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Across the Ditch: NZ’s Big Freeze + Olympics Trans Tasman Rivalry

Across the Ditch: Australian radio FiveAA.com.au’s Peter Godfrey and EveningReport.nz’s Selwyn Manning deliver their weekly bulletin Across the Ditch. This week they discuss: Weather comparison Headlines roundup ITEM ONE: The Big Freeze – For the past week New Zealand has been in the grip of a snow monster. The South Island has experienced heavy snowfalls, and the North Island has certainly had its fair share of snow too. For example, the Desert Road that cuts through the Central Volcanic Plateau has seen heavy snow, bringing superb skiing conditions to the North Island ski fields of Turoa and Whakapapa on the sides of Mt Ruapehu. Also, the Napier-Taupo Highway that connects the Hawke’s Bay’s Pacific coast towns and cities to their northern counterparts had been closed due to heavy snowfalls from Friday through to Tuesday. Schools were closed and power outages plagued the art deco city of Napier. Speaking of power, Kiwis are in for some huge electricity bills once the August power-metres are read. Estimates suggest over $4 million dollars extra will be paid by families to their respective power companies for their power usage for last week alone. ITEM TWO: The Olympics – It’s been a challenging start for Kiwis competing at the Olympics. But there’s been some surprises too. But generally, big news here was the NZ Rugby Sevens (women team) being beaten for Gold by Australia. On becoming the Silver Medalists to Australia’s Gold Medal win, he Kiwi Sevens women performed and dedicated a Haka in Australia’s honour. Another KIWI silver medalist, Natalie Rooney surpassed pundits back home, coming through the competition to go head to head against her Australian fellow competitor, Catherine Skinner. It was a tense shootout which saw Australia win the gold. But a lot of coverage here centred on how Skinner fired the winning shot, but retained her silent composure so the Kiwi, Rooney could make her final shot for the silver. It was a great Olympic moment.]]>

“Roots” (2016): persistence of power… and the enduring spirit of resistance

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Review by Carolyn Skelton – Roots (2016) My first post on the 2016 TV miniseries, Roots, highlighted the brutality of silvery, and the ways the US slave masters aimed to erase the true identities and history of African chatel slaves in the 18th and 19th centuries. A theme of the miniseries is the importance of naming, and how the slaves maintain their true names and by telling and re-telling their family line and stories to each new generation. In episodes 3 and 4 we follow the life of Chicken George (Regé-Jean Page) the son by rape of Kunte Kinte’s (Malachi Kirby) daughter Kizzy (Anika Noni Rose), and an Irish slave owner, Tom Lea (Jonathan Rhys Meyers) in North Carolina. Tom came from a poor Irish American background, and considers he has been successful when his fighting cocks gain him enough money to buy a farm and slaves. He is never accepted by the wealthy, powerful and bigoted Anglo men in the area: they consider themselves Tom’s superior. Chicken George has a way with words, using an evangelical style of oratory to captivate white people as he successfully trains and manages Tom’s fighting roosters. Like Tom, the young George sees the acquisition of money as the best way to achieve freedom, and equality. George later reconsiders, and chastens Tom for his hollow belief in the soulless power of money. Money, and the evils associated with it, are another recurring theme in the series. After a lost cock fight, Tom Lea is bankrupted. This results in George being sold to an Englishman, and taken to England for over 20 years, leaving behind his wife Matilda (Erica Tazel) and several children. In the final episode of the series, it is a bewildering moment for Kinte’s descendants and the community of slaves, when they slowly come to realise that the Civil War has ended, General Lee has capitulated, and they are no longer slaves. Chicken George’s wife Matilda says, she won’t be dancing in celebration as she has lost so much: 3 children sold to distant slave owners, and her, now liberated husband, back in the US. [caption id="attachment_11049" align="alignleft" width="300"]Roots (2016): Chicken George, Matilda, Marcellus, Kizzy. Roots (2016): Chicken George, Matilda, Marcellus (Michael James Shaw), Kizzy. [Black Film website][/caption]George had to leave his family because vicious white men use loopholes in the law to brutally exert their power over black people, whether they are slaves or not. If George had stayed with his family he would have been tormented, re-enslaved, or killed. An older, wiser and reformed George joined the struggle to support and protect other black people. Towards the final episode, following the end of the US Civil War and the abolition of slavery, we see the liberated slaves take the first tentative steps to negotiating their their terms for selling their labour to their previous slave masters. Roots: the next generations This matches the history outlined in Steve Fraser’s 2015 book*. The abolition of slavery was replaced by what often was referred to as “wage slavery”, with a large number of young black men, and some poor white men, in the south of the US, working for little money in harsh, prison-like conditions. A high proportion of black such men ended up in prison. There they became cheap labour for the developing enterprises of the rapid industrialisation of the US, and the rise of capitalism (Fraser, pp. 50-3).

