International Film - Michael - Kidnapping and Pedophilia on the Big Screen

     Written and directed by Markus Schleinzer, Michael is a disturbing drama about a pedophile who has kidnapped ten year old Wolfgang, played by David Rauchenberger, and is holding him as a sex slave. Michael Krall, the protagonist, played by Michael Fueth, has fortified and sound proofed his home, located in a middle class community in Austria, so that the boy, without risk of escaping, is able to leave his room in the basement and go into other areas of the house. To maintain emotional control, Michael feeds the boy the usual propaganda about his family not loving or wanting him anymore.

     Krall does not allow anyone to come to his, and for five months, managaes to keep up the facade at work, and with his family and associates, and even earns a promotion at work. As Wolfgang's contempt for his captor heightens, the story draws to a climax when the boy contrives a daring escape by throwing boiling hot water in Michael's face. However, he is unsuccessful in his effort, and after a struggle, Michael forces him back into the basement.

     Not wanting to call an ambulance to his home, Michael sets out to drive himself to the hospitl. He is killed in a car accident when he veers off a winding road because he has difficulty seeing and navigating the vehicle as a result of damage to his eyes caused by the hot water. The film reaches the denouement with the family having Michaels funeral, going through a brief period of mourning, and finally going to his home to pack his belongings. Michael's brother-in-law (Victor Tremmel) is sorting through clothing in the bedroom while his mother (Christine Kain) inspects other areas of the home. The film ends with her investigating the control planel that opens the door to the basement in which the boy is locked.

     The story, told primarily from the perspective of the pedophile, reveals the bazaar inner workings of a mind that compels the abuser to seek the affection of the victim, and is then frustrated to the point of tears by the constant rejection. There is no overt violence or explicit sexuality in the film, and the plot develops in a manner that clearly establishes a relationship between Michael and Wolfgang before it is revealed that the child is a kidnap and sexual abuse victim.

     From a technical standpoint, the film, which debuted af the Cannes Film Festival and is scheduled for international relelase in November 2011, adheres to a well-developed three-act structure that is easy to follow. Action is subtle and nuanced, but purposeful. Characters, storyline, and dialogue are engaging and convincing. The setting includes various areas of Michael's home, his job, and various activities in which he engages. There are no particular gimmicks, novel uses of technology, special effects, or spectacular cinematographic images. It is simply a well-told story that evokes intense emotion in viewers and sheds light on an issue that continues to plague humankind.

     Michael is clearly a tale seized from current news stories about the horrific experiences of missing and exploited children. A prime example is the recently exposed ordeal of Jaycee Lee Dugard, the young female victim stolen at age 11, and held captive for 18 years by her kidnappers, a married couple. She was forced into a sexual relationship with her captor and gave birth to two children before she finally escaped. The film, Michael, and Dugard's situation bring to the forefront, the issue of pedophilia and exploited children, and perhaps will compel viewers to save a child's life.

     For information or to report cases of children who are possible victims of exploitation, abuse or kidnapping, contact the National Center for Missing and Exploited Children at http://www.missingkid.com/.
Call the 24-hour hotline at 1-800-the Lost (1-800-843-5678).

International Film - Volcano - Grapples with Practice of Euthanasia

     The film, Volcano, forces viewers to grapple with the heart wrenching issue of whether to place loved ones in nursing homes when they are totally incapacitated by illness, and whether euthanasia is a viable option when life has deteriorated to nothing but pain and suffering. Fisherman and school janitor, Hannes Grimstottir, the protagonist, played by Theodor Juliusson, has reached retirement age and is frustrated and alienated from his family, and emotionally detached from wife, Anna, actress, Margret Helga Johannsdottir, to whom he has been married for decades. Consumed by sadness, Hannes attempts suicide, but changes his mind. He escapes death again when his battered, but beloved family boat begins taking on water and he nearly drowns. The second near death experience compels him to bond with his grandson, and reestablish a relationship with his wife, depicted in a tender love scene. Shortly after their reconncection, she suffers a massive stroke which leaves her completely paralyzed and speechless.

