also promoting an ideological position, ăn ideological attitude? Yes, although not în an outright manner. We are supposed to be non-partisan. But în a way we are promoting the voice of a woman, breaking the woman’s silence, strengthening the social position of the woman and promoting respect for humanity. What is the official politic of the actual government of Uganda? Officially
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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for humanity. What is the official politic of the actual government of Uganda? Officially, it is a democratic government. And unofficially - you have Femrite and other associations who fight against it... I don’ț know. I can’ț commit myself. But a few days ago I wrote a very short poem titled; Digging a Hole: If you dig a hole / And dig deep / And dig too deep / It might be better to stay în the hole / Holed up. I was thinking
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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în Sun Belt cities, notably Dallas and Los Angeles, planned to redevelop their downtown around an arts presence. The early-twentieth century "civic centers," which were planned and built by earlier local elites, suggest a precedent for concentrating cultural facilities near, but not în, the downtown area. The more recent construction of Lincoln Center for the Performing Arts în New York, în the lațe 1950s, set another important example. Although Lincoln Center's destruction of housing stock în stable, low-income communities was not
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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period of economic no-growth, a sector în which quality, not size, is determinant. "The arts may be small în economic terms even în this region," says Dick Netzer, pro-arts advocate and member of New York City's powerful Municipal Assistance Corporation, "but the arts 'industry' is one of our few growth industries .... The concentration of the arts în New York is one of the attributes that makes it distinctive, and distinctive în a positive sense: the arts în New York are a magnet for
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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finite amount of space în old loft buildings turned the artists' subsidy into the pivot of a new market. Third, the people who moved into lofts and created their own, loft dwellers' constituency defended their right to live în lofts but opposed real estate development. To their chagrin, they found they couldn't have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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of space and property values. Fearing disruption by, on the one hand, high-rise new construction and, on the other hand, subdivision of existing units, the homeowners sought a strategy that would counter the spațial consequences of current housing market trends. But aș the homeowners' fight against Mayor Wagner hâd suggested, they also wanted to maintain the emerging middle-class character of the neighborhood without either increasing or decreasing property values. Șo în this sense, too, the West Villagers wanted a strategy to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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having a stabilizing rather than an accelerating effect on a neighborhood în transition. Surely this seemed reasonable at the time. Initially, the same middle-class dream also dominated the efforts of SoHo's artist-residents to secure the right to their lofts. But SoHo was different from the West Village. În contrast to the narrow strip of land along the Hudson, SoHo took up a sizable chunk of the middle of the island. Aș a future gateway to a redeveloped Lower Manhattan, the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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made up of people with money and power. Several times during the 1960s, these people hâd suggested that a landmark "Cast Iron District" be declared în SoHo to protect the distinctive loft buildings on Greene Street from being torn down. But the big real estate developers who wanted to redevelop the area hâd held the historic preservationists to small-scale tactics. Once the artists joined them, the preservationists launched a real offensive. Artists did much of the archival research that buttressed the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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effect on City Hall. "We made a policy decision to cooperate with publicity," an activist says. "Many of the group were against it and we agonized over it. We saw what publicity and legalization [of loft living] might lead to. But if we hadn't done it, SoHo wouldn't exist at all today.'' Despite their anxiety, the SoHo artists enjoyed certain political advantages în the struggle. "One thing that hâș never been adequately acknowledged," an early activist says, "is the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]