Laurence and Wallmart buy a camel and go to the Sahara Desert

Marrakesh Square looked bright and hazy the day that two friends became men. The purchase of a camel is not a joke, and the issue weighed heavily on the heart of Laurence as he prepared to choose one of the three camels which lay before him.

Camel one was bold and muscular- arguably a wise choice considering the extremity of The Sahara. Camel two also had its worth- an old camel, experienced in the art of desert travel. But Laurence chose the third camel to be his companion on their journey.

“This camel’s father’s hair made a rug for my grandfather many years. If you make love on the rug, you forget about the price, do you know why?” asked the Moroccan camel salesman.

“Why?” replied Wallmart obediently.

“Because it is an aphrodisiac.”

Laurence eyed the camel wearily. The heat of the African sun had stolen Laurence and he had drifted into a lazily delirious mood, contemplating the adventure that lay before them.

The camel slowly turned his elegant neck to notice Laurence, with the same intelligence with which he endlessly seemed to stare into another abyss, that of the Sahara Desert. 

The three trooped through endless spectres of mountains, before finally arriving onto a great plain, extending farther than the mind can imagine. Settlements scattered the land like planes in the sky, sharing the same quality of being thoroughly destitute in their surroundings.

The sun burnt bright as a scorpion became entranced with the foot of the camel, which rested unwilling in the sun while the three took shade under a lonely tree. A figure rose from the desert, miraculously growing in stature as Laurence admired his existence.

The figure spoke: “I bring news from a far away land; it is required that you embark on a journey South, as this is where you will find you destiny.”

“But why should we risk our lives with that treacherous task for a completely hallucinatory outcome?” replied Wallmart, whose senses had remained peculiarly intact despite his hereditary nature.

Laurence answered this question with these words, only learning their truth as he spoke them: “Because only then will be learn why we came here, and why things are the way they are. Only then can we return to the North- our families, lives and beliefs. Without a revelation, I will not feel satisfied, and will not be able to return to my village with my head held high.”

The knowledge Laurence sought was dangerous, and a certain predecessor to madness, if one was not careful. This knowledge encompassed many of the key factors of wisdom; experience, understanding of the self and understanding of the struggle.

Not once did Laurence believe he would return home an idol, or a prophet of a new morality. Unlike the great philosophers who sought greater things, Laurence, Wallmart and their furry companion yearned only for salvation, from the claws of the world they had temporarily left behind.

Heaven rose from the desert, a sparkling ocean of emerald blue. The Gods drank their coffee, and slept in their thrones, many of whom had forgotten the struggle, or simply lost hope, while others tired emphatically in its maze.

Laurence crossed his arms sulkily, and shifted in his seat, straining to see more of the heaven that fell away beneath him. He thought of this as the last abyss, a place where man has yet to conquer, and which therefore remains unknown and other worldly.

The light shone above Wallmart, who used its magic to study the scripture he had obtained. Abruptly, silence fell between the friends. The whirr of the engine persisted as the lights in the cabin dimmed, leaving only the emergency exits visible.

The potential for discovery of a foreign land was peacefully receding as the tranquil darkness enveloped the aeroplane. Wallmart fell asleep, leaving Laurence to appreciate the Gods all around him and the Heaven which stretched endlessly beneath them. It was a short time before his thoughts drifted to other matters, and he too began to face the struggle once more.

Meanwhile, somewhere between two moons, the camel dropped his head to the sand.

THE END

Holland- Jam Club and Relentless on tour

On the 21-24th of March I accompanied Knights Academy from South London on a trip to Holland, where two separate creative groups from the school took part in a Dutch school talent show. One of the groups, Relentless, are a dance collective, and the other are a music group called Jam Club. Both groups comprised of ten kids, representing year groups 7-12, and I was fortunate enough to teach and lead the African drumming section of Jam Club.

We got the coach all the way to our destination, using the Dover-Calais crossing. Our residence for the three nights was a 13th century castle converted into a hostel in the town of Heemskerk, about half an hours drive outside Amsterdam. We spent the first day relaxing, getting settled in, and then in the evening we walked into town and bought pizza. We also managed to get some rehearsal time in, which was important because we woke up early on the second day to go into the Schoter School in Haarlem and prepare for the evenings concert.