     Hannes decides to care for Anna at home, against the wishes of his son, Ari (Porsteinn Bachmann), and his daughter Telma (Elma Lisa Gunnarsdottir), who both say he is only doing it because of guilt for treating her badly for so many years. As her condition deteriorates and she requires more and more drugs to calm her endless wailing which prevents her from sleeping and torments Hannes, he ends her life. Viewers empathize with Hanne's decision because his wife appears to be suffering tremendously, but also have to reconcile that he has essentially committed first degree murder. He is not able to take his own life, but makes the decision to end his wife's.


Hannes lies in bed alone after ending his wife's life
after she suffers a massive, debilitating stroke.

        Written and directed by Runar Runarrson, the movie employs the use of Mise en Scene cinematography to reinforce the melancholy tone of the story. It includes prolonged close-ups with no dialogue, blues and grays as the primary colors, and a few splashes of bright reds and yellows that attract the eye and signal changes in mood. Set in the Eldfjall volcanic region of Iceland, the movies uses the beauty of nature to symbolize Hanne's acceptance of his life and irrevocable decision as he stands atop a mountain  overlooking the   Atlantic Ocean, and in a closing scene, embraces his grandson.

     The film Volcano, is particularly relevant in view of the recent death of 83 year-old Dr. Jack Kevorkian, who spent eight years in prison because of his practice of euthanasia in which he assisted approximately 130 terminally ill patients in ending their lives. He was originally sentenced to 25 years, but was released early because of his own poor health and assurance to authorities that he would cease conducting assisted suicides. Dr. Kevorkian's story was showcased in the 2010 HBO movie, You Don't Know Jack, with Al Pacino in the lead role as the doctor.

     Euthanasia will surely remain a contentious issue for decades to come, and whether or not ending a person's life who is enduring unbearable pain and suffering is murder or compassion will be the driving question. Additionally, controversy will be generated around exactly how the practice should be carried out. Should it be a private matter as in the case of the character Hanne, and should a loved one be the one to actually end the life, or should it be done publicly under the guidance of someone else, perhaps a doctor or health care professional such as Dr. Kevorkian. The film leaves viewers with much to consider.

The Cannes Experience

Photos by Titilayo Akanke (except where pictured)





The very first day as Creative Minds in Cannes participants gather in front of Villa Maupaussant, (our place of residence) to prepare for
 a walking tour of Cannes, France and learn how the festival operates.


      The Cannes Film Festival, one of the world's oldest and most prestigious, is an international marketplace where people from around the globe conduct business in various aspects of the film industry. From 8:00 AM until after midnight, hundreds of movies are screened daily at theatres all over the city, by producers, distributors, buyers, the press, talent agencies, celebrities, and film lovers.

     Potential viewers are allowed into venues based on levels of festival accreditation evidenced in badges which must be purchased upon registering, and presented at each screening and other festival activities. The Marche badge is held primarily by buyers, and it allows them first and unlimited access to each event. The press and special passes are given next consideration, then the general festival accreditation badge, and finally the Cinephile Badge, which offers limited access. The general festival accreditation identification provides unlimited access to activities, but entrance is not always guaranteed for smaller venues once the others who given first priority are allowed entrance. Attending the Cannes Film Festival without a badge is unproductive as access to most activities, including screenings, will be denied.

     As an intern, I am working for International Creative Management (ICM), one of the world's largest talent and literary agencies. The company has offices in Los Angeles, New York and London, and has been in existence for more than thirty years. Under the direction of chairman and CEO, Jeffrey Berg, and president, Chris Silberman, the company represents clients in film, television, music, publishing, theatre, and more.




The Carlton Hotel, Cannes headquarters for ICM.

 

     Daily, I report to the Jeffrey Berg Suite (renamed last week) of the Carlton to receive my assignments for the day from David Gonzales, assistant to the CEO, and supervisor for interns.      

    




View of Le Croisette, lined with palm trees, and the Mediterranean Sea in the background.

 



View of the Riviera from the balcony of the Carlton.



       





Early morning in front of The Palais, the main building with several
 large theatres, and headquarters for the festival, before activities begin.



           



Titilayo Picking up tickets at the Palais for ICM

 
     My job is to run errands, assist in the office, source tickets, and provide coverage for films. The errands have primarily been shopping for refreshments for meetings scheduled every thirty minutes with Berg and his team, or for supplies for the office. Sourcing tickets means sometimes picking them up from the festival office, production companies, or agencies and delivering them to the ICM office, clients, or staff. I have walked a great deal of the city, particularly the area surrounding the Palais, the building housing festival offices, and the larger theatres where nightly premiers are held.  

