Podcasts about Central African Republic

"One thing that I really was not as aware of as perhaps I should have been, was the deep and abiding Congolese sense of having a long term relationship with the United States."Ambassador Tamlyn has spent much of her career working across Africa, from Sudan and the Central African Republic to Mozambique, Chad, and now the Democratic Republic of the Congo. The DRC has Africa's fourth-largest population at around 112 million. Yet it remains one of its poorest countries and that's despite being the world's biggest producer of cobalt. Vast mineral wealth has in part fuelled a two-decade-long conflict in the east, one the United States has been trying to end. Could this be a breakthrough for a new foreign policy approach known as 'commercial diplomacy'? I spoke to one of Washington's most experienced ambassadors. Plus: Why the US needs to care about Congo

Residents and students learn from others about original motivation, long-haul stamina, pearls and pitfalls of living in community, debt, vision for one’s next step to the nations, and helping the needy now tensioned with investing in education to help others later.

BACK in 2004. I took our kids back to Africa in 2004. Here's what happened. Due to a minor plane crash and having to make the trip overland, our kids went on into the Congo and I stayed behind with no plans for the week in the Central African Republic. THEN the invitations poured in! I happily taught many groups, pastors, deaconesses, school teachers, night watchmen and even high government officials! They were trilled at the positive news of Eden!NOW in 2026! We have two special events coming up! YOU are invited to our Event at the HQ of the American Bible Society on March 21 2026! We'll be presenting the Tru316 Medallion Award to ABS President Dr. Jennifer Holloran and our Keynote speaker will be Dr. Beverly Nyberg! Dr. Nyberg studied at the University of Nebraska and Trinity Evangelical Divinity School. she has been Adjunct Professor at The George Washington University and Senior Consultant at Common Root Consulting. At the U.S. President's Emergency Plan for AIDS Relief (PEPFAR) State Dept. she for 11 years she was responsible for the US Government global programs for children affect by HIV/AIDS. PEPFAR. She also had served with the Peace Corps in Africa and provided field leadership in DR Congo with The Evangelical Free Church Mission. The Tru316 Foundation (www.Tru316.com) is the home of The Eden Podcast with Bruce C. E. Fleming where we “true” the verse of Genesis 3:16. The Tru316 Message is that “God didn't curse Eve (or Adam) or limit woman in any way.” Once Genesis 3:16 is made clear the other passages on women and men become clear too. You are encouraged to access the episodes of Seasons 1-11 of The Eden Podcast for teaching on the seven key passages on women and men. Are you a reader? We invite you to get from Amazon the four books by Bruce C. E. Fleming in The Eden Book Series (Tru316.com/trubooks). Would you like to support the work of the Tru316 Foundation? You can become a Tru Partner here: www.Tru316.com/partner