Jamming on the ferry!

 The quality of performance in the school talent show was incredible, as was the logistics of the whole event over the two nights. The entire thing was filmed, with a live projection showing downstairs in the performers room. The winner, on both nights, was a duo made up of a couple who played Mercy by Duffy, with him on guitar and her on vocals. Although they were not mind blowing, they had an endearing quality and their chemistry was impressive.  

Jam Club, the group in which I lead a 5-person djembe section, performed as ‘special guests’ on both nights. We played a medley of Feeling Good, Hit the road Jack and I Gotta Feeling, which went down well with the 200 or so Dutch crowd.  On the second evening we opened our set with a full scale djembe jam, featuring some improvised dancing from the Knights students in the Relentless crew. It was a great success!

Jamming on stage!

The difference in culture between Holland and the UK was apparent to the kids and myself, perhaps most blatantly on our visit to Amsterdam as we walked through the Red-light district.  As well as their notoriously lenient and forward thinking approach to marijuana and prostitution, the Dutch also have some interesting contrasts to the UK in terms of education- for example all pupils in the school we visited paid €300 per year, and then €150 on top if they wanted to specialise in particular subjects. This system has strengths; however one major downside is that less than half the students in the school have the opportunity to partake in regular art lessons.

Arguably the best thing about the trip was the opportunity for international relationships (and romances!) as the kids from the Haberdasher Askes Knights Acedemy met their Dutch counterparts. The informal learning process undergone by all involved in inspirational school trips like this one is invaluable, and should not be underestimated or taken for granted. It was a pleasure to be a part of such the experience, and particularly interesting going on a school trip as a teacher rather than a pupil!

Whole crew in Amsterdam!

Confidence, culture and childcare

As well as bumping into Nick Clegg leaving the toilet on my first visit to the House of Commons, I also attended an eye-opening discussion about the role of women as leaders in Africa. The event was hosted by the Royal Africa Society, and was partly a build up to International Women’s Day on the 8^th March. I suppose growing up as a white male with good role models, it could be argued that I have never had to directly struggle against sexual inequality, but the fact of the matter is that it’s a major international issue, which transgresses borders and has a huge effect on different cultures worldwide. In this article I am going to outline some of the issues raised in the debate, and explore some implications and solutions, all in the context of women, politics and Africa as a whole.

Across the world, women are outnumbered by men in the area of politics, in some places to an extreme level. One speaker suggested that this may be due to a confidence issue within women themselves- they are reluctant to get involved in politics, seeing it as a man’s area, and are always “waiting to be asked”. They lack self-belief due to culturalisation, and are often ignorant to their rights and opportunities, and are therefore unable to take advantage of them. The confidence argument places the responsibility for change mainly with the women; however another speaker vehemently argued that the responsibility has to be with the men. This speaker expressed her growing reluctance to engage in debates about women with other women, and instead urged men to force change amongst themselves.

The dilemma of quotas in politics was also discussed fervently. Although they are essentially good instruments of change, because it means women are rapidly integrated into politics, they could also be seen as undemocratic, because they are not based on merit. By enforcing quotas for the representation of women in politics (the UN suggests women should make up 30% of a countries representation in government) you immediately compensate for historical gender inequality by allowing women into politics. However, as a speaker from the floor pointed out, representation doesn’t necessary equal influence, highlighting one flaw of such a simple solution. Nevertheless quotas, if not ideal, are an essential instrument of change.

Another unanimous agreement reached by all present was the emphasis that needs to be placed on women’s support groups- formal structures which encourage networking between women, and therefore a platform by which they can support one another and take collective action against gender inequality. It was concurred that organisations like this will help speed up the process of achieving gender equality, in the workplace and beyond. I also feel it is important to mention the emphasis placed on reforming local governments, particularly in places like Africa, if change is going to be long lasting- and the idea of concentrating resources to tackle gender inequality in the youth, rather than aiming to influence a much older (and possibly more stubborn) generation.

