My Mind Words Paper [Search results for important notes] 

Deadline: 19 August 2011

Enter our Essay writting competition and stand a chance to win an all expenses paid educational tour to Tanzania for ten days. Essays should be written in English. The Essay topic should be from one of the four topics given.

HOW TO ENTER:

Each participant will have to submit an Essay, written in English and must have between 600-650 words using Ariel font type and size 11 with double spacing.

Essay topic should be one of the following:

• Climate change
• Economic development
• Liberation Struggle (leveraging Heritage)
• Education in Africa

Climate Change remains unpopular and a foreign subject amongst youth in South Africa and Africa in general, it continues to threaten plans to grow the economy through industrialisation and expansion of priority sectors like Agriculture.

Question 1: How can business assist African governments in managing climate adaptation to help them rapidly shift the issue from a purely environmental concern to addressing its growing threat to economic development?

Question 2: The subject of “the green economy” is new to many; South Africa has the chance to lead Africa in finding cleaner ways of doing business particularly in sectors e.g manufacturing, mining, and power generation. In your own words how can South African youth use technology and innovation to migrate towards using cleaner methods of doing business?

Economic development

Meaningful participation in the economy by the majority of South African citizens is said to be the next liberation struggle. The opportunity to create new and expand existing industries envisages that Africa has the potential to provide the platform for young South Africans to enjoy the full measure of economic participation.

Question 1: Sustained economic development has eluded a lot of African countries and consequently African youth have borne the brunt of scarce and meaningful economic opportunities as development is deferred. In 640 words, what do you practically propose youth can do to overcome these challenges and/or does the initiative you are involved in successfully address the challenges confronted by youth in Africa?

Question 2: Apart from skills development programs and internships, how else can the need for infrastructure development in Africa be practically used to produce the future leaders and champions of economic development in Africa?

Liberation Struggle (leveraging Heritage)

The liberation Struggles characterises the nature and method for attainment of freedom for most African states. Though most people particularly those who were young during those periods would argue that the struggle still exist. While this may be informed by the lack of change in most peoples circuimstances, most youth usually described as “Born Frees” do not have the same view. This sometimes leads to apathy and lack of interest in the history of the liberation struggle by young people in South Africa.

Question 1: Is the history of the struggle relevant for “Born Frees” and how, if not can it be practically made relevant and used towards nation building?

Question 2: The history of South Africa is predominantly polarised by race and is sometimes a site of tension of struggle when re-visited. In what pratical and meaningful manner can the liberation be used to unite the people of Africa?

Education in Africa

Eduaction is the single most important element necessary for development and creation of job opportunities particularly in developmental state like South Africa.

Question 1: What are the key elements that determine the level of Education in our Society?

Question 2: How does education influence the advancement of African States?

Anything longer/shorter will automatically be disqualified. At the top of each entry give a word count with your full name and surname, ID number, residential address, postal address and contact details, where you can be located during normal working hours.

Entries must be sent via email in Microsoft Word Format to: oredutours@idt.org.za.

WINNERS PRIZE:

The overall winners’ prize for this competition will be a chance to go on a Ten (10) day “all expenses” paid educational tour to Tanzania 30th September to 10th October 2011. SOMAFCO Trust will only cover cost for travel from OR Tambo international airport. All winners will be responsible for their transport within South Africa i.e. Transport prior to Departure and Transport upon arrival on their return to the OR Tambo International Airport. “All expenses” refers to Air fares, Transportation in Tanzania, Meals for the duration of the tour.

IMPORTANT NOTES FOR ENTRANTS:

Participation/Entry for this competition is FREE OF CHARGE.

Competition is open to all South African citizens with a Valid South African Passport (i.e. Valid for the next 12 months). Entrants must be involved/must be a part of a Registered Initiative/Entity for the past 36 months benefitting at least 10 people, mostly Youth. This competition opens on the 11TH July 2011 and will be closing/ending on the 19th August 2011 @ no later than close of business (i.e. 16h30). Entrants must be between the ages of 21-35years old.

