
Afro-Brazilian Carnival Celebrates Cultural Kinship in Lagos
Thousands of young and old descendants of formerly enslaved people donned elaborate costumes Sunday to bring the rhythm, vibrancy and colors of Brazil's Rio Carnival to the streets of Lagos in Nigeria.
The festival, albeit on a smaller scale than that of its Brazilian model, helps to keep their heritage alive and celebrate the city's Afro-Brazilian history.
After Brazil abolished slavery, some of those who had been enslaved returned to west Africa, settling in several countries including Nigeria and Sierra Leone, AFP said.
They brought with them Latin American culture -- dance, food, religion and colors -- that lives on today in pockets of the megacity of Lagos.
At Sunday's Fanti Carnival, a stilt-walking woman in a green-and-yellow dress with a yellow fascinator on her head danced rhythmically to sounds of loud drums and trumpets, sometimes stealing a hug from a man also performing on stilts.
Just behind them, a group of young men in striking face masks were preparing for a "dragon dance" using long rubber dragons similar to those that feature in Chinese New Year celebrations.
"We want to keep (our heritage) alive, very colorful... we love colors," said retired fine art teacher Onabolu Abiola, 67, dressed in the green and yellow of the Brazilian flag.
"During this period, we don't bother ourselves with the economic situation or whatever... everybody comes together to have fun," he added, breaking into an impromptu dance to traditional Nigerian Yoruba music.
'Story of hope'
"We are here to show culture, we are here to make history -- the celebration of culture is important," said 50-year-old Mayegun Musiliu as he walked with fellow performers. "This is how we sustain it."
Brazil was the last place in the Americas to abolish slavery when it formally ended the practice in 1888.
Many slaves were forced to adopt Portuguese names, and today in Nigeria, it is common to find people with Yoruba first names and Portuguese surnames.
One of them is Aduke Gomez, a 62-year-old lawyer and historian.
"The story of Afro-Brazilians is a story of tragedy... but it's a story of hope, it's a story of resilience," she said. Loud music blaring from speakers almost drowned out her words.
"Personally, I'm very proud to be an Afro-Brazilian descendent because when you think of the chances of how many people came back and when they came back -- they came back with nothing... and many of them worked and lived to become educated and were contributing positively."
The carnival, she added, "is not just a day, it's a tangible legacy of what my ancestors went through".
A little-known legacy
Another participant, renowned filmmaker and actress Joke Silva, 64, recalled how her parents always used to bring her to the Fanti festival as a child.
She said she now continued the tradition, bringing her children to the celebrations.
"There needs to be more interrogation on how the trauma of (slavery)... has been part of what we are today. But that is not to claim victimhood," she said.
The carnival represents a part of Nigeria's history that is not always well known -- though some are trying to change that.
Kelenchi Anabaraonye, 27, curated a history exhibition at the festival.
"I had friends who were named Pionero, Pereira, Da Silva, Gomez," said Anabaraonye.
"Back then I thought they were jesting with the names, because you have a Yoruba first name and why are your surnames foreign? I didn't know that there was some historical connection."