 



Titilayo running errands, picking up items from the
Monoprix department store and Fnac electronic store.

 
    


                                                                        


The Monoprix and Fnac are daily errands. The Monoprix is equivalent
 to Target, and Fnac is an electronic store, similar to Radio Shack.

      Providing film coverage requires me to watch a movie and write a critique. Based on the assessment of the person providing coverage and analysis, ICM team members may be influenced as to whether they will watch the film themselves to make decisions about investments, distribution deals, and other matters. The ramifications of this task is daunting. My opinion about a film could possibly be the catalyst that propels some one's career forward or destroys their dreams. Based on my expertise as a screenwriter and my experience as a film lover who has a good understanding of what makes a good product, I have also offered sincere and hopefully constructive comments on the films I have screened thus far. Those include Volcano, The Fairy, and My Last Valentine in Beirut. (Coverage of my screenings will appear in upcoming blogs and will include more films).

      My visit to France has been productive and has helped me gain an even greater understanding of the film industry, but it has also provided an opportunity to travel abroad again, which is perhaps the best way to gain understanding of the language and culture of other ethnic groups and countries.  In that regard, I have made some observations about the French. When they greet, they really do kiss each other on both cheeks (just like in the movies). They love their pets, particularly small dogs, and they take them everywhere, even to markets and restaurants. At a cafe last week, a gentleman poured water from his glass into a small (clean) ashtray and held it for his dog while the tiny animal lapped it up. It is not uncommon to see pet owners pushing their animals around in baby strollers. The French drink wine for breakfast, lunch, and of course, dinner. Attitudes about the human body are liberal, and nudity (or partial nudity) is an acceptable aspect of the culture. Exposed breast on the beach and on posters throughout the city are common and without stigma. There are street musicians playing what seems to be traditional French music.

Street violinist playing French music.

         



View from the balcony of the Villa Maupaussant, home for Creative Minds participants.

 


Artwork on the side of a building depicting French life.

 





 The Olympia Theatre

  


The Star and Olympia Theatres also showcase films though
 they are located away from the main festival area. 





Cafes are the norm in Cannes. Most (if not all) restaurants offer outdoor dining.
On most, the whole front of the building is a large sliding door
 that allows patrons and passers-by to see inside the restaurant. 





Media coverage of festival activities and celebrity appearances is constant.





Reception on the Terrace of "The College" before the premiere
of the short films by Creative Minds film producers.

 



Reception on the terrace of "The College," before the premier
showcasing of the work of Creative Minds filmmakers 

Howard University students gather for a photo during the reception on the terrace
of "The College" before the premier of short films by Creative Minds producers.







Audience during the Creative Minds filmmakers premier.

 
 



Premier night for Creative Minds filmmakers.


Producer, director and founder of Creative Minds, Rob Ford,
addresses the audience during the filmmakers premier evening.





Scenic view from the Belles Rives Restaurant on the Riviera.







Lunch at the Belles Rives Restaurant on the Riviera with
David Gonzales (front right) ICM staff in charge of interns.



Lunch at the Belles Rives on the Riviera.

Lunch at the Belle Rives Restaurant.

Striking employees in front of the Marriott Hotel on the first day of the film festival.






Marriott Employees striking for better wages.



Marriott employees striking.



      Marriott employees demonstrate in front of the Marriott Hotel on Le Croisette.  According to driver, Samir Touam, who is not a Marriott employee, the staff was striking because of poor wages. "A lot of money is made during the festival, but the workers see none of it. It's all for the bosses," he says. The work stoppage lasted only one day. It is not clear how issues were resolved.



Large outdoor television screen showcasing activities on the red carpet.



People gather in front of The Palais during premiers to watch
activities on the red carpet on the large outdoor screen.




The floor of one of the vendors inside The Palais

 


A poster collage featuring images from various
movies debuting during the festival.

 


Creative Minds gentlement out in the evening for a premiere.

 

     Attending the Cannes Film Festival is an extraordinary journey and learning experience. It is an opportunity to enjoy the beautiful city of Cannes, to experience the hospitality of the French,  to network, and learn more about the powerful and artistic medium of expression and communication that we call film.