Costs for Vaxinations(Yellow Fever and Malaria) are not covered.

Prizes are NEITHER TRANSFERABLE NOR REDEEMABLE FOR CASH.

Download terms and conditions >>

Contact Information:

For inquiries: oredutours@idt.org.za or call 012 8452056

For submissions: oredutours@idt.org.za

Website: http://www.somafcotrust.org.za

Deadline: 1 June 2012 (12 midnight)

After the bang, unparalleled energy bursts everywhere. Thus, as society and politics take major turns in Egypt, creative energy holds centre stage, and many are just longing to set their artistic talents free. Therefore, if you think that you have it in you, now is the time for you to take part. The International Association for Creation and Training (I-act) is launching the 1st edition of the Backstreet Festival under the motto “Towards Art in non-traditional spaces”, because at times like these, we believe that Art is a major tool for social change. The festival aims to create a platform of innovation, exchange opportunities, and most important an atmosphere of creation for people from the Euro-Mediterranean region, highlighting the value of Freedom of Creativity. The festival is an international multi-venued event that will take place in Alexandria from 23-29 September 2012 in Alexandria, Egypt.

Major changes, however, do not happen in closed institutions, but amongst people in the streets. The socio-political changes have started on the streets, the demonstrations filled the streets, and the sit-ins that changed the face of this country as we know it, took place in public squares. Therefore, the festival is adopting a reach out approach to the mainstream audience of Alexandria reviving the cultural life in the Mediterranean city in order to assert the importance and value of cultural activities taking place in the street and how it shall contribute to nurturing and developing the general artistic taste. Thus, the festival shall take place over duration of 7 days involving Performances, Applied Workshops, theme-based Debates and Discussions, a special Children’s program in cooperation with the Schnawwl Theatre in Mannheim Germany, as well as a Scriptwriting Program. The festival’s geographical scope is Euro-Mediterranean with a special focus on the Arab region.

WHO ORGANIZES THE BACKSTREET FESTIVAL?

The Backstreet Festival is the initiative of the International Association for Creation and Training (I-act), which is a non-profit organization established in 2004 in Alexandria by theatre director and playwright, Mahmoud Aboudoma. I-act works in the fields of Arts, Culture and Social Development, where it mainly targets middle class individuals and groups, out of the belief that enhancing and reviving their role will contribute to developing societies and maintaining social justice.

Some of the activities of the Backstreet festival will be hosted in the newly established cultural space by I-act called “Teatro Eskendria”, which is a liberal cultural complex based in downtown Alexandria and offering wide-ranging activities to the Alexandrian society, varying between artistic performances, training for the creative sectors, dialogue and children’s programs as well as a Cultural café that will serve as a dynamic social hub.

Among the major initiatives that I-act has been leading over the past 7 years is the Creative Forum for Independent Theatre Groups (Europe-Mediterranean), which is an annual international event that takes place in Alexandria encompassing diverse theatre performances, publication and dialogue programs in addition to training and capacity building workshops for youth and Artists. I-act has organized 7 editions of the Creative Forum in cooperation with the Bibliotheca Alexandrina and through it has provided training to young people across the Mediterranean, networking and exchange opportunities between artists, along with bringing over a hundred performances from countries across Europe and the Mediterranean to the city of Alexandria.

OBJECTIVES OF THE BACKSTREET FESTIVAL:

• Employing Arts as a tool for freedom of expression and social change;
• Enriching the Cultural Life of Alexandria through providing a platform for performing Arts in non-traditional spaces;
• Reaching out for young people from Egypt and the Arab Region in order to optimize on their potential and build their capacities in the field of Arts and Culture; &
• Enhancing dialogue, networking and multi-cultural cooperation between people from different countries with a specific focus on the Arab Middle East region, in addition to provoking debate and discussion on issues related to the status of street arts.
• International Association for Creation and Training (I-act)

The call is open for theatre troupes from the Euro-Mediterranean region and in its first edition, the festival is targeting the following types of performances: Musical and Improvisational theatre, Street performances (slapstick, living/human statutes, etc), Installations, Multimedia performances, Puppet theatre, Comedy, Clowning, Pantomime; all types of performances related to street art are welcome to apply. However, there is no focus this year on purely dramatic and/or classical plays as well as contemporary dance.