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Asharq Al-Awsat
02-06-2025
- Asharq Al-Awsat
Israeli Forces Block Journalists from Palestinian Oscar Winner's Village
Israeli forces on Monday blocked an international media tour in the occupied West Bank, preventing journalists from entering the village of Oscar-winning Palestinian director Basel Adra who decried worsening Israeli violence. Adra's film "No Other Land" chronicles the forced displacement of Palestinians by Israeli troops and settlers in Masafer Yatta, an area in the southern West Bank that Israel declared a restricted military zone in the 1980s. Journalists from AFP and other international media travelled to Tuwani at the invitation of Adra, who lives in the village, and co-director Yuval Abraham, seeking to draw attention to a spate of house demolitions and violent incidents in recent weeks. At the entrance to Tuwani, the journalists as well as a Palestinian Authority delegation were blocked by Israeli forces, who said they had a warrant to set up a one-day checkpoint. Abraham called the roadblock a "good example" of what he said was Israeli authorities' involvement in attacks against Palestinians in Masafer Yatta. Adra said the violence was "getting worse and worse". "Settler violence increased, the demolitions carried out by Israeli soldiers and authorities against our homes and schools and properties is increasing in very crazy and high numbers," he told AFP. An Israeli officer who refused to give his name told AFP the force was at the entrance to Tuwani to "keep the public order". "There were violent clashes between settlers, Jews, Arabs, journalists, and to prevent these violent clashes, we decided not to allow passage today," the officer said. Adra said that last week, settlers had entered the nearby Palestinian hamlet of Khallet al-Dabaa, which was bulldozed by the Israeli army in early May, with the Israelis harassing the residents who remained despite the destruction. To Abraham, blocking the media tour was a "good example of the relationship between settler violence and the state". "These police officers and soldiers that are here now to prevent the international media, not only do they not come to prevent the settler violence, often they partake in it," the Israeli co-director told AFP. Israel has occupied the West Bank since 1967, and violence there has soared throughout the Gaza war, which broke out in October 2023. The West Bank is home to about three million Palestinians, but also some 500,000 Israelis living in settlements that are illegal under international law. Since the start of 2025, attacks by Israeli settlers have left at least 220 Palestinians injured, the UN's humanitarian agency OCHA has said. According to the Palestinian health ministry, Israeli forces or settlers have killed at least 937 Palestinians in the West Bank since the Gaza war began. Attacks by Palestinians and clashes during military raids in the West Bank over the same period have killed 35 Israelis, including soldiers, according to official figures. Abraham said he had been trying to hold on to hope that the film's success would bring change on the ground. "Unfortunately, the world now knows, but there is no action," he said.


Resala Post
26-05-2025
- Resala Post
Delving into 'Vergando' The Heartbeat of Latin American Culture
In the vast, colorful, and passionately expressive landscape of Latin American culture, certain words and expressions emerge that do more than merely convey meaning — they embody identity, emotion, and heritage. One such word, rich with texture and regional resonance, is 'Vergando.' Though not commonly found in formal linguistic references or textbooks, 'Vergando' has, in various regions and cultural contexts, become an organic representation of transformation, endurance, and expressive defiance — values deeply embedded in Latin America's history and soul. To understand 'Vergando' is to embark on a journey into the nuanced heart of Latin American culture. It is to listen to the whispered folklore in rural villages, feel the resistance in street art and protest songs, and decode the soul of a continent that has long embraced both the beauty and pain of life with unflinching grace. This exploration will uncover the linguistic roots, cultural manifestations, artistic representations, and social significance of 'Vergando' — a term that, while elusive in formal dictionaries, pulses through Latin American life as a true cultural heartbeat. I. The Etymological Roots of 'Vergando' At first glance, 'Vergando' appears to be a gerund form of the Spanish verb 'vergar.' Traditionally, vergar means 'to bend' or 'to yield.' In Spanish grammar, the suffix -ando signifies an action in progress — thus, vergando translates literally to 'bending' or 'yielding.' But in the cultural context of Latin America, 'Vergando' has evolved into something more profound than a verb. It implies not just a physical act, but a philosophical and emotional posture — the way people, communities, and cultures bend without breaking, adapting to hardship while retaining spirit and dignity. This interpretation finds its roots not only in the Spanish language but also in the shared experiences of colonization, resistance, adaptation, and renewal that characterize Latin American history. II. Vergando as a Metaphor for Cultural Resilience Throughout centuries of upheaval — from European colonization to dictatorship, economic crises, and social inequality — Latin America has had to bend, often painfully, under the weight of external pressures. Yet it has not broken. In this way, 'Vergando' becomes a metaphor for the spirit of survival. Just as a tree in a storm bends to avoid snapping, Latin American societies have endured by adapting: preserving indigenous traditions under colonial rule, developing syncretic religions blending Catholic and native beliefs, and expressing dissent through coded artistic forms. This cultural elasticity, this creative and dignified yielding, is at the core of what it means to be 'vergando.' III. Artistic Representations of 'Vergando' 1. Literature In Latin American literature, themes of resistance and transformation — the essence of 'Vergando' — are omnipresent. Works like One Hundred Years of Solitude by Gabriel García Márquez, or The Death of Artemio Cruz by Carlos Fuentes, depict individuals and societies bending under the pressure of time, politics, and personal guilt. Poets like Pablo Neruda and César Vallejo write about pain and revolution with words that, though not explicitly saying 'vergando,' evoke its spirit: an aching resilience that refuses to surrender completely. 