Akanke Interns in the Prestigious Creative Minds in Cannes Film Program

    

Fundraising to Travel Abroad and Participate in Internship

     I am culminating my graduate studies by participating in the Creative Minds in Cannes Internship Experience at the Cannes Film Festival in France, May 9 - 23, 2011. I am one of only 40 students worldwide, who have this year, been awarded one of these highly sought position.

     In order to take advantage of this opportunity, I am engaging in fundraising on several levels. I am seeking patrons, sponsors, and supporters to contribute financially. No amount is to small and will be greatly appreciated. Donations can be made by depositing funds into my Paypal account at ttakanke@hotmail.com, or by mailing checks, payable to Titilaya Akanke, to P.O. Box 66453, Baltimore, MD 21239. T-shirts are available at a cost of twelve dollars each. Shipping is an additional five dollars for one to four shirts, and ten dollars for five to nine shirts. With orders of ten or more shirts, shipping is complementary. Supporters will be included in promotional materials before and during the Creative Minds in Cannes experience, and in projects completed later.  

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Fundraiser in Detroit - "Preparing for a Journey" - Evening  of Entertainment, Dinner and Music

     Fundraising efforts will also involve a community celebration in Detroit that will include screenings of my film projects, presentations on the screenwriting program at Morgan State University and the Creative Minds in Cannes film program, a talent show and old school jam session, open mic for singers, poets, and spoken word artists, dinner, music and dancing, door prizes, a raffle and auction.

     Three film projects on which I have worked will be viewed. In 2009, I began work on the documentary, Turmoil and Triumph: the Plight of Urban Youth, an examination of the issues plaguing urban youth and possible solutions. Still in the rough cut stage, excerpts be shown, followed by a short discussion. We Wear the Mask, a collective class project, features an adaptation of the poem by Paul Laurence Dunbar. The Journey of Life is a short digital story that chronicles the experience of our family as we struggled to reconcile the pain and cope with the pain of my grandson Jabari's death (shot and killed two days before his eighteen birthday), and still find joy in our own lives.  

     Artists are invited to display their skills  in the talent showcase and open mic, a component that will lend excitement and a sense of community to the event. The evening will culminate with dinner, music and dancing as DJ No Requests plays the best in reggae and R & B. The public is invited to join us for this joyous and memorable community celebration. Tickets are available by contacting ttakanke@hotmail.com or maatakanke@gmail.com.

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Fulfilling My Academic Requirements and Achieving Creative Goals

      In a continued effort to expand my writing repertoire and develop skills that will make me a more prolific storyteller, I have been studying screenwriting at Morgan State University for the past three years. I have learned components of what it takes to write a good screenplay and television drama, and I have completed drafts for both genres. Most recently, I wrote and submitted to the Scripts Pipeline Competition, a one hour pilot for a television drama, entitled Urban. The story, originally written for the class, Collaborative Television writing, taught by Professor Keith Mehlinger at Morgan State University, is based on my many years of working with various community centers in Detroit. I am at the point of having fulfilled my course work requirements, and I have begun preparing for my comprehensive exams and writing my thesis, a feature length screenplay. Involvement in an internship is another educational requisite that I am about to fulfill by participating in the overseas endeavor. 

Creative Minds in Cannes Film Program

     Creative Minds in Cannes is a film program that presents opportunities for contestants to work internships, attend workshops and film screenings, network with and have their work critiqued by industry professionals. Participants expand their knowledge of the film industry and make contacts that will help them establish careers. The program is divided into three components: "The Filmmaker Institute," "The Networking Connection," and "The Internship Experience."

     "The Filmmaker Institute," charges students with the task of producing a five minute film as part of the "We Made It In Cannes" film competition. Contestants are placed in a diverse group of filmmakers and given production and editing equipment to complete their  projects. Additionally, they learn the nuances of how films are funded, purchased, retailed, and distributed in the international marketplace. The top three teams of producers receive awards for their work.

     "The Networking Connection" is geared toward actors, journalists and those generally looking to make contacts for future endeavors in the business. These participants attend pitch meetings, workshops, and other festival activities that allow them to make connections to achieve their goals.

     "The Internship Experience" (for which I have been accepted), places student in positions in which they work directly with host companies in respective areas of interest. Certificates of completion, school credits, and assistance in securing employment after the festival are important aspects of this program component.