HOW TO APPLY?

1. Soft Copy of the application form and the related documents:

In order to apply, please fill in the attached application form and make sure to include within a link of an online video to your performance (minimum 15 and maximum 25 minutes). In addition to your application, please enclose the following obligatory appendixes: 1. Three photos of high resolution; 2. Synopsis of your performance (maximum 60 words in English); & 3. Short biography (maximum 60 words in English). Without these appendixes the application will be deemed ineligible. This material will be used in the promotional or publicity material of the festival in case the performance is accepted.

2.DVD of your performance:

In addition to your application form, please send a CD/ DVD of your performance (each troupe must submit only ONE performance). In case of acceptance, the DVD version of your show will be considered as the final one to be presented, unless stated and agreed otherwise with the Festival Organizers. Along with the DVD, you can attach any promotional material (leaflets, brochures, etc). The same deadline applies 1 June 2012.

DEADLINES:

Deadline for submission: The deadline of receiving the electronic version of the application along with the above mentioned required information via email as well as the DVD is 1 June 2012 at 12:00 midnight (no applications will be accepted after this deadline). Applications and required material are to be sent in soft copies to Amina Abodoma (Festival Coordinator): amina@iact-eg.org

DVDs and the related material should be sent in hard copies to the following address: 2 Albert El Awal Street, University Compound, Building # 2, apartment 22 Smouha, Alexandria, Egypt.

In order to avoid the risk of delay or loss, the material must be shipped via special courier (DHL, Aramex, FedEX, but not via normal post). A Jury committee will be responsible for the selection process and only the selected performances will be notified by 15 June 2012.

Important notes:

1. Any applications received after the deadline will not be considered.
2. Handwritten application forms will be automatically rejected.
3. The material sent via courier is not returnable even if the performance is not selected.

WHEN AND WHERE?

The Festival will take place from 23-29 September 2012 in Alexandria in different venues. The performances will be taking place in cooperation with several cultural institutes in Alexandria, and therefore in different theatres or open spaces depending on the nature of the performance (such as: squares, dead-end streets, gardens, rooftops, etc).

TERMS AND CONDITIONS OF PARTICIPATION:

• The festival covers the expenses of accommodation, per diem and Airport transportation for the performers, but it does not support production and flight tickets.
• Troupe size:
• The Festival will cover the expenses of a maximum of 6 persons within the selected theatre troupe. Any additional artists or guests accompanying the troupe will have to cover their own expenses; however, they can benefit from any discounts or rates provided for the festival.
• Accommodation:
• The Festival covers a maximum of 4 nights/5 days in double rooms on bed and breakfast basis in 3* or 4* hotels in Alexandria.

The Festival does not support flight tickets at all. However, troupes are invited to cover the expenses of their flight tickets or search for funds to support their participation. The flight details have to be sent at least 3 weeks before the festival starts in order to ensure a well organized logistical service.

PERDIEM:

The festival will provide a 4-day per diem for each of the selected artists within a troupe to cover the meals and daily transportation expenses.

VENUES AND TECHNICAL EQUIPMENT:

The Festival provides a venue according to the type of performance applying in addition to technical support and equipment based on the technical rider sent by the troupe (considering that the technical rider is subject to negotiations). Performances that can better be performed in an indoors place will be programmed in traditional theatres and non-traditional venues, while Street Art performances will be shown in public spaces and semi outdoors venues around downtown Alexandria.