2. Music From the poignant ballads of Mercedes Sosa to the fiery salsa of Rubén Blades, Latin American music is suffused with the rhythms of 'Vergando.' Take Sosa's interpretation of 'Solo le pido a Dios' — a prayer of hope and resistance sung in the soft yet defiant voice of someone who has bent under grief but still sings. Reggaeton and hip-hop artists in urban Latin America also embody 'Vergando' in their lyrics, often narrating life in neighborhoods marred by violence or poverty, yet pulsing with pride and creativity. 3. Visual Arts The murals of Diego Rivera or the surreal pain of Frida Kahlo's paintings are vivid visual representations of 'Vergando.' They show bodies and communities that have endured oppression, disease, and heartbreak, yet persist through expression. Street art across Latin American cities — from the favelas of Rio de Janeiro to the alleys of Buenos Aires — is perhaps the most raw and immediate display of this concept. Each mural or graffiti tag is a declaration: 'We are here. We are enduring. We are creating.' IV. 'Vergando' in Ritual and Tradition The cultural rituals of Latin America, many inherited through generations, often embody the act of 'Vergando.' Consider: The Day of the Dead (Día de los Muertos) in Mexico: A celebration of life in the face of death, honoring ancestors with altars, marigolds, and skull-shaped candies. It's an annual act of remembering and bending grief into joy. Candomblé and Santería , Afro-Latin religions in Brazil and the Caribbean, which merge Catholic saints with African deities. These religions are literal examples of spiritual vergando , merging identities while preserving essence. Carnival, with its explosive costumes, dances, and masks, reflects communities yielding to the chaos of life through controlled release, honoring freedom through structure. V. The Role of Language: Code-Switching and Oral Histories In Latin America, language is fluid. Spanish and Portuguese dominate, but indigenous languages — Quechua, Aymara, Guaraní, Nahuatl, and others — persist, woven into everyday speech in rural and urban areas alike. This multilingual dynamic itself is an act of 'Vergando.' Communities adjust to dominant tongues for survival, but still whisper their truths in ancestral languages, refusing complete erasure. Oral storytelling, a powerful cultural practice in many regions, also embodies 'Vergando.' These stories are living, evolving — bent by time, adjusted for new audiences, but grounded in cultural truth. VI. Social Movements: Vergando as Strategy and Strength Social and political movements in Latin America often reflect the dynamic of 'Vergando.' Whether it's the Zapatista uprising in Chiapas, feminist movements like Ni Una Menos , or indigenous land-rights protests in the Amazon, these movements demonstrate strategic flexibility in the face of oppressive systems. 'Vergando' here becomes tactical: adapting methods, using digital platforms for resistance, or embracing international solidarity while preserving local identity. Unlike brute confrontation, 'Vergando' allows for continuity. It is resilience without rigidity, activism with cultural intelligence. VII. Migration: Carrying 'Vergando' Across Borders Millions of Latin Americans have migrated — voluntarily or by necessity — carrying their culture across continents. In these diaspora communities, 'Vergando' is visible in the preservation of food, festivals, and language even while adapting to new homelands. Latino communities in the U.S., Europe, and elsewhere create hybrid identities that reflect both yielding to new contexts and holding firm to old traditions. Children of migrants, often raised bilingually, may straddle identities, speaking Spanglish or Portuñol, eating tacos alongside burgers, celebrating Christmas with both Santa and El Niño Dios . This is 'Vergando' as survival and celebration. VIII. Modern Media and the Digital Vergando In the age of social media and globalization, 'Vergando' takes new forms. TikTok creators, YouTubers, and Instagram influencers across Latin America create content that blends global aesthetics with regional culture. From viral dances rooted in traditional forms to cooking videos that show abuelita's recipes with a modern twist, digital Latin America is 'vergando' before our eyes: absorbing trends, bending formats, but never losing soul. This generational evolution preserves cultural identity while allowing innovation — a perfect embodiment of modern 'Vergando.' IX. Critiques and Controversies: The Limits of Vergando While 'Vergando' is often framed positively as adaptability, it's worth noting that constant bending can come at a cost. There is a growing discourse among Latin American intellectuals and activists that resilience — when romanticized — can lead to exploitation. Some argue that societies shouldn't always have to adapt; systems must also change. For example, praising communities for 'making do' in poverty can overlook structural injustice. The question becomes: when does bending become enabling? How do we balance cultural endurance with demands for change? This tension, too, is part of 'Vergando' — a living, contested practice. Conclusion: The Legacy and Future of 'Vergando' 'Vergando' is not just a word; it is a worldview. It is the soft power of a culture that has endured — through invasion, slavery, revolution, and neoliberalism — and continues to dance, sing, protest, and create. It teaches us that there is strength in yielding when necessary, in adapting without losing oneself. It reminds us that culture is not static but alive, bending toward the future while rooted in the past. As Latin America continues to evolve — facing climate crises, political shifts, and technological disruption — the spirit of 'Vergando' will remain central. It will manifest in how stories are told, how traditions are preserved, and how new generations rise, rooted but not rigid. So next time you see a mural in Medellín, hear a protest song in Santiago, taste mole in Oaxaca, or watch a TikTok remixing cumbia and reggaeton — remember: you are witnessing 'Vergando.'