Bayaka group water drumming, with rhythm changes.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Geedal (bow harp) played in the forest with male voices accompanying.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Bayaka women singing yeyi (polyphonic song) in the forest.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This track is based on the recording of Metimbo of the Aka tribe in the Central African Republic playing the Bubulu (Potbowl). I chose this recording because the rhythmic complexity of the playing was so interesting to me. At first, I was thinking of approaching this exciting recording through many pre-planned ways, but it was proven to be unsuccessful. So I decided to return to the recording itself and try to experiment as much as I could with the sound. I let the sound design go as wild as possible, and any musical elements should later follow it. The result is a track that is filled with many variations of the recording, achieved through multiple sound design stages. Every sound that is not a drone, bass, or synth sound is made through the extensive processing of the source material; this means all drums, percussion, textures, and glitch effects came from one origin. The music is wildly different, but I tried to keep the spirit of playfulness in Metimbo's playing intact during the whole track. The title "v4-4" means the fourth revision of the fourth version of this track.Metimbo playing the bubulu (pot bow) reimagined by 8110118.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Geedal (bow harp) played in the forest with male voices accompanying.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Momboli and Gongé playing flutes in the forest at night.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Then we heard the grass blades bending under the laziest hoovesbut they know how slow they should be grazing at noon Then we heard the pine twigs snapping under bare feet and fresh blisters forming from the here and now because they know how fast good pain turns to fluidThen I heard the tallest reeds breaking under boots of rubber and I couldn't help but think of the 87 months it took those barks to become adult because they know when they're ready to bleedIt's when the man's hands form the cup for the milk to rest and sit and wait and stop moving because they both know how long fluid turns solid so it can stretch and bend and stretch and bend again between hardened hands of fewer grooves than blistersBut the blisters didn't know when that large cylinder would come to move things along and the man became two and they learnt each others' names as they rolled and compressed and rolled and compressed again until the rubber was already rubber and the blisters were gone because the hands became idle while the cylinder kept turning for god knows how long So the men unlearnt how to tell time and the two men became one again and he no longer knew his name so was now just “the man” from somewhere he can't remember and how did we get here?First we heard the tallest reeds whistling"Text by Yorgos O'Neill-Zafeiropoulos In this soundscape, I have worked solely with the original sound clip "Instruments in the forest at dawn (flute and harp)". This 1993 recording was made by ethnomusicologist Louis Sarno in the Central African Republic and features the Bayaka musicians Momboli on flute and Boyobi on the geedal (bow harp).You will hear this clip around 34 times but at different speeds, making "time" — and therefore pitch — the main variable altered to produce the soundscape. No recordings or sounds of my own were added. At the end of the piece, you can hear the original, unedited full clip re-emerging from the warped soundscape.Artist: Christina-Shelagh Mongelli; mixing/mastering: Matt Chapman; creative text: Yorgos O'Neill-ZafeiropoulosInstruments in the forest at dawn reimagined by Christina-Shelagh Mongelli.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Instruments in the forest at dawn (flute and harp).From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I selected the recording of a night forest in the Central African Republic without looking at the description, simply because it sounded magical. I usually search the recorded sounds for inspiration to tell stories that are more or less personal, but this time it was different. As I started reading about the origin of the sound, chosen solely for its magical aspect, I found myself lost in the discovery of a real-life hero who devoted his life to the collection, protection and conservation of the sounds and culture of the Bayaka people. I met legendary ethnomusicologist and fantastic human being, Louis Sarno. From that moment, I felt that I could not use the rainforest sound as a simple backdrop for my personal musing, I felt the need to bring back to life the magic of the forest and the love and passion that Louis Sarno devoted to his life's work. The word "magic" that drew me to select this specific recording, kept echoing in my head, so I let the magic guide me, and what could be more magical than an incantation? At that point, it was simply a matter of filling in the elements usually found in an incantation: the desired effect, capturing and preserving the sounds of life; the ingredients, all freely found in the dream of a night forest; the spell, pronounced in the name of Louis Sarno's life work; the special effects, unmissable touches for someone devoted to sounds; and finally the real-live love and poetry of life itself. Likimbi forest camp late at night reimagined by M Cristina Marras.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I spend a lot of time thinking about a project before I even begin to work. I wanted to create something that would feel odd and a bit disorienting to the listener. I got started and spent weeks reinterpreting the percussive music of the earth bow, a single-stringed musical instrument. Some ideas morphed from one place to another but then I got lost. So, I stopped and started again from scratch. This is where I ended up. I think it's pretty good.I read a great deal about Louis Sarno and his love of the hypnotic music of the Bayaka people. His love had him uproot his life to live and work with them in the Central African Republic until his death in 2017. "Lost in this World" is dedicated to them.Ngbanda playing the ngbindi (earth bow) reimagined by Bill McKenna.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Forest sounds with touraco (bird) and distant thunder.