Congo Solo


Book Description

A woman who lived life on her own terms, Hahn was an unknown and struggling writer when Congo Solo was published. Here - restored to the form she had intended - is Hahn's unforgettable narrative, a vivid, provocative, and at times disturbing first-hand account of the racism, brutality, sexism, and exploitation that were everyday life realities under Belgium's iron-fisted colonial rule. Until now, the few copies of Congo Solo in circulation were the adulterated version, which the author altered after pressure from her publisher and threats of litigation from the main character's family. This edition makes available a lost treasure of women's travel writing that shocks and impresses, while shedding valuable light on the gender and race politics of the period.




Congo Solo


Book Description

Emily Hahn was one of the most prolific and enduring writers atThe New Yorker– her first by-line appeared there in 1926, her last in 1996. She was also the author of fifty-three books, and, had her 1933 travel memoir,Congo Solo, not been published in a censored version during the darkest days of the Great Depression, it might well have been hailed as a classic of the genre, alongside Dinesen'sOut of Africa. In many ways Hahn's vivid account of her eight-month sojourn in a remote medical clinic was years ahead of its time. A woman who lived life on her own terms, Hahn was an unknown and struggling writer whenCongo Solowas published. Here – restored to the form she had intended – is Hahn's unforgettable narrative, a vivid, provocative, and at times disturbing firsthand account of the racism, brutality, sexism, and exploitation that were everyday life realities under Belgium's iron-fisted colonial rule. Until now, the few copies ofCongo Soloin circulation were the adulterated version, which the author altered after pressure from her publisher and threats of litigation from the main character's family. This edition makes available a lost treasure of women's travel writing that shocks and impresses, while shedding valuable light on the gender and race politics of the period.




The King of the World in the Land of the Pygmies


Book Description

Joan Mark offers an interpretive biography of Patrick Tracy Lowell Putnam (1904–53), who spent twenty-five years living among the Bambuti pygmies of the Ituri Forest in what is now Zaire. On the Epulu River he constructed Camp Putnam as a harmonious multiracial community. He modeled his camp on the “dude ranches” of the American West, taking in paying guests while running a medical clinic and occasionally offering legal aid to the local people, and assumed the role of intermediary between locals and visitors, including Colin M. Turnbull, author of the classic Forest People. Mark describes Putnam’s mercurial relations with family and with his African and American wives—and follows him to his sad and violent end. She places Patrick Putnam within the context of three different anthropological traditions and examines his contribution as an expert on pygmies.




The Complete Travel Guide for Congo


Book Description

"The Complete Travel Guide Series" offers a comprehensive exploration of diverse destinations worldwide. Each book provides detailed insights into local culture, history, attractions, and practical travel tips, ensuring travellers are well-prepared to embark on memorable journeys. With vibrant illustrations, beautiful pictures and up to date information, this series is an essential companion for any type of traveller seeking enriching experiences.




Congo's Dancers


Book Description

Dance music plays a central role in the cultural, social, religious, and family lives of the people of the Democratic Republic of the Congo. Among the various genres popular in the capital city of Kinshasa, Congolese rumba occupies a special place and can be counted as one of the DRC’s most well-known cultural exports. The public image of rumba was historically dominated by male bandleaders, singers, and musicians. However, with the introduction of the danseuse (professional concert dancer) in the late 1970s, the role of women as cultural, moral, and economic actors came into public prominence and helped further raise Congolese rumba’s international profile. In Congo’s Dancers, Lesley Nicole Braun uses the prism of the Congolese danseuse to examine the politics of control and the ways in which notions of visibility, virtue, and socio-economic opportunity are interlinked in this urban African context. The work of the danseuse highlights the fact that public visibility is necessary to build the social networks required for economic independence, even as this visibility invites social opprobrium for women. The concert dancer therefore exemplifies many of the challenges that women face in Kinshasa as they navigate the public sphere, and she illustrates the gendered differences of local patronage politics that shape public morality. As an ethnographer, Braun had unusual access to the world she documents, having been invited to participate as a concert dancer herself.




Africa Solo


Book Description

Carrying only the gear that could fit into a backpack, filmaker Kevin Kertscher sets out on a perilous journey to cross the African continent by foot, by thumb, by bus and by boat.




The Newcomers


Book Description

Traces the lives of twenty-two immigrant teens throughout the course of a year at Denver's South High School who attended a specially created English Language Acquisition class and who were helped to adapt through strategic introductions to American culture.