During the discussion I found myself considering the bigger issues at the heart of the gender inequality debate- violence against women being one of them. Culturally ingrained sexism another (something we experience in our day to day lives, even in the Western world). Although there was some emphasis placed on the improvements made worldwide over the last decade, the overall outlook appeared bleak to me, as the unjustness of gender inequality struck me in a way that it had never done before. 

The OId Vinyl Factory

Is England first and foremost a live music nation? Can music in this modern era of digital technology be owned? Has new music in fact lost its cutting edge, compared to the radical era of punk and mods? These were the three topics under debate on separate evenings at The Old Vinyl Factory Table Talks in Hayes. Table Talkers included top radio presenters such as Radio 1’s Huw Stephens, the CEO’s of Live Nation and Festival Republic (Britain’s two largest festival organisers), and representatives from Rough Trade, XL Records and Spotify. This impressive line up sat down and evaluated the issues that face British music today, in an extremely influential place for British music- the old site of the HMV/EMI vinyl factory, where iconic records such as those by The Beatles were produced.

Since EMI moved out in the 70s, the buildings on site have been mainly unused- however, an ambitious regeneration by property developers Cathedral Group will transform the site from a few rundown old factory buildings into an exciting mixed-use development. The objective of these Table Talks, which were hosted by broadcaster Emma B, was to draw attention to the stimulating project which will eventually create a flourishing neighbourhood in the heart of Hayes, an area where jobs for local people and innovative new business enterprises are much needed. The regeneration envisages businesses, both big and small, based on site, as well as new homes, cafes, restaurants and a grand new cinema. 

Cathedral group places huge importance on paying homage to the site’s musical history- and what a great history it is. HMV and EMI once employed thousands of people, whose day-to-day work included producing vinyl records of artists such as Pink Floyd, as well as producing some of the UK’s first domestic gramophone and vinyl players. Considering the site’s close connection to sound, I am proud to say that it was my job during the Table Talks to act as a “boom boy”, and hold a microphone to speakers during the debate.

The entire discussion was recorded, and my introduction into the world of podcast recording was short and sweet. A mere five minute tutorial was seen as enough time to learn how to successfully complete the job, and as the first debate began I was thrown in at the deep end. I remembered being advised to “command the floor” and “not to worry if I got in people’s way” as I arm-achingly held my shotgun microphone in front of Eddy Temple Morris, renowned XFM DJ, as he outlined why the sheer volume of unique boutique indie labels means that music has definitely not lost its cutting edge.

I soon learnt that the job was all about listening and reacting accordingly to the discussion, remaining sensitive to the natural ebb and flow of conversation and the sounds it produced. More than once I had to scamper across the room, trailing a long black lead, in order to shoot my microphone in the direction of a member of the audience before their input left their mouth.  Interestingly, the experience of being so finely tuned to sound affected my senses, because afterwards the simple sound of my finger clicking sounded more resonant, and I heard crackles and faults in a PA system where I had not heard them before.

I thoroughly enjoyed the experience over the three days, and I feel like I learnt a lot, not only about how to be a “boom boy” but also about how all the different elements come together to make an event like that successful. For example, the catering team (there were free burgers and drinks), the creative team, the PR team, the lighting team, the sound team, and of course the guests themselves all contributed to the evenings. It was a pleasure meeting some of the more esteemed guests, such as Huw Stephens, as well as the more functional guests, such as Ian the lighting man. And although the project is huge, it was inspiring to see the attention to detail that Cathedral Group were prepared to deliver, in the form of these Table Talks, in order to make such a large scale regeneration personal, innovative and interesting. 

Exit Through the Gift Shop- Banksy

Exit Through the Gift Shop is a documentary film directed by notorious street artist Banksy. The film documents the true story of Thierry Guetta on his artistic journey from an eccentric French thrift store owner living in Los Angeles to a hugely successful artist. Guetta has an obsessive passion for video recording, and he records every waking moment of his life. Although to begin with this mainly consists of running his shop and living with his family, a trip to visit his cousin in Paris changes Thierry’s life forever, and gives new purpose to his obsessive hobby.