     The primary mission of Creative Minds in Cannes is to discover new film and television professionals and usher them into the business. To date, the program has involved more than 300 students in the Cannes Film Festival, arranged in excess of 200 internships, produced 50 films, and secured more than 30 jobs for alumni. For complete details about Creative Minds in Cannes, refer to the website, http://www.creativemindsincannes.com/.

The Cannes Film Festival
     Founded in 1946, the Cannes Film Festival is one of the largest, oldest and most prestigious in the world. With the scenic French Riviera as the backdrop, the event is held annually in Cannes, a resort town in the south of France. Over a half million people, including industry professionals from all aspects of the film business, journalists, celebrities, and fans, converge from around the globe to participate in the international affair. Thousands of films are screened competitively and non-competitively, and deals are brokered. This year marks the sixty-fourth Cannes Film Festival with Robert DeNiro as the president of the Jury, the body of accomplished international artists, respected by peers, and appointed by the Festival's board of directors to scrutinize potential recipients of Cannes awards.

     The Festival is organized in sections that focus on specific activities. The main event, "The Official Selection," showcases films from around the globe competiting for prizes. The non-competitive "Parallel Sections," hosts screenings of international new and restored movies, and each day, highlights a particular country by featuring a series of its films. Noteworthy sections of the Festival and related events produced by outside organizations include "Director's Fortnight," a non-competitive showing of movies from around the world; and "International Critic's Week," which features global, non-commercial first and second works of directors. Master classes by world renowned filmmakers, tributes honoring artists and screenings of their films, and cinematographic exhibitions are also highlights of the Festival.

     Newcomers and students compete for "young talent awards for innovative and audacious works," Best Feature Films, and several other prizes under the banner of "La Cinefondation," a three tiered program under the auspices of the Cannes Film Festival, designed specifically to support novice international filmmakers.

     Marche du Film is the business counterpart of the Festival in which deals are negotiated to debut, trade, promote, buy and sell films, and develop projects. Its ultimate goal is to "foster new partnerships" and contribute "to the economic health of hte film industry.  For more information about the Cannes Film Festival, log onto http://www.festival-cannes.com/.

   Sincere and Heartfelt Thanks to Supporters
      As a writer, educator, activist, and most recently, visual storyteller, I live by the philosophy that we have a duty to seize opportunities when they are presented. It requires diligence and sometimes stepping outside of our comfort zone. I would much rather be the one extending assistance during these challenging economic times rather than asking for it. However, the reality is that each of us needs a circle of support to accomplish our goals. At this time, in order to take advantage of this esteemed opportunity, I am asking for donations from supporters. You will have contributed to my pursuit of what I consider to be my life's work: remembering our past, and preserving our future by telling our stories from our perspective.

     Sincere and heartfelt thanks are extended to the following sponsors and supporters: Morgan State University, Aisha Shule/W.E.B. DuBois Preparatory Academy, Professor Keith Mehlinger, Dr. Monifa Love Asante, Maat Akanke, Armica Jordan, Annisha Jordan, Omowale Miller, William Winder, Frank Moseley of High Risk Tees, Jasmine Leigh, Beverly Miller, Juanita Guilliam, Dabian Witherspoon, Breyanna Hall, Atobekoe, Eric Addison, Paul Greene, Dolan Hubbard.

    

Celebrating Black History Month- Nikki Giovanni Speaks at Morgan State

    

 During a recent appearance at Morgan State University in Baltimore, Maryland, in observance of Black History Month, legendary poet, activist, and distinguished Virginia Tech professor, Nikki Giovanni, spoke of the continued need for study of the African-American experience and creativity in giving voice to our stories. In a humorous expose of storytelling, poetry, and anecdotal reflections stemming from years of writing, teaching and activism, she shared her view on several issues, provided advice for writers, and discussed her latest work.    

    
     "In preparing for the future, we need to teach the African-American experience from the perspective of the people who endured it," Giovanni said. She spoke of the horrendous conditions suffered by enslaved Africans aboard slave ships as they voyaged through the Middle Passage, and how the disposal of human bodies into the waters dramatically changed the ecological conditions of the Atlantic Ocean.

     "How did they endure the Middle Passage?" she asked. "How did they remain sane enough through the horrors of slavery to build new communities and societies? That's what we celebrate." Studying and revering our history and culture honors those sacrifices.