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This piece begins with a single recording: a forest soundscape captured by Louis Sarno in what is now the Central African Republic and the Republic of Congo, with birds, shifting air, and the distant rumble of a storm. The tape is not just a neutral document. It shows how sound can be taken, stored and studied. It is both a memory of a living environment and a product of the colonial era that collected and classified other people's worlds.Bernard Stiegler writes about tertiary retention, the way human experience is stored in technical objects such as recordings. These objects extend our ability to remember and listen, but they also change and sometimes remove what they hold. Stiegler calls such technology a pharmakon, something that can be both harmful and helpful. The recording is a trace of a forest displaced, but it is also a way that forest continues to be heard.This composition works with that tension. It does not sample the sounds or remake them as material for a new track. Instead it tries to “stay with” the recording, to listen beside it rather than take from it again. Stiegler speaks of care, the need to handle inherited technologies in a way that can open new and more ethical futures. This piece tries to practice that kind of care.Within this frame, the composition builds a new “forest” of sound, a network of layered micro and macro gestures that mirror the density and dispersion of the original recording. Close-mic techniques capture the vibrations of small objects, surfaces and resonant materials so that their textures mimic biotic activity such as insects, air, leaves and distant thunder. These sounds are woven with broader spatial gestures, creating an environment that moves between intimacy and expanse, between the barely perceptible and the encompassing. The resulting texture is not a reproduction of the forest but an echo of its living complexity, reimagined through the act of listening.The work draws on the Wandelweiser tradition's radical sparseness and on Discreet Archive's sensibility for fragility, quiet and slowness. Silence here is not empty; it holds space for the forest, real and imagined, to be heard without being consumed or overwritten. The piece does not try to reconstruct the forest or bring it back. It lets the recording remain what Stiegler calls a default of origin, something already outside its first context but still alive in new ways.The work also follows Jean-Luc Nancy's idea of listening as exposure, being open to something that comes from elsewhere and cannot be fully understood or controlled. It accepts that the original place and time cannot be restored and that the act of recording was shaped by unequal power. Yet it asks whether we can still listen in a way that acknowledges that history without turning it into an aesthetic resource. The piece tries to hold that fragile space, one of care, hesitation and attention, where another kind of future listening might become possible.Forest sounds with bird calls and distant thunder reimagined by Jacob Calland.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This piece was created in response to an archival field recording made by Louis Sarno among the Bayaka people of the Central African Republic. Instead of using the recording as musical material to be featured in the piece, I chose to use it as a generative constraint. I intended to have a single piece of audio from which the entire composition could be created. The original recording and its history also prompted me to think about listening as a form of attention. How sounds emerge from the environment, and how attention shifts as focus drifts. In this way, I imagine the piece resembling a strange forest which the listener passes through, encountering different sounds as they move on their way and attention drifts. All the sounds in the piece originate from the original field recording. I processed the recording through my modular synth, producing a new set of sounds that were then recorded into a DAW. My usual practice is to perform with the modular synth, recording the output as the finished work. However, for this piece, I wanted to try working differently and to construct the piece out of the new sounds. I created 18 distinct stereo sounds, all from the same sample. I then listened back to them carefully and named each one based on how they sounded. Next, I grouped them into four categories based on shared qualities (for example, ambient textures, crackling or low-frequency elements).I then started assembling the piece by imposing a set of compositional rules. No more than three sounds could play at once, and no more than two sounds from the same category could be used simultaneously. Early versions felt incoherent, but as I listened more and made changes, a sense of structure began to take shape. It was at this stage that I started to think about the idea of the piece resembling a forest with the listener slowly passing through. As the listener walks through this "forest", attention drifts between different elements, some inviting and others more unsettling.The original field recording does appear briefly at the end of the piece, layered with itself, reversed, and time-stretched. While processed, it remains recognisable, functioning as a trace rather than a central feature.In preparation for this work, I started reading Sarno's book "Song from the Forest" and the documentary film of the same name. These materials informed my understanding of the context of the recording, whilst also reinforcing the decision to avoid direct representation and instead focus on response, transformation, and attentive listening.Geedal (bow harp) in the forest with rain dripping reimagined by Richard Charles Boxley.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Mamadu playing the geedal (bow harp) in the forest with the sound of rain dripping. From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Have you longed to integrate your Christian faith into your patient care—on the mission field abroad, in your work in the US, and during your training? Are you not sure how to do this in a caring, ethical, sensitive, and relevant manner? This “working” session will explore the ethical basis for spiritual care and provide you with professional, timely, and proven practical methods to care for the whole person in the clinical setting. https://www.dropbox.com/scl/fi/qpah9kh1lttg6cm1jjop9/Bob-Mason-Ethics-of-Spiritual-Care-revised.pptx?rlkey=0emve2ja8282nv8xc4uinq1hg&st=9033htwx&dl=0

