Poverty as an Abuse of Human Rights in Ghana. : A grass roots perspective on poverty and human rights.

The study aimed at getting a grass root opinion on poverty and why Ghana is still poor after 50 years of independence in spite of her richness in natural resources, second largest producer of cocoa in the word and appreciable stable political environment. The opinions of the ordinary people in the Bia district and their observed living conditions was analysed in line with theoretical basis of the study and previous studies to justify the stance that poverty should be considered as an abuse of human rights. It was concluded based on position of informants and previous data available that though many factors have been raised by previous scholars as the cause of poverty, the actions and inactions of both internal and external power-holders is the main source of poverty in Ghana. It was proposed that for poverty to be reduced in a sustainable way there should be strong civil society groups and active citizens through civic education to hold power-holders accountable. Until the actions and inactions of power-holders which have subjected many Ghanaians into intergenerational poverty are seen as human rights abuse, the rights of many Ghanaians would be constantly abused. This will eventually defeat the promotion of human rights culture in Ghana.

Exploring 'Samoaness' in the Samoan language film The Orator (O Le Tulafale)

The Pacific nation of the Independent Samoa (formerly Western Samoa)  is not known for having a developed film industry.   In 2011, a Samoan languge film called The Orator (O le Tulafale) placed the spotlight on Samoa, its people, and the Samoan culture when it became the country’s first ever film to be accepted into major international film festivals such as the 68th Venice Film Festival.  Samoans the world over have embraced the film for its richness, compassion, and authenticity. Yet at times, the film portrays the Samoan culture as harsh and cruel.   Samoans are usually quick to criticise negative portrayals of their culture but the thousands of comments on the film’s official Facebook page show otherwise.  From April 2011 to March 2012, there were only 11 comments criticising the film on Facebook, and these criticisms were denounced as ‘un-Samoan’. This raised the question as to why Samoans did not react to the unflattering portrayals of their culture, but instead react against legitimate criticisms of the film.  By using Foucault’s concept of heterotopia and the Samoan narrative structure of fāgogo, a heterotopia space and a utopia space are created in which past memories confirming Samoan cultural identity and bonds to the culture are evoked and are (re)experienced by Samoans while viewing the film.  Thus the film’s ability to encourage this is what Samoans praise rather than the actual film.