     An advocate of hip-hip, she maintained that "The Black urban voice is the voice of the planet," and that many of the artists "are great business people who should be honored for their contributions." She has a tattoo of Tupac Shakur on her arm, and hails him as one of our contemporary lyrical and poetic geniuses who in mutual respect, gave her "a shout out" when he was a member of the Digital Underground. Her book Love Poems (1997) was written in memory of Shakur. In 2009, she published the companion book, Bicycles: Love Poems, which sold more copies on Amazon.com that year than any other books of poetry.
    
     Acknowledging the complaints lodged against hip-hop because of the use of profanity and references to drugs and violence, she insisted, instead of complaining about the language and the message, we need to change the reality of the situations being addressed.

     There still remains a need to bridge the gap between generations who favor other genres of expression and those who love hip-hop. Giovanni said this can be achieved by listening to each other's music and increasing our awareness of what is going on cross-generationally. She asserted that whether it is song lyrics or spoken word, "Poetry is poetry, from the plantation, to the blues, to the Black Arts Movement, to R & B, to hip-hop. She just keeps changing her clothes."

     In reference to the current state of the educational system in the U.S., Giovanni believes that the constant reductions in arts programs and the apparent disconnect of Black children from science contribute to the problems. "Without arts," she said, "there will be no creativity in schools and that is one of the problems with children today. I don't know how Black children have been turned off from science when we are the descendants of great scientists, great people who have done great things."

     Asked how we can get youth to express creativity, she said encourage them to speak up about what is happening around them, help them study our experiences and examine the circumstances that brought us to this point, and teach them not to allow outside forces to control their voices.

     In response to a question about the divide between Black men and women that appears to be an ongoing controversy, Giovanni indicated she has grown weary of the topic. "I'm tired of the discussion about why Black men and women aren't together anymore," she said. "It's mental masturbation like the discussion about good and bad hair."

     She told aspiring writers to get involved with projects, do more than the minimum, and study the narrative and history that will inform their writing. Additionally, do not wait to be accepted as part of what some regard as the mainstreamn or use that as a barometer for measuring accomplishment.

      "When you're invited to do a project, say yes," Giovanni advised. "If you do only what people ask you to do, you haven't added to the body of knowledge. If you wait to be wanted, you won't get anything done."

Giovanni's latest projects include "73 Poems for 73 Years: Celebrating the Live of Lucille Clifton," and 100 Best African-American Poems. Co-produced by Nikki Giovanni, the September 2010 tribute to Clifton held at James Madison University in Harrisonburg,Virginia, featured acclaimed national poets reading her (Clifton's) work. Clifton, who died February 13, 2010, was recipient in 2007 of the $100,000 Ruth Lilly Poetry Prize honoring her lifetime work. She was also a three time nominee for the Pulitzer Prize, and Poet Laureate of the State of Maryland from 1979 to 1985.

     The anthology, 100 Best African-American Poems, was edited by Giovanni, and features poets from various genres, generations, and areas around the country. It includes writers from Tupac Shakur to Langston Hughes. In a continued effort to solidify the connetion between the generations, about a fourth of the book showcases the work of young poets. Giovanni notes that the book actually includes more than 200 poems despite its title.

     Giovanni has faced challenges in her life with the attitude that she does not know hardship, only opportunity. That does not mean she has not known sadness, she clarified, but she puts limitations and boundaries on the amount of time she allots for unhappiness. She allows herself to experience sorrow, but she does not dwell on it.

Biography

     Nikki Giovanni was born June 7, 1943 in Knoxville, Tennessee to  parents Yolanda Cornelia, Sr. and James Giovanni. She grew up in Lincoln Heights, a suburb of Cincinnati, Ohio. She graduated with honors in 1967 from Fisk University in Nashville, Tennessee, then attended the University of Pennsylvania and Columbia University.

     In 1969, she started teaching at Livingstone College of Rutgers University, and since 1987, has been teaching writing and literature at Virginia Tech in Blacksburg, Virginia where she has held the title University Distinguished Professor since 1999.

     Giovanni was diagnosed with lung cancer in 1995 and battled the disease until she had a lung removed. In 2005, she contributed to the book, Breaking the Silence: Inspirational Stories of Black Cancer Survivors.