Those who hope to honor God and advance Jesus' Kingdom face powerful opposition from spiritual, physical, and psychological enemies. Successful launching and long term fruitfulness depends on recognizing and, in dependence on the Holy Spirit, waging war against those enemies.

Peer Schouten, of the Danish Institute for International Studies, has written a breathtaking book. Roadblock Politics: The Origins of Violence in Central Africa (Cambridge, 2022). Schouten mapped more than 1000 roadblocks in both the Central African Republic and the Democratic Republic of the Congo. In so doing, he illuminates the relationship between road blocks and what he calls “frictions of terrain” (p 262). These frictions demonstrate how rebels, locals and state security forces interact in the making, or unmaking, of state authority and legitimacy. Looking at roadblocks as a kind of infrastructural empire that existed before the Europeans first arrived in Africa, Schouten develops a new framework to understand the ways in which supply chain capitalism thrives in places of non-conventional logistical capacity, to reframe how state theory fails to capture the nature of statehood and local authority in Central Africa. Schouten calls out governments, the UN and other international actors, to highlight how control of roadblocks translates into control over mineral, territory or people. No analysis of the drivers of conflict anywhere in the world is complete without consideration of Peer Schouten's groundbreaking book, Roadblock Politics. At the end of the interview, Schouten recommends two books: Mintz's (1986) Sweetness of Power: The Place of Sugar in Modern History and Labatut's (2021) When We Cease to Understand the World. Thomson recommends the CBC podcast Nothing is Foreign. Susan Thomson is an Associate Professor of Peace and Conflict Studies at Colgate University. I like to interview pretenure scholars about their research. I am particularly keen on their method and methodology, as well as the process of producing academic knowledge about African places and people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Peer Schouten, of the Danish Institute for International Studies, has written a breathtaking book. Roadblock Politics: The Origins of Violence in Central Africa (Cambridge, 2022). Schouten mapped more than 1000 roadblocks in both the Central African Republic and the Democratic Republic of the Congo. In so doing, he illuminates the relationship between road blocks and what he calls “frictions of terrain” (p 262). These frictions demonstrate how rebels, locals and state security forces interact in the making, or unmaking, of state authority and legitimacy. Looking at roadblocks as a kind of infrastructural empire that existed before the Europeans first arrived in Africa, Schouten develops a new framework to understand the ways in which supply chain capitalism thrives in places of non-conventional logistical capacity, to reframe how state theory fails to capture the nature of statehood and local authority in Central Africa. Schouten calls out governments, the UN and other international actors, to highlight how control of roadblocks translates into control over mineral, territory or people. No analysis of the drivers of conflict anywhere in the world is complete without consideration of Peer Schouten's groundbreaking book, Roadblock Politics. At the end of the interview, Schouten recommends two books: Mintz's (1986) Sweetness of Power: The Place of Sugar in Modern History and Labatut's (2021) When We Cease to Understand the World. Thomson recommends the CBC podcast Nothing is Foreign. Susan Thomson is an Associate Professor of Peace and Conflict Studies at Colgate University. I like to interview pretenure scholars about their research. I am particularly keen on their method and methodology, as well as the process of producing academic knowledge about African places and people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Peer Schouten, of the Danish Institute for International Studies, has written a breathtaking book. Roadblock Politics: The Origins of Violence in Central Africa (Cambridge, 2022). Schouten mapped more than 1000 roadblocks in both the Central African Republic and the Democratic Republic of the Congo. In so doing, he illuminates the relationship between road blocks and what he calls “frictions of terrain” (p 262). These frictions demonstrate how rebels, locals and state security forces interact in the making, or unmaking, of state authority and legitimacy. Looking at roadblocks as a kind of infrastructural empire that existed before the Europeans first arrived in Africa, Schouten develops a new framework to understand the ways in which supply chain capitalism thrives in places of non-conventional logistical capacity, to reframe how state theory fails to capture the nature of statehood and local authority in Central Africa. Schouten calls out governments, the UN and other international actors, to highlight how control of roadblocks translates into control over mineral, territory or people. No analysis of the drivers of conflict anywhere in the world is complete without consideration of Peer Schouten's groundbreaking book, Roadblock Politics. At the end of the interview, Schouten recommends two books: Mintz's (1986) Sweetness of Power: The Place of Sugar in Modern History and Labatut's (2021) When We Cease to Understand the World. Thomson recommends the CBC podcast Nothing is Foreign. Susan Thomson is an Associate Professor of Peace and Conflict Studies at Colgate University. I like to interview pretenure scholars about their research. I am particularly keen on their method and methodology, as well as the process of producing academic knowledge about African places and people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Peer Schouten, of the Danish Institute for International Studies, has written a breathtaking book. Roadblock Politics: The Origins of Violence in Central Africa (Cambridge, 2022). Schouten mapped more than 1000 roadblocks in both the Central African Republic and the Democratic Republic of the Congo. In so doing, he illuminates the relationship between road blocks and what he calls “frictions of terrain” (p 262). These frictions demonstrate how rebels, locals and state security forces interact in the making, or unmaking, of state authority and legitimacy. Looking at roadblocks as a kind of infrastructural empire that existed before the Europeans first arrived in Africa, Schouten develops a new framework to understand the ways in which supply chain capitalism thrives in places of non-conventional logistical capacity, to reframe how state theory fails to capture the nature of statehood and local authority in Central Africa. Schouten calls out governments, the UN and other international actors, to highlight how control of roadblocks translates into control over mineral, territory or people. No analysis of the drivers of conflict anywhere in the world is complete without consideration of Peer Schouten's groundbreaking book, Roadblock Politics. At the end of the interview, Schouten recommends two books: Mintz's (1986) Sweetness of Power: The Place of Sugar in Modern History and Labatut's (2021) When We Cease to Understand the World. Thomson recommends the CBC podcast Nothing is Foreign. Susan Thomson is an Associate Professor of Peace and Conflict Studies at Colgate University. I like to interview pretenure scholars about their research. I am particularly keen on their method and methodology, as well as the process of producing academic knowledge about African places and people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