Guetta’s cousin is a Parisian street artist called Invader, who creates 2D characters from the arcade game ‘Space Invaders’ out of small, coloured mosaic tiles. Invader then pastes these mosaics onto walls, statues, etc to create an ‘invasion’ wherever they are found. Guetta’s passion for street art begins with Invader and leads to him meeting Shepard Fairey, a successful American artist whose work includes the iconic Barack Obama ‘HOPE’ poster, and the reworked image of professional wrestler Andre the Giant into the popular ‘OBEY Giant’ image.

A piece by Invader in Shoreditch, London

Fairey’s iconic Barack Obama ‘HOPE’ poster in Denver, Colorado

By following and filming Fairey and other street artists in Los Angeles, Guetta develops a reputation as someone who knows the best spots for graffiti art. Therefore, when a certain Bristol born Brit arrives in L.A. for his first American exhibition, Guetta is recommended as someone who can work alongside Banksy. The two immediately become friends, and Guetta is present during Banksy’s controversial Disneyland stunt, when a lifesize replica of a Guantanamo Bay detainee is placed at the California theme park.      

Banksy’s inflatable Guantanamo detainee in Disneyland, California

Allowing Guetta to film him in action went against Banksy’s secretive, undercover persona. However the benefits of having his work on film were obvious because the art was often, due to its nature, transitory. Banksy was under the impression that the footage was going towards a film about street art, however Guetta’s obsession lay solely in filming, and he had never actually watched back the hundreds of tapes he had recorded. Therefore, when Guetta was asked to produce the film, he wildly strung together random short clips, and then impatiently flicked between them, calling his work ‘Life Remote Control.’

Banksy immediately recognised this film was unwatchable, and a colossal waste of the unique and valuable footage Guetta had accumulated. The solution was for Banksy to take Guetta’s footage and produce the film himself (the product of which is Exit Through the Gift Shop). In the meantime, Banksy suggested that Guetta should become an artist in his own right. Although Guetta seemingly lacked any genuine artistic talent, his debut exhibition received great publicity and was an immediate success- mainly due to endorsement from Banksy. Within two months of selling his art, ‘Mr Brainwash’ as Guetta now called himself, had made over a million dollars.

Mr Brainwashes debut exhibition featuring on the cover of LA Weekly, June 2008

The crux of the film is arguably the manner in which Mr Brainwash becomes a massively successful artist overnight. Some have suggested, and the name ‘Mr Brainwash’ supports this theory, that Guetta’s rise to artistic majesty is a complete hoax; a trick played by Banksy and co. to expose the fickle and superficial nature of the art world. Although this conspiracy does seem plausible, partly because much of Mr Brainwashes work resembles that of Banksy, I do not believe this is the case. Instead, I believe it was only apparent afterwards (to Banksy and everyone else) how conclusively Mr Brainwash had undermined the contemporary art scene. In this sense Banksy is similar to the fictional scientist Frankenstein, because both men brought something into the world without being fully aware of the monster it would become.

“I used to encourage everyone I knew to make art; I don’t do that so much anymore” – Banksy 

Steeze

Steeze is a series of events in South East London, created with the admirable aim of bringing people together and creating unity through performance. The events feature poets and musicians predominantly young and based locally, and has been described as somewhere where artists “can truly learn from each other, and there’s no such thing as a mistake”. It’s certainly true that the atmosphere created at Steeze is very welcoming, and the first thing on people’s minds is acceptance rather than scepticism.

The commitment of a few young and entrepreneurial people to create Steeze is commendable, and their latest event was also influenced by some of the people behind Brainchild Festival. Brainchild Festival took place during the summer of this year, and it began as one girl’s brainchild; she saw the festival as an opportunity to create something positive with some money she’d inherited, as the rumour goes. The festival was devised as a “celebration of talent, original thinking and creativity” which claimed to be able to “validate the power of our minds”. http://brainchildfestival.co.uk/manifesto.html