     Declared a "National Treasure" after more than three decades of lecturing, authoring and publishing more than 30 books, Giovanni holds in excess of 20 honorary degrees, was named one of Oprah Winfrey's "Living Legends" (2005), and was named Woman of the Year by Ladies Home Journal (1972), Mademoiselle Magazine (1971), and Ebony Magazine (1970). In 2006, Rosa was number three on the New York Times bestseller list, was a Caldecott Honor Book, and received the Corretta Scott King Award for illustration. At the forty-sixth annual awards in 2004, Giovanni received a Grammy Award for Best Spoken Word Album for The Nikki Giovanni Poetry Collection. She was featured in 2000 on the Blackalicous album entitled Nia, for her track "Ego Trip," and received the NAACP Image Award for Blues: For All the Changes.

For a complete listing of Nikki Giovanni's publications log onto http://www.nikki-giovanni.com/.

     During the early 1980s, as the communications specialist and community liaison for Detroit's Broadside Press, this writer had the opportunity to meet and introduce Giovanni (and many of the other Broadside authors) at the Organization's monthly Poet's Theatre. Founded in 1965 by acclaimed poet, Dudley Randall, Broadside Press is one of the nation's oldest black publishers of poetry. Many of Broadside's poets, including Nikki Giovanni, Sonya Sanchez, Haki Madhubuti, Gwendolyn Brooks, and Gloria House went on to become nationally and internationally renowned writers. Currently Broadside is still operating in Detroit under the direction of Gloria House, Willie Williams, and Aurora Harris, and still produces the Poet's Theatre along with writer's workshops and open mics. The contact information for Broadside Press is http://www.broadsidepress.org/.

Biographical Sources:
http://www.roanoke.com/  http://www.npr.org/  http://www.wikipedia.com/ http://www.nikki-giovanni.com/   Nick Madigan, Baltimore Sun, Feb. 14, 2010
Ashley Wilson, Spokesman, Feb. 26, 2009 http://www.msuspokesman.com/

Time - A Treasured Gift






  

The value of spending quality time with loved one is immeasurable, and shapes our lives in ways that we may not recognize until much later. Engaging in family activities is a key element in strengthening and maintaining relationships, and stimulating learning. However, in these times of economic difficulty, it is sometimes challenging to allocate financial resources and time away from work for endeavors that detract from the daunting task of sustaining a household.

    In my thirty years of working with youth, I have encountered scores of young people in their late teens who have done little more than gone to the movies or to their neighborhood park. Consequently, their perspectives of the world are narrow, which imposes limits on their potential. Lack of finances and knowledge about local activities, preconceived attitudes about pursuits deemed as culturally irrelevant, boring or lacking in value, and time constraints because of work and other obligations are all factors that affect family's ability to plan and implement collective activities.

     I have attempted to circumvent those pitfalls, and truly enrich the lives of my children (now adults) and grandchildren by providing them with fun, learning experiences that incorporate spending time together. As an educator, I am acutely aware that learning goes beyond the boundaries of the classroom, that much of it is dictated by community and family, and that it is a lifetime undertaking augmented by all of our experiences.

     As my family struggled to recover from a terrible tragedy in which my grandson, Jabari, was shot and killed on May 10, 2010, two days before his eighteen birthday, I gained an even deeper appreciation for the time our family spends together. About seven years ago, we developed our annual "family fun week" in which we gathered and engaged in a variety of activities. We went to museums, science centers, movies, arcades and fun centers, parks, beaches, zoos, and many other places. For five years, we gathered and embarked on a different adventure for a several consecutive days.

     In the summer of 2007, as I prepared to move from Ann Arbor, Michigan to Baltimore, Maryland, the significance of our time together became even more important as this would be the last time for several years that we would have such an extended period together.
       
     In March 2010, after several days of working on a film project in Detroit for one of my graduate classes (at Morgan State University), I was determined to spend time with my family before I returned to Baltimore. That evening, we went to the market, bought party snacks, including ice cream and cake, selected a couple of movies, and gathered at my the home of my son, Armica. In what we called a sleepover, we stayed up all night watching movies and eating junk. When we finally went to sleep, it was together on pallets on the floor and on the sofa in the living room.

     I did not know that would be the last time I would see Jabari, alive. I returned to Detroit in May 2010 for his funeral. I am so thankful that spending quality time with family was a priority despite my hectic schedule. Since then, every moment we spend together has even greater significance.