Congoville


Book Description

One hundred years after the founding of the École Coloniale Supérieure in Antwerp, the adjacent Middelheim Museum invites Sandrine Colard, researcher and curator, to conceive an exhibition that probes silenced histories of colonialism in a site-specific way. For Colard, the term Congoville encompasses the tangible and intangible urban traces of the colony, not on the African continent but in 21st-century Belgium: a school building, a park, imperial myths, and citizens of African descent. In the exhibition and this adjoining publication, the concept Congoville is the starting point for 15 contemporary artists to address colonial history and ponder its aftereffects as black flâneurs walking through a postcolonial city. Due to the multitude of perspectives and voices, this book is both a catalogue and a reference work comprised of artistic and academic contributions. Together, the participating artists and invited authors unfold the blueprint of Congoville, an imaginary city that still subconsciously affects us, but also encourages us to envision a decolonial utopia. Een eeuw na de oprichting van de École Coloniale Supérieure in Antwerpen nodigt het naburige Middelheimmuseum onderzoeker en curator Sandrine Colard uit om een tentoonstelling te creëren die sitespecifiek peilt naar de stille geschiedenissen van het kolonialisme. Congoville duidt op de zichtbare en onzichtbare stedelijke sporen van de kolonie, niet op het Afrikaanse continent, maar pal in het België van vandaag: een schoolgebouw, een park, imperialistische mythes en burgers van Afrikaanse origine. Doorheen de tentoonstelling en deze bijhorende publicatie is Congoville de context waarbinnen 15 hedendaagse kunstenaars, als zwarte flâneurs op pad in een postkoloniale stad, het koloniale verleden en de impact ervan adresseren. Door de veelheid aan perspectieven en stemmen is dit boek tegelijk een catalogus en een naslagwerk met zowel academische als artistieke bijdragen. Samen ontvouwen de betrokken kunstenaars en auteurs de blauwdruk van Congoville, een imaginaire stad die ons nog steeds onbewust in haar greep houdt, maar ons ook aanspoort om na te denken over een de-koloniaal utopia. With contributions by/Met bijdragen van: Pieter Boons, Sandrine Colard, Filip De Boeck, Bas De Roo, Nadia Yala Kisukidi, Sorana Munsya & Léonard Pongo, Herman Van Goethem, Sara Weyns, Nabilla Ait Daoud Participating artists/Deelnemende kunstenaars: Sammy Baloji, Bodys Isek Kingelez, Maurice Mbikayi, Jean Katambayi, KinAct Collective, Simone Leigh, Hank Willis Thomas, Zahia Rahmani, Ibrahim Mahama, Ângela Ferreira, Kapwani Kiwanga, Sven Augustijnen, Pascale Marthine Tayou, Elisabetta Benassi, Pélagie Gbaguidi For more information, visit www.middelheimmuseum.be/nl/activiteit/congoville




Nobody Said Not to Go


Book Description

“A rip-roaring bio” of the trailblazing New Yorker journalist that “explore[s] both the passion and dissatisfaction that fueled Hahn’s wanderlust” (Entertainment Weekly). Emily Hahn first challenged traditional gender roles in 1922 when she enrolled in the University of Wisconsin’s all-male College of Engineering, wearing trousers, smoking cigars, and adopting the nickname “Mickey.” Her love of writing led her to Manhattan, where she sold her first story to the New Yorker in 1929, launching a sixty-eight-year association with the magazine and a lifelong friendship with legendary editor Harold Ross. Imbued with an intense curiosity and zest for life, Hahn traveled to the Belgian Congo during the Great Depression, working for the Red Cross; set sail for Shanghai, becoming a Chinese poet’s concubine; had an illegitimate child with the head of the British Secret Service in Hong Kong, where she carried out underground relief work during World War II; and explored newly independent India in the 1950s. Back in the United States, Hahn built her literary career while also becoming a pioneer environmentalist and wildlife conservator. With a rich understanding of social history and a keen eye for colorful details and amusing anecdotes, author Ken Cuthbertson brings to life a brilliant, unconventional woman who traveled fearlessly because “nobody said not to go.” Hahn wrote hundreds of acclaimed articles and short stories as well as fifty books in many genres, and counted among her friends Rebecca West, Ernest Hemingway, Dorothy Parker, James Thurber, Jomo Kenyatta, and Madame and General Chiang Kai-shek.




Before Motown


Book Description

The history of Detroit jazz comes alive with remarkable photographs, advertisements, and interviews