And while young African American males languished in industrial and agricultural prison camps, black women (if they weren’t also working in prisons, sometimes as unpaid prostitutes), once the helpmates of their husbands on small family plots, found work instead as wage earners in canning and tobacco factories, as domestics, in mechanized laundries and textile mills, and in the fields.” (Fraser, p.53)

High unemployment was a frightening reality. The US’s early phases of industrialisation developed on the backs and bodies of the poor, a high proportion of them being black people.

“… 35,000 workers died each year in industrial accidents, many of them skilled mechanics.

The bones of thousands of workmen were encased in the concrete of dams and bridges…”  (Fraser, pp. 56-57)

The history of the subordination, discrimination and bigotry endured by the majority of African Americans since the Civil War, shows how the legacy of the past impacts on the present and future. Some of this is shown in the 1979 TV series Roots: the next generations, available on youtube (see also imdb). [caption id="attachment_11047" align="alignleft" width="300"]"Roots: the next generations" (1979) - poster, youtube “Roots: the next generations” (1979) – poster, youtube. Tom, top left.[/caption] In episode 2 of Roots: the next generations (1979), Chicken George and Matilda’s son Tom Harvey (Georg Stanford Brown) has been proud to be able to vote every election after the Civil War. Then, a new generation of white men conspire to prevent black people from voting with vote registration rules targeting African Americans. This includes the requirement to have paid poll tax, and to be literate. Tom fronts up the registration office, shows his poll tax records, and maintains his dignity in front of the sneering white men, while haltingly reading part of the Tennessee constitution he’s given. They then disqualify him from registering because he is unable to explain the meaning of the piece he has read. The legacy of African American slave history in the present In the past few weeks, some in the US have tried to use similar methods of targeting African Americans with rules to prevent them from registering to vote. (Se The Guardian 3 August 2016  and The New York Times 31 July 2016  ) Those kinds of actions, plus the statistics that show African Americans continue to be over-represented in the poorer sections of society, while also being victimised by the police and other institutions, shows how the legacy of brutalising slavery, still continues into the present, as does resistance to it in the #blacklivesmatter movement. (See, for instance, the post by The Political Scientist showing the persistence of poverty experienced by African Americans over generations.) Berklee Black Lives Matter perform a beautiful version on Nina Simone’s “Four Women”, bringing the past into the present, highlighting the continuing impact of slavery, and long-term oppression of black people into the 21st century. The refrain in Nina Simone’s song is “What do they call me? My name is…”. At the end of Berklee Black Lives Matter’s version the reprise the refrain for 3 of the women by highlighting that the name is what “they call me”. The powerful diminish and hide the true identities, experiences and histories of slaves and their descendants in the way they name them.  In covering the song, the Berklee women retell the history of this oppression and resistance to it. https://youtu.be/eDF3RLSI07s * Fraser, Steve, The Age of Acquiescence: The life and death of American resistance to organized wealth and power, New York, Boston, London, Little Brown and Company, 2015.]]>