Peer Schouten, of the Danish Institute for International Studies, has written a breathtaking book. Roadblock Politics: The Origins of Violence in Central Africa (Cambridge, 2022). Schouten mapped more than 1000 roadblocks in both the Central African Republic and the Democratic Republic of the Congo. In so doing, he illuminates the relationship between road blocks and what he calls “frictions of terrain” (p 262). These frictions demonstrate how rebels, locals and state security forces interact in the making, or unmaking, of state authority and legitimacy. Looking at roadblocks as a kind of infrastructural empire that existed before the Europeans first arrived in Africa, Schouten develops a new framework to understand the ways in which supply chain capitalism thrives in places of non-conventional logistical capacity, to reframe how state theory fails to capture the nature of statehood and local authority in Central Africa. Schouten calls out governments, the UN and other international actors, to highlight how control of roadblocks translates into control over mineral, territory or people. No analysis of the drivers of conflict anywhere in the world is complete without consideration of Peer Schouten's groundbreaking book, Roadblock Politics. At the end of the interview, Schouten recommends two books: Mintz's (1986) Sweetness of Power: The Place of Sugar in Modern History and Labatut's (2021) When We Cease to Understand the World. Thomson recommends the CBC podcast Nothing is Foreign. Susan Thomson is an Associate Professor of Peace and Conflict Studies at Colgate University. I like to interview pretenure scholars about their research. I am particularly keen on their method and methodology, as well as the process of producing academic knowledge about African places and people.

Peer Schouten, of the Danish Institute for International Studies, has written a breathtaking book. Roadblock Politics: The Origins of Violence in Central Africa (Cambridge, 2022). Schouten mapped more than 1000 roadblocks in both the Central African Republic and the Democratic Republic of the Congo. In so doing, he illuminates the relationship between road blocks and what he calls “frictions of terrain” (p 262). These frictions demonstrate how rebels, locals and state security forces interact in the making, or unmaking, of state authority and legitimacy. Looking at roadblocks as a kind of infrastructural empire that existed before the Europeans first arrived in Africa, Schouten develops a new framework to understand the ways in which supply chain capitalism thrives in places of non-conventional logistical capacity, to reframe how state theory fails to capture the nature of statehood and local authority in Central Africa. Schouten calls out governments, the UN and other international actors, to highlight how control of roadblocks translates into control over mineral, territory or people. No analysis of the drivers of conflict anywhere in the world is complete without consideration of Peer Schouten's groundbreaking book, Roadblock Politics. At the end of the interview, Schouten recommends two books: Mintz's (1986) Sweetness of Power: The Place of Sugar in Modern History and Labatut's (2021) When We Cease to Understand the World. Thomson recommends the CBC podcast Nothing is Foreign. Susan Thomson is an Associate Professor of Peace and Conflict Studies at Colgate University. I like to interview pretenure scholars about their research. I am particularly keen on their method and methodology, as well as the process of producing academic knowledge about African places and people. Learn more about your ad choices. Visit megaphone.fm/adchoices