AIRPORT TRANSFERS:

The Festival will cover the airport transportation cost of the troupes (for a maximum of 6 persons); one van upon arrival and another one upon departure unless the troupes express their wish to take the train or bus. The Festival will not bare costs of transportation for members of the same troupes, who arrive/depart on different dates/flight schedules. Additional costs of transportation will have to be covered by the troupes.

LANGUAGE:

The official working languages of the Festival are English and Arabic. One of those languages should be spoken fluently; otherwise at least one person of the troupe should be able to communicate in English.

LETTER OF AGREEMENT:

The selected troupe will have to sign a letter of agreement with the festival organizers to clarify the roles and responsibilities of each party.

INSURANCE POLICY:

The festival does not provide any travel or health insurance for the participating artists.

OTHER ACTIVITIES OF THE BACKSTREET FESTIVAL:

Along with the Performances program, other activities are taking place including Applied Workshops, Themed Debates and Discussions and Children’s and Scriptwriting Programs. Do not hesitate to inform your contacts (theatre students, artists, theatre groups and art and cultural organizations) about the Backstreet Festival. Further call for participations and deadlines will be announced at a later stage.

CONTACT INFORMATION:

For queries/submissions: contact the festival coordinator Ms. Amina Abodoma at amina@iact-eg.org

Website: http://www.iact-eg.org/

Date: 27 September 2011

Do you have an idea for a book, a screenplay you would love to be writing, a project you are struggling with, a novel in progress or an unfinished manuscript?

Here’s a course designed to rev you up for a challenging writing project – or, more simply, to help you re-engage with your creative self.

Who will benefit?

Anyone wanting to start(or finish) a novel, a screenplay, or a work of creative non-fiction.

Those with no specific project in mind, but who long to unlock their creative selves.

What is the course about?

The course is designed to help participants explore their creativity – and equip them with essential writing skills.

We’ll also encourage you to submit samples of your work for constructive assessment during a round-table discussion involving all the participants.

The first hour of every meeting will cover writing dos and don’ts. The second will be spent workshopping, mentoring and troubleshooting works in progress.

Course content:

Each 2 ½ hour session tackles a key skill and challenges participants with carefully crafted writing exercises, to which we’ll give immediate feedback. The skills focused on are:

Finding your “voice”

Generating ideas

Building the narrative

Point of view

Building characters

Beginnings, middles and ends

Writing scenes

Creating suspense

Showing, not telling

Writing dialogue

Our next course starts on 27 September 2011 in Parkview, Johannesburg.

If you miss a session we will email you our detailed online course notes and you will get personal feedback on the exercise at the following session.

The Creative Writing Course is also available online or via correspondence.

COST AND BOOKING DETAILS

To book your place please email trishurquhart@gmail.com or call Trish on 0826524643

R 5 500.00 per person for the ten sessions. To secure your place a deposit of R2 750.00 is payable.

COURSE DESCRIPTION

Finding your voice – This module gives you the techniques to fight self-consciousness. How to use skills such as free-writing and personal myth-making to develop a unique style and voice. Learn the skills to avoid self-judgment and to write with flair.

How journaling can help your writing. This is your private space to write without censure. How to use it to develop a writer’s consciousness. How to view the world like a writer, developing the writer’s particular quality of observance. How to translate that observance into text, practising finding the words to express the experience of the senses.

Ideas – where the come from and how to develop them – How to form your initial ideas. We examine where writers have looked for their ideas. Where do they start – with characters, stories or settings?

Develop them creatively, using skills such as brainstorming, index cards and story-boarding. How to develop your personal brainstorming skills, whether you have access to other people or are doing it alone.

What is the story? – No matter how “plot- or character-driven”, every narrative will contain certain elements that we expect of a story. If an element is fudged or, in experimental writing, implied or left out altogether, it needs to be done artfully and for effect, in order to achieve something.