Leaders
18-05-2025
- Leaders
In Photos: Highlights from 1st Week of Cannes Film Festival
The 78th Cannes International Film Festival has witnessed the usual glitz and glamour, along with a special focus on politics, according to AFP. The festival highlighted several controversial moments that took place during the first week. Red carpet dress code US actress Halle Berry The 2025 festival has banned extravagantly large dresses and 'total nudity' on the red carpet. Hollywood star Halle Berry was the most high-profile victim of this ban as she was forced to change her wardrobe on opening night. This change came after she judged her dress by Indian designer Gaurav Gupta to be too long. However, other people have broken the rules such as German model Heidi Klum, who appeared in a frilly pink evening gown with a train that was nearly three meters (10 feet) long. Cruise show Tom Cruise After screening his film 'Mission: Impossible – The Final Reckoning,' Tom Cruise has achieved remarkable success in the festival. Director Christopher McQuarrie stated that Cruise, who decided to perform dangerous scenes by himself, took his risk-taking a little far during a shoot in South Africa and could have died. 'He was laying on the wing of the plane. His arms were hanging over the front of the wing. We could not tell if he was conscious or not,' McQuarrie added. Actors-turned-directors Kristen Stewart's directorial debut 'The Chronology of Water' premiered at Cannes Film Festival. This year's edition features three works by actors who have recently started their careers as directors. The event has commended Harris Dickinson, the 28-year-old 'Babygirl' actor, for his first film 'Urchin'. Meanwhile, 'Twilight' star Kristen Stewart, 35, has surprised audience with her talent behind the camera in 'The Chronology of Water'. Furthermore, American A-lister Scarlett Johansson is set to reveal her debut film 'Eleanor the Great' to audiences on Monday. Gaza War Palestinian photojournalist Fatima Hassouna On the eve of festival, approximately 400 top film figures signed an open letter condemning both Israel for committing 'genocide' in Gaza and the film industry for its 'passivity'. Therefore, Gaza War has become a crucial topic during the festival. Importantly, the festival has screened a wrenching documentary about Palestinian photojournalist Fatima Hassouna, killed in an Israeli air strike on her home in Gaza. Before her demise, Hassouna collaborated with Iranian filmmaker Sepideh Farsi to produce a documentary on how people live in Gaza during Israel's ongoing genocide. The Israeli airstrike that targeted Hassouna's family home in Gaza came just a day after Acid, a Cannes sidebar dedicated to independent cinema, announced the selection of her work. Moreover, the attack killed nine of her family members. 'If I die, I want a loud death. I don't want to be in a breaking news story, nor in a number with a group. I want a death that is heard by the world, a trace that lasts forever, and immortal images that neither time nor place can bury,' Hassouna wrote this post before her death. Trump era Pedro Pascal at the 78th Cannes Film Festival in Cannes The US President Donald Trump has been also one of the major topics in Cannes after stating on May 5 that he wanted to take 100-percent tariffs on movies 'produced in foreign lands'. As a response, actors, directors and producers have rejected the idea and described it as bad and self-defeating. Meanwhile, others have joined De Niro's calls to resist Trump, including Chilean-American actor Pedro Pascal, who urged Hollywood to fight those who tried to make them scared. Related Topics: Saudi Film Norah Screened at Cannes Film Festival Israel Kills Gazan Photojournalist Selected to Screen Doc at Cannes Festival Saudi Film Commission Showcases Industry Growth at 78th Cannes Film Festival Short link : Post Views: 2