We have two operations from J5 - Guinea-BissauFirst - DA1DX, Ben, the organizer of the J51A DXpedition to Guinea-Bissau in February/March 2026, shares several updates. The ARRL has approved the J51A license for DXCC, and the LoTW certificate has been received. After clarifying frequency and mode permissions with the national authority and confirming alignment with IARU Region 1 Band Plans, all standard bands and modes-including 160m, 60m, WARC bands, and 50 MHz-are confirmed valid for DXCC, IOTA, and other awards. The DXpedition is entirely privately funded, with RF-POWER lending five amplifiers and all other equipment privately owned. Ben invites donations via Club Log OQRS and provides a link for more information. https://www.qrz.com/db/J51A Secondly, J52EC is on until February 28th by operator IZ3BUR, Livio. He has an IC-7410, 100 watts, to a 3-element Yagi on 20, 15 and 10.TL - Central African Republic & TT – Chad - TJ1GD, Darek, has established permanent amateur radio stations in the Central African Republic and in Chad, which are maintained locally. These stations (TL8GD and TT1GD), licensed to Darek, operate periodically-often remotely using FT8, CW, and SSB. QSL confirmations are available via LoTW and Club Log.KP5/NP3VI, Desecheo Island - KP5/NP3VI is now 2 weeks into its planned 30-day operation. Their latest published statistics are as follows: Over 55,000 QSOs are in the log, with 91.1 percent of the QSOs with North American and Europe. CN - Morocco - F6FYD, Yannick, expects to return to Morocco next week. In early March he also has plans to go to Mogador Island (AF-065), Agadir, and El Jadida and has the callsign CN2YD.FG – Guadeloupe - TF1OL, Olafur, will be live from Guadeloupe starting Wednesday next week for approximately seven days. No word on what callsign he will be using. Following the stay in Guadeloupe, plans to visit other islands are pending permission to operate.TZ - Mali - The next TZ1CE by DK1CE, Ulmar, is February 10 to March 1. He will be doing mostly FT8 and SSB and says when he's on FT8 he gives stations outside Europe precedent at all times. He plans special attention to 160M FT8, 80M FT8 and 6M and will update daily on Club Log, the LoTW log will be after the operation, and in Mali 60M operation is not allowed.FG - Guadeloupe - FG/F6HMQ, Tildas, and FG/F6GWV, Mike, are there for another week or so, with a pair of IC-7300 radios, to vertical wires. "Holiday style," they are 60-10M SSB, FT4 and FT8. LoTW confirmations will be available within a few days. YU – Serbia - This year is the 170th anniversary of Nikola Tesla's birth. Stations in the Amateur Radio Union of Serbia are authorized to use callsign YT170TESLA through the end of this year.XU - Cambodia - DL7BO, Tom, will once again be QRV as XU7O from February 7-21, reports DX News.S9 - Sao Tome & Principe – S53BV is QRV as S9BV until February 20, holiday style "from a quiet location," Borut, will be on with an IC-7000 to verticals and dipoles. He plans to be on 60, 40, 30 and 15 CW and SSB. On 30, 40 and 60M CW, target frequencies are 10110, 7005 and 5351.5. Direct QSLs will be answered when he's back home. Club Log OQRS will be available, with limited internet access while there and "postal challenges." He will apparently give special instructions later.Until next week, this is Bill, AJ8B saying 73 and thanks to my XYL Karen for her love and support. I Hope to hear you in the pileups! Have a great DX week!

Medical missionaries often feel powerful emotional burden from moral injury, and it is a leading cause of departure from the mission field. But we have learned proven methods of preventing and dealing with moral injury. Use God’s powerful methods to protect yourself and your team, and to grow in wisdom and spirit!