This is equally true for fiction and non-fiction. The successful creative non-fiction writer should be equally concerned with the elements of narrative, constructing a plot through careful selection of the material available to him.

Elbert Hubbard said that life was just one damned thing after another. This is not what we want in a story (nor, in fact, is it the ideal way of looking at life). Every story must have an arc that draws us through it.

Point of view – Literary point of view is far more complex in effect than was ever suggested by the grammatical treatment of POV we were taught in school.

The decision you make on point of view is a crucial one. Change point of view and it will fundamentally alter the nature of your work. This module deals, in great detail, with the ways in which different literary POVs have been used, with many examples.

All points of view have advantages and drawbacks. But even some of those drawbacks can be used to your advantage. We look at these advantages and disadvantages in all their complexity.

We show how POV can assist you in fiction and creative non-fiction. We look at changes to approach and how our reactions to different POVs have changed over the past decades. We show the difference between changing perspectives and points of view. We deal with successful POV switching, unreliable narrators, and some more experimental uses of POV.

Building characters (real or fictional) – Characters are the most important part of any narrative. If they don’t hold us, if we don’t find them compelling, we won’t be drawn into their story.

Characters drive plot. The story should flow out of who they are and how they react. As readers, we should believe the story exists only because of the people – the way they act, and how they react to events around them.

How do they act and react to what is said and done around them? It should make sense to us in psychological terms.

In this module, we encourage you to look at what forms people; what makes them tick. Then we transfer that knowledge to the development of characters that stand out from the page. We show you how to build compelling, psychologically believable people who will drive readers to discover how they drive the story forward and what happens to them.

Beginnings and Middles – Once you have developed your characters and worked out the elements of your story, you are ready to begin. But where should that be?

This module looks at the importance of the first line, the first page and the first chapter (or equivalent). What are the jobs they should do? How best can they draw readers in and feed them just enough to keep them reading.

Then we look at the book’s basic structure. How can it most successfully be told? Is it best told chronologically, or by starting in the middle, or just before the final climax. We take a look at some of the basics of keeping a story moving through the middle. How to avoid the dreaded sag, how to vary your pacing and avoid exposition.

Writing in Scenes - This module deals with the greatly under-rated, hugely important building block of any narrative: the scene.

This is an important skill for the writers of fiction and non-fiction. When people talk of creative non-fiction having borrowed from the skills of fiction, this is the most important of them.

What do we mean by “writing in scenes”, and how do we do it? The scene is the most basic element of “showing” rather than “telling”. It eliminates the distance between your reader and the action. It drops readers into the middle of the action – to experience and interpret it for themselves.

If your story is a castle, its scenes are the bricks you will use to construct it.

Suspense - The word “suspense” tends to make us think of plot-driven thrillers. But our definition is wide. We like to see it as anything that draws the reader forward. This is as relevant for non-fiction writers as for novelists.

In this Module, we look at the ways in which you can create an appetite for events yet to be described – a tension between the present moment, and the anticipated moment.

There is no story without some form of conflict. It’s the essential ingredient that keeps us reading. Something is at stake, and the equilibrium is disturbed. In life, we long for equilibrium (unless we’re a war correspondent). But in stories, when equilibrium is achieved, the story ends.

People often misunderstand the concept of literary conflict – seeing it only as a battle or a fight. In this module, with extensive examples, we look at the elements of literary conflict, and what can create it.

Showing not telling – This module presents a central truth about good writing: it is almost always better to show your story and your characters, than to tell us about them.

When you tell your readers something, you’re explaining it to them. When you show your readers, you allow them to see, hear, taste or smell it. From this, your engaged and active readers make their own deductions about the people and events you’ve shown them.

In this module, we analyse exactly what we mean by “showing”. And we look at the different ways in which we can achieve it. With extensive examples, we look at ways of showing your carefully developed characters, without having to explain them. We look at how their setting tells us not just about their world, but the kind of people they are.