One of the performers at the latest Steeze, a band called Nomad Soul, also performed at Brainchild Festival. I’d never seen or heard of the band before, but as I sat literally a metre away- the intimacy of Steeze is part of its attraction- and they began playing their song ‘Murmuration’, I was blown away by the level of energy and technical skill. Their infusion of jazz and electronic ambient music is mesmeric. Although it is reminiscent of other contemporary music in a similar style, Nomad Soul seemingly reached new heights with this outstanding performance. http://soundcloud.com/nomad-soul-collective/murmuration

It is important to mention the band Southpaw in relation to Steeze- because the organisers of the event also perform together in this 7-piece hip-hop, jazz outfit. Southpaw’s EP, entitled Out Of Oak can be found here- http://sthpw.bandcamp.com/album/out-of-oak- and demonstrates a strong level of originality and meaning through its four song progression. Out Of Oak claims to leave you “refreshed, rejuvenated, and reassured of a positive creative direction” and this positive attitude is reflected in their night Steeze.

The latest Steeze was their 10^th event, and the most recent have taken place at The Honor Oak pub in Forest Hill.  They happen on average every month, and the next one is on the 16^th of December. Here’s a link to their Facebook page so you can join the Steeze community, which i would highly recommend. http://www.facebook.com/Steeze.E.D?ref=ts&fref=ts. The page for their next event can also be found here- http://www.facebook.com/events/170784203063578/?fref=ts- and it’s definitely worth a visit! 

Kate Tempest's 'Brand New Ancients' Vs. Ben Drew's 'ill Manors'

Both Kate Tempest and Ben Drew believe they have a role to play in the extremely difficult task of portraying a young generation, angry and disillusioned. Kate Tempest is a 26 year old musician and poet. She was born and grew up in Brockley, not far from the theatre where I saw her perform her show Brand New Ancients, and in many ways this was her ‘coming home’ gig. She combined simple narrative, acapella rap, and atmospheric music to an unstoppable effect, telling the story of the ‘everyman’ in a way that it has never been told before.

Kate tells the story of everyday heroics, and how these age-old stories can help us make sense of our own lives. Towards the beginning of the show she says something along the lines of “everybody has a parable of a friend who could have gone somewhere but took too many drugs. Everybody has the parable of a drunken old man sitting on the bench in their local park”. She goes on to make the point that everyone has an important and interesting story to tell, whether or not this story is immediately assessable. This idea struck me, because one of the reasons I love London is the sheer quantity and diversity of people, each with a special story to tell.

Kate was described by the Guardian as having a “genuinely galvanising presence”. During the show you feel as if you’re watching something sacred. Kate’s messiah like quality leaves you speechless and feeling as if she has been put on this earth to tell her story (or perhaps, more importantly, the story of others.) I’m aware of the hyperbole in these statements, but they are hard to avoid when used in conjunction with this poet! I’ve even heard Kate Tempest referred to as a “21^st century Shakespeare”, and although this term has been applied to other artists before, with Kate it seems to be closer to the truth. 

 ‘ill manors’, the first film made by musician Ben Drew, A.K.A. Plan B, is a tale of survival on London streets. It tells the story of battling against drugs, gangs and violence, which is not new at all, and has in fact probably been overdone. The film is powerful, despite its tendency to slip into the clichéd story of fighting for respect on the streets. Drew interweaves different characters personal tales of hardship, using six songs from his latest album to narrate the story of particular characters.

Drew comes close to telling the story in a new way, by promising in the film’s opening sequence that he will be the sole ‘narrator’ of this struggle. However, apart a few songs, Plan B’s voice is not heard enough in the movie. If Drew expressed his own voice more, with characteristic insight and intelligence, he could have reached a new level of understanding about life on London streets that the film ultimately shrives for and fails.

Kate Tempest and Ben Drew both attempt to narrate the average Londoners disillusionment through spoken word. Brand New Ancients left me inspired, and the only criticism I had was that the show wasn’t being performed to school kids across London, so they could be sprinkled with her gold dust. ill Manors on the other hand left me relatively hopeless, because Drew depicts a world where hope is hard to come by.

Judge for your self...

Plan B – ill Manors http://www.youtube.com/watch?v=s8GvLKTsTuI

Kate Tempest- Brand New Ancients http://www.youtube.com/watch?feature=player_embedded&v=1a8iFSXCHLw#!