“Roots” (2016): enslavement and the politics of naming

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Review by Carolyn Skelton. See also, Part Two: “Roots” (2016): persistence of power… and the enduring spirit of resistance Roots (2016, TV series) is disturbing but also compelling: a story of horrific brutality endured, and of the resistant warrior spirit, struggling for freedom. It tells of how the past impacts on present and future generations. It shows the best and worst of humanity, and points to the way both continue today. (Episodes 3 and 4 available on demand on TVNZ website for another week.) Alex Haley’s fictionalisation of his search for his African (become African-American) ancestry was first written as a novel (Roots: The making of an American family, 1976 ). It begins with the story of the enslavement of Kunte Kinte, taken from his Gambian home town of Juffure. The family saga was made into an acclaimed 1977 TV series (See PBS on “Miniseries: Roots Special” 2013) The accuracy of Haley’s family history is disputed, but the story and context seems pretty true to the social history of slavery and the continuing struggles of African Americans. Compared with the 1977 TV series, the 2016 version has been updated to include more accurate historical information. The new version characterises Juffure as “a busy commercial trade post” rather than a rural backwater. In 2016 Kunta Kinte is portrayed as a warrior, compared with the more childlike version of 1977. (Caitlin Gallagher on the differences) The 2016 TV series re-make begins with the story of Kunta Kinte (Malachi Kirby), born in Juffre and trafficked as a teenager to Virginia in the 1770s. The story begins in some of the earliest phases of globalisation that accompanied the shift from feudalism, through mercantile trading, to industrial capitalism. (See also Wikipedia on the 2016 version and imdb) The rise of the use of African slaves in the southern states of the US followed from use of Irish, Scottish, English and German people as well as Africans as indentured servants in early 17th century colonial America. In the 17th century there was a gradual shift from indentured servitude to the use of Africans as chattel slaves, whereby humans are owned as property and have no personal freedom or rights. (History of Slavery in America, Berkley University) The series shows the lives and struggles of Kinte and his descendants across several decades, until the end of the US Civil War and the abolition of slavery in the 1860s. The politics of naming, the importance of family, and of teaching each generation their family lineage, are recurring themes throughout the generations. So to is the recurring treachery, bigotry, misogynistic rape, inhumanity and brutality endured. It starkly portrays the exploitation and abuse carried out by the slave masters in order to acquire and maintain their wealth, status and power over others. And it shows the ways in which each new generation follows Kinte’s example with brave bids for freedom as well as resistance to enslavement in small and large ways: there are moments of success, but their oppression continues, and sometimes changes with other social and economic changes. (See the History website and the Civil War Trust website) The 2016 series adds the story of Kinte and his contemporaries participation in the American War of Independence in 1782, and his grandson Chicken George (Regé Jean-Page) in the US Civil War (1861-65). Both re-tellings show how the slaves were viciously betrayed by the armies they pledged to support in return for promises of freedom. The black men were cynically used as inadequately armed canon fodder. The family bonds, love, solidarity, support, and the selfless sacrifice to protect others among the community of slaves makes their lives durable. For the viewer this is both distressing and uplifting. Kinte and his descendants endeavour to make the best of the circumstances that enslave them. The first aim is to survive. Individuals make choices about when to fight, and when to be prepared to die to protect others. Those that colonise others as a means to maintain their power and status, do so in part by denying the impact of the legacies of the past on present and future lives. The aim of the slave managers is to make the slaves forget their past lives and heritage, by giving them a slave name, and constructing false, and demeaning traditions for them to follow. Kunte Kinte’s supreme act of resistance is to continue to say his name, “I am Kunte Kinte”, as the slave master viciously whips the skin off his back. Eventually, near death, Kinte chooses to live, and says his slave name, “Toby.” But, as The Fiddler (Forest Whitaker) tells him, Kinte will keep his true name, and the spirit it signifies, inside hm. It is necessary to know your name and lineage to know who you are (and what you can be). In part II I will say more about Roots (2016) and the impact of past oppressions on present and future lives. Nina Simone wrote and sang a powerful song, describing four women, whose lives have been constructed out of the legacy of slavery. Each woman is characterized by a slave naming, first as a lament, then, for the fourth woman, her name is sung with anger and bitter irony. https://youtu.be/4grGAYx9koA]]>