We look at detail … in detail. Every detail has a job to do, whether it exists for textural reasons, or to show us more about characters or situations.

Dialogue and wrap-up - A story can succeed or fail on its dialogue. Badly done, it is actively off-putting. Well done, it can take a mediocre story to another level.

We look at the uses of dialogue and how to use it well. Dialogue is not speech as it is used in real-life. It is the appearance of real speech. How do you achieve this?

For more information, email trishurquhart@gmail.com or call Trish on 0826524643

Contact Information:

For inquiries: trishurquhart@gmail.com

Website: http://allaboutwritingcourses.com

Deadline: 29 June 2012

The M Literary Residency Program has been established to disseminate a broader knowledge of contemporary life and writing in India and China today and to foster deeper intellectual, cultural and artistic links across individuals and communities. Applicants are invited to apply for one of two M Literary Residencies:

Bangalore, India: A three-month residency in a rural setting near Bangalore, South India from late 2013 to early 2014.

Shanghai, China: A three-month residency in Shanghai. The residency must be taken up before March 1st, 2014.

Applications must be received by Friday, 29 June 2012. The results will be announced on Monday, 29 October, 2012.

GUIDELINES

The M Literary Residency Programme has been established to disseminate a broader knowledge of contemporary life and writing in India and China today and to foster deeper intellectual, cultural and artistic links across individuals and communities. The intent of the residency is to provide space and time primarily for writing and location-specific research. It is not to be used as base for travel in order to undertake research further afield.

WRITERS MAY APPLY FOR ONE OF TWO M LITERARY RESIDENCIES:

BANGALORE, INDIA

A three-month residency in a rural setting near Bangalore, South India from late 2013 to early 2014. The successful applicant will have his/her transportation costs to and from Bangalore covered by the M Residency. Accommodation (a single room) and three meals a day will be provided.

SHANGHAI, CHINA

A three-month residency in Shanghai. The residency must be taken up before March 1st, 2014. The successful applicant will have his/her transportation costs to and from Shanghai covered by the M Residency. Accommodation (a studio-style apartment) and a stipend towards the cost of meals will be provided.

STIPEND

Both successful applicants will receive a total sum of US$1,000 to cover additional living costs during their stay in India or China.

HOW TO APPLY

All applicants are required to submit the following information and supporting materials:

1. A completed M Residency application form.

2. A synopsis and statement of intent totaling no more than 1,500 words detailing the project that you intend to work on during the residency. Applications will be accepted in the following genres only: fiction, nonfiction, poetry or dramatic prose.

Note:

• Statement of intent: this should detail how and why the location will benefit your project, and how the residency itself will be of benefit to you.

• The intent of the residency is to provide space and time primarily for writing and location-specific research and not as a base for travel to undertake research further afield.

• In the interest of fairness, your name must not appear on the synopsis and statement of intent.

3. Two samples of your work in the genre of your chosen project for the residency. Short stories, essays, novel extracts, drama and poetry are all welcome. The total word count of the two pieces combined should not exceed 2,500 words.

Note:

• Applications that do not include support material in the genre of the nominated project will be at a disadvantage.

• If poetry samples are less than 30 lines long, they can be grouped with 1-2 other poems to form one sample. The total line count of the poetry group should not exceed 100 lines or the word count.

• Applicants may be asked to submit additional samples of their work.

• In the interest of fairness, your name must not appear on the samples of work.

4. One of the following proofs of identification: copy of passport, driving licence or ID card.

5. Two referees, including their contact details, to whom the residency administrator may write to. The referee does not need to work in a literary capacity but needs to know the candidate well.

PLEASE NOTE

• Please send applications by email only to the Administrator at mliteraryresidency@m-restaurantgroup.com. We will notify you immediately on receipt of your application.

• Applications must be received by Friday, 29 June 2012. Applications received after this date will not be considered.

• Applicants must cover their own travel and medical insurance.