The following DX information comes from Bernie, W3UR, editor of the DailyDX, the WeeklyDX, and the How's DX column in QST. If you would like a free 2-week trial of the DailyDX, your only source of real-time DX information, justdrop me a note at thedxmentor@gmail.comV4 - St. Kitts - The 425 DX News reports that V47JA by W5JON is QRV from the island until February 3, SSB andFT8 on HF.  QSL direct to W5JON, or  use Logbook of the World. TL - Central African Republic & TT –Chad - TJ1GD, Darek, has established permanent amateur radio stations in the Central African Republic and in Chad, which are maintained locally. These stations (TL8GD and TT1GD), licensed to Darek, operate periodically-often remotely using FT8, CW, and SSB. QSL confirmations are available via LoTW and Club Log.J5 - Guinea-Bissau – Livio, IZ3BUR, is once again QRV as J52EC starting January 24. He has been reported on SSB on 10 and 15 meters. Numerous sources report he is there until March. QSL direct only via IZ3BUR. C2 - Nauru – Phil, FK1TS, is back on Nauru Island and expects to be active as C21TS on FT8 by the weekend, after setting up his vertical antenna. He will operate until July 2026, and Club Log Livestream will indicate when he is on the air. KP5/NP3VI, Desecheo Island - KP5/NP3VI is now 2 weeks into its planned 30-day operation. Their latest published statistics are as follows: 29,418 QSOs with 8,291 unique callsigns; ATNO for 1,66 stations. Six continents are represented in the log, with 91.1 percent of the QSOs with North American and Europe. However, North America contacts continue to decrease in percentage as they increase activity with other regions.  C5 - The Gambia - C5SP, Przemyslaw and C5MB, Magdalena are QRV from Sanyang, Gambia (Grid Square IK13pf) until March 2026. QSL cards are available via SP3PS Direct, but not through LoTW.H4 - Solomon Islands - DL2GAC, Bernhard now in the Solomon Islands as H44MS until mid-May.  He departed India last Wednesday, arriving in the Solomons' capital on Friday.  He is renewing his H44MS license, which was scheduled to expire in early February.  He will move to his "usual QTH" there tomorrow or Wednesday.  He has taken with him a Hexbeam that covers 20-6, to replace his old tri-bander that covered 20-10.  He says the weather is poor, lots of rain, no sunshine.  He plans to mostly be on 40M this time, with a dipole 20M high in a palm tree near the ocean.

Stories from Saudi Arabia, the Central African Republic, Canada, and elsewhere This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.foreignexchanges.news/subscribe

Whether you’re a seasoned team member or preparing for your first trip, short-term mission trips have the potential to make a meaningful global impact. In this conversation, we’ll highlight five key principles that help ensure our efforts contribute to lasting, sustainable change in the communities we serve.

Focus on Africa's Charles Gitonga joined The Global Story podcast hosts Asma Khalid and Tristan Redman to explain why the United States, Russia and China are so interested in Africa. The US recently moved to extend the African Growth and Opportunity Act (AGOA), a major trade deal allowing many African countries to export goods to the American market tariff-free, while also tying promises to end the conflict in eastern DR Congo to access rare earth minerals. China sees Africa as a key part of its Belt and Road Initiative, investing heavily in infrastructure across the continent. Meanwhile, Russia has positioned itself as an alternative partner to the Central African Republic and Sahel countries, particularly in security and military cooperation.Presenter: Charles Gitonga Producers: Keikantse Shumba and Hannah Moore Senior Producer: Blessing Aderogba Technical Producers: Terry Chege and Philip Bull Editors: Samuel Murunga and Maryam Abdalla

The new emperor of the Central African Republic is introduced to the world in a totally surreal manner - with white horses from Belgium, finery from France and songs from a Broadway musical. The CAR's finances continue to tumble. A controversial policy about school uniforms leads to one of the most tragic episodes in the country's history. And as the emperor loses control, old friends become foes, old foes return from the dead, and Bokassa's day of judgement is at hand… A Noiser podcast production. Narrated by Paul McGann. Featuring Louisa Lombard, Richard Moncrieff, Gino Vlavonou. This is Part 3 of 3. Written by John Bartlett | Produced by Ed Baranski and Edward White | Exec produced by Joel Duddell | Fact check by Heléna Lewis | Sound supervisor: Tom Pink | Sound design & audio editing by George Tapp | Assembly editing by Dorry Macaulay, Rob Plummer, Anisha Deva | Compositions by Oliver Baines, Dorry Macaulay, Tom Pink | Mix & mastering: Cian Ryan-Morgan | Recording engineer: Joseph McGann. Real Dictators will be back in the new year with the story of Marshal Tito. Get early access and ad-free listening by joining Noiser+. Click the subscription banner or go to noiser.com/subscriptions Learn more about your ad choices. Visit podcastchoices.com/adchoices

A new year brings new beginnings in the Central African Republic. President Bokassa attempts to modernise. But at the same time, the mass incarcerations and torture ramp up and corruption takes hold. And then things get really strange… An imposter infiltrates Bokassa's homelife. A bizarre public competition is launched to marry off the president's daughters. And the leader takes a significant trip to Colonel Gaddafi's Libya… A Noiser podcast production. Narrated by Paul McGann. Featuring Louisa Lombard, Richard Moncrieff, Gino Vlavonou. This is Part 2 of 3. Written by John Bartlett | Produced by Ed Baranski and Edward White | Exec produced by Joel Duddell | Fact check by Heléna Lewis | Sound supervisor: Tom Pink | Sound design & audio editing by Jacob Booth | Assembly editing by Dorry Macaulay, Rob Plummer | Compositions by Oliver Baines, Dorry Macaulay, Tom Pink | Mix & mastering: Cian Ryan-Morgan | Recording engineer: Joseph McGann. You can listen to the final episode of the Bokassa story straight away, without waiting and without ads, by joining Noiser+. Just click the subscription banner at the top of the feed or go to noiser.com/subscriptions Learn more about your ad choices. Visit podcastchoices.com/adchoices