    
     This past summer, we continued our tradition of gathering the family for a special activity. This time, we went to Cedar Point Amusement Park and enjoyed the chance to renew our connections, relax, rejuvenate, and simply have fun. In more than twenty years of visiting the roller coaster capital in Sandusky, Ohio, this was my first time going only with my family and staying overnight. Instead of traveling with forty or fifty people on a bus and following a group itinerary, six of us--my daughter, Maat, four of my grandchildren, and I traveled together and adhered strictly to what we wanted to do.

     This trip was particularly important to us for several reasons. We are still struggling to recover from the terrible tragedy of Jabari's death, and it was our first significant family endeavor without him. This was another step toward reestablishing our family cohesiveness and facilitating our healing. It was also the first visit to an amusement park for each of the children, and my first time traveling from Baltimore to Detroit specifically to make that journey with my family.

     It was a sizzling ninety something degrees when we arrived at the park in the afternoon, and it was brutal walking in the sun for seven hours, but it did not at all discourage us. Our first stop was the classic Merry-go-round which I declined riding because going in circles makes me nauseous; and truthfully, I am pretty much a coward when it comes to getting on rides. I enjoy watching others as they are thrust thousands of feet into the air and plummeted nearly to the ground at speeds that make their stomachs plunge to their feet and hearts pound in their chest.

     Malik (age eleven), Munashe (age twelve), and Maat (Oyin's mother), got on roller coasters from the Cork Screw and Blue Streak (near the entrance of the park) to the Mean Streak and Millennium (near the back of the park), and many rides in between. We also spent a significant amount of time in Kiddy Kingdom because the height of the height of Oyin and Yaminah (both age eight), prevented them from getting on certain rides outside of the children's area.

     As night fell, we stopped for ice cream and made our way pass the Merry-go-round, where we started earlier, toward the park exit. We were all tired, yet exuberant because we had spent a fun-filled day together in a magnificent family environment.

     The next day, it was in the nineties again, but we luxuriated in the comfort of the climate controlled water park at Castaway Bay, which reminded me of a colorful, indoor tropical paradise. For about six hours, we splashed and played on water slides of varying sizes and intensities, and made our way into a wave pool to be bombarded by tides that ebbed and flowed with the force of ocean currents. We were willing subjects as huge and small buckets dumped water on us from high above our heads, and we played basketball and catch in a pool area with nets and foam balls. Sometimes we sat quietly in a shallow pool with sprinklers, small animals and statues spewing gentle streams of water on younger children and timid adults.

     After an exhilarating day of aquatic fun, around five o'clock, everyone was exhausted and hungry.  We had dinner at the New Chinese Buffet, an all-you-can-eat restaurant with a classy, family friendly atmosphere, actual plates and eating utensils that were not plastic, and a variety of food that would satisfy each.

     Our trip to Cedar Point and Castaway Bay was our effort to uphold an annual tradition of participating in a collective family activity which helps us sustain our strong bond. We were also able to relax and get away from the daily regimen, emotional demands, and stresses associated with work, school, and life in general. For a couple of days we escaped into a fantasy world that allowed us to rejuvenate our hearts and spirits. Photographs from this and other events serve as a treasured reminder of our wonderful experiences together and as an inspiration for us to plan our next adventure.

     We all missed Jabari, and I knew he would have enjoyed himself immensely because we had gone to Cedar Point (on school and community center excursions) many times before his passing. I imagined him smiling down on us, happy that we have been able to rebuild our lives, reconcile the pain, and carry on as a family.

     Moments with loved ones should be treasured, and we may have to make a special effort to create them. Of course, it will not always be pleasant, but life has its positives and negatives. The important thing is that we hold on to the memories of good times and learn the lessons that made other times less than positive.

     Below are a few tips to make your planning more effective and your gatherings and activities pleasant.

• Plan in advance so that you can take advantage of early bird discounts and special deals.
• Develop an itinerary before you begin you excursion. Include rest, snack and meal breaks, particularly if you have young participants. Have a plan for remaining hydrated if you are outside for long periods during extreme heat; or a plan for warming up if the weather is cold.
• Consider the mode of transportation that will be cost effective, comfortable, and realistic for your family.
• Pack non-perishable food items and beverages for snacks and light meals.