CONDITIONS OF ENTRY

• Participation in two (2) events:

The M Literary Residency aims to encourage interaction between talented artists and local communities, and to foster an interest in the arts within the local communities of the host countries. It is therefore a condition of entry that the successful candidate must agree to participate in at least two events within the local community during their stay. This could be a talk or workshop at a school, college or bookshop. Details will be worked out between the fellow and M Residency staff. All expenses will be met by the M Literary Residency.

• Remaining in Residence

It is expected that fellows will remain in residence throughout the threemonth fellowship. Fellows must notify M Residency staff at the earliest opportunity if they expect to have to leave the residency for a period of more than one week.

• Dates / Length of Residency

• India: 10-12 weeks, commencing late 2013

• China: 12 weeks and must be taken up before March 1st, 2014.

• It is a condition of entry that applicants agree to these terms by marking the relevant box on the application form.

IMPORTANT NOTES

• It is NOT a condition of entry that the applicant must already be a published author. Unpublished writers are welcome to apply.

• There are no nationality restrictions for applications. However, applicants should be over 21 years old and be writing in English.

• Applications may only be submitted electronically.

• In the interest of fairness, applicants’ names must not appear on samples, synopses, or statements of intent.

• The residency judges and administrators will not enter into private correspondence with applicants nor will they be able to offer specific feedback to unsuccessful applicants.

• The accommodation provided in Bangalore and Shanghai is suitable only for single occupancy. We regret that we are unable to accommodate partners, family (or pets!)

• In the case of the Indian residency, accommodation may be isolated so applicants should be seeking a period of quiet, sustained work. The residency is not a base from which to travel from.

• In the case of the Shanghai residency, accommodation will be centrally located and in the thick of a noisy city. Whilst it is intended that the writer should be seeking a period of sustained work, it must be noted that this will probably not be happening in very quiet surroundings. The residency is not a base from which to travel from.

Download the M Literary Residency application form here >>

CONTACT INFORMATION:

For inquiries: mliteraryresidency@m-restaurantgroup.com

For submissions: mliteraryresidency@m-restaurantgroup.com

Website: http://www.m-restaurantgroup.com/capitalm/literary-festival.html

Deadline: 30 September 2011

PULA: Botswana Journal of African Studies is calling for papers for publication consideration. PULA is a refereed scholarly journal devoted to the study of Africa, particularly Southern Africa. We welcome articles from various disciplines and from scholars anywhere in the world. The articles should be based on cutting edge research with new findings, and should interrogate important issues in Africa, preferably Southern Africa. Articles will be subjected to peer-review before they can be accepted for publication. All articles must be original and must not be considered for publication anywhere else. Contributors must follow the following submission guidelines.

1. Articles, in Word format, using Times New Roman 12, must not exceed a maximum of 6000 words and must use British English. If they contain special characters they must be submitted in PDF and details of the author(s) provided on a separate accompanying document.
2. Articles must contain abstracts of not more than 150 words.
3. Notes must be presented at the end of the article under the subheading ‘Notes’.
4. Only the references cited in the article must appear at the end under the subheading ‘References’. They must follow the APA for both in-text and list references.
5. The author(s) will be informed of the acceptance or rejection of their articles after the reviews have been received and a judgement/verdict made on them.
6. Submit articles to Dr. K.C. Monaka at both of the following e-mail addresses monaka@mopipi.ub.bw and kemmonye@gmail.com
7. The deadline for submission is Friday 30th September, 2011.

Please direct questions and enquiries to the Editor (Prof. Musa W. Dube) dubemw@mopipi.ub.bw and to the Interim Editor (Dr. Kems C. Monaka) monaka@mopipi.ub.bw

Contact Information:

For inquiries: monaka@mopipi.ub.bw and kemmonye@gmail.com

For submissions: monaka@mopipi.ub.bw and kemmonye@gmail.com

Website: http://www.thuto.org/pula/html/