By William Minter
Of the entire many violent chapters in fresh Southern African background, the conflicts in Angola and Mozambique given that independence in 1975 were the main protracted, complicated and lethal for hundreds of thousands of civilians. William Minter argues that they characterize a brand new type of non-conventional battle attribute of the 'contra' interval - neither vintage guerrilla war nor simple exterior aggression, yet comprising components of civil warfare ruled through local and worldwide exterior powers.He examines the Unita and Renamo social buildings, exterior interventions, styles of army recruitment, conditioning, logistics and method, and the errors made through the Angolan and Mozambican states.
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Additional resources for Apartheid's Contras: An Inquiry into the Roots of War in Angola and Mozambique
Sample text
Although this volume speaks to the racial politics that affect people of African descent, incorporating a more comprehensive analysis that recognizes the politics of ethnicity and nation is beyond the scope of this project. , Black people, Black feminism). , "black masculinity," "white culture"). " Because the essays were written at different times and for diverse audiences, the capitalization issue may not be entirely consistent. I also realize that there are differences of opinion on this issue of capitalization.
The essays in this section also map my engagement with Black feminism as a social justice project, a concept that is reflected through my consistent attention to issues of power and politics. Black Sexual Politics: African Americans, Gender and the New Racism (2004) marked a more explicit shift to politics themselves, adding the additional system of sexuality to rethink gender, with an eye toward stimulating a different politics among African Americans in response to the new racism. From Black Power to Hip Hop: Essays on Racism, Nationalism and Feminism (2006) took this interest in politics one step further to examine nationalism and feminism as important social justice projects that affect African American women.
Never mind how you imagine the theater and the play. Whatever the location, and even though their scripts may differ, the stories of the plays are often the same. There in the middle of the stage stands a young, blonde, attractive, virile, white American male, script in hand, eloquently reciting his lines. A spotlight follows his every move, an unspoken technical mechanism that lets us know that he is the star of the drama. Strangely, even though we may show up at different theaters in search of different plays, they all seem curiously the same.