Guterres calls for peaceful elections in the Central African Republic Yemen: UN Envoy welcomes accord on new phase of conflict-related detainee release Forest products show signs of recovery after 2023 decline, FAO reports 

Syria: Illicit “captagon” manufacturing disrupted following regime change UN mission supports landmark elections in the Central African Republic$880 million humanitarian appeal for Haiti

The following DX information comes from Bernie, W3UR, editor of the DailyDX, the WeeklyDX, and the How's DX column in QST. If you would like a free 2-week trial of the DailyDX, your only source of real-time DX information, justdrop me a note at thedxmentor@gmail.com First, the bad news S2 – Bangladesh - S21AM and S21RCsay their planned IOTA AS-127 operation has been postponed until sometime next year.  Cited are logistical challenges  and operational constraints in the region and "adequateresource availability concerns." Now, the Good News U.S. amateurs to receive expanded 60-meter privileges - TheU.S. Federal Communications Commission (FCC) has authorized expanded use of the 60-meter band for U.S. amateur radio operators, following rules adopted at the World Radiotelecommunication Conference 2015 (WRC-15). The new regulations, including a 15-watt effective isotropic radiated power (EIRP) power limit (not effective radiated power, or ERP), will take effect 30 days after they are published in the Federal Register. Use of this band remains on a secondary basis. The full FCC Report and Order is available online, and ARRL provides more details on its website.  XU - Cambodia – DL7BO, Tom, will be on the air as XU7GNY, December 22 to January 18.  Tom will be on 160-6 CW, SSB and FT8, concentrating on the lower bands.  QSL direct to DJ4WK or use LoTW, Club Log or eQSL. 4K – Azerbaijan – 4K/DL4XT,Jan, will on 40 and 20-10M SSB, CW and FT8 December 26 to January 3.  He will be on the air casually, aka "holiday style."  For a QSL it's LoTW, Club Log OQRS and QRZ. A6 - United Arab Emirates – A60QATAR will be December 18-22 to join in Qatar's celebration.  Some Individual ops in UAE may use that call and add /1, /2, and similar. TL - Central African Republic -  CT1END, Carlos, reminds us CR7BNW, Joao, will be operating as  TL8BNW from Bangui, Central African Republic, for six months starting in December 2025. His first activity will take place from December 20-25, 2025, using SSB and FT8 on 40, 20, 15, and 10 meters. QSOs will be uploaded to LoTW, QRZLogbook, and via the Portuguese QSL bureau.FY - French Guiana - F4GPK, Peter, will be on as TO2FY December 22 to January 15 from Kourou. TG – Guatemala - TG9/AF4CZ willbe on the air "holiday style," December 7 to January 5, mostly digital modes on 40-10.  He will upload his log to LoTW, eQSL and Club Log. Z8 - South Sudan - YI1DZ (akaZ81D), Diya's, contract with UN-WFP in South Sudan runs until March 10, 2026, with a possible 11-month extension pending approval. Due to frequent travel and a rotating work schedulethat includes leave every six weeks, radio activity is limited tofree time, mostly on weekends. The author is currently in Istanbul and will return to Juba on December 15 and could be very active as Z81D the following weekend.C5YK, The Gambia – Andre, ON7YK, is QRV from The Gambia until January 25. He is operating as C5YK on SSB, RTTY, PSK, FT8, FT4, and some CW on 20, 17, 15, 12, and 10M. QSL only via LoTW, eQSL, or direct to ON7YK. He posts his logbook on his website.  “may be a little unreliable.” Manual log upload will be every several days. Borut says to not send cards through the bureau “as they will not find my home.” He will send direct cards once he is home in Slovenia, “via OQRS only.”  OQRS.   YU – Serbia - In celebration of IARU Region 1 Young Radio Operators Month, Serbian amateurs may use the special callsigns YT25YOTA and YU25YOTA throughout December 2025.

What is a call? How does a person know if God is calling them to mission service? Join in a discussion as these and other questions are addressed.